CAA Conversations

Latest Episodes:

Pedagogical Spaces for Women's History Part I Jun 08, 2023

Show notes

A two part in-depth dialogue about creating inclusive pedagogical spaces to present and teach women’s history with Jenevieve DeLosSantos, assistant teaching professor of art history and director of special pedagogic projects at Rutgers University and Ashleigh Coren, women’s history content and interpretation curator at the National Portrait Gallery and acting head of education for the Smithsonian’s American women’s history initiative. In part 1 of this conversation, Coren discusses the importance of engaging with the wide spectrum of art practices by women artists and developing critical pedagogical strategies to facilitate culturally responsive teaching, to approach difficult conversations around race, gender and class and support educators attempting to provide more inclusive content. Part 2 expands the conversation to include additional pedagogical strategies to open up teaching women’s histories to broader audiences, set up community norms, manage the approach to difficult traumatic topics that could be triggering, empower communities to help tell broader stories and address the erasure of certain communities. Ashleigh D. Coren is the acting head of education for the Smithsonian American Women’s History Initiative and the Women’s History Content and Interpretation Curator at the National Portrait Gallery, where she focuses on collections research, student and teacher programs, and public programming. Previously, she was Special Collections Librarian for Teaching and Learning at the University of Maryland, College Park and an adjunct lecturer in the university’s College of Information Studies. She holds a BA in Art and Visual Culture from Bates College, and an MS in Archives Management from Simmons University. She has held previous positions at West Virginia University and Emerson College and in 2018 she was named an ALA Emerging Leader. Her writing has been published in The Journal of American Folklore, Viewfinder: Reflecting Upon Museum Education, and the International Review of African American Art. Jenevieve DeLosSantos is Associate Teaching Professor of Art History and Director of Special Pedagogic Projects in the Office of Undergraduate Education for the School of Arts and Sciences at Rutgers University–New Brunswick, New Jersey. In her dual role, she teaches art history and manages several programs related to teaching and learning and diversity, equity and inclusion in undergraduate education. Her research focuses on the Scholarship of Teaching and Learning in Art History and explores topics related to trauma-informed pedagogy and equitable, inclusive teaching practices in the art history classroom. Her current projects include, guest editing the series “Hard Lessons: Trauma, Teaching, Art History” for Art Journal Open and the forthcoming book Poetries – Politics: A Celebration of Language, Learning and Art with Rutgers University Press. Her other scholarly interests include nineteenth-century American Orientalism and more broadly, race and imperialism in nineteenth-century visual culture.

Pedagogical Spaces for Women's History Part II Jun 08, 2023

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Past the Door: A Podcast on Community, Accessibility, and Engagement in Graduate School May 15, 2023

Show notes

What does it look like to actually exist within graduate school? Most grad and post-doc students spend their degrees carefully balancing their schooling alongside holding full-time jobs, building professional connections, supporting themselves financially and physically, and engaging in their creativity outside of school. This podcast explores the question: what does the world of academia look like while situated within these experiences, and how do graduate programs support their students with community and access to resources? Grace Oller and Hannah Warren are currently receiving their master’s degrees in the Graduate School of Arts & Sciences at New York University. Grace attends the Institute of Fine Arts and is seeking a degree in Art History and Archeology, while Hannah is receiving her MA from the XE: Experimental Humanities and Social Engagement program. In this conversation, Grace and Hannah discuss what brought them to NYU, how they have navigated their first year, and what their hope is for the future of their programs, specifically addressing how community has been fostered in these spaces. This episode hopes to extend empathy to students facing the same battles, while providing a moment of contemplation for those who may exist outside of this specific realm of academia. As creatives and academics, Grace and Hannah explore the integration of art, education, and building connections with others. Grace Oller is a Graduate Student at New York University’s Institute of Fine Arts (IFA) studying Modern and Contemporary Art History and Curatorial Practice. Born and raised in rural Ohio, she attended the Columbus College of Art and Design and received a BFA in Fine Arts with minors in Creative Writing and Art History. She has held positions as an Exhibition Assistant at the Columbus Museum of Art, co-editor in chief of the online publication, IFAcontemporary, and a contributing writer for a forthcoming book published by NYU’s Grey Art Gallery celebrating the Anonymous Was a Woman award. Her work challenges ideas surrounding accessibility and labor in the art world, and you can find her around New York enjoying the delicious sounds of live jazz. Hannah J. Warren (she/her) grew up in Upstate NY but currently resides in Brooklyn, NY, obtaining a Master's degree in Experimental Humanities and Social Engagement from NYU. Hannah received her BA in English with an emphasis in writing, and a minor in Women and Gender Studies from Hartwick College in 2020. Recently Hannah has had poetry published in The Bookend Review, and has helped edit the poetry in her programs magazine Caustic Frolic. Beyond her joy for writing, Hannah enjoys spending her time traveling, reading, buying books, and trying to keep her plants alive. Hjw2170@nyu.edu. *This podcast, Past The Door, was recorded by Grace Oller and Hannah Warren, and edited by Hannah Warren.

Interdisciplinary Studio Art Pedagogy // Jeanne Brasille, Ann LePore Jan 04, 2023

Show notes

Ann Lepore and Jeanne Brasile discuss interdisciplinary engagement in the studio art classroom with an emphasis on student-centered activities in an inclusive environment. What lessons were learned by the professor and her students in this period of pandemic? What roles do community, conversation and social justice contribute to a visual arts curriculum and what is that relationship in the inverse? Ann LePore was raised in the garage under her father’s car. The works she creates are heavily influenced by her experiences as a champion of science, civil society and as a seeker of secret landscapes. Her processes include projection mapping, animation, printmaking, installation, and data visualization. LePore has exhibited with e-Flux and Serpentine Gallery, London, and also shown her work in New York, Paris, Rome, Berlin, Moscow and Art Basel Switzerland. Much of her research has been completed during artist residencies including at the Frank Lloyd Wright Foundation, and aboard the Research Vessel Sea Wolf. Ann received her MFA from the School of Visual Arts. She is currently Associate Professor of 3D Design and Animation at Ramapo College of New Jersey. Jeanne Brasile is the Director of the Walsh Gallery at Seton Hall University. She earned her M.A. in Museum Studies at Seton Hall University and studied art history and studio art as an undergraduate at Ramapo College of New Jersey. Her background in non-profit administration spans over 20 years and she serves on numerous boards and committees within the arts community. Brasile specializes in curating and is primarily interested in developing interdisciplinary exhibitions that challenge visitors to re-think their perceptions about art, art-making and the role of the museum/gallery. Brasile often speaks and writes on issues in contemporary art and art practices.

Social Practice and Interdisciplinary Collaboration // Michael Asbill, Amanda Heidel, Steve Rossi Jan 04, 2023

Show notes

In this conversation Steve Rossi speaks with Michael Asbill and Amanda Heidel, about Amanda’s Mushroom Shed MFA thesis project, which explored the mushroom lifecycle as a model for community engagement through developing connections between the State University of New York at New Paltz Sculpture Program, the Biology Department, and the surrounding community. Themes relating to interdisciplinary collaborations, faculty mentorship, and individual vs. collaborative authorship are all explored. Steve Rossi is currently an Assistant Professor and Sculpture Program Head at St. Joseph’s University in Philadelphia, where he has been developing interdisciplinary studio art pedagogy connected to the varied fields of environmental ethics and occupational therapy. He received his BFA from Pratt Institute in 2000 and his MFA from the State University of New York at New Paltz in 2006. His work has been exhibited at Dorsky Curatorial Projects, Eco Art Space, NURTUREart, the Open Engagement Conference at the Queens Museum, Bronx Art Space, the Wassaic Project, the John Michael Kohler Art Center, the Jules Collins Smith Museum of Fine Arts, and the public art festival Art in Odd Places among many others. He has participated in artist residencies with the Vermont Studio Center, Lower Manhattan Cultural Council, and Gallery Aferro in Newark, New Jersey. As a part-time faculty member, he has taught in the First Year Program at Parsons School of Design and the Sculpture Program and Art Education Program at the State University of New York at New Paltz. Michael Asbill weaves arts advocacy, community engagement, environmentalism, and curatorial endeavor into his installation and public art practice. His work has been experienced in venues such as Sporobole and Galerie Zybaldone (Sherbrooke, QC), Flux Factory (Long Island City, NY), The Oregon City Elevator, and the Poughkeepsie Train Station. As a core collaborator with Habitat for Artists, Michael contributed to eco and social engagement projects for Smack Mellon (Brooklyn, NY), Arts Brookfield (New York, NY), Washington DC’s Commission on the Arts and Humanities, the Corcoran Museum (Washington, DC), and 601 Tully (Syracuse, NY). He has received numerous grants, awards, commissions, and honors including the New York State/Province of Quebec Artist in Residence Exchange Grant, inclusion in the “Introducing” series at the Roger Smith Hotel, and was honored, at the 2018 Arts Mid-Hudson/Ulster County Executive Arts Awards, with the title of “Artivist” which was invented to acknowledge his community contributions. Michael is the founder and director of CHRCH Project Space (Rosendale, NY), a residency for the development of pioneering, community-based, participatory artworks. Michael is a visiting lecturer, and currently head of the sculpture program, at the State University of New York in New Paltz. Amanda Heidel is an artist and educator living in Ithaca, NY. Her research in life cycles, collaborative structures, and community engagement led to the creation of Mushroom Shed, a community project that looks to the mushroom lifecycle as a model for community engagement. In addition, Amanda teaches outdoor mushroom cultivation and facilitates the Community Mushroom Educator program through Cornell Small Farms Program. She is also the Grants Manager for Choice Words Ithaca, a grant writing and fundraising firm that helps businesses, nonprofits, educational institutions, and municipalities identify and acquire grant funding.

This Thing We Call Art: Artist Interview with Gordon Hall Nov 18, 2022

Show notes

This is a rebroadcast of an episode of This Thing We Call Art, a podcast where the host Kelly Lloyd speaks to people in the arts about their livelihoods. Lloyd originally interviewed artist Gordon Hall on March 1, 2021 and the 43-minute episode featuring portions of the three-hour-long conversation was released on February 17, 2022. The podcast features a conversation about Hall and Lloyd’s experiences in art education at the School of the Art Institute of Chicago, how art institutions handle interdisciplinarity, and the ethical responsibility of art school educators. Hall, currently an Assistant Professor of Sculpture at Vassar College, has included an addition to this rebroadcast to highlight how in the Spring of 2022, the contingent faculty at the School of the Art Institute of Chicago formed a union, Art Institute of Chicago Workers United, (AICWU) which is now certified with the National Labor Relations Board. The union is currently preparing to negotiate their first contract. You can follow their efforts and support them at aicwu.org and on social media at AIC_WU on Instagram, AICWUTweets on Twitter, and AIC Workers on Facebook. Kelly Lloyd is a transdisciplinary artist who focuses on issues of representation and knowledge production and prioritizes public-facing collaborative research. Lloyd has recently held solo exhibitions at the Royal Academy Schools (London), Crybaby (Berlin), Bill’s Auto (Chicago), Demo Room (Aarhus), and Dirty House (London) for which she won the Art Licks Workweek Prize. Lloyd was the Starr Fellow at the Royal Academy Schools during the 2018/19 school year and is currently studying at The University of Oxford's Ruskin School of Art and Wadham College for her DPhil in Practice-Led Fine Art with support from an All Souls-AHRC Graduate Scholarship and an Open-Oxford-Cambridge Doctoral Training Programme Studentship. In 2021, Lloyd launched This Thing We Call Art, a podcast and online archive featuring excerpts from 50+ interviews with people in the arts she has conducted since 2017. Gordon Hall is an artist based in New York who makes sculptures and performances. Hall has had solo presentations at the MIT List Visual Arts Center, The Portland Institute for Contemporary Art, The Renaissance Society, EMPAC, and Temple Contemporary, and has been in group exhibitions at The Whitney Museum of American Art, The Brooklyn Museum, The Hessel Museum, Art in General, White Columns, Socrates Sculpture Park, among many other venues. Hall’s writing and interviews have been published widely, including in Art Journal, Artforum, Art in America, and Bomb, as well as in Walker Art Center's Artist Op-Ed Series, What About Power? Inquiries Into Contemporary Sculpture (published by SculptureCenter), and Documents of Contemporary Art: Queer (published by Whitechapel and MIT Press.) A volume of Hall’s collected essays, interviews, and performance scripts was published by Portland Institute for Contemporary Art in 2019. Hall is Assistant Professor of Sculpture at Vassar College.

This Thing We Call Art: Artist Interview with Nicole Morris Nov 18, 2022

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Cara Jordan // Robin Veder // Preparing Your Journal Article for Submission Oct 10, 2022

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How can authors improve their chances for publication in academic journals? In this podcast, editors Cara Jordan and Robin Veder approach the topic with empathy for all who are navigating what can be an unnecessarily mysterious and intimidating process. We share strategies for how to prepare your manuscript for the best possible outcome, including how to select the right venue for your article; what you can do to ensure that journal editors and peer reviewers focus on your ideas; and what to expect in editorial relationships. Among other resources for pre-submission feedback, we discuss offerings from the Flatpage editorial agency and the Smithsonian American Art Museum’s Toward Equity in Publishing professional development program, which aims to remediate the inequitable conditions that precede and impede publication. Upcoming deadlines are September 15, 2022, and March 15, 2023. To apply, click here: https://americanart.si.edu/research/toward-equity-publishing. Cara Jordan received her PhD in art history from the Graduate Center, CUNY, and is currently the president and chief editor at Flatpage, an editorial agency and publishing house based in Washington, DC. With a roster of academic editors with PhDs (many in art history) and varying expertise, Flatpage offers manuscript evaluation and editing, as well as job application assistance, book proposal critique, and other forms of writing support for authors of all backgrounds and levels. Cara has seen many sides of the academic journal publishing industry: as an author, a managing editor of a journal, and as a freelance developmental and copy editor. Robin Veder is the executive editor of American Art, the peer-reviewed journal co-published by the Smithsonian American Art Museum and University of Chicago Press, and founder of the journal’s Toward Equity in Publishing program. Before joining the journal in 2017, Veder was a tenured associate professor of humanities, art history, and visual culture at Penn State Harrisburg. She is a cultural historian whose publications include a study of kinaesthetic modernism in early twentieth-century US art—The Living Line: Modern Art and the Economy of Energy (2015)—and various articles on visual culture, landscape, pastoralized labor, and history of the body. She earned her BA (1991) in interdisciplinary art from San Francisco State University and her MA (1995) and PhD (2000) in American studies from the College of William and Mary.

Peter Hyland // Tyson Lewis // Tamryn McDermott // Studious Drift Oct 09, 2022

Show notes

In this podcast episode, Tamryn McDermott engages in a conversation with Tyson Lewis and Peter Hyland, the authors of the book, Studious Drift: Movements and Protocols for a Postdigital Education, which was published earlier this year by the University of Minnesota Press. Lewis and Hyland engage readers in questions such as, “What kind of university is possible when digital tools are hacked for a more experimental future?” From the book jacket: “The global pandemic has underscored contemporary reliance on digital environments. This is particularly true among schools and universities which, in response, shifted much of their instruction online. The virtual classroom opens opportunities to move beyond familiar learning practices toward radical digital possibilities for education. Studious Drift revives the relationship between studying and the generative space of the studio in service of advancing educational experimentation for a world where digital tools have become a permanent part of education. Drawing on Alfred Jarry’s pataphysics, the “science of imaginary solutions,” this book reveals how the studio is a space-time machine capable of traveling beyond the limits of conventional online learning to redefine education as interdisciplinary, experimental, public study.” Additionally, here are a few of the links that were mentioned within the episode. We invite you to explore Studio D (https://onstead.cvad.unt.edu/studio-d) and the Education as Experimentation 1 video (https://youtu.be/llUj_Qyd5Zo). Studious Drift can be accessed digitally here: https://manifold.umn.edu/projects/studious-drift Lewis, T. and Hyland, P. (2022). Studio Drift: Movements and Protocols for a Postdigital Education. University of Minnesota Press. Tyson Lewis is a professor of art education in the College of Visual Arts and Design at the University of North Texas where he teaches courses in aesthetics, critical theory, educational philosophy, philosophy for children, and critical phenomenology. Recently, his articles have appeared in journals such as Angelaki, Symploke, Cultural Critique, and Thesis Eleven, and he is the author of the book Walter Benjamin’s Antifascist Education: From Riddles to Radio (SUNY Press, 2021). Peter Hyland is director of the Jo Ann (Jody) and Charles O. Oustead Institute for Education in the Visual Arts and Design at the University of North Texas. Peter is the author of the poetry collection "Out Loud "(Sheep Meadow Press, 2013). Peter’s poems, book reviews, and articles have also appeared in "American Literary Review," "Conduit," "Green Mountains Review," "New England Review," "Ploughshares," and elsewhere. Peter earned a B.F.A. in Studio Art: Drawing and Painting from the University of North Texas and an M.F.A. in Creative Writing – Poetry from the University of Houston. Tamryn McDermott is currently a PhD student in the department of Arts Administration, Education and Policy at the Ohio State University. She received a BFA from Tyler School of Art and Architecture, Temple University and an MFA in Fibers and Sculpture from the University of Missouri.

Linda Nochlin, 1994 Committee on Women in the Arts at the Annual Conference Aug 17, 2022

Show notes

In 1994, CAA’s Committee on Women in the Arts held a panel chaired by Judith Stein that featured speakers Linda Nochlin, Ann Sutherland Harris, and Alessandra Comini. Their individual presentations look at the progress of women artists and art historians over the previous twenty years, since 1974. The talks use the exhibition, Women Artists 1550-1950, curated by Nochlin and Harris, as a benchmark for discussion. This landmark exhibition toured four American museums in 1976-77, such as the Brooklyn Museum in 1977, and raised public awareness of the many gifted women painters, sculptors, and architects. The talks in this session compare and contrast the attitudes that prevailed when the show was being organized with views in the nineties. Releasing these recordings of the session almost another twenty years later, it is an opportunity to reassess the status of women in the arts once again. Fifty years ago in 1972, CAA founded its first committees devoted to women in the arts. This year we celebrate the 50th anniversary of this history by sharing historic materials from CAA members and archives that intersect with feminism at the organization, CAA’s Committee on Women in the Arts, and from its Affiliated Societies, the Women’s Caucus for Art (WCA) and The Feminist Art Project (TFAP). CAA established the Committee on the Status of Women (COSW), the first committee to focus on women in CAA’s history, in 1972. The COSW was renamed the Committee on Women in the Arts (CWA) in 1996, and it continues to promote women in the visual arts field.

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