CAA Conversations

"Professors Alex Dika Seggerman (Rutgers University-Newark) and Emily Neumeier (Temple University) discuss their experience incorporating Wikipedia in the classroom, suggesting different types of assignments, the feminist origins of the “edit-a-thon” and how teaching students about the reliability and structure of online knowledge is perhaps one of the most pressing issues of our day.

For more information about working with Wiki Edu in your classroom go to: https://wikiedu.org/teach-with-wikipedia/

Emily Neumeier is assistant professor of Art History at Temple University. She specializes in the visual and spatial cultures of the Eastern Mediterranean, with a focus on the Ottoman Empire.

Alex Dika Seggerman is assistant professor of Islamic art history at Rutgers University-Newark. She is author of Modernism on the Nile: Art in Egypt between the Islamic and the Contemporary (UNC Press, 2019) and co-editor of Making Modernity in the Islamic Mediterranean (Indiana University, 2022).

Professor Alan C. Braddock and Dr. Lindsay Garcia discuss art, pedagogy, and environmental justice. How can art history join the posthumanist conversation? How can works of art attune us to our relationships across the lines of species? Note: This conversation was recorded in autumn 2020.

Alan Braddock is the Ralph H. Wark Associate Professor of Art History and American Studies at the College of William & Mary. His teaching and research explores the history of American and global art, ecology, environmental justice, and animal studies. He has authored and edited numerous books, including the landmark 2009 anthology A Keener Perception: Ecocritical Studies in American Art History, which he co-edited with Christoph Irmscher, and the catalogue accompanying the 2018 travelling exhibition Nature’s Nation: American Art and Environment, which he co-curated with Karl Kusserow. Most recently, he was a scholar in residence at the Getty Research Institute, where he was developing a new book entitled Implication: An Ecocritical Dictionary for Art History, under contract from Yale University Press.

Lindsay Garcia (she/her) is the Assistant Dean of the College for Junior/Senior Studies and Recovery/Substance-Free Student Initiatives at Brown University. She is also a socially-engaged artist, scholar, and teacher. She received her PhD in American Studies from William & Mary and her MFA in Visual Art from Purchase College, State University of New York. Her advising, research, and artwork employ a queer, feminist, and critical race approach. She is currently working on her book manuscript Infestation Identities, which explores the metaphors and materialities of the relationship between pest animals and humans in the context of race and sexuality in American visual culture. Garcia has published her research in academic and art world publications and exhibited her artwork internationally at museums, galleries, and film festivals.

Rachel Skaggs // Molly Jo Burke // Erin Hoppe // Measuring Artists’ Challenges in COVID-19 by CAA

Courtney Puckett // Alexis Granwell // Experiences of Contingent Faculty in Teaching Studio Art by CAA

Jay Buchanan, Holly Gabelmann, Caroline Giddis, and Clarissa Chevalier: "Collaboration, finding purpose, occupying intermediate space and making noise together!"

In this conversation, Jay Buchanan and Holly Gabelmann, co-creators of Idiosynchrony, talk to Caroline Giddis and Clarissa Chevalier, founders and co-editors of Tesserae Press. They discuss "Collaboration, finding purpose, occupying intermediate space and making noise together!"

Jay Buchanan is a theorist, poet, and arts orchestrator.

Holly Gabelmann is an artist, writer, and asker of questions. They are the co-creators of Idiosynchrony, a podcast and collective sonic artwork. http://www.idiosynchronypodcast.com

Caroline Giddis is a writer, emerging curator, and art historian of the long nineteenth century focusing on intersectional feminism.

Clarissa Chevalier is an interdisciplinary researcher, writer, and art historian specializing in modern and contemporary ecological art.They are the founders and co-editors of Tesserae Press, an online arts publication for emerging creative voices. http://www.TesseraePress.com

Join us for a conversation with Sean Nash, a visual artist and food fermentation experimentalist, and Stephanie Maroney, a feminist science and food studies scholar, as they discuss “Microbial Teachers and Fermentive Pedagogies.”

Sean Nash is a visual artist and food fermentation experimentalist. His multidisciplinary work integrates fermented foods with sculptures as edible, time-based, and socially engaged components of programs and exhibitions. Sean's work has been shown nationally, with solo shows at the Kniznick Gallery at Brandeis (Krautsourcing, 2019), Plug Projects in Kansas City, MO (Lactobacillus Amongus, 2017), and Black Ball Projects in Brooklyn, NY (They/Them/Their, 2016). His work can be found at senash.com

Stephanie Maroney is a feminist science and food studies scholar creating collaborative projects on fermentation and mycology. She has published on the topics of queer fermentation praxis, the colonial afterlife of microbiome science, and probiotic dietary culture. Stephanie has a Ph.D in Cultural Studies and administers a community-engaged arts and humanities research program at UC Davis.

In this conversation, the pair discuss Schwartz’s new book Walker Evans: No Politics. The first book to take seriously Evans’s refusal to act or work politically, Walker Evans offers a sweeping reassessment of American documentary and its histories. Opening with a discussion of Evans’s place in the canon as well as Schwartz’s efforts to problematise canonical histories of documentary, the podcast covers a range of topics, from the publication of Evans’s short, but punchy, review of photographic books, his 1931 essay “The Reappearance of Photography,” to the 1971 retrospective exhibition of his work at the Museum of Modern Art. At the centre of this conversation is a debate about Evans’s legacy, about how and why it needs to be reimagined today.

Stephanie Schwartz is an Associate Professor of the History of Art at University College, London.

Jorge Ribalta is an independent curator and photographer living and working in Barcelona.

In this conversation, educator, artist, and technologist Chris Carruth and Ph.D. candidate Kristina M. Stamatis discuss pedagogy, empathy, and structural racism in higher ed.

Chris Carruth is an educator, artist, and technologist who is currently splitting teaching/making engagements between Boulder, CO and Vancouver, BC. He is an interdisciplinary creative artist who weaves philosophical inquiry, investigative journalism, and personal narrative together to examine life in the digital age.

Kristina M. Stamatis is a Ph.D. candidate in the School of Education at the University of Colorado Boulder. Her research focuses on the ways that cultural storytelling can support teaching and learning and the disruption of whiteness. Her latest work can be found in the book Compose Our World: Engaging Educators and Students with Project-Based Learning in Secondary English Language Arts.

This podcast explores key concepts of decolonization, settler responsibility, and treaty principles. Join Dr. Julie Hollenbach in conversation with Dr. Carla Taunton in a dynamic dialogue that considers key ideas and concepts of decolonization. Hollenbach and Taunton discuss the potential roles and responsibilities of white-settler scholars in decolonizing and unsettling initiatives within museums, academia, and the classroom to include the movement towards decolonial accomplice focused methodologies.

Dr. Carla Taunton, a white-settler scholar, is an Associate Professor in the Division of Art History and Contemporary Culture at the Nova Scotia College of Art and Design University and an Adjunct Associate Professor in the department of Cultural Studies at Queen’s University. She is the Special Advisor to the VP Academic and Research, Social Justice and Decolonization. Her research contributes to arts-based critiques of settler colonialism, Indigenous arts and methodologies, contemporary Canadian art and activism, museum and curatorial studies, as well as theories of decolonization, anti-colonialism and settler responsibility. Her recent publications include, “Unsettling Canadian Heritage: Decolonial Aesthetics in Canadian Video and Performance Art,” with Sarah E.K Smith in Journal Canadian Studies (2018), “Embodying Sovereignty: Indigenous Women’s Performance Art in Canada,” in Narratives Unfolding (2017), and “Performing Sovereignty: Forces to be Reckoned With” in More Caught in the Act: An Anthology of Performance Art by Canadian Women (2016). She co-edited PUBLIC 54: Indigenous Art, the first special issue on global Indigenous new media and digital arts, and RACAR: Continuities Between Eras: Indigenous Arts (2017). She is an independent curator and was a curatorial team member for Abadakone at the National Gallery of Canada (2019). Taunton’s recent collaborative research projects include: The GLAM Collective, The Pilimmaksarniq/Pijariuqsarniq Project: Inuit Futures in Arts Leadership (2017), and The Archive/Counter-Archive: Activating Canada’s Moving Image Heritage (2017).

Julie Hollenbach is a queer white-settler scholar also at NSCAD University where she is an Assistant Professor of Craft History and Material Culture. Her work addresses craft practices and craft cultures at the intersections of history and location, tradition and ritual, contact and connection, meaning and use. Julie’s curatorial and academic research is influenced by queer, feminist, anti-racist and decolonial methodologies. If you’d like to learn more about her work, check out an article she published online with Studio magazine entitled, “Moving Beyond a Modern Craft: Thoughts on White Entitlement and Cultural Appropriation in Professional Craft in Canada,” or check out her recent curatorial project Unpacking the Living Room at Mount St. Vincent University Art Gallery. A website chronicling and documenting the exhibition can be found at: www.unpackingthelivingroommsvu.ca.

Join us for a conversation between Thanavi Chotpradit, a modern and contemporary Thai art historian, and Chanon Kenji Praepipatomongkol, curator at Singapore Art Museum, as they discuss “The Iconography of Protest in Bangkok."

Thanavi Chotpradit is a lecturer in modern and contemporary Thai art history at Silpakorn University in Bangkok, Thailand and a member of the editorial collective of Southeast of Now: Directions in Contemporary and Modern Art in Asia. Her areas of interest include modern and Thai contemporary art in relation to memory studies, war commemoration, Thai politics and archival practices.

Chanon Kenji Praepipatmongkol is a Curator at Singapore Art Museum. He holds a PhD in art history from the University of Michigan, with a focus on postwar art in the Philippines and Thailand. His latest research project explores technical dimensions of design as the basis for understanding new media ecologies of form, experience, and image in 21st century Thailand.