at The College Art Association Annual Conferences


2007 - NYC
2009 - Los Angeles
Anne Swartz

image Anne Swartz is a professor of Art History at the Savannah College of Art and Design. She focuses on contemporary art, especially feminist artists, critical theory, and new media/new genre, in her writing, curating, and public lectures. Her main focus has been to support and advance innovative and transgressive work of both emerging and established artists whose art has not been fully examined. She's currently co-editing The Question of the Girl with Jillian St. Jacques and completing Female Sexualities in Contemporary Art, a collection of her essays, and The History of New Media/New Genre: From John Cage to Now, a survey of developments in recent art. (

2010 - Chicago
Maria Elena Buszek

image Maria Elena Buszek is a scholar, critic, curator, and Associate Professor of Art History at the University of Colorado Denver, where she teaches courses on Modern and contemporary art. Her recent publications include the books Pin-Up Grrrls: Feminism, Sexuality, Popular Culture and Extra/ordinary: Craft and contemporary art; contributions to the anthologies Punkademics; It's Time for Action (There's No Option): About Feminism; and Blaze: Discourse on Art, Women, and Feminism; catalogue essays for numerous national and international exhibitions; and articles and criticism in such journals as Art in America, Art Journal, Photography Quarterly, and TDR: The Journal of Performance Studies. She has also been a regular contributor to the popular feminist magazine BUST since 1999.& Dr. Buszek's current book project explores the ties between contemporary activist art and popular music.

2011 - New York City
Johanna Burton and Julia Bryan-Wilson

image Johanna Burton was appointed Director of the Graduate Program at the Center for Curatorial Studies, Bard College in July 2010; she is a New York-based art historian and critic and has written extensively on postwar and contemporary art for numerous publications, including Artforum, Parkett, and Texte zur Kunst; and she is the editor of Cindy Sherman (2006), a collection of critical essays on the artist for MIT Press's October Files series. Burton's other recent writings include texts on the women-only art magazine Eau de Cologne (published in Witness to Her Art, eds. Rhea Anastas and Michael Brenson, Center for Curatorial Studies, 2006) and Lee Lozano (on the occasion of the artist's inclusion in an exhibition curated by Helen Molesworth at the Wexner Center in Columbus, Ohio, in Spring 2008); and she has written catalogue essays for career survey exhibitions of Dara Birnbaum, Mel Bochner, and Mary Heilmann. Upcoming publications include a major essay on Cindy Sherman for that artist's retrospective at MoMA in 2012; and a text surveying theories of identity in relation to art practices of the 1980s for Helen Molesworth's exhibition, "This Will Have Been: Art, Love, and Politics in the 1980s," which will open at the MCA Chicago in February 2012. Burton is co-curator (with Elisabeth Sussman) for the Whitney Museum's survey exhibition of Sherrie Levine, opening Fall 2011; and she is currently working with Anne Ellegood on a large-scale show examining legacies of institutional critique, to open at the Hammer Museum in Los Angeles in 2013. She was Associate Director and Senior Faculty Member at the Whitney Independent Study Program in New York from June 2008-July 2010.

image Julia Bryan-Wilson is associate professor of modern and contemporary art history at UC Berkeley. Her writing has appeared in the Art Bulletin, Artforum, Art US, Art Journal, Bookforum, Cabinet, Camera Obscura, Frieze, Modern Painters, and Oxford Art Journal; in 2007 she became an inaugural winner of the Creative Capital/Andy Warhol Foundation Arts Writers Grant. She has written catalog essays for artists such as Ida Applebroog, Helen Mirra, and Francesca Woodman, and her  art criticism focuses primarily on feminist, queer, and collective work. Her book, Art Workers: Radical Practice in the Vietnam War Era, which examines questions of artistic labor in the late 1960s and1970s in New York, was published in fall 2009 by the University of California Press. Her most recent research investigates the politics of handmaking since 1970.

2012 - Los Angeles
Elana Mann and Audrey Chan

image Audrey Chan is a Los Angeles-based artist, writer, and educator whose work addresses civic discourse, rhetoric, and the feminist construct of "the personal is political." She received a BA with Honors in Studio Art and Political Science from Swarthmore College and an MFA from the Program in Art at California Institute of the Arts. Chan co-organized Exquisite Acts & Everyday Rebellions: 2007 CalArts Feminist Art Project, a collective and inter-generational investigation of contemporary feminist art practice, including a symposium and exhibition ( In 2009, she was an artist-in-residence at the École Régionale des Beaux-arts de Nantes in France. Based on this experience, she published her first book, Conseil juridique et artistique / Legal and Artistic Counsel (2011), which explores the relationship between art and politics in French law. Her projects have been reviewed in the Los Angeles Times, New York Sun, Artweek, The Chronicle of Higher Education, and the OC Weekly. Her writing has appeared in East of Borneo, Afterall Online, ...might be good, Art21 Blog, and the Getty Iris blog. She currently teaches art history at the J. Paul Getty Museum. For more information, please visit

image Elana Mann is a multidisciplinary artist who creates artwork through systems of performance and exchange, revealing fissures in interpersonal dialog and political structures. Her practice encompasses live performance, video, installation and objects, in addition to discursive and collaborative projects. She has presented work at REDCAT, Los Angeles; Apex Art, New York; Galerie Califia, Horazdovice, Czech Republic; A Gentil Carioca, Rio de Janeiro; Jancar gallery, Los Angeles and Outpost for Contemporary Art, Los Angeles. She is a recipient of California Community Foundation's 2009 Visual Arts Fellowship and has published five books, four of which are in the collection of the Getty Research Institute. Her projects have been reviewed in the Los Angeles Times, NPR, O Globo, El Pais, La Reuppublica and X-Tra Magazine. Mann received her B.F.A. from Washington University, St. Louis and her M.F.A from California Institute of the Arts, Valencia. She is currently a Visiting Lecturer at Scripps College, Claremont, CA. Mann lives and works in Los Angeles, CA, USA.

2013 - Brooklyn
Catherine Morris

image As Curator of the Elizabeth A. Sackler Center for Feminist Art, Catherine J. Morris has organized Matthew Buckingham: The Spirit and the Letter, Lorna Simpson: Gathered, Kiki Smith:Sojourn, Healing the Wounds of War: The Brooklyn Sanitary Fair of 1864, and Sam Taylor-Wood, Ghosts and she was the Brooklyn Museum curator for Seductive Subversion: Women Pop Arts, 1958-1968. As an independent curator prior to joining the Brooklyn Museum, Morris organized exhibitions that explored issues related to feminism and its impact as a social, political, and intellectual construct on the development of visual culture-among them Decoys, Complexes and Triggers: Women and Land Art in the 1970s at the Sculpture Center, Long Island City, New York, and, as co-curator, Gloria and Regarding Gloria at White Columns, New York. She was the co-curator of Hans Hoffmann: Circa 1950, at the Rose Art Museum at Brandeis University and curated 9 Evenings Reconsidered: Art, Theatre, and Engineering, 1966, which originated at the MIT List Visual Art Center,and Food at White Columns, New York. Morris was Adjunct Curator of Contemporary Art at the Philbrook Museum of Art, Tulsa, Oklahoma, and has authored or contributed to various scholarly publications and catalogues.

2014 - Chicago
Jennie Klein and Myrel Chernick

image Jennie Klein's primary areas of research lie in contemporary art, art criticism, feminist art, and performance art. She is a contributing editor for Art Papers and a member of the editorial board of Genders. She has published in Feminist Studies, Art Pulse, PAJ, n.paradoxa, Art History, New Art Examiner, and Afterimage. Jennie is the co-editor, along with Deirdre Heddon of the University of Glasgow, of Histories and Practices of Live Art (Palgrave McMillan, 2012) and, along with Myrel Chernick, The M Word: Real Mothers in Contemporary Art (Demeter Press, 2011). She has published articles in several anthologies, including West of Center (Minnesota) and Entering the Picture (Routledge).

image Myrel Chernick is a writer and artist working in video, photography and installation. Recent screenings include Tanya/Sam 17 at the Greenpoint Film Festival and Democrascope in Montreal and Hong Kong. Chernick has shown her text-based multimedia installations nationally and internationally, lectured widely and edited The M Word: Real Mothers in Contemporary Art with Jennie Klein. She is currently writing and illustrating a hybrid novel that takes place in Paris and New York.

2015 - New York City
Damali Abrams, Jenn Dierdorf, and Kathleen Wentrack

image Damali Abrams is a New York City based artist. She received her BA at New York University and her MFA at Vermont College of Fine Arts. Damili was a 2009-10 A.I.R. Gallery Fellowship recipient. Her work has been shown in New York, New Jersey, Philadelphia, Memphis, Savanna, New Orleans, Denver, and Miami. In New York City, her work has been exhibited at The Museum of Contemporary African Diasporan Art (MoCADA), A.I.R. Gallery, JCAL, Rush Arts Gallery and BRIC Rotunda Gallery, among others. Her work was included in the 2013 Bienial at El Museo del Barrio. She has presented her work or taught workshops at Borough of Manhattan Community College, SUNY Purchase, Barbados Community College, NYU Polytechnic School of Engineering, Hunter College School of Social Work, and Syracuse University's 601 Tully. Abrams is one of the New York City Regional Coordinators for The Feminist Art Project. In 2013 she attended a dual residency with the organizations Fresh Milk in Barbados and Groundation Grenada. Abrams is one of the 2014 artist in residence at the The Center for Book Arts and recently completed an Apexart International Fellowship in Seoul, South Korea.

image Jenn Dierdorf was born in Michigan City, Indiana in 1978. She received her B.F.A. in Sculpture from the University of Kansas and her M.F.A. from the University of Connecticut in 2008. She has been the recipient of several awards including the Hollander Family Foundation award, Daniel MacMorris Scholarship and in 2009 was named a Rema Hort Mann Foundation nominee. She has been the artist in residence at Virginia Center for Creative Arts, the Vermont Studio Center and others. Her work has been exhibited widely including Kathleen Cullen Fine Art, NYC, Lancaster Museum of Art, PA, Minnesota National Print Biennial at the University of Minnesota, MN, Art Space in New Haven, CT and Cindy Rucker Gallery in New York City.She has participated in numerous panels and public roundtables on various topics on contemporary art. Dierdorf is a member of ARTTABLE and the Committee for Women in the Arts at the College Art Association, as well as a coordinator for The Feminist Art Project. Dierdorf is the Co-Director of Fellowship and Development at A.I.R. Gallery and maintains a studio in Brooklyn, NY.

Kathleen Wentrack Portrait Kathleen Wentrack, Ph.D. is Associate Professor of Art History in the Department of Art & Design at the City University of New York, Queensborough. She holds a Master's degree from the University of Amsterdam and a Ph.D. from the Graduate Center of The City University of New York. Kathleen's recent publications include "What's so Feminist about the 'Feministische Kunst Internationaal'? Critical Directions in 1970s Feminist Art" in Frontiers, Fall 2012, and "Female Sexuality in Performance and Film: Erotic, Political, Controllable? The Contested Female Body in the Work of Carolee Schneemann and VALIE EXPORT," May 2014 in Konsthistorisk Tidskrift. She is editing an anthology of women's art collectives entitled Collaboration, Empowerment, and Change: Women's Art Collectives. She has presented at conferences in the United States and Europe, and received a Getty Research Institute Research Library Grant. Kathleen has served on the Committee on Women in Art of the College Art Association and is Co-Coordinator of The Feminist Art Project in New York.

2016 - Washington, DC
Zoë Charlton and Margo Hobbs

imageMargo Hobbs is Associate Professor of Art History at Muhlenberg College, where she teaches courses in modern and contemporary art. Her writing on art, gender, sexuality, and feminism has been published in Art History, n.paradoxa, Genders, and GLQ. She edited a special issue of the Journal of Lesbian Studies on lesbians and art in 2010. Her chapter "The Blatant Image and the Question of Visual Pleasure" will appear in the anthology Queer Theory and Visual Culture: Rethinking Identity and the Sexed Body, edited by Christopher Reed and Jongwoo Jeremy Kim for Ashgate Press. Her current research interests include feminist photography and erotic art made by and for women. Margo earned her Ph.D. in Art History at Northwestern University, with her dissertation on female body imagery in the feminist art movement. She has an MA in Modern Art History, Theory, and Criticism from the School of the Art Institute of Chicago, and a BA in Liberal Arts from St. John's College, Annapolis.

imageZoe Charlton (Baltimore, MD)  creates drawings that explore the ironies of contemporary social and cultural stereotypes.  She depicts her subject's relationship with their world by combining images of culturally loaded objects and landscapes with undressed bodies. She received her MFA degree from the University of Texas at Austin and participated in residencies at the Skowhegan School of Painting (Skowhegan, ME, 2001), Creative Alliance (Baltimore, MD, 2003), and Art342 (Fort Collins, CO, 2010). Her recent exhibitions include ConnerSmith. (Washington, DC, 2013), Delaware Center for the Contemporary Arts (Wilmington, DE, 2009), and Wendy Cooper Gallery (Chicago, IL, 2006).  Her work has been included in national and international exhibitions including the Harvey B. Gantt Center (Charlotte, NC, 2015), Crystal Bridges Museum of American Art (Bentonville, AR, 2014), Studio Museum of Harlem (NYC, NY, 2012), Contemporary Art Museum (Houston, TX, 2000), the Zacheta National Gallery of Art (Warsaw, Poland 2006), and Haas & Fischer Gallery (Zurich, Switzerland, 2006).  She is a recipient of a Pollock-Krasner grant (2012) and Rubys grant (2014) .  Charlton is an Associate Professor of Art at American University in Washington, DC.  She is represented by ConnerSmith, Washington D.C.

2017 - New York City
Jaune Quick-to-See Smith, Maria Hupfield, and Kat Griefen

imageJaune Quick-to-See Smith is one of the most acclaimed American Indian artists of today. She has been reviewed in most art periodicals.  Smith has had over 100 solo exhibits in the past 40 years and has done printmaking projects nationwide.  Over that same time, she has organized and/or curated over 30 Native exhibitions, lectured at more than 200 universities, museums and conferences internationally, most recently at 5 universities in China. Smith has completed several collaborative public art works such as the floor design in the Great Hall of the new Denver Airport; an in-situ sculpture piece in Yerba Buena Park, San Francisco and a mile-long sidewalk history trail in West Seattle and recently, a new terrazzo floor design at the Denver Airport.

Smith uses humor and satire to examine myths, stereotypes and the paradox of American Indian life in contrast to the consumerism of American society. Her work is philosophically centered by her strong traditional beliefs and political activism. Smith is internationally known as an artist, curator, lecturer, print-maker and professor. She was born at St. Ignatius Mission on her Reservation and is an enrolled Salish member of the Confederated Salish and Kootenai Nation of Montana. She holds 4 honorary doctorates from the Pennsylvania Academy of the Arts, the Minneapolis College of Art and Design, Mass College of Art and the University of New Mexico. Her work is in collections at the Whitney Museum, the Metropolitan Museum, the Brooklyn Museum, Smithsonian American Art Museum, the Walker, the Victoria and Albert Museum, London, the Museum of Modern Art, New York, Museum for World Cultures, Frankfurt, Germany and Museum for Ethnology, Berlin. Recent awards include a grant from the Joan Mitchell Foundation to archive her work; the 2011 Art Table Artist Award; Moore College Visionary Woman Award for 2011; Induction into the National Academy of Art 2011; Living Artist of Distinction, Georgia O'Keeffe Museum, NM 2012; the Switzer Award for 2012.

imageMaria Hupfield (born 1975 in Parry Sound, Georgian Bay, Ontario) is a member of Wasauksing First Nation, Ontario, and is currently based in Brooklyn, New York. Solo exhibitions had been held at MacKenzie Art Gallery, Regina (2015); Galerie Hugues Charbonneau, Montréal (2015); and Art Gallery of Southwestern Manitoba, Brandon (2011). She has participated in group exhibitions and performances at Trestle Projects Brooklyn (2016); SITE Santa Fe Biennial (2016); Winsor Gallery, Vancouver (2016); A Space Gallery, Toronto (2015); Campo dei Gesuiti, Venice (2015); Aboriginal Art Centre, Ottawa (2015); The Bronx Museum, New York (2015); Vox Populi, Philadelphia (2015); Musée d'art contemporain des Laurentides, Saint Jérôme (2015); North Native Museum (NONAM), Zurich (2014); SBC Gallery of Contemporary Art, Montréal (2013); The Power Plant, Toronto (2013); and Vancouver Art Gallery (2012). Hupfield is founder of 7th Generation Image Makers, Native Child and Family Services of Toronto; Co-owner of Native Art Department International; and Assistant Professor in Visual Art and Material Practice appointed to the Faculty of Culture and Community, Emily Carr University of Arts and Design (2007-11).

imageKat Griefen is the co-owner and co-director of Accola Griefen in New York City and was previously the Director of A.I.R. Gallery. Under her directorship at A.I.R., the gallery presented more than 100 solo and group exhibitions, which were reviewed by publications including The New York Times, Art in America, Sculpture Magazine, The Brooklyn Rail, and ArtNews. She also works as an independent curator for NYU, Sideshow Gallery, and the University of Chicago's DOVA Gallery. Ms. Griefen has lectured widely at institutions and conferences including The College Art Association, The American Studies Association, and The Brooklyn Museum.

2018 - Los Angeles
Jamillah James and Lanka Tattersall

Jamillah James is Curator at the Institute of Contemporary Art, Los Angeles (ICA LA). Previously, she was Assistant Curator at the Hammer Museum, Los Angeles, and organized exhibitions and programs for Art + Practice in Leimert Park. In Los Angeles, James has organized the first solo institutional presentations of artists Abigail DeVille, Sarah Cain, Simone Leigh, Alex Da Corte, Njideka Akunyili Crosby, and Charles Gaines. James has held curatorial positions at the Studio Museum in Harlem and Queens Museum, and has independently organized exhibitions, performances, and screenings throughout the US and Canada since 2004. She is currently working on major presentations of B. Wurtz, the artist's first American survey (2018); Nayland Blake, his first solo museum exhibition in Los Angeles (2019); and solo projects with Rafa Esparza, Maryam Jafri, and Lucas Blalock.

Lanka Tattersall is the Assistant Curator at the Museum of Contemporary Art, Los Angeles (MOCA). Before joining MOCA, she was the Curatorial Assistant at TheMuseum of Modern Art, New York (MoMA) in the Department of Painting and Sculpture. At MoMA, she was part of the curatorial team, led by Kathy Halbreich, for the acclaimed exhibition Alibis: Sigmar Polke 1963-2010. This retrospective opened at MoMA in 2014, is currently on view at Tate Modern, London and will travel to the Museum Ludwig, Cologne in March 2015. Prior to joining MoMA, Tattersall entered the doctoral program in the Department of History of Art and Architecture at Harvard University, where she is currently completing her dissertation on Sigmar Polke's work of the 1960s.