News Release – FOR IMMEDIATE RELEASE
December 19, 2025

Arts Council of the African Studies Association (ACASA) Awarded $350,000 Grant to Strengthen Organizational Capacity, Sustainability, and Global Collaboration

The Arts Council of the African Studies Association (ACASA) has received a $350,000 General Operating Support grant from the Mellon Foundation, marking a transformative investment in the organization’s continued growth, capacity building, and leadership in advancing scholarship, ethical museum practices, and artistic exchange in African art studies.

As the only professional organization based in the United States dedicated to the study of African arts, ACASA has, for more than four decades, supported scholars, artists, curators, and museum professionals across the world. This new three-year award builds on ACASA’s prior Mellon-funded capacity-building initiatives (2022–2025), ensuring sustained administrative and strategic development while expanding global engagement and fostering ethical stewardship of African art collections.

Grant-Supported Initiatives

The Mellon Foundation’s support will enable ACASA to:

• Sustain key administrative leadership by continuing the role of an Arts Administrator/Project Manager to oversee strategic planning, governance, and event delivery.
• Host the 20th Triennial Symposium on African Art in Rabat, Morocco (July 2027) in collaboration with Université Mohammed V, expanding ACASA’s global footprint and fostering cross-continental dialogue.
• Launch a Provenance Research Training Workshop Program in partnership with leading museums to strengthen ethical research capacity and transparency.
• Partner with Matrix at MSU to support the “Making United States African Art Collections Accessible and Visible” (MUSAA) digital initiative — an aggregator connecting users, especially those based in Africa, with data on African artworks in U.S. collections.
• Create a long-term sustainability plan in partnership with nonprofit consultants to diversify funding streams and ensure ACASA’s financial independence.

These initiatives align with the Mellon Foundation’s commitment to supporting historically under-resourced organizations and advancing new models that reflect a holistic approach to social and cultural change.

Please direct inquiries to ACASA President Amanda M. Maples at president@acasaonline.org.

About the Arts Council of the African Studies Association (ACASA)

The Arts Council of the African Studies Association (ACASA) is the leading U.S.-based professional organization dedicated solely to the study and promotion of African and African Diaspora arts. Founded in 1981, ACASA’s mission is to foster greater understanding of African material and expressive culture in all its myriad forms and to encourage ongoing collaboration among artists, scholars, curators, museum professionals, students, and global communities. Through its core initiatives—including the Triennial Symposium on African Art, awards for teaching, curatorial and publication excellence, webinars, museum- and artist-centric resources, and its Collaboration, Collections, and Restitution Best Practices for North American Museums Holding African Objects (CCRBP) document—ACASA creates dynamic forums for exchange, supports the ethical stewardship and visibility of African art, and advances equity, access, and dialogue in the field. For more information about the organization, its activities, and its global membership, visit www.acasaonline.org.

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The Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC, is now accepting applications for senior, visiting senior, and postdoctoral fellowships that begin in 2026. These residential appointments support research in the history, theory, and criticism of the visual arts and related disciplines of any period or geographical area.

Learn more about each opportunity, their requirements, and their deadlines here: https://www.nga.gov/research/casva/fellowships.html

See Candidate’s Full Statements and Access Voting Portal

Voting for new members of the Board of Directors is open through 19 August 2025. ACASA members in good standing (with active memberships) are eligible to vote. Election results will be communicated via membership email.

Five elected candidates will serve for an approximately 3-year term as Members-at-Large (ending ASA 2028). The current board will appoint a President–Elect/VP from the elected candidates (to be ratified electronically by the membership) who will succeed Amanda M. Maples as President at the end of her term of office (Triennial 2027). For more information regarding the structure and duties of the board, please consult the by-laws.

Position Description:
Members-at-large are full members of the ACASA Board of Directors. Duties include: attending meetings and participating in board deliberations; serving on committees as needed; and fulfilling vacant board member roles or other duties as assigned.
Empty board positions looking to be filled include Vice President/President-Elect, Treasurer-Elect, Website Editor, and two Members-At-Large.

ACASA Board Candidates 2025–2028:

• Olayemi Tosin Ajayi
• Olaoluwa Ayokunmi
• Delinda Collier
• Paul Cooper
• Alice Korkor Ebeheakey
• Aindrea Emelife
• Blaise Gundu Gbaden
• Kiagho Kilonzo
• Gontse Mathabathe
• Ashley V. Miller
• Olusegun Quadri

You can find the candidates’ statements, CVs, and the link to the voting portal here: https://www.acasaonline.org/2025-board-election/

Beyond the “Mask:” Towards a New Paradigm of Collecting and Displaying African Art in U.S. Museums

Wednesday, May 14th, from 12:00 PM -1:30 PM CST | 10AM PST | 1 PM EST | 6 PM WAT/BST | 7 PM SAST/CEST | 8 PM EAT/EEST

Join us on Wednesday, May 14, for a thought-provoking webinar discussion that examines how museums can reshape their approaches to collecting and displaying African art through ethical transparency, inclusive narratives, and critical practices. Inspired by the New African Masquerades: Artistic Innovations and Collaborations exhibition (April 4–August 10, 2025) at the New Orleans Museum of Art, this panel explores case studies that honor artist agency, cultural authenticity, and global accountability by centering the voices of African artists and their communities. Beyond celebration, this dialogue challenges us to rethink, reimagine, and drive actionable change toward a more just and accountable future for African art curation.

This virtual event, presented in partnership between the Arts Council of the African Studies Association and the New Orleans Museum of Art, is free with registration. Registration via the link below is required to receive webinar credentials before the event. Registration closes one hour before the event.

Register Here

Panelists:

Aindrea Emelife is a Nigerian-British curator and art historian specializing in modern and contemporary art, with a focus on questions around colonial and decolonial histories in Africa, transnationalism and the politics of representation. Emelife has been the inaugural Curator of MOWAA (Museum of West African Art) in Benin City, Nigeria since 2023. Emelife is on the Board of Trustees for New Curators.

Genevieve Hill-Thomas is an art history professor at Ringling College of Art and Design where she combines her love of African art history with her background as a textile artist. Occasionally she works with local museums that hold collections of African art. She volunteers with the nonprofit Florida Craft Art in St. Petersburg, Florida to teach crochet to local middle school students during the school year, and with DIMA, a non-profit art school, in Niamey, Niger to help faculty and students in the weaving department.

Jean Borgatti is Consulting Curator – Global Africa, First Peoples – N. America & Oceania at Fitchburg Art Museum and long term affiliate of Clark University and Boston University. She is one of the pioneering theorists and scholars committed to recognizing, documenting, and advocating for the individuality of masquerade artists. Dr. Borgatti’s research and advisory role will connect some of the earliest scholarship in individual masquerade artists to that of this project, which puts a contemporary spin on her foundational work.

Jordan A. Fenton is associate professor of art history at Miami University, with an emphasis on the visual and performed expression of Nigerian masquerade arts, secret societies, esoteric knowledge systems, funerary rituals and installations, dress, economics and ways in which so-called “traditional” arts and artists operate in metropolitan cities. At Miami, Fenton teaches introductions on non-Western art and courses and seminars exploring Africa and its Diaspora. He is the co-curator of the New African Masquerades: Artistic Innovations and Collaborations author of Masquerade and Money in Urban Nigeria: The Case of Calabar (University of Rochester Press, 2022).  

Paul R. Davis is Curator of Collections at the Menil Collection in Houston, TX. His academic research and publications focus on the visual arts and sociopolitical histories from the colonial and post-independence eras (18th–20th century) in West Africa. He was an Andrew W. Mellon Postdoctoral Fellow in the Centre for the Creative Arts of Africa at the University of Witwatersrand in Johannesburg, South Africa and a Fulbright-Hays DDRA Fellow based in Mali (West Africa). Davis was a co-director of the Collections Analysis Collaborative (CAC), an educational and object-based research initiative on the Menil’s ancient Mediterranean holdings with Rice University and University of Houston Clear Lake. His exhibition projects at the Menil have included ReCollecting Dogon (2017), Mapa Wiya (Your Map’s Not Needed): Australian Aboriginal Art from the Fondation Opale (2019), Enchanted: Visual Histories of the Central Andes (2021), Samuel Fosso: African Spirits (2022), Art of the Cameroon Grassfields, A Living Heritage in Houston (2023), and A Surrealist Wunderkammer (2024).

 

Please reach out to Caroline Bastian, ACASA Admin, with any questions at bastian@acasaonline.org.

FOR IMMEDIATE RELEASE:

Arts Council of the African Studies Association (ACASA) Releases Best Practice Guidelines for Provenance Research and Restitution

New Resource Emphasizes Collaboration with African Institutions and Communities

Responding to an urgent and growing need for guidance on ethical stewardship of African collections in museums, the Arts Council of the African Studies Association (ACASA) has produced best practice guidelines for provenance research and restitution. The new resource, the first-ever for museums in the United States, emphasizes collaboration and communication with Africa-based peers, descendant communities, and other knowledge-holding constituents in assessing and determining the futures of collections. Developed with support from the Mellon Foundation, this foundational document is publicly accessible and recommended for sharing with all U.S. collecting institutions.

The guidelines were developed over a three-year period by a working group of over seventy specialists from the United States, Africa, and Europe. The initiative began in 2021 and was informed by ongoing dialogue with Africa-based institutions, professionals, and community members. The final document, ratified by ACASA in August 2024, encourages museums to uphold their ethical responsibilities in their stewardship of African objects, in addition to any legal requirements. This includes promptly responding to return concerns and claims. It also recommends that U.S. museums demonstrate an institutional commitment to:

• transparency regarding collection holdings and information about object histories
• working with interested parties on the African continent on collaborations, including returns, within this field-wide framework of accepted practice
• prioritizing research on collection holdings
• disseminating information about African arts collections in accordance with ethical computing standards

The resource includes guidance on provenance research, criteria and parameters for determining research priorities, case studies with recommendations, and resource material on relevant law and policy precedents.

Chika Okeke-Agulu (Princeton University), a leading international voice on African restitution, hailed the guidelines as “the most ambitious initiative ever by ACASA.” He added, “In its depth and scope, I can say that no one in the U.S. has gone this far to provide a compelling road map, a useful pathway to the complex matter of restitution and repatriation of looted African cultural heritage.”

Erica P. Jones (Fowler Museum at UCLA) and Amanda Gilvin (Davis Museum at Wellesley College), who co-led the working group that produced the document, expressed gratitude to the “many ACASA members who sought ways to honor past makers, descendent communities, and diaspora communities by embracing the push toward ethical returns. After over a century of requests, negotiations, and debates, we hope that this guidance will be an important step towards reshaping museological practice.”

ACASA’s current President, Paul Basu (University of Oxford), emphasized that the publication is only part of ACASA’s ongoing work to expand dialogues and networks with African institutions and communities. “The need to put ethics at the center of scholarship and collections stewardship is clear, and ACASA is well placed to play a central role in advocating for, sharing information and advice, and even coordinating training in all matters relating to provenance research and restitution. This important work is a key part of ACASA’s future vision.” As an immediate next step, ACASA will work toward the creation of a digital resource that will help Africa-based institutions and communities connect with African objects in U.S. museum collections.

ACASA is a U.S.-based professional organization, with over 1,800 members worldwide. For more than four decades, ACASA has championed African arts scholarship, connecting artists, researchers, curators and collections on the African continent, in North America, Europe and beyond. For more information about ACASA and how to join, visit acasaonline.org or contact ACASA administrator, Caroline Bastian Retcher at bastian@acasaonline.org.

Due date: Nov. 1, 2024

The Arts Council of the African Studies Association (ACASA) seeks expressions of interest from members whose institutional contacts can host our Twentieth Triennial Symposium on African Art in 2027. Institutions can be a university, museum, research center, or other venue appropriate for a conference of about 450 participants. Recent Triennial Symposia have taken place at DePaul University and the Art Institute of Chicago (2024), the Institute of African Studies, University of Ghana, Legon (2017); the Brooklyn Museum of Art, New York (2014); and the University of California, Los Angeles (2011). For more information, visit https://www.acasaonline.org/past-triennials/.

The Triennial Symposium is the premier forum for presenting cutting-edge research on the arts and expressive cultures of Africa and its Diasporas. It brings together scholars, artists, teachers, students, museum specialists, collectors, gallerists and other enthusiasts to advance research, knowledge, and collaboration. The Symposium features a rich program of panels, workshops, roundtables, and cultural activities.  It includes a full day devoted to museum professionals. At the Triennial Symposium, ACASA presents awards for leadership, curatorial excellence, and the best books and dissertations in the field of African art histories.

As the primary event through which we engage with each other to share our passion for African Arts, the Symposium is a forum for advancing ACASA’s mission: to facilitate communication among people working to advance knowledge about the arts of Africa and its Diasporas; to promote greater understanding of African material and expressive culture in its many forms; and to encourage contact and collaboration with African and Diaspora artists and scholars.

In order to host the Symposium, venues need to accommodate the following over a five-day period:

1)    Five or six rooms of varying size that can seat between 25 to 50 people.

2)    An auditorium that seats about 300 for a keynote and an awards ceremony.

3)    Projection capabilities in all rooms.

4)    Common spaces for breaks and lunch service.

You will be able to rely on the ACASA Board and committees to support your work every step of the way. The Board helps form all Triennial committees, fundraises for the Symposium, and contracts with local vendors to supply all necessary materials.

We emphasize that this call is not for full-fledged proposals to host, but merely letters of interest. Please submit these to Caroline Bastian Retcher, ACASA Arts Administrator and Project Manager (bastian@acasaonline.org) by November 1, 2024.

We will provide further details to all interested parties, with full proposals to be submitted by Feb. 1, 2025.

In August, nearly 250 scholars, collectors, and enthusiasts of African art convened in Chicago for the 19th Triennial Symposium on African Arts. Over four days, the event featured over 70 conference panels centered on human-centered approaches to African arts. Topics included collaboration, diverse knowledge systems, relationship-building, inclusive thinking, and active listening. The Art Institute of Chicago hosted a remarkable keynote address by Adenike Cosgrove, founder of ÌMỌ̀ DÁRA. Cosgrove discussed how her digital platform empowers enthusiasts, scholars, and collectors of African art. Additionally, ACASA honored leaders in the field with awards for leadership, teaching pedagogy, and achievements in books, dissertations, and curatorial practices. The conference, with its varied speakers, interactive sessions, and networking opportunities, proved to be an invaluable platform for intellectual and professional development.

This Triennial would not have been possible without our hosting institutions, DePaul University and the Art Institute of Chicago, and title sponsor Schweizer Premodern. We thank Mark Dike DeLancey and Constantine Petridis for their dedicated work as hosting co-chairs. Because of Schweizer Premodern’s generosity, ACASA was able to support over 50 scholars from the African continent with travel grants.

A special thanks to the tireless efforts of the Programming Committee: Amanda M. Maples (co-chair), Paul Basu (co-chair), George Emeka Agbo, Juliana Ribeiro de Silva Bevilacqua, Zainabu Jallo, Matthew Oyedele, and Alexandra M. Thomas for their countless hours reviewing proposals, organizing panels and roundtables, and accommodating the needs of our attendees. We also thank the dedication of the Fundraising Committee, which allowed ACASA to present such a robust and successful event: Kristine Juncker (chair), Christine Mullen Kreamer, Peju Layiwola, and Alexander Bortolot. 

The Triennial marked a transitional period for the ACASA Board. We expressed our gratitude to seven outgoing board members who played crucial roles in organizing the Triennial and advancing ACASA’s future. Special thanks go to Mark DeLancey (now past president), Kristine Juncker, Amanda M. Maples (now vice-president/president-elect), Kristen Windmuller-Luna, Candace Keller, Kehinde Shobukonla, and Peju Layiwola. Under their leadership and previous ACASA board member Erica P. Jones, the Board secured a $250,000 grant from the Andrew W. Mellon Foundation to enhance organizational capacity for scholarly exchanges, programming, and restitution efforts. Kristine Juncker, ACASA Treasurer, led the successful recruitment of Julye Williams, founder of Project 2043, to develop a DEI statement for ACASA. ACASA remains committed to diversity, equity, and inclusion as core components of our mission. We also unveiled a new logo (special thanks to Candace Keller and the Matrix team at Michigan State University), launched a biannual webinar series, and initiated several other projects to advance our goals.

We welcomed new board members: Michelle Apotsos (treasurer-elect), Allison Martino (secretary), David Doris (social media editor), Ruth Sacks (newsletter editor), Amanda M. Maples (vice-president/president-elect), and Paul Basu (transitioning from president-elect to president). We are enthusiastic about the fresh perspectives and objectives this new board brings and look forward to furthering the understanding of African and African Diaspora art and culture.

At the Triennial, the Steering Committee for the Working Group on Collaboration, Collections, and Restitution Best Practices for U.S. Museums Holding African Objects (CCRBP) presented the new Best Practices Document publicly for the first time. The panel, led by CCRBP Co-Chairs Amanda Gilvin and Erica P. Jones, attracted nearly 300 attendees from all over the country eager to learn about the creation of this pivotal document. The CCR Best Practices Document is now available on the ACASA website and is recommended for sharing with all U.S. collecting institutions. To view the impressive document and recording of the panel, please visit this link.

The Triennial concluded with Museum Day at the Art Institute of Chicago, where over 20 museum professionals shared their research in specialized fields often overlooked in conferences but crucial to presenting African art in the 21st century. Special thanks to the Museum Day Planning committee: co-chairs Kristen Windmuller-Luna and Constantine Petridis, along with Ashley Fiutko Arico and Annissa Malvoisin, for their tireless efforts to host such a diverse program. Museum Day featured contributions from Egyptologists, archaeologists, Nubiologists, conservators, research scientists, and audience evaluation specialists, offering valuable insights into their work.

The ACASA Awards Ceremony honored an unprecedented number of scholars and researchers in the field. The celebration lasted late into the night with a fantastic dance party, great music, and even better company. ACASA honored two distinguished scholars in the field with the ACASA Leadership Award: Robin Poynor and Anitra Nettleton.

Suzanne Blier shared these words for Robin Poynor:
“We are honored to present this year’s co-winner of the ACASA Lifetime Achievement Award to Robin Poynor, Professor Emeritus in the School of Art & Art History, University of Florida, Gainesville. He exemplifies excellence in scholarship, curatorial practice, mentorship, and leadership in the field. Robin began his Ph.D. in 1967 under Roy Sieber (Indiana University), following a BFA in sculpture at the San Francisco Art Institute. Robin’s scholarship has been broad reaching. He co-edited the textbook A History of Art in Africa (2008, 20010, 2024). he has also maintained close ties with the Owo Yoruba community in Nigeria with whom he did extensive field research, addressing questions as varied as Egungun masks (1978), Textiles (1980), and Ako second burial figures (1987) in various African Arts articles, as well as an overview article on the field in the 50th anniversary issue ofAfrican Arts (2017).

A mentor to multiple Ph.D. and MA students in an array of disciplines. Robin also has been active in museum and curatorial work. These contributions include Nigerian Sculpture Bridges to Power (Birmingham Museum – 1984), African Art at the Harn Museum (2001) as well as From Ogun’s Forge- Metal Art for the Orisha: The Sculptures of Yaw Owusu Shangofemi and Vassa Niemark (Thomas Center Gallery, Gainesville FL – 2007). His 2013 exhibit and catalogue, Kongo across the Waters (and catalogue 2013) brought together scholarly expertise. Robin’s Africa in Florida: 500 Years of African Presence in the Sunshine State (2014) addressed Africa local history. ACASA has benefitted greatly from Robin’s efforts. An ACASA member since its inception in 1982, he served on the governance committee from 2001 to 2006 then as President from 2002-2004. In 2007 in part through his efforts the 14th Triennial Symposium was held in Gainesville. As a teacher, mentor, colleague, and friend, Robin’s generosity and collegiality has been boundless.”

Marla Berns shared these words for Anitra Nettleton:
“We are honored to present the 2024 ACASA Leadership Award to art historian Anitra Nettleton, Professor Emerita at the University of Witswatersrand (Wits) in Johannesburg, South Africa, where she received all of her academic degrees and then taught from 1970 to her retirement in 2015. Her 1985 PhD dissertation was on “The Figurative Wood Carving of the Shona and Venda,” making her one of the first South African scholars to disseminate knowledge about the historical arts of southern Africa.

Her distinguished record of accomplishments makes Professor Nettleton highly deserving of this award. She has been a leader and innovator over the fifty-plus-year arc of her career. She was responsible for broadening the study of art history at Wits to include the arts of Africa with an emphasis on regional southern African arts. Notably, she spent thirty-six years building the Standard Bank African Art Collection, which became the foundation of the new Wits Art Museum. She dedicated twenty years to spearheading the Museum’s realization.

Nettleton’s work epitomizes what ACASA seeks in recipients of the Leadership Award: highly effective teaching and mentorship ( she supervised 15 Masters and 9 PhDs); holding key administrative appointments (including Head of Art History and Academic Head of the Wits Museum); groundbreaking research (she received a B3 rating) and extensive international publishing (on regional modernism, wood sculpture, and beadwork, among other topics); curating and consulting on exhibitions and collections; service on editorial boards for key journals in the field; collaborative work with colleagues worldwide; and more. Nettleton has been an ACASA member since 1986 and was elected to the ACASA Board in 2017.”

Special thanks to all awards committee volunteers for the dedication set forth to honor such an esteemed group of winners. Awards Committee volunteers include Shannen Hill, John Monroe, Jean Borgatti, Erica P. Jones, Fiona Seigenthaler, Ndubuisi Ezeluombna, Azu Nwagbogu, Kehinde Shobukonla, Ashley Stewart, Cynthia Becker, Tenley Bick, Antawan Byrd, Henry Drewal, David Doris, Candace Keller, Guilia Paoletti, Marla Berns, Suzanne Blier, Mary Jo Arnoldi, Christa Clarke, and Roslyn Walker. The complete list of winners can be found below. 

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2024 ACASA Award Winners:

Arnold Rubin Outstanding Publication Award

Single author winners:
Jennifer Bajorek for Unfixed: Photography and Decolonial Imagination in West Africa (Duke 2020)
Delinda Collier for Media Primitivism: Technological Art in Africa (Duke 2020)
Barbara Frank for Griot Potters of the Folona: The History of an African Ceramic Tradition (Indiana 2021)
Matthew Rarey for Insignificant Things: Amulets and the Art of Survival in the Early Black Atlantic (Duke 2023)

Multi-author winners:
Bongi Dhlomo and Pfunzo Sidogi for Mihloti Ya Ntasako: Journeys with the Bongi Dhlomo Collection (Javett Art Centre, U of Pretoria 2022)
Okwui Enwezor and Chika Okeke-Agulu for El Anatsui: The Reinvention of Sculpture (Damiani 2022)
Perrin Lathrop (ed) for African Modernism in America (Fisk & Yale 2022)
José de Silva Horta, Carlos Almeida, and Peter Mark (eds) for African Ivories in the Atlantic World, 1400-1900 (Centro de História da Universidade de Lisboa 2021)

Single author honorable mention (in no particular order):
Christa Clarke for The Activist Collector: Lida Clanton Broner’s 1938 Journey from Newark to South Africa (Newark Museum & Rutgers 2022)
Jordan Fenton for Masquerade and Money in Urban Nigeria: The Case of Calabar (U of Rochester 2022)
Ferdinand de Jong for Decolonizing Heritage: Time to Repair in Senegal (Cambridge 2022)
Okechukwu Nwafor for Aso Ebi: Dress, Fashion, Visual Culture, and Urban Cosmopolitanism in West Africa (Michigan 2021)

Multi-author honorable mention (in no particular order):
Bennetta Jules-Rosette & J.R. Osborn for African Art Reframed: Reflections and Dialogues on Museum Culture (Illinois 2021)
Contanstijn Petridis (ed) for The Language of Beauty in African Art (AIC & Yale 2022)
Allen Roberts, Marla Berns, Tom Joyce, Henry J. Drewal, William Dewey, and Candace Goucher (eds) for Striking Iron: The Art of the African Blacksmith (Fowler Museum UCLA 2019)
Ray Silverman and Neal Sobania for Ethiopian Church Art: Painters, Patrons, and Purveyors (Tsehai 2022)

ACASA Award for Curatorial Excellence

Africa-Based Exhibition Winner:
Bernard Akoi-Jackson for Simply Iconic! Vintage Images off the Beaten Path at The Heritage Photo Lab in Accra

Large-Scale Exhibition Winner:
Paul Basu for [Re]Entanglements: Colonial Collections in Decolonial Times at Museum of Archeology and Anthropology at Cambridge University

Small-Scale Exhibition Winner:
Laura de Becker for Wish You Were Here: African Art and Restitution at University of Michigan Museum of Art

Shortlisted (in no particular order):
Andrea Gyorody and Matthew Francis Rarey for Afterlives of the Black Atlantic at Allen Memorial Art Museum at Oberlin College
Kevin D. Dumouchelle for Heroes: Principles of African Greatness at National Museum of African Art, Smithsonian
Rachel Kabukala for Radical Revisionists: Contemporary African Artists Confronting Past & Present at Moody Center for the Arts at Rice University
Tameka Ellington and Joseph L. Underwood for Textures: the history and art of Black hair at Kent State University Museum
Sandrine Colard for Congoville at Middelheim Museum, Antwerp
David M. Riep for Shattering Perspectives: A Teaching Collection of African Ceramics at Gregory Allicar Museum of Art at Colorado State University

ACASA Award for Teaching Excellence

Distinguished Teaching Award Winner:
Susan Elizabeth Gagliardi, Emory University

Early/Mid-Career Teaching Award Winner:
Genevieve Hill-Thomas, Ringling College of Art and Design

Roy Sieber Dissertation Award

Winner:
Rebecca Wolff for “Experience and Memory: The Nigerian Civil War (1967–70) and Its Effect on Nigerian Contemporary Art”

Honorable Mention:
Greer Odile Valley for “Legacies and Afterlives of Dutch Colonialism: Told and Imagined Accounts of South African Colonial Histories in Contemporary Exhibition Practice”

ACASA Leadership Award
Robin Poynor
Anitra Nettleton

All Nominations Due May 20, 2024

The ACASA Board of Directors has five open Member-at-Large positions:

Vice President/President-Elect, Secretary, Newsletter Editor, Social Media Editor, and Treasurer

Term Length: ACASA Triennial 2024 – Triennial 2027

All nominees must be members in good standing of ACASA (must have an active membership). In addition to their assigned position, each Board member serves on committees during their 3-year term and participates in regular board meetings. Please note that nominees do not apply to a specific board position. Following the general election, the Board will hold an internal election to designate one new member as Vice President/Future President, as indicated in the bylaws, and assign the remaining board positions accordingly. All elected nominees must be willing and ready to serve as ACASA Vice President/President-Elect.

All nominations are due May 20, 2024. Submit your nominations here

The ACASA Board Elections Committee will email all nominees once the nomination portal is closed. Those who accept their nomination must submit a short statement of intent and a 4-page (max) CV by June 3, 2024.

Members may nominate another ACASA member or themself for one of these positions.

If you have any questions, please email Caroline Bastian Retcher, ACASA Admin, at bastian@acasaonline.org

We invite proposals for individual papers for open panels and roundtables at this time (January 19, 2024- March 1, 2024). Please see the list of open panels and roundtables at the bottom of this page. The full list of accepted panel proposals can be viewed here.

Recently the field of African arts has shifted from object-centered approaches to ones that are human-, community-, and artist-centered. Who is speaking? How can we listen to each other and invite more diverse and globally-entangled voices? Some strategies for human-centered approaches include collaboration, wellness, healing, pluralities of knowledge, the sustaining and building of relationships, fostering new generations, thinking generously and inclusively and active listening in lieu of, or in addition to, object-centered approaches. We welcome contributions on themes such as: 

• Diversifying the field of African arts
• Tangible and intangible knowledges and scholarly approaches
• Networking and broadening voices
• Community and artist-centered approaches
• Artist, museum, and/or community approaches or responses to wellness and healing
• Pluralizing knowledges, expertise, and the production of knowledges and expertise
• Developing and sustaining individual, museum, and institutional relationships and partnerships, especially international ones
• Fostering the next generation of artists, scholars, and communities
• Personhood and people-centered approaches and/or their relationship to tangible artworks
• Empathy, radical listening, thinking generously and inclusively
• Mentorship, exchanges, collaborations
• Transparency in museum and institutional practices
• Decoloniality and decolonial approaches to the arts of Africa

Regular panels will be 120 minutes long with either a) four 20-minute papers and a discussant or b) five 20-minute papers. 90-minute roundtables or alternative discussion-based formats (such as lightning talks or poster presentations) are welcome–creativity encouraged.

Participants may only present one paper but may serve as a discussant on another panel or as a presenter on a roundtable.

Individual paper proposals must include the following:

• Title of Paper
• Name, Professional Title, Affiliation of Proposer
• A proposal not to exceed 500 words describing the theme and scope
• Contact information, including phone and e-mail (this information is for internal use only and will not be publicized)
• Please include the title of the panel/roundtable so the application can be shared with the correct chair. 

The submission deadline for paper proposals is March 1, 2024.

Please submit via the submission portal here 

Proposals may be submitted by anyone, but an active ACASA membership is required to take part in the symposium. Visit https://www.acasaonline.org/join-acasa/ to find information on ACASA membership and to join. 

For any questions or concerns, please email Caroline Bastian Retcher, ACASA Admin, at bastian@acasaonline.org.

 

Open Panels & Roundtables:

Decolonization of African Art in Museums, Covid-19, and Curating Art in Digital Space

Towards a dynamic and distributed future: interdisciplinary methods of engaging with African Art & Cultural Heritage Materials

Reimagining Creative Ways of Speaking Truth to Power in a Time of Heightened Repression

Knowledge Creation and Co-Curation in Museums and Public Spaces: Contestations and Advances

Public Art, African Histories: Asserting and Subverting Colonial Power

Photographic Transversals: Mobility, Intermediality, and Temporality in African Photography

Sea Matters: New Art Histories from Africa’s Islands and Archipelagos

“The Art that Guides Our Students: Southern University at New Orleans and the Traditional African Art Collections”

Towards a dynamic and distributed future: interdisciplinary methods of engaging with African Art & Cultural Heritage Materials

New Directions in Provenance Research

“Beautiful Space Others Make” On Care, Justice, & Creative Imagination

RE-ENGAGING THE GEARS OF CONSERVATION IN THE TRANSMISSION OF CULTURE IN MODERN BENIN

Jamaican Textile and the Stories of Decolonization

Audacious Art Histories: Intimacies and Interventions

Around the Object: New Directions in Museum and Curatorial Education in Africa

Ìyá: Our Mothers Who Art In Exile

Decolonization of African Art in Museums, Covid-19, and Curating Art in Digital Space

Online Visual Imaginations of the Nation

(De)Constructing Authenticity: New Methods and Case Studies

Periodizing the 1990s

THE CHALLENGES OF VISUAL ARTS ENTERPRISE FOR SUSTAINABLE DEVELOPMENT IN NIGERIA

From Belief to Heritage: Rethinking the museum.

Women & Non-Binary South African Artists: Revisioning Histories

African continuities and change in the Caribbean, through contemporary Caribbean art

Traditions and practices of profanation at Western Museums

Raising Voices: Climate Change and Environmental Degradation

Museums in Africa and their Search for Relevance as Source and Agent of Social Wellness

Fight of the Century: The Rumble in the Jungle 50 years on

Queer Hybrids in Contemporary African Art

“Collaborating Across Continents: Developing a Contemporary Masquerade Exhibition for North American and African Audiences”

For what is Just: Social Practice Art, Solidarity and Civic Imagination in Africa

Interventions in the Colonial Photographic Archive

Nigerian Contemporary Ceramic in Retrospective View

Power: remaking selves, archives, environments

‘women’s work as creative practice’ – 4 contemporary South African artist-women/artist-mothers

The Promise and the Peril of Placing African artists in Global Narratives

#JustAndEquitableNow: Reimagining Arts and Humanities in Our Universities

Gender and Artistic Production from the Maghrib

OBJECTS REFUSE TO BE CANCELLED (#babybathwater)

The Modern in an Expanded Field?

No Comment! Explorations along the borderline of seeing, talking, and thought.

Unveiling African Arts: Reclaiming Narratives, Fostering Dialogue, and Embracing Healing

Photography in the First-Person: The Interview as Source

Critical Inquiry in Design, Media and Material Culture of Sub-Saharan Africa

Collaboration, Collections, and Restitution Best Practices for North American Museums Holding African Objects

Questions of Objecthood and Value

Ghana 1957: Collaborative Curation

The creation and development of museums in Senegal: origin, evolution and perspectives.

Restitutions and feedback

What is a Map? A Question Investigated through African and African Diasporic Arts and Architecture

Local museums and international collaborations: The “other side” of the story

New Dimensions of Contemporary Art Studies and Practice in Nigeria and Ghana Since 2020

Artist-Centered Approaches to African Restitution

EXPLORING VISUAL CULTURE: PLURALIZING KNOWLEDGES, EXPERTISE, AND THE PRODUCTION OF KNOWLEDGES AND EXPERTISE

Art-Making as Rituals and Rites: Exploring the Transformative Power of Creative Expression

Gender and Human Centeredness in Southern African art

Spiritual Repair: Post-Secular Black Atlantic Arts

Past/Predecessors: Modern and Contemporary African Art Between Generations

Making and Representing West African Textiles and Fashions

A Ghanaian-United States Nexus in Art Pedagogy and Practice

Reimagining Public Art: Community Engagement, Sustainability, and Urban Transformation

African Art: Traditions, Transitions and Decolonisation

VISUAL LITERACY AGAINST OPPRESSION

Digitalization, Youth Economy, and the Future of Popular Arts in Africa

Pivoting with African Art: Alt-Academic Careers Roundtable