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The 2014 Nominating Committee has selected the following slate of six candidates for election to the CAA Board of Directors for the 2015–2019 term. Voting begins in early January 2015. Please go to CAA’s website to read each candidate’s statement, biography, and endorsement – and watch their video comments – before casting your vote. The candidates are:

About the Board

The Board of Directors is charged with CAA’s long-term financial stability and strategic direction; it is also the Association’s governing body. The Board sets policy regarding all aspects of CAA’s activities, including publishing, the Annual Conference, awards and fellowships, advocacy, and committee procedures.

About the Election

CAA members may vote for no more than four (4) candidates (may include one write-in candidate who must be a CAA member). The four candidates receiving the most votes will be elected to the Board. CAA members may cast their votes and submit their proxies online only. CAA holds the Board election on its own website. To vote, members will need only to log into their CAA member account.

All voting must take place prior to 5:00 p. m. EST on Friday, February 13, 2015. During CAA’s 103rd Annual Conference, a computer for voting will be available in the conference registration area at the Hilton New York Midtown Hotel.

The results of the Board election will be announced at the close of CAA’s Annual Business Meeting to be held on Friday, February 13, 2015 from 5:30 to 7:00 p.m. (EST) in the Rendezvous Trianon Ballroom, 3rd Floor, Hilton New York Midtown Hotel, 1335 Avenue of the Americas, NY, NY 10010. CAA’s President, DeWitt Godfrey, will preside.

Questions? Contact Vanessa Jalet, executive liaison, at (212) 392-4434 or

Filed under: Board of Directors, Governance

Smarthistory at Khan Academy recently received a generous grant from the Andrew W. Mellon Foundation to accelerate the creation of content for the Smarthistory website. The grant funds three types of fellows:

Smarthistory is looking to fill these positions quickly—hopefully in advance of the CAA Annual Conference in New York. Deadline: January 5, 2015.

Filed under: Grants and Fellowships

News from the Art and Academic Worlds

posted by Christopher Howard

Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.

Smithsonian’s Asian Art Collection Goes Online

The Smithsonian Institution’s museums of Asian art are due to release their entire collections online on January 1, 2015. More than forty thousand works, from ancient Chinese jades to thirteenth-century Syrian metalwork and nineteenth-century Korans, will be accessible through high-resolution images without copyright restrictions for noncommercial use. The Freer Gallery of Art and the Arthur M. Sackler Gallery are the first Smithsonian museums—and the only Asian art museums—to complete the labor-intensive process of digitizing and releasing their entire collections online. (Read more from the Art Newspaper.)

Balling off Painting: MoMA Opens The Forever Now

At the Museum of Modern Art’s opening for The Forever Now: Contemporary Painting in an Atemporal World, most people had a hard time remembering when the last group show of young painters had happened at the museum. (Technically, the last full-on contemporary painting survey was in 1984.) With that in mind, no matter what anyone thinks about the show—or even the current state of painting in general—it could be argued that an exhibition of this nature was somewhat overdue. (Read more from ArtNews.)

New Art Now

At first glance, the three words “new,” “art,” and “now” might be considered synonyms. In order to be counted as art, an object or expression must be new, and its newness is strictly defined by the temporal limits of the present moment, now. But this is where the synonymy of the three terms starts to look like a contradiction. If contemporary art is art always happening “now,” can we ever really make sense of the present? (Read more from ArtReview.)

Unsustainable Postdocs

Postdoctoral fellowships make sense in theory: they offer recent PhDs, especially those aspiring to careers in academic research, a place to develop professionally and build a research profile before or while hitting the job market. But too often, these fellowships are underpaid, undermentored positions in which young academics languish during what are potentially their most creative, productive years. That’s the upshot of a new report that is highly critical of the structural factors driving the growth of postdoctoral ranks. (Read more from Inside Higher Ed.)

The State of Professional Development in Higher Education

Earlier this year, Academic Impressions surveyed higher-education professionals to learn if institutions, on the whole, regard professional development as mission-critical, if investments in professional development is proactive or reactive, and if professional development is tied to performance appraisal. This report shares the findings. (Read more from Academic Impressions.)

Storming the Ivory Tower

All manner of treasure accumulates in the Ivory Tower, but too often that’s where valuable scholarship stays locked up, obscure and inaccessible. “Free the knowledge!” might be the rallying cry behind a creative new plan from the National Endowment for the Humanities. The federal agency, which bills itself as one of the largest funders of humanities programs in the country recently announced the Public Scholar program. Its goal is to motivate scholars to publish nonfiction books for general readers rather than for each other. (Read more from the Washington Post.)

Is a Museum a Database? Institutional Conditions in Net Utopia

The museum is pressured into adapting to the logic of the database from all sides, and we begin to entertain questions of absurd technological determinism. Is a museum a database? While this may be a ridiculous provocation on its face, we have seen that anxious cultural institutions are among the first to uncritically adopt the metabolism of database, to transform the institution into an indexed site of transmission. (Read more from e-flux journal.)

Can We Create a Culture That Values Good Teaching?

How might we create a culture that esteems effective teaching? The value of such a thing ought to be clear, if only because it would blunt some of the frequent public criticisms of universities for a too-narrow focus on research. But creating a teaching culture hasn’t proved so easy. It’s not that campuses don’t harbor great teachers—even the most research-intensive universities do. But those professors usually tend their personal classroom gardens on their own. (Read more from Art History Teaching Resources.)

Filed under: CAA News

Recipients of the 2015 Awards for Distinction

posted by Emmanuel Lemakis

CAA has announced the recipients of the 2015 Awards for Distinction, which honor the outstanding achievements and accomplishments of individual artists, art historians, authors, conservators, curators, and critics whose efforts transcend their individual disciplines and contribute to the profession as a whole and to the world at large.

CAA will formally recognize the eleven honorees at a special awards ceremony to be held during Convocation at the 103rd Annual Conference in New York, on Wednesday evening, February 11, 2015, 5:30–7:00 PM. Led by DeWitt Godfrey, president of the CAA Board of Directors, the awards ceremony will take place in the Hilton New York Midtown’s East Ballroom. Convocation and the awards ceremony are free and open to the public. The Hilton New York Midtown is located at 1335 Avenue of the Americas (Sixth Avenue), New York, NY 10010.

The 2015 Annual Conference—presenting scholarly sessions, panel discussions, career-development workshops, a Book and Trade Fair, and more—is the largest gathering of artists, scholars, students, and arts professionals in the United States.

Charles Rufus Morey Book Award
Megan Holmes
The Miraculous Image in Renaissance Florence
Yale University Press, 2013

Alfred H. Barr Jr. Award
Susan Weber, ed.
William Kent: Designing Georgian Britain
Bard Graduate Center and Yale University Press, 2013

Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Lynn Boland, et al.
Cercle et Carré and the International Spirit of Abstract Art
Georgia Museum of Art, University of Georgia, 2013

Arthur Kingsley Porter Prize
Douglas Brine
Jan van Eyck, Canon Joris van der Paele, and the Art of Commemoration
The Art Bulletin, September 2014

Distinguished Feminist Award
Amelia Jones, University of Southern California

Distinguished Teaching of Art Award
Richard Brown, Massachusetts College of Art and Design

Distinguished Teaching of Art History Award
Petra Ten-Doesschate Chu, Seton Hall University

Artist Award for Distinguished Body of Work
Charles Gaines
Charles Gaines: Gridwork 1974–1989
Studio Museum in Harlem

Distinguished Artist Award for Lifetime Achievement
Keith Sonnier

CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
Melanie Gifford, National Gallery of Art

Distinguished Lifetime Achievement Award for Writing on Art
Lucy R. Lippard

Morey and Barr Award Finalists

CAA recognizes the 2015 finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Award for their distinctive achievements:

Charles Rufus Morey Book Award

  • Matthew C. Hunter, Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (Chicago: University of Chicago Press, 2013)
  • Karl Whittington, Body-Worlds: Opicinus de Canistris and the Medieval Cartographic Imagination (Toronto: Pontifical Institute of Medieval Studies, University of Toronto, 2014)
  • Catherine Zuromskis, Snapshot Photography: The Lives of Images (Cambridge, MA: MIT Press, 2013)

Alfred H. Barr Jr. Award

  • Kimberly A. Jones, et al., Degas/Cassatt (Washington, DC: National Gallery of Art and DelMonico Books, 2014)


For more information on the 2015 Awards for Distinction, please contact Emmanuel Lemakis, CAA director of programs. Visit the Awards section of the CAA website to read about past recipients.

This was an exciting year for CAA’s publications—for the very first time The Art Bulletin and Art Journal were published online using a multi-media platform that allows authors to include video and hyperlinks directly in their essays, and became fully open-access with broader interactive functionality coming soon. Most important, the journals continued to bring readers more of what they expect from the world’s leading publisher of art history journals: exceptional in-depth scholarship exploring the full range of the visual arts, in formats as diverse as long-form essays, innovative artists’ projects, and critical reviews. It is the support of readers like you that enable CAA to carry out this vital work.

Because you share our mission of advancing the highest standards of intellectual engagement in the arts, please make a tax-deductible gift to the Publications Fund today.

Here are some recent highlights from CAA publications:

In The Art Bulletin:

  • Continued support of the long-form, peer-reviewed essay, including John K. Papadopoulos reinterpreting the Greek fifth-century BCE Motya Youth, Douglas Brine on the architectural and cultural context of a Jan van Eyck painting, Aaron Wile identifying a distinctly modern sense of self in Wattaeu’s fête galantes, and Joseph Siry on Frank Lloyd Wright’s theater for Dallas
  • In the recurring “Whither Art History?” Cheng-Hua Wang examines artistic interaction between China and Europe in the early modern period
  • Reviews of books on a wide variety of topics, from Maya art to sixteenth-century sculpture in Florence, from the politics of Mughal architecture to the materiality of color

In Art Journal:

  • Projects by artists such as the sculptor Conrad Bakker, the British animator Jonathan Hodgson, and Karen Schiff, whose colorful drawings intervened in the very fabric of the printed journal
  • A forum devoted to conceptual art in Latin America in the 1970s, a time of political oppression and upheaval, featuring four essays in the original Spanish and Portuguese with facing-page English translations
  • The journal’s open-access website relaunched with a new name, Art Journal Open, and a new editor, the new-media scholar and curator Gloria Hwang Sutton
  • Reviews of monographs on the artists Forrest Bess; books by Claire Bishop, Tom Finkelpearl, and Lev Manovich; and a Le Corbusier exhibition at MoMA


  • New Field Editor position established for reviews covering Digital Humanities and Art History
  • Over 150 book and exhibition reviews across many subject areas and geographic regions

With your support, CAA publications will continue to delight, challenge, and engage readers for many years to come. Contributors who give at a level of $250 or higher are prominently acknowledged in the publication they support for four consecutive issues, as well as on the publication’s website for one year and through CAA News. On behalf of the scholars, critics, and artists who publish in the journals, we thank you for your continued commitment to maintaining a strong and spirited forum for the visual-arts community.

With best regards,





Suzanne Preston Blier
Vice President for Publications

Finalists for the 2015 Morey and Barr Awards

posted by Lauren Stark

CAA is pleased to announce the finalists for the 2015 Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Award. The winners of both prizes, along with the recipients of ten other Awards for Distinction, will be announced in mid-December and presented during Convocation in New York, in conjunction with the 103rd Annual Conference.

Charles Rufus Morey Book Award

The Charles Rufus Morey Book Award honors an especially distinguished book in the history of art, published in any language between September 1, 2013, and August 31, 2014. The four finalists for 2015 are:

Alfred H. Barr Jr. Award

The Alfred H. Barr Jr. Award for museum scholarship is presented to the author(s) of an especially distinguished catalogue in the history of art, published between September 1, 2013, and August 31, 2014, under the auspices of a museum, library, or collection. The two finalists for 2015 are:

  • Kimberly A. Jones, et al., Degas/Cassatt (Washington, DC: National Gallery of Art and DelMonico Books, 2014)
  • Susan Weber, ed., William Kent: Designing Georgian Britain (New York: Bard Graduate Center: Decorative Arts, Design History, Material Culture; New Haven: Yale University Press, 2013)

The Barr jury did not shortlist any books for the second Barr Award for Smaller Museums, Libraries, or Collections.

The presentation of the 2015 Awards for Distinction will take place on Wednesday evening, February 11, 5:30–7:00 PM, at the New York Hilton Midtown. The event is free and open to the public. For more information about CAA’s Awards for Distinction, please contact Lauren Stark, CAA manager of programs and archivist.

News from the Art and Academic Worlds

posted by Christopher Howard

Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.

What’s a “Work for Hire” and Why Should You Care?

A provost learns to his dismay that the university shares copyright ownership of a popular MOOC with the professor who created it. A professor finds to her surprise that students who helped produce an animation to illustrate a lecture are co-owners of the copyright. Yet another professor, who wrote and put together a video for his course, is shocked to learn that the university that employs him and the company that produced the video share copyright ownership of it—without him. (Read more from the Chronicle of Higher Education.)

Artists Call the Shots

When Gustave Courbet organized an exhibition of his work in 1855, it was a radical act—but now artist-curators are everywhere. That raises some questions: Do the restrictions faced by institutional curators lead to more historically accurate exhibitions? Does the pluralist attitude that fosters artist-curated shows open the door to curatorial misconceptions? Are artists simply more likely to get it wrong than academic curators? (Read more from the Art Newspaper.)

Help Desk: Participatory Project

I’m an artist working with a poor family on a participatory project at a local museum. The family is Latino, and the project is about the members’ perceptions on art. Who might I talk to or where might I look for similar projects, or even guidance on working with this population? I’m neither Latino nor poor. (Read more from Daily Serving.)

Are Museums The Best Place to Appreciate Art?

Philippe de Montebello, the longest-serving director of the Metropolitan Museum of Art in its history, discusses how and why we look at art. In his new book, Rendez-vous with Art, he reflects on the importance of museums but wonders if they might be the worst possible places to look at art. (Read more from WNYC.)

Where the Time Goes

New data about time to degree in PhD programs from the American Academy of Arts and Sciences complicate some current reform efforts to help students get through graduate school faster. At the same time, the data suggest that real time to degree is shorter than many people think it is, and that it’s decreasing in some disciplines—albeit slowly. (Read more from Inside Higher Ed.)

War Can Both Inspire and Inhibit Artistic Creativity

War can inhibit creativity. Societies engaged in conflict have fewer resources to spend on art; they also often restrict the freedom artists require. On the other hand, war can inspire creativity. Patriotic creators might feel an impulse—or receive an order—to create works intended to unite and galvanize the citizenry. Given those cross-currents, no wonder researchers have found an “ambiguous and counterintuitive relationship between war and the arts,” in the words of Karol Jan Borowiecki of the University of Southern Denmark. (Read more from Pacific Standard.)

Are There Banner Works of Art on Instagram?

For me, Instagram is a land of the midnight sun, a wide-open place that’s always lit up, bristling with visions, pictures, strangers, shooting stars, screwballs, and well-known artists posting images from everywhere, together creating this immense abstract missive or amazing rebus that seems to speak just to me, the curious curator of my own lit-up Instagramland. (Read more from Vulture.)

Learning to Love the Conference

In 2012, I was all set for the most important conference of my life. All three major branches of musicology would be there: theorists, musicologists, and ethnomusicologists. It was going to be my last real year on the academic job market, and, despite my rapidly aging degree, I was well positioned. I had conference interviews. I had meetings scheduled with publishers. I was going to put everything into that conference. (Read more from Vitae.)

Filed under: CAA News

CAA has published short biographies for this year’s recipients of travel support through the CAA-Getty International ProgramIn an effort to promote greater interaction and exchange between American and international art historians, CAA will bring scholars from around the world to participate in the 2015 program, held during the association’s Annual Conference in New York City from February 11–14, 2015. This is the fourth year of the program, which has been generously funded by grants from the Getty Foundation since its inception. The participants—professors of art history, curators, and artists who teach art history—were selected by a jury of CAA members from a highly competitive group of applicants. In addition to covering travel expenses, hotel accommodations, and per diems, the CAA-Getty International Program includes support for conference registration and a one-year CAA membership.

Click here to read the biographies of the fifteen participants.

News from the Art and Academic Worlds

posted by Christopher Howard

Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.

Is the Cultural Sector Ready to Move Beyond Data for Data’s Sake?

As any internet geek or high-priced consultant will tell you, we find ourselves today in the age of Big Data. You know, the era when science and numbers are supposed to solve all our problems forever? That one. And yet in the cultural sector, according to a report published earlier this year, we don’t have the data we need; we don’t know what to do with the data we have; and even if we did, we still wouldn’t use it to make decisions. (Read more from Createquity.)

Whose Work Is It Really? On the Much-Maligned Role of the Artist’s Assistant

The job of artist’s assistant has a confusing reputation in the press. Articles about the ongoing saga of Jasper Johns’s civil suit against his longtime assistant for the theft and sale of $3.4 million of his drawings is a prime example of the way the media talks about the relationship between artist and assistant. The horrifyingly theft aside, one recent article about the incident presents the power difference between an artist and his assistant as tauntingly acute and palpable. (Read more from Artslant.)

Assessing Assessment

In higher education circles, there is something of a feeding frenzy surrounding the issue of assessment. The federal government, due to release a proposed rating system later this fall, wants assessments to create ways to allow one to compare colleges and universities that provide “value”; accrediting organizations want assessments of student learning outcomes; state agencies want assessments to prove that tax dollars are being spent efficiently; institutions want internal assessments that they can use to demonstrate success to their own constituencies. (Read more from Inside Higher Ed.)

Help Desk: Ghost in the Art-Writing Machine

I’m a young curator and an arts writer with a museum job, but like everyone in the world, I can always use extra money. I’ve been approached before about “ghostwriting” for more established curators who get asked to write catalogue essays for galleries and small exhibition projects. In general, I feel weird but not too weird about this. After all, I like the practice and the opportunity to think about an artist’s work that I might not otherwise consider or know of. (Read more from Daily Serving.)

Teaching Feminism in Relation to Contemporary Art

Survey courses in contemporary art have tended to organize the field through movements, tendencies, and geographical areas. Women artists have been present in every movement, in every country, and in increasing numbers in contemporary art—approximately 20 to 40 percent of biennials and retrospectives and 40 to 50 percent of all artists today. It is possible to introduce a broad range of examples and case studies of work by women artists into every lecture. (Read more from Art History Teaching Resources.)

Paint and Paper: Making a Watercolor

Watercolor paper is an active part in the creation of a painting, for watercolor artists paint with their paper rather than simply upon it. For this reason, the watercolor paper an artist selects influences both the painting process and the finished work. Paper choice can be as personal as color palette and subject, and it is not unusual for a painter to have a favorite paper surface from a specific manufacturer. (Read more from Just Paint.)

A Letter to My Younger Self

Well you’ve done it. You started graduate school and, at two months in, you are beginning to get the hang of things. By now you’ve figured out that the coffee from the cafe downstairs is terrible, but at least this end of campus has all the good food trucks. You’re meeting people who will turn out to be incredible colleagues and friends. You’ve also developed a few organizational habits already, even though it’s been a chaotic start to the semester. I’m writing to let you know how unbelievably helpful those habits are going to be over the next five years. (Read more from Vitae.)

Professors’ Place in the Classroom Is Shifting to the Side

Professors have long made assumptions about their place in the classroom. They have seen themselves as the experts whose job is to transmit a body of knowledge, typically through a lecture. Students are there to absorb content. But after years of exhortations for faculty members to become guides on the side instead of sages on stage, those assumptions are shifting, and they carry consequences that could be significant for professors and students. (Read more from the Chronicle of Higher Education.)

What’s Next?

As part of my job, I mentor graduate students and early career faculty through the transition to nonacademic jobs. These career-changers have usually thought long and hard about their decision to seek a nonacademic career. It is not something that anyone seeking my help takes lightly. The most common thing I hear from my students and clients is, “I don’t know how to even begin looking for other types of jobs.” (Read more from Inside Higher Ed.)

Filed under: CAA News

Fall 2014 Recipients of the Millard Meiss Publication Fund

posted by Betty Leigh Hutcheson

This fall, CAA awarded grants to the publishers of nine books in art history and visual culture through the Millard Meiss Publication Fund. Thanks to the generous bequest of the late Prof. Millard Meiss, CAA gives these grants to support the publication of scholarly books in art history and related fields.

The nine Meiss grantees for fall 2014 are:

Books eligible for Meiss grants must already be under contract with a publisher and on a subject in the visual arts or art history. Authors must be current CAA members. Please review the application guidelines for more information.


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