posted by Janet Landay, Project Manager, Fair Use Initiative
The College Art Association is proud to participate in the 2016 National Fair Use Week. This event is held annually during the last week of February, this year from Monday, February 22, through Friday, February 26. It celebrates the important doctrines of fair use in the United States and fair dealing in Canada and other jurisdictions. In honor of National Fair Use Week, CAA presents the following article about ways its fair use code has been embraced in the year since it was first released.
It’s been exactly one year since CAA published its Code of Best Practices in Fair Use for the Visual Arts. A session at this year’s Annual Conference took stock of the progress made during the past twelve months, and panelists recounted remarkable progress in applying fair use to the visual arts. Chaired by Judy Metro, editor-in-chief at the National Gallery of Art and chair of CAA’s Committee on Intellectual Property, five CAA members described how they or their institutions modified their approach to using copyrighted materials because of CAA’s new Code.
Leading the way was the College Art Association itself, which overturned its copyright policies for authors. As Betty Leigh Hutcheson, CAA’s director of publications, explained, instead of demanding that authors get permissions for all images and indemnify the press, CAA’s contracts now ask authors to read the Code and apply it to their uses. Indemnification is no longer required when asserting fair use.
Other publishers of artwork also told of changing policy. Patricia Fidler, art publisher at Yale University Press, described how, inspired by the Code, the press has now created its own fair use guidelines specific to scholarly publishing. Just as important for Fidler is the fact that other parts of Yale University, including its museums, are now considering expanding their access to fair use. “It’s a big step,” she said, “to give authors the last word on their fair use. And we are proud that it says at the top of our new author guidelines, ‘Yale University Press supports the fair use of art images in scholarly monographs.’”
Joseph Newland, head of publications at the Menil Collection in Houston, announced new policies at his museum. Thanks to the Code, the Menil has expanded access to fair use throughout the institution by adapting CAA’s policy for internal criteria. He said improvements are already apparent: “It’s really helped work flow, especially at the press office, which often needs to respond to the news cycle in a timely way.”
Sometimes progress includes learning from frustration. Susan Higman Larsen, head of publications at the Detroit Institute of Arts, talked about having to publish a work in a scholarly catalogue without a relevant image, because of intolerable attempts at controlling content by an estate. “We misunderstood fair use,” she explained. “We didn’t understand that some commercial uses are just as eligible for fair use as non-commercial ones.” The Code helped clear that up, she said, and now the DIA is publishing a new book, in which the author wants to reproduce an image by the same artist. “This time, we’ll claim fair use,” she said. Furthermore, the DIA is considering changing its institutional policies about fair use.
The last success story of the session was from an artist, Rebekah Modrak, who teaches at the University of Michigan. She recounted the challenges she encountered after creating a work of art that incorporated copyrighted material. She made a video introducing an imaginary company, Re Made Co., that spoofed the overexemplifying hipster-Brooklyn site Best Made Co. After receiving a cease-and-desist letter, she turned for advice to CAA, which steered her to good legal advice at the University of Michigan. Her university’s lawyers welcomed the opportunity to support her fair uses and endorsed her intention to keep her video online. Modrak then published an account of her experience for a Routledge publication, Consumption Markets & Culture. When the editors there initially asked her to get permission to reproduce images from her video, she relied on CAA’s Code to persuade them that fair use would apply.
Another way CAA is measuring the impact of the Code is through annual surveys that provide longitudinal data on how CAA members are relying on fair use. At the conference session, Patricia Aufderheide shared early results from a recent 2,500-person CAA survey, showing broad awareness of the Code. More than two thirds of respondents indicated they knew about the Code, and a third of that group had already shared their knowledge, usually with more than one kind of interlocutor—for example, students, colleagues, and association members. Many of those aware of the Code had already put it to use. Indeed, 11% of all respondents had begun to employ fair use only after the appearance of the Code last year, a big leap and a demonstration of the power of understanding community values and best practice.
Peter Jaszi concluded the session by discussing next steps in CAA’s fair use efforts. Over the coming year he and Aufderheide will work to educate in-house legal counsel about the importance of mission-oriented fair use, resulting in expanded employment of fair use by museums. They will continue to give presentations about the Code to groups of arts professionals around the country, with a special focus on publishing and museum activities. And Jaszi encouraged CAA members to avail themselves of the many resources—FAQs, explainers, infographics, background documents, slideshows and more—available both on the CAA website and at the Center for Media & Social Impact.
CAA will be posting updates about fair use on its website, including the success stories described above. We would like to hear from any of you whose practices have changed because of the Code, whether you have a success story or a challenge to share. Both types of information will support the field’s efforts to make appropriate reliance on fair use the norm. If you have fair use news to share, please contact me at email@example.com.
Find out more about National Fair Use Week here: http://fairuseweek.org/
Below are links to some of the events taking place around the country:
A comprehensive collection of fair use codes, articles, videos and teaching materials can be found at the Center for Media and Social Impact, http://www.cmsimpact.org/fair-use
And don’t forget to look at the materials available on CAA’s website, which focus on our fair use code. There you will find Frequently Asked Questions, explanatory videos, infographics, and a five-part webinar, along with the Code itself.
Betty Leigh Hutcheson (photograph by Bradley Marks)
Patricia Fidler (photograph by Bradley Marks)
Joseph Newland, Peter Jaszi, and Susan Higman Larsen (photograph by Bradley Marks)
Rebekah Modrak (photograph by Bradley Marks)
Rebekah Modrak, Fair Use Badge of Honor
posted by DeWitt Godfrey
DeWitt Godfrey, President of the CAA Board of Directors
A Call to Action
That there are many things wrong in and around our current cultural, educational, and political institutions goes almost without saying. But students of color and their allies at my university and across the country are saying and naming many of the endemic failings of our institutions, refusing to remain silent in the face of systemic racism, inequalities, and oppression. These protests demand redress, unquestionably deserved and long overdue, refusing to let the status quo resettle into old and harmful patterns. There is much anger, much emotion, and sometimes even much empathy. In the pursuit of new paradigms and patterns, territories are marked out, language crafted seeking discourse that ideally cannot support or makes impossible the reification of old injustices.
In the quest for these new spaces, in the specificity we believe will prevent and dismantle these systems of oppression and in their focused intention to redescribe and reframe the terms and debate around the responsibility of institutions and individuals, there also exists the possibility of curtailing and preventing the very conversations that might productively contribute to a process of recognition, acknowledgment, and critique of these pernicious systems of privilege and inequality. In the face of these very real grievances, in a climate of anxiety and fear, all around us the collective is at risk of fracture, dispersing into self-referential self-reinforcing pockets that create false senses of common purpose, aligned against a shared enemy composed of those who refuse or who are excluded by the preconditions of inclusion. In the final irony, this fracturing of the collective along clannish lines most suits those who opportunistically exploit the fears of those who fear losing their spaces of privilege, in a zero sum game predicated on the notion that to gain someone has to lose. We are weaker divided, and the institutional spaces, such as those enshrined at the heart of the university, a collective under which many disparate forms of knowledge production can find common purpose and support, grow also weaker, creating conditions under which the entire enterprise of higher education comes under attack as irrelevant, disconnected, and even antagonistic to the ideologically oriented common good.
Rather than arguing and debating ideas we are reduced to defending positions, constructs that by design resist and reject critique in conditions that neuter dialogue. While these constructs are created out of real conditions—real pain, suffering, and oppression—we should not counter by discounting or mediating the raw feelings at the center this experience. But we might be careful not to fall into a trap of our own design, in which debate and conversation can only occur with those in our likeminded cohort.
What does this have to do with CAA? Over the past decade the largest learned societies such as CAA and MLA have experienced steady and sometimes rapid declines in membership, while smaller discipline-specific societies’ memberships have grown.
From a peak in 2010 of 13,000 members, our current individual enrollment has fallen to 9,000. Conference attendance in New York, historically the highest and most consistent, was down 25 percent from 2013 to 2015. There are many substantive reasons for this downward trend: some are demographic (research shows that millennials are not joiners), so we restructured our membership categories when we launched our copublishing agreement with Taylor & Francis. The great recession of 2009 sharply reduced institutional support for research and conference travel and transformed hiring practices—a lot less of you are here interviewing candidates or seeking jobs than in years past. But beyond that, the fact remains that for many of our former and even current members, CAA is no longer relevant. For many the answer is to gather with like-minded individuals in narrowly defined subgroups. This has tangible consequences for CAA, but I also believe this current trend of atomization is a threat to the difficult cross-disciplinary, cross-identity, and cross-cultural conversations that must be supported and preserved that are less likely to be taken up by insular groups.
So what do productive and viable institutions make possible? What can large institutions provide that small ones can’t? Specifically, CAA carves out spaces of debate and conversation, opportunities to talk across difference, to bring focus and attention to issues that cross disciplines and fields. Our Mellon-funded task force produced guidelines for the fair use of third-party images in teaching, publishing, and creative work could not have been undertaken without the broad reach, constituency and intellectual reputation that we have at CAA. In the past five years our partnership with the Getty Foundation has gathered ninety art historians from over forty-five countries in every conceivable area of art and art-historical inquiry for a one-day preconference. The plurality and heterogeneity of our membership should be seen as our greatest asset, how a diverse spectrum of practitioners and scholars gather at the annual conference, through our publications and programs from across the range of arts, artists, art historians, museum and arts professionals, designers, and educators.
What I have offered above is a frank appeal for your support and advocacy for CAA, an appeal for an association that has been, in particular for our academic members, at the front lines for over a century, for an organization that has played a critical role in the integration of art history and studio practice into a frequently resistant academy. Times have changed, battles have been fought and won, and while there are standards to be defended, CAA must face a future where many—even most—of our colleagues no longer have access to the institutional resources which were once the norm, to advocate for the fair and equitable treatment of part-time and contingent faculty, to lead the debate around how education will be delivered, to keep education affordable, to protect and preserve a higher-education system that despite its flaws remains the envy of the world. We must also imagine a CAA that reaches further beyond the academy than we already do, as relevant to the unaffiliated artist, designer, and even art historian, as we are to those of us who hold academic positions. Our task force on design, design theory, design education, and design history has uncovered exciting potential for greater advocacy for our design colleagues and how to reimagine our structures and programs to strengthen and expand our association, acknowledging the growing stature of design in our culture and in our institutions. Artists without a permanent or sometime itinerant academic connection have long been, despite specific outreach attempts, on the periphery of our association because we have yet to clearly articulate what the benefits of membership are. CAA will need to clear new spaces for such new contributors and membership
Change is frightening and nearly everyone despises ambiguity—conversely conditions in which art and artists thrive. In the midst of an election cycle that has upended assumptions on both the left and right, now more than ever art matters. And I mean matters more than instrumentally—not merely as an economic driver and not as an adjunct practice that increases student’s math scores or that it is somehow “good for us.” Art matters because artists work and thrive in the interstitial spaces between disciplines, around institutions, who assume the permission to ask questions that cannot be formulated from inside the confines of a particular, single point of view or perspective.
This speech was first delivered as opening remarks at the CAA Annual Conference Convocation Ceremony on February 3, 2016. A Keynote talk by artist Tania Bruguera followed (Watch on YouTube).
posted by CAA
The following sessions and events at CAA’s 104th Annual Conference, taking place February 3–6, 2016, in Washington, DC, are free and open to the public. Everything takes place at the Washington Marriott Wardman Park Hotel.
Media Lounge, all events and screenings
Wednesday, February 3–Saturday, February 6
Thurgood Marshall Ballroom West, Mezzanine Level
Looking Ahead: Changes to the CAA Annual Conference
Wednesday, February 3, 12:30–2:00 PM
Wilson B, Mezzanine Level
CAA Convocation, Awards Presentation, and Keynote Address by Tania Bruguera
Wednesday, February 3, 5:30–7:00 PM
Salon 2, Lobby Level
The NEA and NEH at 50: NEA Chair Jane Chu and NEH Chair William “Bro” Adams in Conversation
Thursday, February 4, 12:30–2:00 PM
Salon 3, Lobby Level
The Power of Storytelling: Finding and Engaging New Audiences with Jarl Mohn, President and CEO, National Public Radio
Thursday, February 4, 5:30–7:00 PM
Salon 2, Lobby Level
Past, Present, and Future: NEH at 50
Friday, February 5, 2:30–5:00 PM
Salon 2, Lobby Level
Friday, February 5, 5:30–7:00 PM
Atrium, Exhibition Level
posted by CAA
*** Proposal submission process for 2017 will open on March 1 and close on April 18 ***
For the CAA 105th Annual Conference, CAA will change the format of the conference as we look to liven up the experience for all our members. The changes highlighted below are the result of a critical look at the event by the organization’s Annual Conference Committee.
- New time grid: All sessions will be ninety minutes in length, allowing for more sessions during the conference’s four days
- More types of submissions and therefore more ways to participate, such as: complete session proposals, with participants chosen in advance; proposals to chairs, who will solicit speakers through a call for papers; and independent proposals of papers
- Individuals may participate in consecutive years, if their proposals are accepted
- Other Annual Conference Events such as:
- Alt/CAA: Each morning conference participants can propose and vote on a panel that will be held during lunch or during an evening session
- Day by Design: All day series of panels on subjects of importance to the membership such as design, museums, women in the arts, arts advocacy, digital technologies, international topics
- Hot Topics: Panels focusing discussion of critical time-sensitive issues in the field
- Perspectives from Senior Scholars Series: Panels led by senior scholars and artists with a view toward addressing key issues in the discipline
- Global Seminar: Sessions that will have an international component through Skype or shared files, tweeting and discussions
- Day of Art: Individuals and groups are encouraged to propose one or more sessions to engage membership in projects to benefit the arts community
You can download and read the full report of recommendations by CAA’s Task Force on the Annual Conference.
Please remember all participants will have to be members and registered for the conference for 2017. (http://www.collegeart.org/membership/)
Below you will find key dates and deadlines for the 2017 conference:
- March 1 – Call for Annual Conference session and paper proposals begins
- April 18 – Deadline for session and paper proposal submissions
- June 3 – Annual Conference Committee meets to select sessions and papers
- June 20 – Notification sent regarding approved sessions
- July 1 – Call for Participation for approved sessions soliciting contributors
- August 30 – Paper titles and abstracts due for sessions soliciting contributors
- Mid-September – Online conference registration opens
- September 15 – Deadline for chairs to choose speakers for sessions soliciting contributors; deadline for poster sessions
- Late December – Online conference registration closes
Additional Notes on Affiliated Society submissions:
- One session per Affiliated Society will be accepted with a note of approval from the chair of the group; subsequent submissions may be submitted separately by individuals and require peer review by the Annual Conference Committee; these submissions will not be labeled as an Affiliated Society panel.
- Each Affiliated Society is still guaranteed one 90-minute session, as well as a business meeting, which will be tagged as an Affiliate Society meeting.
- Sessions should be submitted in the proposal submission process above.
posted by CAA
If you are attending CAA 2016, you’ll want to have the official conference app on your mobile device. The app helps you navigate the conference schedule and allows you to create your own customized schedule within the app. In addition, you can follow the app activity feed to see posts from other attendees and follow conference news. The app allows for posting to social media accounts and connecting directly with other conference attendees. Check the conference maps in the app and bookmark items and sessions of interest.
The CAA 2016 app works on most mobile platforms, including iPhones and iPads, Android devices, and Blackberries.
Instructions for Downloading:
CAA’s conference app is available through the Google Play store and the Apple App Store. To download the app onto your mobile device, search for “CAA 2016” in the Apple or Google app stores and download the app, allowing for permissions requested by the app. The HTML5 web-based version of the app is available for attendees who have Windows or Blackberry phones or do not have a smartphone.
posted by CAA
CAA has designed the Career Services Guide to inform job seekers and employers about placement activities at the 2016 Annual Conference in Washington, DC. The publication, available as a PDF, will help you navigate Career Services events and provides answers to frequently asked questions. Study this guide carefully so that you will know what to expect from conference interviewing and how best to prepare for a successful experience.
Job candidates can review the basics of the conference employment search. Read about the Candidate Center, your home base at the conference, as well as Orientation, an introduction to Career Services where you can ask questions. In addition, learn more about the Online Career Center, where you can search for position listings, post application materials, and arrange interviews. The publication includes tips for improving your CV, portfolio, and supplemental application materials.
Employers will find details in the guide for renting interview booths and tables as well as recommendations for posting jobs and conducting interviews at the conference. You can begin preparations now for Career Services through the Online Career Center or onsite at the Interviewer Center.
Printed copies of the Career Services Guide will be distributed onsite at Orientation and in the Candidate Center. All conference Career Services will take place at the Washington Marriott Wardman Park Hotel. For more information about job searching, professional-development workshops, and more, visit the Career Services section of the conference website.
posted by CAA
Interested in attending the 2016 Annual Conference but find the registration fees prohibitory? Working as a projectionist, room monitor, or registration attendant at this year’s event is a great way to save on conference expenses. All temporary workers who agree to twelve hours of work and a paid training meeting are given complimentary full-conference registration; they will also receive $12 per hour upon the completion of their shifts.
CAA is still accepting applicants for the following positions and shifts.
CAA seeks registration attendants to work in the registration area between Tuesday afternoon, February 2 and Saturday afternoon, February 6. Registration attendants are required to work a minimum of twelve hours, registering conference participants, checking membership statuses, and monitoring registration compliance in various session rooms. Registration attendant shifts are full-day shifts (8:00 AM–7:00 PM) and best for people who would like to complete their work commitment in a single day.
**Registration attendants must attend a training meeting on Tuesday afternoon, February 2, between 3:30 and 5:00 PM.
**Workers are still needed for shifts on Wednesday, February 3, 8:00 AM–7:00 PM, and Thursday February 4, 8:00 AM–7:00 PM.
CAA seeks projectionists to work in the various conference session rooms between Wednesday, February 3, and Saturday February 6. Projectionists are required to work a minimum of eleven hours and must be familiar with digital projectors and laptops.
**Projectionists must attend a training meeting on Wednesday morning, February 3, 7:30–8:30 AM.
**Many shifts still available between 9:30 AM and 5:00 PM on Thursday, February 4, and Friday, February 5.
CAA seeks room monitors to work in the various conference session rooms between Wednesday, February 3, and Saturday February 6. Room monitors are required to work a minimum of eleven hours checking in session participants, monitoring membership compliance in various rooms, and taking attendance in the session rooms.
**Room monitors must attend a training meeting on Wednesday morning, February 3, 7:30–8:30 AM.
**Many shifts are still available between 9:30 AM and 5:00 PM on Thursday, February 4, and Friday, February 5.
Send a two-page CV and a brief letter of interest to Katie Apsey, CAA manager of programs. In your letter of interest, please include the following details: (1) the maximum number of hours you can work (minimum twelve, maximum forty); (2) what days you will be in attendance and available to work (Tuesday afternoon, February 2, through Saturday night, February 6); (3) any days or session times you absolutely cannot work (when you plan on attending an important event or presenting a paper); (4) an order of preference for positions, if applying for multiple availabilities; (5) your CAA user/member ID#.
All candidates must be US citizens or permanent US residents.
Image: Working the registration booths at the 2015 Annual Conference in New York (photograph by Bradley Marks)
posted by DeWitt Godfrey
I want to share my excitement about the offerings at the upcoming 2016 annual conference, taken together we think they represent the diversity of areas on which CAA is focused. We are thrilled to be in Washington DC, home to so many excellent museums and cultural institutions. The conference kicks off with a keynote by Tania Bruguera, an artist whose work, specially relevant in this election year, explores the relationship between art, activism, and social change. Our Distinguished Artists’ Interviews feature MacArthur Fellows Rick Lowe (2014) with LaToya Ruby Frazier (2015) and Joyce Scott with George Ciscle from the Maryland Institute College of Art. We have Jane Chu, Chair of the NEA, and William “Bro” Adams, Chairman of the NEH, to discuss their organizations half a century of supporting the arts and humanities. Jarl Mohn, National Public Radio CEO and President, will speak on the visual arts and the public. We will honor scholars Richard Powell, John Spencer Bassett Professor of Art and Art History and Dean of Humanities, Duke University and Linda Nochlin, Lila Acheson Wallace Professor of Modern Art at New York University, in two special panel sessions. With sessions ranging from Latin American artists, design, artists working with data, public art, workshops on job hunting, portfolio and résumé preparation, there is something for everyone. I hope you can join us.
posted by CAA
One of CAA’s annual Distinguished Artists’ Interviews at the 2016 Annual Conference in Washington, DC—the artist Rick Lowe in conversation with the photographer LaToya Ruby Frazier—is among the first events of the John D. and Catherine T. MacArthur Foundation’s year-long series of performances, discussions, and other events to celebrate the thirty-fifth anniversary of its iconic fellowship program. The MacArthur Foundation will collaborate with a diverse set of partners for 2016 programming, including Chicago’s Grant Park Music Festival, Washington’s Kennedy Center for the Performing Arts, and New York’s 92nd Street Y. Most events will be open to the public for free or at low cost. Video of many events will be published online.
Lowe received a MacArthur fellowship in 2014, and Frazier won the prize in 2015. The Distinguished Artists’ Interviews will take place on Friday, February 5, 2:30–5:00 PM, in the Thurgood Marshall Ballroom East/South, Mezzanine Level, at the Washington Marriott Wardman Park Hotel in Washington, DC. Preceding their conversation will be another interview: the artist Joyce Scott interviewed by George Ciscle of the Maryland Institute College of Art. Both talks will be live streamed on CAA’s YouTube page.
“Working across every field imaginable, MacArthur fellows capture the public imagination and inspire people to nurture creativity in their own lives and communities,” said Cecilia Conrad, managing director of the MacArthur Fellows Program, during a luncheon at the City Club of Chicago that also featured the labor organizer Ai-Jen Poo and the artist Iñigo Manglano-Ovalle, both MacArthur fellows. “This year-long celebration will showcase fellows’ work, foster new collaborations, and enable these highly creative people to further inspire us all.”
Programming is under development and subject to change; but it is expected to include the following events:
- Lowe will deliver a lecture on “Art in the Social Context” at Stanford University’s Haas Center for Public Service in California, as part of the Mimi and Peter E. Haas Distinguished Visitor program(February 4)
- In conjunction with an exhibition of her work, the Whitney Museum of American Art will host a discussion with the documentary filmmaker Laura Poitras (New York, February).
- Sixth & I, a historic synagogue and cultural event space in Washington, DC, will present a panel discussion featuring MacArthur fellows (March)
- The 92nd Street Y in New York will present a panel discussion featuring MacArthur fellows (March)
- The Economics Club of Chicago will feature two conversation pairings with the arts entrepreneur Claire Chase and the music educator Aaron Dworkin, as well as the computational biologist John Novembre and the historian Tara Zahra (May 25)
- MacArthur fellows will be featured in a plenary session at the annual convention of Americans for the Arts in Boston (June)
- The Chicago Humanities Festival will incorporate MacArthur fellows into its regular annual programming (September)
- The John F. Kennedy Center for the Performing Arts in Washington, DC, will host two free public performances by MacArthur fellows through its Millennium Stage series (October)
The anniversary celebration will also include an online component, featuring one MacArthur fellow each month responding to public questions on Reddit as well as interviews with fellows on popular YouTube channels.
The MacArthur fellowship—called “genius grants” by the media—recognizes exceptionally creative individuals with a track record of achievement and the potential for significant contributions in the future. Fellows each receive a no-strings-attached stipend of $625,000, which comes with no stipulations or reporting requirements and allows recipients maximum freedom to follow their own creative visions. Since 1981, 942 people have been named MacArthur fellows. Fellows are selected through a rigorous process that has involved thousands of expert and anonymous nominators, evaluators, and selectors over the years.
posted by CAA
CAA has announced the recipients of the 2016 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 honorees at a special awards ceremony to be held during Convocation at the 104th Annual Conference in Washington, DC, on Wednesday evening, February 3, 2016, 5:30–7:00 PM. Led by DeWitt Godfrey, president of the CAA Board of Directors, the awards ceremony will take place in the Marriott Ballroom, Salon 2, Lobby Level, Washington Marriott Wardman Park. Convocation and the awards ceremony are free and open to the public. The Washington Marriott Wardman Park is located at 2660 Woodley Road NW, Washington, DC 20008.
The 2016 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
Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice
Duke University Press
Alfred H. Barr Jr. Award
Stephanie Barron and Sabine Eckmann
New Objectivity: Modern German Art in the Weimar Republic 1919–1933
Los Angeles County Museum of Art and DelMonico Books
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Myroslava M. Mudrak and Tetiana Rudenko
Staging the Ukrainian Avant-Garde of the 1910s and 1920s
Arthur Kingsley Porter Prize
Matthew C. Hunter
“Joshua Reynolds’s ‘Nice Chymistry’: Action and Accident in the 1770s”
The Art Bulletin, March 2015
Frank Jewett Mather Award for Art Criticism
Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria
Duke University Press
Art Journal Award
“Movement Building for Beginners”
Art Journal, Fall 2015
Distinguished Feminist Award
Carrie Mae Weems
Distinguished Teaching of Art Award
Distinguished Teaching of Art History Award
Artist Award for Distinguished Body of Work
Distinguished Artist Award for Lifetime Achievement
CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation
Debra Hess Norris
Distinguished Lifetime Achievement Award for Writing on Art
Rosalind E. Krauss
Morey and Barr Award Finalists
CAA recognizes the 2016 finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Awards for their distinctive achievements:
Charles Rufus Morey Book Award Finalists
- Paul Binski, Gothic Wonder: Art, Artifice, and the Decorated Style, 1290–1350, Yale University Press, for the Paul Mellon Centre for Studies in British Art
- Elina Gertsman, Worlds Within: Opening the Medieval Shrine Madonna, Pennsylvania State University Press
- Adam Herring, Art and Vision in the Inca Empire: Andeans and Europeans at Cajamarca, Cambridge University Press
Alfred H. Barr Jr. Award Finalist
- Jens M. Daehner and Kenneth Lapatin, eds., Power and Pathos: Bronze Sculpture of the Hellenistic World, J. Paul Getty Museum
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions Finalist
- Timothy Verdon and Daniel M. Zolli, eds., Sculpture in the Age of Donatello: Renaissance Masterpieces from Florence Cathedral, Museum of Biblical Art, in association with D. Giles
For more information on the 2016 Awards for Distinction, please contact Tiffany Dugan, CAA director of programs. Visit the Awards section of the CAA website to read about past recipients.