CAA

CAA News Today

2018 CAA Annual Conference. Image: Rafael Cardenas

We are pleased to announce CAA has received a major anonymous gift of $1 million to fund travel for art history faculty and their students to special exhibitions related to their classwork. The gift will establish the Fund for Travel to Special Exhibitions, a new program to be administered and juried by CAA.

“This incredibly generous gift will not only support art history scholars and students for years to come, it is a powerful message to the visual arts field that their work is as important as ever,” said Hunter O’Hanian, CAA’s executive director. “The new Fund also reinforces CAA as the preeminent organization supporting and advancing professionals in the visual arts and design.”

Groundbreaking in its scope, the Fund for Travel to Special Exhibitions is intended exclusively to enhance the first-hand knowledge of original works of art. The Fund will support travel, lodging, and admission for art history students and faculty in conjunction with special museum exhibitions in the United States and throughout the world. Awards will be made exclusively to support travel to exhibitions that directly correspond to the class content. However, exhibitions on all artists, periods, and areas of art history are eligible.

Awards of up to $10,000 will be granted on a per project basis by a jury formed by CAA to oversee the Fund for Travel to Special Exhibitions.

Applications will be accepted by CAA beginning in fall 2018. All application criteria and information will be listed on the CAA website.

CAA is pleased to announce the 2018 recipients of the Terra Foundation for American Art International Publication Grant. This program, which provides financial support for the publication of book-length scholarly manuscripts in the history of American art, is made possible by a generous grant from the Terra Foundation for American Art. For this grant, “American art” is defined as art (circa 1500–1980) of what is now the geographic United States.

The seven Terra Foundation grantees for 2018 are:

Buquet, Benoît, Graphics: Art and design graphique aux États-Unis dans les anées 1960 et 1970, Les Presses Universitaires François-Rabelais.
Winner of the International Author Conference Subvention.

Chicago, Judy, Through the Flower—My Struggle as a Woman Artist, translated into French by Sophie Taam, Les Presses du Réel.

Hills, Patricia, Modern Art in the USA: Issues and Controversies of the 20th Century, translated into Chinese by Qiao Hu, Jiangsu Phoenix Fine Arts Publishing.

Mehring, Frank, Riding the Tidal Wave of Modernism: (Trans)National Approaches to the Artwork of Winold Reiss, Deutscher Kunstverlag.
Winner of the International Author Conference Subvention.

Sheehan, Tanya, Study in Black and White: Race, Photography, Humor, Pennsylvania State University Press.

Sutton, Gloria, Stan VanDerBeek’s Movie-Drome: An Experience Machine, translated into French. Preface by Philippe-Alain Michaud. Éditions B2.

Wells, K. L. H., Weaving Modernism: Postwar Tapestry Between Paris and New York, Yale University Press.

The International Author Conference Subventions confer two non-US authors of top-ranked books travel funds and complimentary registration to attend CAA’s 2019 Annual Conference in New York, February 13-16; they also received one-year CAA memberships.

The two author awardees for 2018 are:

  • Benoît Buquet
  • Frank Mehring
Filed under: Awards

CAA invites nominations and self-nominations for individuals to serve on eight of the thirteen juries for the annual Awards for Distinction for three years (2018–21). Terms begin in May 2018; award years are 2019–21. CAA’s fifteen awards honor artists, art historians, authors, curators, critics, and teachers whose accomplishments transcend their individual disciplines and contribute to the profession as a whole and to the world at large.

Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2018. CAA’s president and vice president for committees appoint jury members for service.

Jury vacancies for spring 2018:

Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and a CV (an abbreviated CV no more than two pages, may be submitted). Please send all materials by email to Aakash Suchak, CAA grants and special programs manager; submissions must be sent as Microsoft Word or Adobe PDF attachments. For questions about jury service and responsibilities, contact Tiffany Dugan, CAA director of programs and publications.

Deadline extended! New deadline is: Thursday, May 31, 2018.

Pepón Osorio, Badge of Honor, 1995. Photo: Sarah Welles

Drawing on his childhood in Puerto Rico and his adult life as a social worker in the Bronx, artist Pepón Osorio creates meticulous installations incorporating the memories, experiences, and cultural and religious iconography of Latino communities and family dynamics. The 2018 CAA Distinguished Artist Awardee for Lifetime Achievement, Osorio is a professor in the Community Arts Practices Program at the Tyler School of Art at Temple University. He is also the recipient of a 2018 United States Artists Fellowship, among many other awards and fellowships.

CAA media and content manager Joelle Te Paske worked with Pepón in 2016 on reForm, a project responding to school closures in Philadelphia in collaboration with students, teachers, and Temple University. In the project high schoolers, affectionately nicknamed “Bobcats” after their former school mascot, were invited to contribute to an art installation at Tyler School of Art, where they also met with local politicians to advocate for community-based school reform.

Joelle caught up with Pepón in January 2018 to hear his thoughts on being an artist and professor, and to learn about his hopes for the year ahead.

This interview has been edited for length and clarity.

Pepón Osorio, To my darling daughters, 1990. Photo: Carlos Avedaños

JTP: I’m happy to be speaking with you. When I heard that you were getting the award, it was great news!

So, we find ourselves in 2018—how are you doing? What’s on your mind?

PO: I think that I am still processing the fact that we are in 2018 and 2017 didn’t look very good for us. Both as an artist and a citizen. I’m hoping that we begin to tell the truth in a country of lies. I hope that is what 2018 is like. This is a very interesting moment with the CAA lifetime achievement award, because I’ve been mostly thinking in retrospect. How in the world did we get here? How did we get here and how did this happen?

I’m looking in retrospect and trying to see where energy is stored and how to rejuvenate so I can move forward with a new perspective. That’s where I’m at.

JTP: I love that—looking for pockets of energy that are there, but haven’t quite been found.

PO: That in addition to how do we tell the truth in a country of lies? What does that mean? Everything’s been blurry to the point that you begin to doubt. That’s where we are.

JTP: Definitely. And what does your work look like right now? 

PO: I am working on a couple of ideas. My production is very, very, very small. I don’t produce tons of work. I only produce work that I feel is urgent and is important. So I’m working on a whole bunch of ideas for possible pieces. Of all those ideas, one will emerge and come out. I’m working with that and also teaching. I’m trying to perfect the transformation of my methodology into a philosophical pedagogy. I’m trying to figure that out without losing touch with my creative self and my sense of curiosity.

JTP: When you say philosophical, do you mean putting together a formal pedagogy? Or more in a spiritual way?

PO: Well, both. I have been teaching at Tyler over the years and I feel that I always want to be able to center myself in my pedagogy in the way that I center myself in my artistic practice.

Pepón Osorio, Scene of the Crime… (whose crime?), 1993. Photo: Frank Gimpaya

I’m looking at what I’m really good at and that which I know most, which is my methodology of getting my work done, my practice. How do I transform that into a pedagogy of philosophy? That I can go around and teach something that I feel has this philosophy at the center of the work, similar to my artistic practice. Those are the things that I’ve been doing. A lot of looking in retrospect. Really looking in retrospect at the system.

JTP: That’s great. I’ve enjoyed being at CAA because I’ve been thinking more about history. It’s always there for you to learn from. The more you dig into it, the more you learn about the moment you’re in.

PO: Exactly.

JTP: What are the biggest changes you’ve seen in your time at Tyler as part of the faculty?

PO: The changes that I’m seeing at Tyler are new faculty members are coming in with a preoccupation that seems to be different from the history Tyler was built on. I’m looking at faculty members who are much more interested and preoccupied with things other than the object; where new faculty members are coming in with a clear understanding of what the true intention of becoming an artist is.

So I’m seeing that. I’m seeing transformations. We obviously have a new dean who is also looking at ways of transforming the past into a bright and hopeful future. Which is basically what I think this whole nation should be looking at.

JTP: I’m with you. Feels a little blurry, as you said, right now.

PO: Exactly. I think that the new blood and new faculty members that are coming to Tyler are interested in redefining a lot of concepts. I see that a lot in the world. I see that a lot with new generations of people coming up who are very interested in: “Let’s redefine this thing, because the system as it is simply doesn’t work.”

JTP: Would you say that’s your favorite part of being on the faculty at the moment?

Pepón Osorio

PO: Yes. Also because I always feel that I found a niche in this. As an artist, dealing with the social, the political, the truth, and interdisciplinary work that creates very complex, chaotic environments—all that stuff seems to be so unacademic. I came in and I just felt like, “What in the world? What is my place in all this?” Little by little, by joining a new faculty and redefining, it’s making perfect sense. I’m finding myself more and more comfortable. That there are people around me that are supportive, that understand my trajectory and understand how I got to where I am now, whatever that place is.

It’s wonderful and I think to me that is a highlight. It’s finding a space in academia that feels comfortable and that I can bring the complexity of who I am into it, without necessarily having to be only one person.

JTP: I think that’s beautifully put. Everyone brings their own experiences. No one wants to be part of a monolithic institution that doesn’t let people be themselves …well, ok, some people do. But it’s interesting to me there’s so much more openness for that than I thought there might be, coming to a traditional academic membership organization like CAA, for instance.

PO: Basically, for me, it feels that this is not in demand. I am not filling up a demand of what all the people want to see. This is who I am. In relationship to the earlier question, I just feel like I was able to figure out a way to become myself in a world where people have demands of, “Oh you should be a professor.” Everybody thinks that you should be a [certain type of] professor. No. You just can’t be anybody else but who you are. It just so happened that being a professor is part of that.

We are looking at being an artist from a three-dimensional reality and in a more inter-dimensional way—that being an artist and professor is a very complex human being. I love that. I’d love to embrace that and not hide it from anyone. As a professor, I come in with all my imperfections as well. It’s not like I’m trying to correct them, I’m just going to do a balancing act with all this. That’s me, anyway.

JTP: If there was one thing that you would recommend to students or artists that they should be reading that they aren’t, what would you recommend?

PO: I’m not sure, but a student did ask me the other day if I have a recommendation of what he should be reading and what came out, which is really interesting, was feminist literature.  Just listen to that stuff, read it, and understand what it means so then you can place yourself, as a male, in a place of understanding. That’s all.

JTP: I love it—you say, “Yes, I have an answer. Feminist literature.” Done. 

Detail, En la barbería no se llora (No crying allowed in the barbershop),
1994. Photo: Frank Gimpaya

PO: I think that women should be reading it, but I think that men should be getting into it and reading and understanding where it comes from. I think that people, mostly men, will probably begin to empathize with the reality and the system, the fact that it’s not supportive of women.

JTP: I’m curious if you’ve attended CAA conferences in the past? What did you think?

PO: I have participated in the past. I have been in a couple of them.

JTP: It’s my first experience with the conference. It’s enormous.

PO: Yes, it always surprises me how the college system is much bigger than what I always think of it. I just wish that there were much younger people coming in to turn this thing upside down.

JTP: I agree. We’re trying to think of different ways to get closer to that. This year I know that we’re doing outreach to high schools in LA for all the free events. How amazing would it be to have a whole bunch of juniors and seniors in high school from a local public LA high school show up at the LA convention center alongside established, older academics? Just everybody.

PO: So both of them can see each other. Both of them can see each other and it’s like, “Okay, this is what’s coming up,” and the younger will say, “Oh, this is what it’s been.”

Find a happy medium somewhere in there. It’s just too much of the extremes. That’s my reaction. Too much of the extremes.

JTP: I agree. It reminds me of reForm, even just in terms of space—basically allowing people to feel comfortable. I just loved that the Bobcats (high school students who collaborated on the project with Osorio) walked through the main space of Tyler to get down to their classroom. It made Tyler theirs, in a way.

PO: A lot of people asked me, “Why aren’t you doing this piece in their neighborhood?” It was because the chances for the students to come into a college and to occupy space in a college environment were one in a million. I just thought if we can open up a space for them to occupy a classroom, open up a space for them to understand and to begin to look at the social architecture of a university, that’s more than enough for me.

I think that’s basically what I’m referring to when I’m talking about the CAA conference. If we can only suggest and show up a little bit more, that it’s much bigger than that, and that there’s a world out there both ways, that’s it. That’s what needs to happen. So people can come and begin to think differently. That was exactly what happened with the Bobcats. I said, “I’m just doing this at the institution because there are multiple functions in which the institution can work. This is one of them.” We think about institutions as the only place for education. Education is much bigger than that.

JTP: I agree, and I think that gets us closer to the truth you were talking about earlier. It opens up many more opportunities. 

PO: Yes. It unties that sense of curiosity in all the kids’ minds.

reForm, 2014-2016, installation at Tyler School of Art classroom. Photo: Constance Mensh

JTP: Do you think artists can change the world?

PO: I think artists have changed the world. I think that the changes that I have seen in this country are not by artists alone, but I think that they have. When you’re talking about artists, I think you’re mentioning just these single artists changing the world, and I don’t think that that has happened. But I don’t think that that cannot happen.

I’m saying yes, because in the changes that I’ve seen in the world, there has always been an artist behind that. I do agree, but I don’t think that an artist alone can do it.

To break it down, I think that creativity has always been at the center of world’s change. Artists have always been on the periphery of it. Sometimes at the center of those changes.

JTP: Great, thank you. Lastly, you touched on this a bit, but what gives you hope for the future?

PO: Change.

JTP: Pepón, I’m right there with you. The possibility that it won’t be how it is right now.

PO: Exactly. That’s all. I just hope for change.

CAA’s Annual Conference Convocation, including the presentation of the Awards for Distinction, will occur February 21, 6:00-7:30 PM and will be livestreamed.

See the full list of 2018 CAA Awards for Distinction.

Honorees this year include Pepón Osorio, Firelei Báez, Kellie Jones, Joseph Masheck, Lynn Hershman Leeson, Lowery Stokes Sims, and many other scholars, artists, authors, and teachers

CAA Annual Conference, Los Angeles, CA, February 21-24, 2018

Pepón Osorio. Courtesy the artist.

CAA is pleased to announce the recipients and finalists of the 2018 Awards for Distinction and the creation of a new Award for Excellence in Diversity. Honorees this year are among the leading scholars, artists, teachers, and authors in the field of visual arts. The CAA Awards for Distinction are presented during Convocation at the CAA Annual Conference on Wednesday, February 21 at 6:00PM at the Los Angeles Convention Center. The CAA Annual Conference runs from February 21-24, 2018.

Among the winners this year is Pepón Osorio, recipient of the 2018 Distinguished Artist Award for Lifetime Achievement. Osorio is the first artist of Puerto Rican descent to receive the award from CAA. Drawing on his childhood in Puerto Rico and his adult life as a social worker in the Bronx, Osorio creates meticulous installations incorporating the memories, experiences, and cultural and religious iconography of Latino communities and family dynamics. “The work is created when I bring together where I am and where the rest of society is,” said Osorio in an Art21 documentary about his work. Osorio is a professor in the Community Arts Practices Program at the Tyler School of Art at Temple University. He is also the recipient of a 2018 United States Artists Fellowship, among many other awards and fellowships.

Firelei Báez. Courtesy of the artist and Gallery Wendi Norris, San Francisco.

Firelei Báez is the winner of the 2018 Artist Award for Distinguished Body of Work. Báez was born in the Dominican Republic and works in New York City. Her work on paper, canvas, and in sculpture explores black female subjectivity, myth, and science fiction. Baez is a creator of fantastical figures that transmute through ornate pattern and vivid color. She has held residencies at Headlands Center for the Arts, Joan Mitchell Center, Fine Arts Work Center, Lower East Side Print Shop, and Lower Manhattan Cultural Council Workspace, and is the recipient of the Joan Mitchell Painters and Sculptors Award, the Jacques and Natasha Gelman Award in Painting, the Catherine Doctorow Prize for Contemporary Painting, and the Chiaro Award from Headlands Center for the Arts.

The newly created Award for Excellence in Diversity recognizes the work of an individual in the visual arts whose commitment to inclusion in scholarship or in practice stands out as groundbreaking and unifying.

The inaugural winner of the Award for Excellence in Diversity is Kellie Jones, Associate Professor in Art History and Archeology and the Institute for Research in African American Studies at Columbia University. Jones’s research and teaching concerns African American and African Diaspora artists, Latinx and Latin American artists, and issues in contemporary art and museum theory. Her most recent book, South of Pico: African American Artists in Los Angeles in the 1960s and 1970s, was published by Duke University Press in 2017.

CAA will also award for the first time two Distinguished Feminist Awards, one to a visual artist and one to a scholar. The winners of the 2018 Distinguished Feminist Awards are Lynn Hershman Leeson (visual artist) and Lowery Stokes Sims (scholar).

In publishing, CAA recognizes the achievements of several authors and editors.

Charles Rufus Morey Book Award

Benjamin Anderson

Cosmos and Community in Early Medieval Art, Yale University Press, 2017

Laura Anne Kalba

Color in the Age of Impressionism: Commerce, Technology, and Art, Penn State University Press, 2017

Finalists:

Susanna Berger

The Art of Philosophy: Visual Thinking in Europe from the Late Renaissance to the Early Enlightenment, Princeton University Press, 2017

Dorothy Ko

The Social Life of Inkstones: Artisans and Scholars in Early Qing China University of Washington Press, 2017

Alfred H. Barr Jr. Award

Barbara Drake Boehm and Melanie Holcomb, editors

Jerusalem, 1000–1400: Every People Under Heaven, The Metropolitan Museum of Art, 2016

Finalists:

Wanda M. Corn

Georgia O’Keeffe: Living Modern, Brooklyn Museum, DelMonico Books, Prestel, 2017

Matthew Affron

Paint the Revolution: Mexican Modernism, 1910–1950, Yale University Press, 2016

Robert Cozzolino, Anne Classen Knutson, and David M. Lubin, editors

World War I and American Art, Princeton University Press, 2016

Pilar Silva Maroto

Bosch: The 5th Centenary Exhibition, Thames & Hudson, 2016

Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions

Melissa Rachleff

Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965, Grey Art Gallery, New York University and DelMonico Books, Prestel, 2017

Finalists:

Jane A. Sharp, editor

Thinking Pictures: The Visual Field of Moscow Conceptualism, Zimmerli Art Museum, Rutgers University, 2016

Kevin Sharp, editor

Wild Spaces, Open Seasons: Hunting and Fishing in American Art, University of Oklahoma Press, 2016

Frank Jewett Mather Award for Art Criticism

Elise Archias

The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci, Yale University Press, 2016

Art Journal Award

Heather Igloliorte

“Curating Inuit Qaujimajatuqangit: Inuit Knowledge in the Qallunaat Art Museum,” Art Journal, Summer 2017

Finalists:

Nazar Kozak, “Art Embedded into Protest: Staging the Ukrainian Maidan,” Art Journal, Spring 2017

Allison Young, “Visualizing Apartheid Abroad: Gavin Jantje’s Screenprints of the 1970s,” Art Journal, Fall/Winter 2017

Arthur Kingsley Porter Prize

Aaron M. Hyman

“Inventing Painting: Cristóbal de Villalpando, Juan Correa, and New Spain’s Transatlantic Canon,” The Art Bulletin, June 2017

AWARDS FOR DISTINCTION IN TEACHING, WRITING ON ART, AND CONSERVATION

Helen Frederick is the winner of the 2018 Distinguished Teaching of Art Award.

Edward S. Cooke, Jr., and Alex Potts are the winners of the 2018 Distinguished Teaching of Art History Award.

Joseph Masheck is the winner of the 2018 Distinguished Lifetime Achievement Award for Writing on Art.

The CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation award for 2018 will be given to Paul Messier.

Learn about the juries that select the recipients of the CAA Awards for Distinction.

Contacts

Nick Obourn, Director of Communications, Marketing, and Membership
nobourn@collegeart.org, 212-392-4401

Joelle Te Paske, Media and Content Manager
jtepaske@collegeart.org, 212-392-4426

IMAGES AVAILABLE UPON REQUEST

Hashtags: #CAA2018 #CAALA #CAAworks #CAAadvocacy #CAAfairuse

Finalists for the 2018 Morey and Barr Awards

posted by November 14, 2017

CAA is pleased to announce the 2018 finalists for the Charles Rufus Morey Book Award and two Alfred H. Barr Jr. Awards. The winners of the three prizes, along with the recipients of other Awards for Distinction, will be announced in January 2018 and presented during Convocation in conjunction with CAA’s 106th Annual Conference, taking place in Los Angeles, February 21-24, 2018.

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, 2016, and August 31, 2017. The four finalists for 2018 are:

Benjamin Anderson, Cosmos and Community in Early Medieval Art (New Haven: Yale University Press, 2017)

Susanna Berger, The Art of Philosophy: Visual Thinking in Europe from the Late Renaissance to the Early Enlightenment (Princeton: Princeton University Press, 2017)

Laura Anne Kalba, Color in the Age of Impressionism: Commerce, Technology, and Art (University Park: Pennsylvania State University Press, 2017)

Dorothy Ko, The Social Life of Inkstones: Artisans and Scholars in Early Qing China (Seattle: University of Washington Press, 2017)

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, 2016, and August 31, 2017, under the auspices of a museum, library, or collection. The five finalists for 2018 are:

Matthew Affron, Paint the Revolution: Mexican Modernism, 1910-1950 (New Haven: Yale University Press, 2016)

Wanda M. Corn, Georgia O’Keeffe: Living Modern (Brooklyn: Brooklyn Museum, 2017)

Robert Cozzolino, Anne Classen Knutson, and David M. Lubin, eds., World War I and American Art (Princeton: Princeton University Press, 2016)

Barbara Drake Boehm and Melanie Holcomb, eds., Jerusalem, 1000-1400: Every People Under Heaven (New York: Metropolitan Museum of Art, 2016)

Pilar Silva Maroto, Bosch: The Fifth Centenary Exhibition (New York: Thames & Hudson, 2016)

Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions

In 2009, CAA established a second Barr award for the author(s) of catalogues produced by smaller museums, libraries, and collections with an annual operating budget of less than $10 million. The finalists for the second Barr award for 2018 are:

Melissa Rachleff, Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965 (New York: Grey Art Gallery, New York University, 2017)

Jane Ashton Sharp, Thinking Pictures: The Visual Field of Moscow Conceptualism (New Brunswick, NJ: Zimmerli Art Museum, Rutgers, 2016)

Kevin Sharp, ed., Wild Spaces, Open Seasons: Hunting and Fishing in American Art (Norman, OK: University of Oklahoma Press, 2016)

The presentation of the 2018 Awards for Distinction will take place on Wednesday evening, February 21, 6:00–7:30 PM, at the LA Convention Center in Los Angeles. The event is free and open to the public. For more information about CAA’s Awards for Distinction, please contact Aakash Suchak, CAA grants and special programs manager at 212-392-4435.

Filed under: Awards, Books

Serve on a CAA Award Jury

posted by March 16, 2017

CAA invites nominations and self-nominations for individuals to serve on seven of the twelve juries for the annual Awards for Distinction for three years (2017–20). Terms begin in May 2017; award years are 2018–20. CAA’s twelve awards honor artists, art historians, authors, curators, critics, and teachers whose accomplishments transcend their individual disciplines and contribute to the profession as a whole and to the world at large.

Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2017. CAA’s president and vice president for committees appoint jury members for service.

Jury vacancies for spring 2017:

Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and a CV (an abbreviated CV no more than two pages, may be submitted). Please send all materials by email to Katie Apsey, CAA manager of programs; submissions must be sent as Microsoft Word or Adobe PDF attachments. For questions about jury service and responsibilities, contact Tiffany Dugan, CAA director of programs. 

Deadline Extended: May 31, 2017.

CAA announces the recipients of the 2017 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 105th Annual Conference in New York, on Wednesday, February 15, 2017, at 5:30 PM. See the conference website for full details.

Kerry James Marshall, Untitled (policeman), 2015, acrylic on PVC panel, 60 x 60 inches, 60 9/16 x 60 1/2 x 2 3/4 inches (framed) © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York.

Among the winners this year is Kerry James Marshall, recipient of the 2017 CAA Artist Award for Distinguished Body of Work. In his 35-year career painting and making art, Marshall has depicted the African American experience through a medium that has often overlooked the lives of black Americans. His current retrospective at the Met Breuer, titled “Kerry James Marshall: Mastry” (October 25, 2016–January 29, 2017), brings together nearly 80 works by Marshall. Holland Cotter in The New York Times wrote of the show glowingly: “Mr. Marshall has absorbed enough personal history, American history, African-American history and art history to become one of the great history painters of our time.”

Kerry James Marshall biography

Faith Ringgold, the winner of the 2017 CAA Distinguished Artist Award for Lifetime Achievement, is widely considered one of the most influential living African American artists. Born in Harlem in 1930, she is an artist, feminist, activist, and educator who makes use of a variety of media, including painting, quilts, sculpture, performance, and children’s books. Civil Rights, racial justice, feminism, and art history are consistent themes. Ringgold earned BS and MA degrees in art from the City College, the City University of New York, and taught in the NYC public school system for almost twenty years. Since the 1970s Ringgold has been an activist and cofounder of several feminist and antiracist organizations, along with artist Poppy Johnson, art critic Lucy Lippard, and her daughter Michelle Wallace, among others.

Faith Ringgold biography

Full list of 2017 CAA Awards for Distinction recipients

Charles Rufus Morey Book Award
Kishwar Rizvi
The Transnational Mosque: Architecture and Historical Memory in the Contemporary Middle East
University of North Carolina Press

Alfred H. Barr Jr. Award
Ruth Fine, ed.
Procession: The Art of Norman Lewis
Pennsylvania Academy of the Fine Arts, in association with the University of California Press

Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Carmella Padilla and Barbara Anderson, eds.
A Red Like No Other: How Cochineal Colored the World
Skira Rizzoli, in association with the Museum of International Folk Art

Arthur Kingsley Porter Prize
Christine I. Ho
The People Eat for Free and the Art of Collective Production in Maoist China”
The Art Bulletin, September 2016

Frank Jewett Mather Award for Art Criticism
Laura U. Marks
Hanan al-Cinema: Affections for the Moving Image
MIT Press

Distinguished Feminist Award
Joan Marter

Art Journal Award
Amy A. DaPonte
“Candida Höfer’s Türken in Deutschland as ‘Counter-publicity’”
Art Journal, Winter 2016

Distinguished Teaching of Art Award
Virginia Derryberry

Distinguished Teaching of Art History Award
Patricia Mainardi

Kerry James Marshall, Untitled (Looking Man), 2016, acrylic on PVC panel, 30 1/2 x 24 1/2 inches, © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York.

Artist Award for Distinguished Body of Work
Kerry James Marshall

Distinguished Artist Award for Lifetime Achievement
Faith Ringgold

CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation
Tom J. S. Learner

Morey and Barr Award Finalists

CAA recognizes the 2017 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

  • Niall Atkinson, The Noisy Renaissance: Sound, Architecture, and Florentine Urban Life, Pennsylvania State University Press
  • Elizabeth Kindall, Geo-Narratives of a Filial Son: The Paintings and Travel Diaries of Huang Xiangjian (1609–1673), Harvard University Asia Center

Alfred H. Barr Jr. Award Finalists

  • Helen Molesworth, ed., Kerry James Marshall: Mastry, Museum of Contemporary Art, Chicago, and Skira Rizzoli (honorable mention)
  • Barbara Haskell and Harry Cooper, Stuart Davis: In Full Swing, National Gallery of Art, Whitney Museum of American Art, and DelMonico Books
  • Alisa LaGamma, Kongo: Power and Majesty, Metropolitan Museum of Art
  • Adrian Sudhalter, Dadaglobe Reconstructed, Kunsthaus Zürich and Scheidegger & Spiess

Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions Finalists

  • Andreas Marks, ed., Tōkaidō Texts and Tales: Tōkaidō “gojūsan tsui” by Kuniyoshi, Hiroshige, and Kunisada, University Press of Florida (honorable mention)
  • Zdenka Badovinac, Eda Čufer, and Anthony Gardner, eds., NSK from “Kapital” to Capital: Neue Slowenische Kunst—An Event of the Final Decade of Yugoslavia, Moderna galerija and MIT Press
  • Geoffrey Batchen, Emanations: The Art of the Cameraless Photograph, Govett-Brewster Art Gallery and DelMonico Books
  • Valérie Rousseau, Art Brut in America: The Incursion of Jean Dubuffet, American Folk Art Museum

Contact

For more information on the 2017 Awards for Distinction, please contact Tiffany Dugan, CAA director of programs. Visit the Awards section of the CAA website to read about past recipients.

 

CAA is pleased to announce the 2017 finalists for the Charles Rufus Morey Book Award and two Alfred H. Barr Jr. Awards. The winners of the three prizes, along with the recipients of nine other Awards for Distinction, will be announced in late January and presented during Convocation in conjunction with CAA’s 105th Annual Conference in New York, taking place February 15–18, 2017.

atkinsonnoisyCharles 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, 2015, and August 31, 2016. The three finalists for 2017 are:

LaGama KongoAlfred 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, 2015, and August 31, 2016, under the auspices of a museum, library, or collection. The five finalists for 2017 are:

Padilla and Anderson A Red Like No OtherAlfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions

In 2009, CAA established a second Barr award for the author(s) of catalogues produced by smaller museums, libraries, and collections with an annual operating budget of less than $10 million. The five finalists for the second Barr award for 2017 are:

The presentation of the 2017 Awards for Distinction will take place on Wednesday evening, February 15, 5:30–7:00 PM, at the New York Hilton Midtown in Manhattan. The event is free and open to the public. For more information about CAA’s Awards for Distinction, please contact Katie Apsey, CAA manager of programs.

Filed under: Awards, Books, Uncategorized

Join a CAA Awards for Distinction Jury!

posted by May 10, 2016

CAA Needs You to Serve on a Jury!

As we start preparing for the Annual Conference, CAA is seeking members to join its Awards for Distinction Juries. Jury members must be current CAA members.

We have extended the deadline to May 20, 2016. Those selected will be acknowledged on the CAA conference website and in the Annual Convocation program, and will receive a complimentary ticket to the 2017 Annual Conference Opening Reception.

CAA invites nominations and self-nominations for individuals to serve on eight of the twelve juries for the annual Awards for Distinction for three years (2016–19). Terms begin in May 2016; award years are 2017–19. CAA’s twelve awards honor artists, art historians, authors, curators, critics, and teachers whose accomplishments transcend their individual disciplines and contribute to the profession as a whole and to the world at large.

Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2016. CAA’s president and vice president for committees appoint jury members for service.

The following juries have vacancies:

Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and an abbreviated CV (no more than two pages). Please send all materials by email to Katie Apsey, CAA manager of programs; submissions must be sent as Microsoft Word or Adobe PDF attachments. For questions about jury service and responsibilities, contact Tiffany Dugan, CAA director of programs.

Extended Deadline: May 20, 2016.

Thank you.

Filed under: Awards, Service, Uncategorized