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Serve on a CAA Award Jury

posted by Lauren Stark


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 (2014–17). Terms begin in May 2014; award years are 2015–17. 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 be serving on another CAA committee or editorial board. CAA’s president and vice president for committees appoint jury members for service.

The following jury vacancies will be filled this spring:

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 Lauren Stark, CAA manager of programs; submissions must be sent as Microsoft Word attachments. Deadline: April 25, 2014.



Filed under: Awards, Service

Recipients of the 2014 Awards for Distinction

posted by Emmanuel Lemakis


CAA has announced the recipients of the 2014 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 102nd Annual Conference in Chicago, on Wednesday evening, February 12, 2014, 5:30–7:00 PM. Led by Anne Collins Goodyear, president of the CAA Board of Directors, the awards ceremony will take place in the Hilton Chicago’s Grand Ballroom. Convocation and the awards ceremony are free and open to the public. The Hilton Chicago is located at 720 South Michigan Avenue, Chicago, IL 60605.

The 2014 Annual Conference—presenting scholarly sessions, panel discussions, career-development workshops, art exhibitions, a Book and Trade Fair, and more—is the largest gathering of artists, scholars, students, and arts professionals in the United States.

Yvonne Rainer, Distinguished Artist Award for Lifetime Achievement

Yvonne Rainer has been instrumental in the movement to merge the visual arts with dance, performance, and filmmaking. As a founder of the Judson Dance Theater (1962) and of the improvisational group Grand Union (1970), Rainer choreographed major dance works for many decades. She has also produced films that have been hailed globally, and her videos have dissolved the barriers between art forms and revealed a new unified vision of the arts. The author of four books and recipient of prestigious fellowships, Rainer was a longtime professor at the University of California, Irvine, where her prodigious talent and innovation has greatly influenced numerous generations of creative people.

John Berger, Distinguished Lifetime Achievement Award for Writing on Art

Over a career spanning some sixty years, John Berger has considered the visual image from the point of view of a painter, an art critic, a filmmaker, a novelist, a poet, and a human being, with the act of writing as central and significant to his many endeavors. His interdisciplinary approach has allowed him to expand exposition and argument into a more episodic, often lyrical form of writing that juxtaposes imagery—both photographic and drawn—with language that is clear, rooted in acute observation, and personal and passionate. Throughout his career Berger has invested himself in the idea of looking, of seeing past convention and rhetoric, to find a truth that resonates both historically and in the present, and to find words that in their analytical and storytelling cogency refuse subservience to the power of images. Radical in his politics, he has always stressed that art and writing are about relationships, that in their workings they illuminate how we connect with one another and with the world.

Kay Rosen, Artist Award for Distinguished Body of Work

Kay Rosen uses words and letters to examine the ways in which language structures knowledge—particularly an awareness of self and place. She first gained prominence in the 1980s alongside more pointedly feminist artists such as Nancy Dwyer, Jenny Holzer, and Barbara Kruger, all of whom used language to address issues of gender and power. Rosen’s art, however, is less concerned with enlisting words as a tool for political messaging than with demonstrating what language can do on its own, through its structure and letters, which the artist thinks of as “body parts.” For Rosen, language can subvert verbal systems of power and offer alternative ways of reading and constructing meaning without being filtered through the intentional voice of the artist. In her work, as seen in her recent exhibition Kay Rosen at Contemporary Art Gallery in Vancouver, British Columbia (June 28–November 3, 2013), viewers encounter language as an object to be seen as well as a text to be read—at once, a page, a sign, an object, and a painting.

Margaretta M. Lovell and W. J. T. Mitchell, Distinguished Teaching of Art History Award

Margaretta M. Lovell is the Jay D. McEvoy Professor of the History of Art at the University of California, Berkeley, where she has worked since 1981. In addition to her great accomplishments as a scholar of American art, Lovell has taught and mentored generations of students who are full of praise for her extraordinary selflessness, generosity, and dedication. Her creativity and imagination as a teacher and scholar are well matched by her open-minded approach to intellectual and professional issues, free of the binding orthodoxies of theory and political cant, which is regarded as a most welcome breath of fresh air. Lovell deals with students and colleagues with a sense of humanity and idealism, but her approach to mentoring is guided equally by firm grasp of the realities that young people face when moving forward in the field, which she has addressed through myriad imaginative solutions, including an innovative pedagogy seminar that has become her trademark.

W. J. T. Mitchell is not only a distinguished voice in contemporary discourse on the history and theory of art, but he is also a beloved teacher at the University of Chicago, where he is Gaylord Donnelley Distinguished Service Professor of English and Art History. His students praise him for the openness of intellectual inquiry that he nurtures both in and outside the classroom. Many speak of the lasting impact that a simple teaching device of his had on them, called a “show and tell” (a short critical analysis of a manmade object from our daily life), in which the forms of critical thinking come alive as exploratory and experimental process. Mitchell’s classes transcend disciplinary singularity, shining forth with an ecumenical approach to learning that makes the study of images accessible to students in many fields. Unpretentious and deeply humane, Mitchell has carried forward his genuine and inspirational spirit of inquiry and love of knowledge to his students across the spectrum of art history and visual culture.

Reni Gower, Distinguished Teaching of Art Award

Reni Gower is a professor of art at Virginia Commonwealth University in Richmond, where she has taught since 1981. Her dedicated instruction in painting includes complex material processes and innovative approaches and safe practices with encaustic that are widely disseminated through her instructional website and videos. Gower has also been a sought-after leader and national authority in professional practices; her Senior Seminar course has been widely modeled at other institutions. In addition, Gower has maintained a rich art career and developed an extensive body of work with an exemplary exhibition record of sustained quality. Her students and colleagues speak highly and enthusiastically of her influence in the classroom, where she challenges her students to push beyond familiar solutions and be open to experimenting with new technologies and formats.

Lorraine O’Grady, Distinguished Feminist Award

CAA recognizes Lorraine O’Grady for her considerable and important service to the feminist art community, especially in her determined efforts to underscore discrimination and bias through her performance art, photo-based work, writing, teaching, and activism. O’Grady has worked to expand the political content of art, persistently returning to a complicated place that she describes as “where the personal intersects with the historic and cultural.” As part of a small group of women of color in the Women’s Action Coalition, she has used this platform to accentuate the involvement of black women artists in contemporary culture and the perpetual disregard for their contributions. Essays such as “Olympia’s Maid: Reclaiming Black Female Subjectivity” (1992) demonstrate her powerful voice in robustly considering the disinterest in the black female. In the 1990s O’Grady turned to the visual investigations of miscegenation, and in the last decade her art has continued to challenge the marginalization of racially and socioeconomically hybridized artists.

Yukio Lippit, Charles Rufus Morey Book Award

In Painting of the Realm: The Kano House of Painters in 17th-Century Japan (Seattle: University of Washington Press, 2012), Yukio Lippit pursues three questions: What is the nature of artistic production before the advent of the category of art? What was the status of the artist as a social entity and discursive category prior to the transplantation of the European concept of the artist in the late nineteenth century? And what constitutes the “Japaneseness” of painting prior to the consolidation of the nation-state? Focusing on the Kano House of painters over the course of the seventeenth century, Lippit develops answers to these questions by eschewing more conventional methodological approaches and exploring instead a sequence of strategies employed by artists within the Kano House, or operating in tension with it, that helped to formalize a canon for painting conceived as a discrete field of practice with an identifiable national character.

Jeff L. Rosenheim, Alfred H. Barr Jr. Award

Jeff L. Rosenheim’s catalogue for the exhibition Photography and the American Civil War (New York: Metropolitan Museum of Art, 2013) is not only a major contribution to American art history, but also an equally important addition to Civil War studies and to the historiography of the United States in general. While Rosenheim clearly explains the technical aspects of photographic processes and convincingly addresses the formal and aesthetic contributions of photography to art history, he also tells a fascinating story about how photography developed as a viable art form in this country. Matching the breadth and quality of the magisterial exhibition, the catalogue masterfully chronicles the Civil War itself, seen, literally, through the eyes of the photographers and presented in the guise of the people who experienced it directly, including those who did not survive it.

Peter C. Sturman and Susan S. Tai, Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions

Peter C. Sturman and Susan S. Tai’s exhibition catalogue The Artful Recluse: Painting, Poetry, and Politics in Seventeenth-Century China (Santa Barbara, CA: Santa Barbara Museum of Art; New York: Delmonico/Prestel, 2012) presents a probing study of how the painting, calligraphy, and poetry of the “artist recluse” intersected during the Ming-Qing Cataclysm. Entering the seemingly inaccessible physical and mental worlds of the mountain hermit and mist-covered huts of the recluse, The Artful Recluse dispels the notion that such material is inherently obscure and impenetrable to all but the learned scholar. Sturman, Tai, and other contributing authors step beyond well-worn notions of the timeless qualities of this figure in Chinese art and press deep into the tumultuous social, historic, and political context of the Ming-Qing era, revealing in particular the contradictions of artists who disengage from a world that they recognized was in rapid change while engaging it directly with their art and inviting others of a similar reclusive mindset to respond and engage.

Sascha Scott, Arthur Kingsley Porter Prize

Sascha Scott’s article “Awa Tsireh and the Art of Subtle Resistance,” published in the December 2013 issue of The Art Bulletin, ambitiously walks a fine line between the demands of scholarship and the ethics of exploitation. Using the example of Awa Tsireh’s work from the early twentieth century, Scott shows that Pueblo paintings promoted and displayed by Anglos as authentically Native American in fact withheld cultural knowledge, while also offering a new framework for the study of modern Pueblo paintings that restores agency to the artists who made them. In addition, the author elucidates the balance Awa Tsireh found between two philosophical systems of knowledge—an Anglo one that seeks to share knowledge versus a Native American one that aims to control it—and convincingly identifies the artistic methods of evasion, misdirection, coding, and masking as subtly resisting Anglo regimes.

T. J. Demos, Frank Jewett Mather Award

T. J. Demos’s The Migrant Image: The Art and Politics of Documentary during Global Crisis (Durham, NC: Duke University Press, 2013) eloquently analyzes contemporary art that engages the current political reality of continual humanitarian crises while maintaining an open-ended appeal to the imagination. Writing politically and polemically, he offers well-articulated studies of works by artists such as Ursula Biemann, Emily Jacir, Lamia Joreige, Steve McQueen, the Otolith Group, Ahlam Shibli, and Hito Steyerl that take us deep into a South African gold mine, Palestinian refugee camps, Guantanamo Bay, Beirut, Baghdad, Gujarat, and the Sahara, and along other political, economic, and artistic borders. Through a series of incisive readings Demos builds a compelling case for the significance of current artistic practices that employ nontraditional documentary strategies (for which he identifies appropriate precedents) to “construct imaginative possibilities that await potential realization … to mobilize energy that will help bring about reinvented possibilities.”

Glenn Wharton, CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation

The work of Glenn Wharton, an outstanding archaeological conservator, a sensitive conservator of outdoor sculpture, and a leader in the conservation of contemporary art and time-based art, has brought about a major shift in the ethics and approaches to his discipline. After serving as editor of the journal Field Notes: Practical Guides for Archaeological Conservation and Site Preservation, he devoted almost three years of research for the conservation of the monumental painted brass statue of King Kamehameha I in Honolulu, conducting the treatment as a public event in which community input influenced technical decisions. The project became the subject of Wharton’s PhD dissertation and a well-received monograph, and his subsequent publications and lectures on the treatment of the Kamehameha monument have changed the way conservators preserve sensitive cultural objects. In 2006, he took up two positions: one as conservator for time-based art at the Museum of Modern Art in New York; and the second as a faculty member in New York University’s museum-studies program. In that same year he founded the International Network for the Conservation of Contemporary Art – North America and served as its executive director until 2010. Wharton’s career has been distinguished by unceasing growth and commitment to thoroughness, as demonstrated in his rigorous publications, in the dissemination of his work, and, perhaps most important, in his exceptional generosity and dedication to teaching.

Art Journal Award

Jeanne Dunning’s “Tom Thumb, the New Oedipus,” published in the Winter 2013 issue of Art Journal, creatively and cleverly melds aspects of narrative storytelling, visual research, and textual analysis to cast new light on the enduring value of psychoanalytic models through a close reading of the folk-tale character Tom Thumb. It does so with humor and clarity, and is at once a pleasure to read and a careful prod to the imagination. The pairing of the text with the veritable archive of Tom Thumb imagery supports and illustrates the artist’s thesis; it also encourages the reader to creatively speculate about the place and importance of the visual details within these images. In this, the piece provides an excellent model of the best artist projects imaginable for a print publication.

Morey and Barr Award Finalists

CAA recognizes the 2014 finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Award for their distinctive achievements:

Morey Finalists

Barr Finalist

Barr Award for Smaller Museums, Libraries, Collections, and Exhibitions

Contact

For more information on the 2014 Awards for Distinction, please contact Emmanuel Lemakis, CAA director of programs. Visit the Awards section of the CAA website to read about past recipients.



Finalists for the 2014 Morey and Barr Awards

posted by Lauren Stark


CAA is pleased to announce the finalists for the 2014 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 January and presented during Convocation in Chicago, in conjunction with the 102nd 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, 2012, and August 31, 2013. The four finalists 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, 2012, and August 31, 2013, under the auspices of a museum, library, or collection. The two finalists for this year are:

Second Barr Award for Smaller Museums, Libraries, or Collections

The Barr jury has shortlisted a second Barr Award for Smaller Museums, Libraries, or Collections. The two finalists are:

The presentation of the Awards for Distinction will take place on Wednesday evening, February 12, 2014, 5:30–7:00 PM, at the Hilton Chicago. 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.



Filed under: Awards, Books

CAA has begun accepting nominations for the 2014 Awards for Distinction. Please review the guidelines below to become familiar with the nomination process and to download, complete, and submit the requested materials.

CAA will name the recipients of the 2014 awards in January and honor them in a special ceremony during Convocation at the 102nd Annual Conference in Chicago.

General Guidelines

In your letter, state who you are; how you know (of) the nominee; how the nominee and/or his or her work or publication has affected your practice or studies and the pursuit of your career; and why you think this person (or, in a collaboration, these people) deserves to be recognized. We also urge you to contact up to five colleagues, students, peers, collaborators, and/or coworkers of the nominee to write letters; no more than five letters are considered. Letters of support are important for reference, but the awards decisions are the responsibilities of the juries based on their expert assessment of the qualifications of the nominees.

Nominations for book and exhibition awards should be for authors of books published or works exhibited or staged between September 1, 2012, and August 31, 2013. Books published posthumously are not eligible. Letters of support are not required for the Morey and Barr awards. All submissions must include a completed 2014 nomination form and one copy of the nominee’s CV (limit: two pages); book-award nominations do not require a CV (see below for the appropriate forms for the Morey and Barr awards and the Porter Prize).

Please send all materials by mail or email to: Lauren Stark, 2014 Awards for Distinction, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004. Deadline: July 31, 2013, for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Awards; August 31, 2013, for all others.

Charles Rufus Morey Book Award

To give the jury full opportunity to evaluate each submission fairly, submit materials well before the deadline of July 31, 2013. Please review the following nomination guidelines:

  • A publisher may submit no more than five titles. In addition, CAA accepts nominations from its membership, jury members, reviews editors for The Art Bulletin and Art Journal, and caa.reviews field editors
  • Publishers may not submit the same title for the Morey and Barr awards. The Morey jury does not accept exhibition catalogues
  • Eligible books must have been published between September 1, 2012, and August 31, 2013
  • Books published posthumously are not eligible
  • CAA and each jury member must receive a copy of the nominated book by July 31, 2013. A total of six copies of the book must be sent. To receive the mailing addresses for the jury, please contact Lauren Stark, CAA manager of programs
  • Complete and submit the Morey nominaton form
  • Letters of support are not required

Alfred H. Barr Jr. Award

To give the jury full opportunity to evaluate each submission fairly, submit materials well before the deadline of July 31, 2013. Please review the following nomination guidelines:

  • A publisher may submit no more than five titles. In addition, CAA accepts nominations from its membership, jury members, reviews editors for The Art Bulletin and Art Journal, and caa.reviews field editors
  • Publishers may not submit the same title for the Morey and Barr awards. The Morey jury does not accept exhibition catalogues
  • Eligible books must have been published between September 1, 2012, and August 31, 2013
  • Books published posthumously are not eligible
  • CAA and each jury member must receive a copy of the nominated book by July 31, 2013. A total of six copies of the book must be sent. To receive the mailing addresses for the jury, please contact Lauren Stark, CAA manager of programs
  • Complete and submit the Barr nomination form
  • Letters of support are not required

Arthur Kingsley Porter Prize

To determine eligibility, authors of articles in The Art Bulletin must complete the Porter nomination form.

Frank Jewett Mather Award

Please submit copies of critical writings, which may be website links and printouts, photocopies or scanned pages of newspapers or magazines, and more. If the writing is contained in a single volume (such as a book), please provide the publication information.

Distinguished Teaching of Art and Art History Awards

Letters for these two awards are particularly important for the juries because of the personal contact involved in successful teaching.

Contact

Please write to Lauren Stark, CAA manager of programs, for more information about the nomination process.



Filed under: Awards

CAA Seeks Award Jury Members

posted by Lauren Stark


CAA invites nominations and self-nominations for individuals to serve on nine of the twelve juries for the annual Awards for Distinction for three years (2013–16). Terms begin in May 2013; award years are 2014–16. 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 be serving on another CAA committee or editorial board. CAA’s president and vice president for committees appoint jury members for service.

The following jury vacancies will be filled this spring:

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 Lauren Stark, CAA manager of programs; submissions must be sent as Microsoft Word attachments. Deadline: April 26, 2013.



Filed under: Awards, Service

Recipients of the 2013 Awards for Distinction

posted by Emmanuel Lemakis


CAA has announced the recipients of the 2013 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 during Convocation at the 101st Annual Conference in New York, on Wednesday evening, February 13, 2013, 5:30–7:00 PM, at the Hilton New York. Led by Anne Collins Goodyear, president of the CAA Board of Directors, the awards ceremony will take place in East Ballroom, Third Floor. Convocation and the awards ceremony are free and open to the public. The Hilton New York is located in midtown Manhattan, at 1335 Avenue of the Americas (Sixth Avenue), New York, NY 10010.

The 2013 Annual Conference—presenting scholarly sessions, panel discussions, career-development workshops, art exhibitions, a Book and Trade Fair, and more—is the largest gathering of artists, art historians, students, and arts professionals in the United States.

Ellsworth Kelly, Distinguished Artist Award for Lifetime Achievement

For over seventy years, Ellsworth Kelly has forged an independent and influential career as a draftsman, painter, sculptor, photographer, and printmaker. Born in 1923, Kelly entered the United States Army after early studies at Pratt Institute. After serving in the 603rd Engineers Camouflage Battalion from 1943 to 1945, he entered the School of the Museum of Fine Arts in Boston in 1946. It was during his time in Paris, from 1948 to 1954, that Kelly experimented with chance compositions, surreal forms, and bold colors and in doing so built the foundation for his lifelong investigation of abstraction in art. In 1956, Betty Parsons Gallery hosted the first solo exhibition of his work in New York, and inclusion in key exhibitions followed: Sixteen Americans at the Museum of Modern Art (1959), Primary Structures at the Jewish Museum (1966), and Serial Imagery at the Pasadena Art Museum (1968). The Museum of Modern Art in New York staged his first retrospective in 1973, with additional surveys taking place at the Stedelijk Museum (1979), the Galerie Nationale du Jeu de Paume (1992), the Solomon R. Guggenheim Museum (1996), Haus der Kunst, Munich (2011), and the Metropolitan Museum of Art (2012). For the artist and jury member Roy Dowell, Kelly’s “deceptively simple paintings and drawings have been a symbol of that elusive and inexplicable quality of rightness and accuracy of vision that I value in art. The sustained intelligence and rigor of his practice is most admirable as he offers to his audience an example of unwavering conviction and elegance.”

Elaine Sturtevant, Artist Award for Distinguished Body of Work

For over four decades, the American-born, Parisian-based artist Elaine Sturtevant has been creating blindingly original works. Because her work calls into question our deep ties with authorship as the defining quality of any artwork, it has perplexed both the art world and the general public, as demonstrated by her recent solo exhibition, Rock & Rap /c Simulacra at Gavin Brown’s Enterprise in New York (May 4–June 23, 2012), her first in the United States in seven years. From the 1960s to the 1990s, Sturtevant based her appropriation-based work only on cultural iconography that was tied to specific artists, be that Andy Warhol or Joseph Beuys. In 2004, she started looking at commercial television imagery as a readymade and found—in its brain-numbing repetition—a recognizable source that was less revered than her art-historical precedents but upon which she could perform the same revelatory operation. While Sturtevant’s multiscreen installations are now widely exhibited and celebrated, their existence has helped clarify the type of critical discourse she had hoped to instigate in 1965, when she first showed her paintings.

T. J. Clark, Distinguished Lifetime Achievement Award for Writing on Art

CAA recognizes T. J. Clark, professor emeritus of the History of Art Department at the University of California, Berkeley, as an influential, prolific, and inspired art historian and cultural critic. For over forty years he has written scholarly books, journal articles, exhibition reviews, and essays on the history of European and American art from the Renaissance to the present. Since the early 1970s, with the publication of two seminal books on French nineteenth-century realism—The Absolute Bourgeois and The Image of the People—his voice has been consistently recognized for its articulate, committed advocacy of the social and political significance of art. An enormously influential essay from that time called for “a new art history,” one founded on the responsibility of the historian or critic for situating aesthetic objects and approaches within the larger frame of cultural critique. From these early books and articles, with their Marxist and theoretical orientation, through subsequent studies of Impressionism and Édouard Manet (1980s), Abstract Expressionism (1990s), and Nicolas Poussin and Pablo Picasso (2000s), Clark has engaged the foundations and outcomes of the phenomenon of modernity in art. Over many years of writing on art, culture, and politics for the London Review of Books and the New Left Review, as well as his contributions to the collective Retort, he has provided us with a large body of work that addresses the significance of the expanded field of the visual arts in the world today.

Hal Foster and Claire Bishop, Frank Jewett Mather Award

For over thirty years Hal Foster has been an extraordinarily prolific and influential critic and theorist of modern and contemporary art whose writing is theoretically sophisticated yet lucidly readable. In The First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha (Princeton, NJ: Princeton University Press, 2012), he demonstrates how these artists instantiated their generation’s ambivalent, distressed, but not despairing relationship to the image world they inhabited and remade. A second book, The Art-Architectural Complex (London: Verso, 2011), takes off from Pop’s image skepticism and adds to it concepts from Minimalism, site- and medium-specific art, and the political economy in an aesthetically and ideologically grounded critique of the “banal cosmopolitanism” of much contemporary, global, corporate, and institutional architecture.

In Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012), the art critic, art historian, and curator Claire Bishop has articulated an important historical overview of the global emergence of participatory art, also called social practice, as a series of aesthetic, ethical, and political projects that have dynamically engaged audiences in order to promote emancipatory social relations. Sheaddresses key examples and their interaction with audiences since the early twentieth century, thus richly grounding her study in art history and aesthetic theory. Her controversial and thought-provoking conclusions courageously trouble our assumptions about the effectiveness of political artworks, questioning their oppositional quality, their effects on the audiences they reach, and their relation to the institutions that promote them. Artificial Hells is noteworthy for its inclusive character, considering artists and collectives active in Eastern and Western Europe, Latin America, and the United States.

Harmony Hammond and Martha Rosler, Distinguished Feminist Award

CAA recognizes Harmony Hammond for her outstanding contributions to feminist and queer culture through art, writing, curating, teaching, and activism. Since the 1960s, she has created muscular, tactile paintings and sculptures that have redefined abstraction in contemporary art. Once at the forefront of the feminist reclamation of craft-based processes throughout the 1970s, Hammond has continued to innovate brilliantly with materials. Her most recent monochromes persistently grapple with the physical properties of paint and are intricately related to a feminist and queer politics of spectatorship. A founding member of A.I.R. Gallery and the Heresies Collective, Hammond has organized many exhibitions featuring women artists throughout her career. She has also been the leading light for promoting, documenting, and historicizing lesbian artists in the United States. Based in New Mexico, Hammond remains an active art critic and advocate for local art production and is a brilliant, generous teacher who energetically mentors students in their study of art making, art history, and aikido, a Japanese martial art.

For over forty years, Martha Rosler’s pioneering work as an artist, activist, and educator has consistently put her at the leading edge of contemporary art. Since her groundbreaking Body Beautiful and Bringing the War Home collages of the late 1960s, she has been acknowledged as an incisive analyst of the myths and realities of contemporary culture and is recognized among the most influential artists of her generation. Rosler’s prolific, boundary-shattering practice—including work in video, photo-text, performance, and installation—has taken on questions of public space, systems of transportation, issues of war, surveillance, and information, and women’s voices and experience regarding all of the above. She has also covered these subjects with her students at Rutgers University, where she taught for thirty years, in the Whitney Museum Independent Study Program, and most recently at the dozens of international lectures and workshops that have increasingly intersected with her often-collaborative studio practice. Rosler’s critical writing is also recognized for the same, lucid perspectives on the ongoing, ever-evolving connections among consumerism, technology, politics, sexism, class divisions, and violence that are reflected in her artwork.

Buzz Spector, Distinguished Teaching of Art Award

Buzz Spector has influenced students at the important institutions where he has worked since 1978, including Washington University in Saint Louis, Cornell University, and the University of Illinois, Urbana-Champaign. His guidance goes beyond those he has directly taught, as his writings, artworks, installations, and conceptual theories have challenged artists everywhere. Spector has examined our body of knowledge, its means of dissemination through the trusted authority of the published book, and the ephemeral act of reading. His students and colleagues spoke of his engagement as a teacher, how he conveys a flow of energy, information, and concepts to them, describing him as “profound,” “inspiring,” and “a strong advocate” who is “personally committed to his students.” His personal style is “extremely astute, honest, and humorous in his approach” with “insightful, encouraging critique.” Spector can “begin a discussion with an essential question and then spend the hours it takes to tease out literary and scientific references, contemporary art themes, and personal poignancies.” Most of all, he “imparts knowledge as a way to expand how one thinks about one’s own possibility and potential.”

June Hargrove, Distinguished Teaching of Art History Award

June Hargrove, a professor of nineteenth-century art in the Department of Art and Archaeology at the University of Maryland in College Park, has maintained her enthusiasm for teaching and scholarship through her keen ability to nurture and educate generations of students. While maintaining high standards for her students, Hargrove gives freely of her own time beyond the classroom so that students discover in her a compassionate and thoughtful mentor. Striking a careful balance, Hargrove has found the time to create new courses that embrace the interests of students while widening the breadth of her own knowledge. She has been able to distill large, complex ideas in survey courses, expanding further on issues of race, sexuality, or gender, going beyond what textbooks might cover. Hargrove has also helped connect younger scholars to established art historians and museum curators beyond their own immediate environment. From all of these achievements, she has revealed a fundamental passion for teaching, for making ideas come alive, to generations of undergraduate students first at Cleveland State University and then for decades at the University of Maryland.

Mary K. Coffey, Charles Rufus Morey Book Award

In How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State (Durham, NC: Duke University Press, 2012), Mary K. Coffey contends that the work of Mexican muralists in the early twentieth century was co-opted by governmental and cultural institutions to serve an ideology often directly at odds with the artists’ original aims. Furthermore, she expands traditional narratives that cast the works of Diego Rivera, José Clemente Orozco, and others as uncomplicated monuments to social equality and lays bare the ways in which the Mexican muralists often reinscribed restrictive gender norms and promoted myths about mestizo identity. Beautifully illustrated and designed, How a Revolutionary Art Became Official Culture offers not only exciting revelations about Mexican modernism but also presents a highly original way to consider the connections between the avant-garde and the state. Coffey’s meticulously researched and vigorously argued account offers a paradigm of art-historical scholarship at its finest.

Philipp Kaiser and Miwon Kwon, Alfred H. Barr Jr. Award

The exhibition catalogue for Ends of the Earth: Land Art to 1974 (Los Angeles: Museum of Contemporary Art, 2012) presents a stimulating, long-overdue scholarly assessment of this international phenomenon. Wresting the history of Land art from its ossified foundations and courageously bringing an unruly topic into clear focus, the curator Philipp Kaiser and the scholar Miwon Kwon join forces to produce this appropriately expansive, decidedly revelatory, and eminently readable publication. Through scholarly essays, interviews, a checklist, and photodocumentation, Ends of the Earth remaps the geography of the movement, proposing that sites international and urban were as critical to Earthworks as the desert landscapes of the American Southwest, leaving as a trace of its labors a sturdy, earthy catalogue that serves as a further “non-site” for the resolutely uncontainable projects that redefined aesthetic practice in the 1960s and 1970s and that resonate anew in our ecologically challenged times.

Joanne Pillsbury, Miriam Doutriaux, Reiko Ishihara-Brito, and Alexandre Tokovinine, Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions

Edited by Joanne Pillsbury, Miriam Doutriaux, Reiko Ishihara-Brito, and Alexandre Tokovinine, Ancient Maya Art at Dumbarton Oaks (Washington, DC: Dumbarton Oaks Research Library and Collection, 2012) represents a substantial and long-lasting scholarly and publishing achievement. It is also a highly readable reference work, offering insight into the traditions of sculpture, ceramics, jade, and painting of the Maya cultures of ancient America. The volume, one in a series documenting Precolumbian art at Dumbarton Oaks, meticulously catalogues nearly one hundred works and features scholarly essays addressing the formation of the collection by Robert Woods Bliss and providing background to Maya civilization and the role of ritual objects in its politics, religion, and society. With contributions by nineteen specialists, Ancient Maya Art at Dumbarton Oaks is a model of scholarly collaboration in which different voices echo the variety of objects and ensure the most recent knowledge, particularly regarding advances in epigraphy and subsequent reinterpretations. That the roster of scholars includes not only American curators, professors, and archeologists, but also experts from Guatemala and Mexico, reflects a new level of international cooperation in this sometimes-contentious territory.

Yukio Lippit, Arthur Kingsley Porter Prize

Yukio Lippit’s essay “Of Modes and Manners in Japanese Ink Painting: Sesshū’s Splashed Ink Landscape of 1495,” published in the March 2012 issue of The Art Bulletin, is a new look at a master work of medieval Japanese ink painting that has commonly been studied biographically and interpreted as a pictorialization of Zen Buddhism. Lippit’s evenhanded approach builds upon earlier interpretations but makes artistic intentions only one facet of his considerations. He elucidates the scroll in its entirety, focusing on the work’s splashed ink landscape and prose preface, painted and written by Sesshū Tōyō himself, as well as the poetic inscriptions added to the work by six leading Zen monks after the artist gifted the scroll to his student, Josui Soen. Lippit broadens his engagement by looking at it through the lens of a semiotician and a social and cultural historian. Elegantly constructing his argument, the author writes in clear and compelling terms, making his case for the specialist and nonspecialist alike.

Lance Mayer and Gay Myers, CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation

Lance Mayer and Gay Myers have carved a unique position within the field of art-historical preservation. Their fine book American Painters on Technique: The Colonial Period to 1860 (Los Angeles: J. Paul Getty Museum, 2011) brings together two lifetimes’ worth of research, insight, and dedication, forming a testament to their authority in an engaging text that will have a profound impact on the way historians think, and on the way conservators make treatment decisions. Since the late 1970s, Mayer and Myers have worked as consultant conservators to the Lyman Allyn Art Museum in Connecticut and as independent advisers to numerous collectors and leading institutions. They have studied and treated many of the finest American paintings, such as Emanuel Leutze’s Washington Crossing the Delaware (1851), Samuel F. B. Morse’s Gallery of the Louvre (1831–33), and Rembrandt Peale’s George Washington (Patriae Pater) (1824). Mayer and Myers have also mentored budding conservators, and their résumés detail a stream of excellent publications and presentations ranging from scholarly articles to university courses, public lectures, and treatments.

Art Journal Award

The recipient of the 2013 Art Journal Award is Julia Bryan-Wilson for “Invisible Products,” published in the Summer 2012 issue.

Morey and Barr Award Finalists

CAA recognizes the 2013 finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Award for their distinctive achievements:

The Morey award finalists for 2013 are:

The finalist for the 2013 Barr award is:

The finalist for the 2013 Barr Award for Smaller Museums, Libraries, Collections, and Exhibitions is:

Contact

For more information on the 2013 Awards for Distinction, please contact Emmanuel Lemakis, CAA director of programs. Visit the Awards section of the CAA website to read about past recipients.



Finalists for the 2013 Morey and Barr Awards

posted by Lauren Stark


CAA is pleased to announce the finalists for the 2013 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 January and presented during Convocation in New York, in conjunction with the 101st Annual Conference.

The Charles Rufus Morey Book Award honors an especially distinguished book in the history of art, published in any language between September 1, 2011, and August 31, 2012. The four finalists are:

  • Esra Akcan, Architecture in Translation: Germany, Turkey, and the Modern House (Durham, NC: Duke University Press, 2012)
  • Mary K. Coffey, How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State (Durham, NC: Duke University Press, 2012)
  • Cynthia Hahn, Strange Beauty: Issues in the Making and Meaning of Reliquaries, 400–circa 1204 (University Park: Pennsylvania State University Press, 2012)
  • J. P. Park, Art by the Book: Painting Manuals and the Leisure Life in Late Ming China (Seattle: University of Washington Press, 2012)

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, 2011, and August 31, 2012, under the auspices of a museum, library, or collection. The two finalists are:

  • Philipp Kaiser and Miwon Kwon, eds., Ends of the Earth: Land Art to 1974 (Los Angeles: Museum of Contemporary Art, 2012)
  • Luke Syson with Larry Keith, Leonardo da Vinci: Painter at the Court of Milan (London: National Gallery, 2011)

The Barr jury has shortlisted a second Barr Award for Smaller Museums, Libraries, or Collections. The two finalists are:

  • Joanne Pillsbury, Miriam Doutriaux, Reiko Ishihara-Brito, and Alexandre Tokovinine, eds., Ancient Maya Art at Dumbarton Oaks (Washington, DC: Dumbarton Oaks Research Library and Collection, 2012)
  • Anne T. Woollett, Yvonne Szafran, and Alan Phenix, Drama and Devotion: Heemskerck’s “Ecce Homo” Altarpiece from Warsaw (Los Angeles: Getty Publications, 2012)

The presentation of the 2013 Awards for Distinction will take place on Wednesday evening, February 13, 5:30–7:00 PM, at the Hilton New York. 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.




CAA encourages members to nominate their colleagues for one of twelve Awards for Distinction for 2013, to be named in January and presented in February at the 101st Annual Conference in New York. The different perspectives and anecdotes from multiple personal letters of recommendation provide award juries with a clearer picture of the qualities and attributes of the nominees.

In the letter, state who you are; how you know (of) the nominee; how the nominee and/or his or her work or publication has affected your practice or studies and the pursuit of your career; and why you think this person (or, in a collaboration, these people) deserves to be recognized. You should also contact up to five colleagues, students, peers, collaborators, and/or coworkers of the nominee to write letters.

All submissions must include a completed nomination form and one copy of the nominee’s CV (limit: two pages); book awards do not require a CV. Nominations for book and exhibition awards should be for the authors of books published or works exhibited or staged between September 1, 2011, and August 31, 2012. No more than five letters per candidate are considered.

Please read the descriptions of the twelve awards, the names of all past recipients, and the full instructions for the nomination process. You may also write to Lauren Stark, CAA manager of programs, for more information. Deadline: July 31, 2012, for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Award; August 31, 2012, for all other awards.



Filed under: Awards

Linda Downs Receives 2012 Arts Achievement Award

posted by Christopher Howard


Wayne State University in Detroit has named Linda Downs, CAA executive director and chief executive officer, as one of five recipients of its 2012 Arts Achievement Awards. The awards, which are given to school alumni at any stage of their career, honor a passionate dedication to their chosen field. Downs earned a bachelor’s degree in philosophy from Monteith College at Wayne State in 1968. She also taught as an adjunct professor in the university’s Department of Art and Art History from 1976 to 1989.

The awards reception and program took place on April 13, 2012, at the school’s Alumni House. The four other honorees were: Kendall Smith, a lighting designer for the Michigan Opera House (class of 1982); Sonya Tayeh, a choreographer and dancer (class of 2002); Lisa Vallee-Smith, a public-relations consultant (class of 1984); and the Magenta Giraffe Theatre Company, a Detroit community theater founded in 2008 by three school alumni.

Downs joins a list of illustrious past recipients, including a 1998 winner, Arthur C. Danto, professor emeritus of philosophy at Columbia University in New York and a longtime art critic for the Nation (class of 1948). Like Danto, Downs has worn many hats during her four-decade career as a curator, educator, scholar, and administrator. Prior to her appointment as CAA executive director in 2006, she led the Figge Art Museum in Davenport, Iowa, during which time she oversaw the museum’s privatization and subsequent expansion into a 100,000-square-foot building, designed by the architect David Chipperfield. In 2005, with Wanda Corn and Patricia McDonnell, Downs organized the museum’s inaugural exhibition in its new space, The Great American Thing: Modern Art and National Identity, 1915–1935. From 1989 to 2002, she was head of education at the National Gallery of Art in Washington, DC, and before that worked as curator of education at the Detroit Institute of Arts from 1976 to 1989.

Downs has published articles on art-museum education and was an educational consultant for public-school projects in Detroit, Davenport, and Washington, DC. She also served on the Getty Education Center’s Discipline-Based Art Education Project. A scholar of twentieth-century Mexican art, Downs curated two shows devoted to Diego Rivera at the Detroit Institute of Arts: Diego Rivera: A Retrospective in 1986, with Ellen Sharp; and The Rouge: The Image of Industry in the Art of Charles Sheeler and Diego Rivera in 1978, with Mary Jane Jacob. Downs explored a surprising chapter in the history of arts patronage with her 1999 book, Diego Rivera: The Detroit Industry Murals, a close look at the artist’s controversial murals commissioned by Edsel Ford in 1932 for the Detroit Institute of Arts.

A tireless campaigner for art organizations, Downs has served on many national nonprofit boards and acted as a consultant to art museums throughout the United States, Mexico, Australia, Lithuania, Estonia, and Russia. She currently serves as secretary of the National Humanities Alliance’s board of directors.

Top image: Linda Downs was presented her award by John Richardson, chairperson of the James Pearson Duffy Department of Art and Art History at Wayne State (photograph by Janine Pixley, Wayne State University)



Filed under: Awards, People in the News

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 (2012–15). Terms begin in May 2012; award years are 2013–15. 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 be serving on another CAA committee or editorial board. CAA’s president and vice president for committees appoint jury members for service.

The following jury vacancies will be filled this spring:

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 Lauren Stark, CAA manager of programs; submissions must be sent as Microsoft Word attachments. Deadline: April 20, 2012.



Filed under: Awards, Committees, Governance

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