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Recent Deaths in the Arts

posted by Christopher Howard

In its periodic list of obituaries, CAA recognizes the lives and achievements of the following artists, historians, teachers, curators, dealers, philanthropists, and others whose work has significantly influenced the visual arts.

  • Molly Lamb Bobak, an artist, teacher and the first Canadian woman to be sent overseas as a war artist, died on March 2, 2014. She was 95
  • Markus Brüderlin, a Swiss curator, art historian, and director of the Kunstmuseum Wolfsburg, died on March 16, 2014, at age 55
  • Chu Teh-Chun, a Chinese painter also known as Zhu Dequn who was celebrated for integrating traditional Chinese painting with Western abstraction, died on March 26, 2014. He was 94 years old
  • Derek Clarke, a painter inspired by Scottish and Irish landscapes, died on February 10, 2014, at the age of 101. He had taught for many years at the Edinburgh College of Art
  • Margaret Crow, a Texan philanthropist and matriarch of a family of real-estate developers, died on April 11, at age 94. The Trammell and Margaret Crow Collection of Asian Art in Dallas is named for her and her husband
  • Alan Davie, a Scottish painter of colorful abstractions, passed away on April 5, 2014. He was 93 years old
  • Lucia Eames, a designer, the daughter of Charles Eames, and the owner of the Eames Office for twenty-six years, died on April 1, 2014. She was 83
  • Joseph Anthony “Joe” Gatto, a noted jewelry artist and the founding visual-art dean of the Los Angeles County High School for the Arts, died on November 13, 2013. He was 78 years old. CAA has published a special obituary for Gatto
  • John Heskett, a writer, professor, and lecturer on industrial design who greatly expanded the theorization of his subject, died on February 25, 2014. He was 76
  • Frederick Horowitz, an artist, educator, author, and advocate of Josef Albers’s teaching, died on September 12, 2013, at age 75. CAA has published a special text on Horowitz
  • Alexis Hunter, a feminist and conceptualist photographer who based in London, died on February 24, 2014. She was 65
  • Charlotte Jirousek, associate professor of textiles and apparel at Cornell University, passed away on February 12, 2014. She was 75 years old
  • Peter Kalkhof, a German artist based in London known for his colorful linear abstractions, died on February 24, 2014, at the age of 80. He also taught art for many years at Reading University
  • Monika Kinley, a British curator, collector, and dealer who specialized in outsider art, passed away on March 9, 2014, at age 88
  • Donald F. McCallum, an art historian, professor, and scholar of Japanese art, died on October 23, 2013. He was 74 years old. CAA has published a special obituary for McCallum
  • Kenneth W. Prescott, an art historian, curator, and ornithologist whose last position was chairman of the Department of Art at the University of Texas at Austin, died on August 20, 2013. He was 93
  • Ernest Silva, a painter, sculptor, and professor at the University of California, San Diego, from 1979 to 2013, died on February 24, 2014. He was 65
  • Edward Sozanski, an art critic for the Philadelphia Inquirer for three decades, died on April 14, 2014. He was 77 years old
  • Martin Sullivan, the former director of the Smithsonian Institution’s National Portrait Gallery from 2008 to 2012, died on February 25, 2014. He was 70
  • Theo Wujcik, an artist, professor, and master printmaker who worked with Jasper Johns and Robert Morris, died on March 29, 2014, at age 78

Read all past obituaries in the arts in CAA News, which include special texts written for CAA. Please send links to published obituaries, or your completed texts, to Christopher Howard, CAA managing editor, for the next list.

Filed under: Obituaries, People in the News

CAA Salutes Its Fifty-Year Members

posted by Christopher Howard

CAA warmly thanks the many contributions of the following dedicated members who joined CAA in 1964 or earlier. This year, the annually published list welcomes thirteen artists, scholars, and curators whose distinguished exhibitions, publications, and teaching practices have shaped the direction and history of art over the last fifty years.

1964: Richard J. Betts; Ruth Bowman; Vivian P. Cameron; Kathleen R. Cohen; Paula Gerson; Ronald W. Johnson; Jim M. Jordan; William M. Kloss; Rose-Carol Washton Long; Phyllis Anina Moriarty; Annie Shaver-Crandell; Judith B. Sobre; and Alan Wallach.

1963: Lilian Armstrong; Richard Brilliant; Eric G. Carlson; Dean Carter; Vivian L. Ebersman; Francoise Forster-Hahn; Walter S. Gibson; Caroline M. Houser; Susan Koslow; E. Solomon; Lauren Soth; Richard E. Spear; Roxanna A. Sway; Athena Tacha; and Roger A. Welchans.

1962: Jo Anne Bernstein; Phyllis Braff; Jacquelyn C. Clinton; Shirley S. Crosman; Frances D. Fergusson; Gloria K. Fiero; Jaroslav Folda; Rosalind R. Grippi; Harlan H. Holladay; Seymour Howard; Alfonz Lengyel; Mary L. Maughelli; David Merrill; Francis V. O’Connor; John T. Paoletti; Nancy P. Sevcenko; Thomas L. Sloan; Elisabeth Stevens; Anne Betty J. Weinshenker; and William D. Wixom.

1961: Matthew Baigell; Margaret Diane David; W. Bowdoin Davis Jr.; David Farmer; J. D. Forbes; Isabelle Hyman; Henry A. Millon; Clifton C. Olds; Marion E. Roberts; David Rosand; and Conrad H. Ross.

1960: Shirley N. Blum; Kathleen Weil-Garris Brandt; Dan F. Howard; Eugene Kleinbauer; Edward W. Navone; Linda Nochlin; J. J. Pollitt; and Claire R. Sherman.

1959: Adele M. Ernstrom; Geraldine Fowle; Carol H. Krinsky; James F. O’Gorman; and Ann K. Warren.

1958: Samuel Y. Edgerton Jr.; Damie Stillman; and Clare Vincent.

1957: Marcel M. Franciscono; Bruce Glaser; Jane Campbell Hutchison; and John F. Omelia.

1956: Svetlana L. Alpers; Norman W. Canedy; David C. Driskell; John Goelet; Joel Isaacson; Jack J. Spector; and John M. Schnorrenberg.

1955: Lola B. Gellman; Irving Lavin; Marilyn A. Lavin; and Suzanne Lewis.

1954: Franklin Hamilton Hazlehurst; Patricia C. Loud; Thomas J. McCormick; Jules D. Prown; Jane E. Rosenthal; Irving Sandler; Lucy Freeman Sandler; and Harold Edwin Spencer.

1953: Dorathea K. Beard; Margaret McCormick; Seymour Slive; and Jack Wasserman.

1951: Wen C. Fong.

1950: Marilyn J. Stokstad.

1949: Dario A. Covi; and Ann-Sofi Lindsten.

1948: William S. Dale.

1947: Dericksen M. Brinkerhoff; David G. Carter; Ellen P. Conant; Ilene H. Forsyth; and J. Edward Kidder Jr.

1945: James S. Ackerman.

Filed under: Membership, People in the News

New Faces for Art Journal

posted by Alyssa Pavley

Art Journal is inaugurating the new position of web editor. Following interviews in February and a strong recommendation from the journal’s editorial board, Anne Collins Goodyear, the president of CAA’s Board of Directors, has appointed Gloria Sutton to the position. The web editor will be responsible for the content and presentation of material on the journal’s website, which complements materials in the printed publication with freestanding projects, primarily by artists.

The step occurs as CAA moves to a partnership with Taylor & Francis, to publish all three of the organization’s journals: The Art Bulletin, Art Journal, and CAA members will select the journal(s) they would like to receive in print, and for the first time all three journals will available online, free to CAA members.

Of the new position, Sutton writes, “I am excited to help shape Art Journal’s online presence during this pivotal period and foster new intellectual exchanges among artists, scholars, critics, and curators of contemporary art.”

Sutton, who is assistant professor of contemporary art history and new media at Northeastern University in Boston, Massachusetts, will serve a three-year term as web editor. She is an art historian, curator, and author of many works on new media, including the book The Experience Machine: Stan VanDerBeek’s Movie-Drome and Expanded Cinema, to be published by MIT Press this fall. Sutton has curated exhibitions at the Museum of Contemporary Art and the MAK Center for Art and Architecture, both in Los Angeles, California, and at Ars Electronica in Linz, Austria.

Also joining the Art Journal Editorial Board is the art historian Kate Mondloch, whose research focuses on the cultural, social, and aesthetic possibilities of new technologies. She is an associate professor of contemporary art and theory at the University of Oregon in Eugene, where she directs the certificate program in new media and culture. Mondloch is the author of Screens: Viewing Media Installation Art (Minneapolis: University of Minnesota Press, 2010).

Filed under: Art Journal, People in the News

This year’s recipients of CAA’s International Travel Grants arrived in Chicago on Sunday, February 9, a few days in advance of the Annual Conference. Although the temperature outside was freezing, the mood among the program’s participants was considerably warmer due to their enthusiasm and friendliness. Funded by a generous grant from the Getty Foundation, the grantees (as pictured above from left to right) included:  Katerina Gadjeva (Bulgaria), Freeborn Odiboh (Nigeria), Susana S. Martins (Portugal), Kanwal Khalid (Pakistan); Magdalena Nowak (Poland), Adriana Oprea (Romania), Cezar Bartholomeu (Brazil), Daria Kostina (Russia), Eddie Butindo-Mbaalya (Uganda); Lilianne Lugo Herrera (Cuba), Laris Borić (Croatia), Josefina de la Maza Chevesich (Chile), Fernando Martinez Nespral (Argentina), Portia Malatjie (South Africa), Mahmuda Khnam (Bangladesh), Rael Artel (Estonia); Ahmed Wahby (Egypt), Hugues Heumen Tchana (Cameroon), Heba Nayel Barakat Hassanein (Malaysia), and Eric Appau Asante (Ghana). For some, it was their first visit to the United States; for all, it was their first to Chicago and to a CAA Annual Conference.

Now in its third year, CAA’s International Travel Grant Program aims to bring a more diverse and global perspective to the study of art history by generating international scholarly exchange. Over time, the program will build CAA’s international membership and strengthen its connections to an increasingly global art community. The international travel grant recipients were selected by a jury of CAA members from over one hundred applicants based on the following criteria: all had to be art history professors, artists who teach art history, or museum curators with advanced degrees in art or art history; they had to be from countries not well represented in CAA’s membership; and they had to demonstrate that attending the conference would significantly support or strengthen their work.

With additional support from the National Committee for the History of Art (NCHA), several CAA members—including members of its board of directors and International Committee and representatives from NCHA—took part in the visitors’ activities throughout the conference week, serving as hosts and/or participants in a preconference session about international topics in art history. This year graduate students from Chicago-area universities also participated to assist the grant recipients in visiting museums and galleries around town. Through informal conversations, excursions, and meals, these CAA members introduced grantees to colleagues in their fields, advised them about conference activities, and exchanged information about the practice of art history in their countries. For many, the week’s activities marked the beginning of new friendships and scholarly collaborations, to be continued in various countries around the world and at future CAA conferences.

A highlight of this year’s program was the full-day preconference about International Topics in Art History held on Tuesday, February 11, 2014. Each of the grant recipients gave presentations about their work, addressing topics such as art and national identity, international issues in contemporary art, cross-cultural influences on artistic styles, and curriculum reassessments of art historical training. The talks featured a wide range of art, from Renaissance arches to Islamic-Hispanic domestic architecture, from communist-era paintings in Poland and Russia to contemporary art in Estonia, South Africa, and Malaysia. Following the presentations, Rick Asher, professor of art history at the University of Minnesota, led a lively discussion that further explored these topics and related issues about how art history is practiced in different parts of the world. Joining him were Professors Mark Cheetham (University of Toronto), Jennifer Milam (University of Sydney), Steven Nelson (UCLA), and museum curator Joanne Pillsbury (Metropolitan Museum of Art).

“The diversity of the grantees was astonishing, and their respective self-introductions brought very much to the meeting. It was clear that nobody had had such opportunities of meeting colleagues from so many distant cultures and countries as we did that day.”
–Eva Forgacs, professor of Russian and Central European art history and a host for this year’s program

Later in the week, grantees attended a session sponsored by CAA’s International Committee entitled Topics in Global Art History: Historical Connections. The first in a series of sessions on global art history, this year’s panel included presentations by two former grant recipients, Shao-Chien Tseng (Taiwan) and Trinidad Perez (Ecuador). The goal going forward is to solicit proposals for papers from former grantees to reinforce connections between them and CAA members.

CAA’s International Committee remained centrally involved in planning this year’s travel grant program. We are particularly grateful to Ann Albritton, outgoing chair of the committee, for her enthusiastic support. In addition to co-organizing the session on Topics in Global Art History (with committee member Gwen Farrelly), Ann offered guidance on program plans, lined up several hosts, and served as an energetic host herself.

At the close of the week’s activities, grant recipients and hosts met again to report on what they had learned and how it will impact their work in the future. Several discussed preliminary plans to co-organize meetings, guest curate exhibitions, and/or arrange guest lectures at each other’s universities. Their experiences were well-summarized by Laris Borić, who wrote after he returned home:

Personally I was deeply impacted by the enthusiasm and dedication of some of the speakers at the conference, CAA staff and my fellow grant recipients. As I have already said in one of the debates, awareness that we all share a common passion and dedication towards research and teaching made me feel I belong to a common tribe or nation made of art historians wherever they come from.
–Laris Borić, professor of Renaissance art and architecture and grant recipient from Croatia

Image Captions

First: 2014 CAA International Travel Grant Recipients (left to right): Katerina Gadjeva (Bulgaria), Freeborn Odiboh (Nigeria), Susana S. Martins (Portugal), Kanwal Khalid (Pakistan); Magdalena Nowak (Poland), Adriana Oprea (Romania), Cezar Bartholomeu (Brazil), Daria Kostina (Russia), Eddie Butindo-Mbaalya (Uganda); Lilianne Lugo Herrera (Cuba), Laris Borić (Croatia), Josefina de la Maza Chevesich (Chile), Fernando Martinez Nespral (Argentina), Portia Malatjie (South Africa), Mahmuda Khnam (Bangladesh), Rael Artel (Estonia); Ahmed Wahby (Egypt), Hugues Heumen Tchana (Cameroon), Heba Nayel Barakat Hassanein (Malaysia), Eric Appau Asante (Ghana) (photograph by Bradley Marks).

Second: Joanne Pillsbury and Eric Asante (photograph by Bradley Marks).

Third: Fernando Martinez Nespral and Mahmuda Khnam (photograph by Bradley Marks).

Fourth: Deborah Marrow from the Getty Foundation talks with grant recipients at a reception following the preconference (left to right): Eddie Butindo-Mbaalya, Cesar Bartholomeu, Hugues Heumen Tchana, Freeborn Odiboh, Eric Appau Asante (photograph by Bradley Marks).

Thanks to 2014 Career Services Mentors and Leaders

posted by Emmanuel Lemakis

CAA wishes to thank the artists, scholars, curators, critics, educators, and other professionals in the visual arts who generously served as Career Services mentors—for the Artists’ Portfolio Review, Career Development Mentoring, the Mock Interview Sessions, and the Professional Development Roundtable Discussions—during the 2014 Annual Conference in Chicago. The organization also appreciates the work of the leaders of the Professional-Development Workshops and the speakers at Orientation.


Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University; and David M. Sokol, University of Illinois, Chicago (emeritus).

Artists’ Portfolio Review

Ivan Albreht, University of Miami; Elissa Armstrong, Virginia Commonwealth University; Marie Bukowski, Southern Illinois University Carbondale; Susan Canning, College of New Rochelle; Brian Curtis, University of Miami; Sandra Dupret, Fleming College; Peter Kaniaris, Anderson University; Jason Lahr, University of Notre Dame; Suzanne F. W. Lemakis, Center for Culture: Department of Fine Art, Citibank; Craig Lloyd, College of Mt. St. Joseph; Sarah Richardson, Center for Culture: Department of Fine Art, Citibank; Greg Shelnutt, Clemson University; Steve Teczar, Maryville University of St. Louis; and David Voros, University of South Carolina.

Career Development Mentoring

Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University; Brian Bishop, Framingham State University; Leda Cempellin, South Dakota State University; Kevin Concannon, Virginia Polytechnic Institute and State University; Michelle Erhardt, Christopher Newport University; Reni Gower, Virginia Commonwealth University; Jim Hopfensperger, Western Michigan University; Dennis Ichiyama, Purdue University; Mitch Kern, Alberta College of Art and Design; Elisabeth Leach; Craig Lloyd, College of Mount St. Joseph; Patrick Luber, University of North Dakota; Mary McInnes, Alfred University; Heather McPherson, University of Alabama, Birmingham; Jo-Ann Morgan, Western Illinois University; Niki Nolin, Columbia College Chicago; Mark O’Grady, Pratt Institute; Christopher Olszewski, Savannah College of Art and Design; Morgan Paine, Florida Gulf Coast University; Doralynn Pines, Metropolitan Museum of Art (retired); David Raizman, Drexel University; Jack Risley, University of Texas at Austin; Ann M. Roberts, Lake Forest College; Dinah Ryan, the Principia; Paul Ryan, Mary Baldwin College; Greg Shelnutt, Clemson University; Gerald Silk, Tyler School of Art, Temple University; Katherine Sullivan, Hope College; Larry Thompson, Samford University; Ann Tsubota, Raritan Valley Community College; and Charles Wright, Western Illinois University.

Professional-Development Roundtable Discussions

Michael Aurbach, Vanderbilt University; Nicola Courtright, Amherst College; Brian Curtis, University of Miami; Ira Goldberg, Art Students League of New York; Joseph Henry, TIAA-CREF; Peter Kaniaris, Anderson University; Suzanne F. W. Lemakis, Center for Culture: Department of Fine Art, Citibank; Leo Morrissey, Georgian Court University; and Norie Sato, Sato Service.

Mock Interview Sessions

Steven Bleicher, Coastal Carolina University; Maria Ann Conelli, Brooklyn College, City University of New York; Carole Garmon, University of Mary Washington; Joe Girandola, University of Cincinnati; Amy Hamlin, St. Catherine University; Kim Hartswick, Brooklyn College, City University of New York; Dennis Ichiyama, Purdue University Andrea Kirsh, Rutgers University; Cory Knoedler, University of South Dakota; David LaPalombara, Ohio State University; David Lindsay, Texas Tech University; Brittany Lockard, Wichita State University; Carolyn Martin; Savannah College of Art and Design; Sally Packard, Texas Christian University; Sandra J. Reed, Savannah College of Art and Design; Kristin Ringelberg, Elon University; David Yager, University of California, Santa Cruz; and Megan Koza Young, Dishman Art Museum, Lamar University.

Brown Bag Sessions

Leda Campellin, South Dakota State University; Maria Ann Conelli, Brooklyn College, City University of New York; Jacquelyn Coutré; Amanda Hellman, Emory University; Lauren Kilroy, Brooklyn College, City University of New York; David Lindsay, Texas Tech University; Laurel Peterson, Yale University; and Megan Koza Young, Dishman Art Museum, Lamar University.

Professional-Development Workshops

Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University; Steven Bleicher, Coastal Carolina University; Mika Cho, California State University, Los Angeles; Angela Faris-Belt, independent artist; Elaine Grogan Luttrull, Minerva Financial Arts; Gigi Rosenberg; David M. Sokol, University of Illinois, Chicago (emeritus); Jane Alden Stevens, University of Cincinnati; Suzanne E. Szucs, independent artist; and Blaise Tobia, Drexel University.

The CAA Board of Directors welcomes four newly elected members, who will serve from 2014 to 2018:

  • Helen C. Frederick, Professor, School of Art and Design, George Mason University
  • Gunalan Nadarajan, Professor and Dean, Stamps School of Art and Design, University of Michigan
  • Dannielle Tegeder, Associate Professor of Art, Art Department, Lehman College, City University of New York
  • David C. Terry, Director of Programs and Curator, New York Foundation for the Arts

Anne Collins Goodyear, CAA board president, announced the election results during the Annual Members’ Business Meeting, held on Friday, February 14, at the 102nd Annual Conference in Chicago.

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

For the annual board election, CAA members vote for no more than four candidates; they also cast votes for write-in candidates (who must be CAA members). The four candidates receiving the most votes are elected to the board.

Board of Directors Election Ends on Friday

posted by Vanessa Jalet

The annual CAA Board of Directors election will end at 5:00 PM (CST) on Friday, February 14, 2014. To participate, all you need is your CAA member ID number and password. Visit the board-election page or click the candidates’ names below to read their statements, biographies, and endorsements—and to watch their video presentations—before casting your vote.

  • G. James Daichendt, Professor and Associate Dean, School of Visual and Performing Arts, Azusa Pacific University
  • Helen C. Frederick, Professor, School of Art and Design, George Mason University
  • Jim Hopfensperger, Professor of Art, Frostic School of Art, Western Michigan University
  • Gunalan Nadarajan, Professor and Dean, Stamps School of Art and Design, University of Michigan
  • Dannielle Tegeder, Associate Professor of Art, Art Department, Lehman College, City University of New York
  • David C. Terry, Director of Programs and Curator, New York Foundation for the Arts

Amendment to By-laws

At the October 27, 2013 Board of Directors meeting, a resolution was presented and approved to bring to a vote a change in the CAA By-laws in order to streamline the membership categories and provide a more equitable structure. CAA members are encouraged to review the proposed By-laws change and to vote on the amendment in the upcoming election.

How to Vote

CAA members may vote for up to four candidates, including one write-in candidate (who must be a CAA member). The four candidates receiving the most votes will be elected to the board. CAA members may cast their votes and submit their proxies online beginning in early January, 2014; no paper ballots will be mailed. Please have your CAA user/member ID# and password handy when you are ready to vote. All voting must take place by 5:00 PM (CST) on Friday, February 14, 2014. CAA will provide a computer dedicated to the election in the registration area at the upcoming 102nd Annual Conference in Chicago.



Anne Collins Goodyear, CAA board president, will present the election results at the close of the next Annual Members’ Business Meeting, to be held on Friday, February 14, 2014, 5:30–7:00 PM (CST) in the International South Ballroom, 2nd Floor of the Hilton, 720 South Michigan Avenue, Chicago, Illinois 60605.


Questions? Please contact Vanessa Jalet, CAA executive liaison.

CAA Appoints New Committee Members

posted by Vanessa Jalet

CAA’s nine Professional Interests, Practices, and Standards Committees welcome their newly appointed members, who will serve three-year terms (2014–17). In addition, three new chairs will take over committee leadership. New committee members and chairs will begin their terms at the 2014 Annual Conference in Chicago. CAA warmly thanks all outgoing committee members for their years of service to the organization.

A call for nominations for these committees appears annually from July to September in CAA News and on the CAA website. CAA’s president, vice president for committees, and executive director review all nominations in November and make appointments that take effect the following February. CAA’s vice president for committees is an ex officio member of all nine groups.

New Committee Members and Chairs

Committee on Diversity Practices: Amanda Cachia, University of California, San Diego; Lisandra Estevez, Winston-Salem State University; Christine Young-Kyung Hahn, Kalamazoo College; and Barbara Mendoza, Santa Clara University.

Committee on Intellectual Property: Susan Bielstein, University of Chicago Press; Nathan Budoff, University of Puerto Rico; and Mary DelMonico, DelMonico Books/Prestel. The new committee chair is Judy Metro of the National Gallery of Art.

Committee on Women in the Arts: Christine Filippone, Millersville University; and Cecilia Mandrile, University of the West of England.

Education Committee: Denise Amy Baxter, University of North Texas; Katherine Brown, Walsh University; Dana Byrd, Bowdoin College; and Andrew Hairstans, Auburn University.

International Committee: Jennifer Griffiths, American University of Rome; Abayomi Ola, Spelman College; Miriam Paeslack, University at Buffalo, State University of New York; Judy Peter, University of Johannesburg; and Sarah Smith, Glasgow School of Art. Rosemary O’Neill of Parsons the New School for Design is the new committee chair.

Museum Committee: Antoniette (Toni) Guglielmo, Getty Leadership Institute, Claremont Graduate University; Anne Manning, Baltimore Museum of Art; and Leslee Katrina Michelsen, Museum of Islamic Art.

Professional Practices Committee: Paul Catanese, Columbia College Chicago; Michael Grillo, University of Maine; Bruce Mackh, University of Michigan, Ann Arbor; Ellen Mueller, West Virginia Wesleyan College; Katherine Sullivan, Hope College; and Joe A. Thomas, Kennesaw State University. Anne McClanan of Portland State University is the new committee chair.

Services to Artists Committee: David J. Brown, Fine Art Museum, Western Carolina University; Zoe Charlton, American University; Darren Douglas Floyd, Davidson College; and Stacy Miller, Parsons the New School for Design.

Student and Emerging Professionals Committee: Brittany Lockard, Wichita State University; Tamryn McDermott, University of Missouri, Columbia; Carrie Pavel, Georgia Institute of Technology; and Lauren Puzier, Sotheby’s Institute of Art.

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


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.

Meiss Grant Winners for Fall 2013

posted by Alex Gershuny

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

The grantees for fall 2013 are:

  • Claudia Brittenham, The Cacaxtla Paintings, University of Texas Press
  • Georges Didi-Huberman and Harvey Mendelsohn, trans., The Surviving Image: Phantoms of Time and Time of Phantoms: Aby Warburg’s History of Art, Pennsylvania State University Press
  • Cécile Fromont, The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo, University of North Carolina Press
  • Kristina Kleutghen, Imperial Illusions: Crossing Pictorial Boundaries in Eighteenth-Century China, University of Washington Press
  • Wei-Cheng Lin, Building a Sacred Mountain: The Buddhist Architecture of China’s Mount Wutai, University of Washington Press
  • Maria Loh, Still Lives: Death, Desire, and the Portraits of the Old Masters, Princeton University Press
  • T’ai Smith, Writing on Weaving: A Bauhaus Craft, a Bauhaus Medium, University of Minnesota Press
  • Laura Weigert, Late Medieval Visual Culture and the Making of Theater in France, Cambridge University Press

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

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