CAA News

CAA has named Anne-Imelda Radice, a senior consultant for the Dilenschneider Group, to the Board of Directors as an appointed director. Radice has a strong record of public service, serving in all three federal cultural agencies: the Institute of Museum and Library Services (IMLS), the National Endowment for the Humanities (NEH), and the National Endowment for the Arts (NEA).

Prior to joining the Dilenschneider Group, Radice was director of the IMLS from 2006 to 2010. Previously acting assistant chairman for programs at the NEH, she served as chief of staff to the secretary of the United States Department of Education. In the early 1990s she was acting NEA chairman and senior deputy chairman. From 1989 to 1991, Radice was chief of the Creative Arts Division of the United States Information Agency and also served as the first director of the National Museum of Women in the Arts (1983–89). Before that she worked as a curator and architectural historian for the Architect of the Capitol and as an assistant curator at the National Gallery of Art.

Radice earned a PhD in art and architectural history from the University of North Carolina, Chapel Hill, an MBA from American University in Washington, DC, and a BA in art history from Wheaton College in Norton, Massachusetts. She also holds an MA from the Villa Schifanoia in Florence, Italy.

About CAA Appointed Directors

In addition to the areas of art, art history, museums, law, and finance that currently are represented on the board, CAA seeks expertise in marketing, technology, and philanthropy, among other areas. In February 2010, CAA members approved an amendment to Article VII, Section IV, of the organizational By-laws to establish a new category of appointed director to serve this function. Read more about the amendment.

Challenges to membership societies have increased a great deal in the last decade. Even before the recent financial downturn, membership societies became more complex and expensive to operate. Fund raising, strategies to make the organization structure more efficient, and advice on offering member services in new ways, such as through digital technologies, are just some of the areas that are increasingly important to address and could aid our organization in its mission. CAA will benefit enormously from a variety of views and skills, brought by appointed directors, that will contribute to the organization’s growth and stability.

Image: photograph by Dennis Brack

The CAA Board of Directors welcomes four newly elected members, who will serve from 2011 to 2015:

• Leslie Bellavance, Dean, School of Art and Design, New York State College of Ceramics, Alfred University
• Denise Mullen, President, Oregon College of Art and Craft
• Saul Ostrow, Chair, Visual Arts and Technologies, Cleveland Institute of Art
• Georgia Strange, Director, Lamar Dodd School of Art, University of Georgia

Barbara Nesin, CAA board president, announced the election results at the conclusion of the Annual Members’ Business Meeting, held on Friday, February 11, at the 99th Annual Conference in New York.

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.

CAA has awarded five 2010–11 Professional-Development Fellowships in the Visual Arts to artists enrolled in MFA programs across the United States. The organization has also recognized the work of five additional artists with honorable mentions.

CAA will award each fellow a one-time grant of $5,000. The fellows and honorable mentions will also receive complimentary one-year CAA memberships and free registrations for the 2011 Annual Conference in New York. In addition, Barbara Nesin, president of the CAA Board of Directors, will formally introduce and recognize the ten artists during the presentation of the 2011 Awards for Distinction, which takes place on Thursday evening, February 10, 6:00–7:30 PM, in the Grace Rainey Rogers Auditorium of the Metropolitan Museum of Art.

CAA will publish full profiles of all ten artists later this month, with images of their recent work. Initiated in 1993, the fellowship program helps student artists and art historians bridge the gap between their graduate studies and professional careers. It is open to all eligible graduate students in the visual arts.

2010–11 Fellows

Born in Honduras, Alma Leiva is an artist working in photography, film, and installation at Virginia Commonwealth University in Richmond. In her latest series, Celdas (Prison Cells), she builds sets in her studio that she then photographs. These absurd constructions allude to the way in which citizens in Central American, where she often returns to reseach and work, have learned to subsist within violent societies. Her next project, a documentary, will focus on how individuals cope with loss and repression in El Salvador, Guatemala, and Honduras.

An MFA student at the University of California, San Diego, Sheryl Oring investigates technology and its role in society through projects that incorporate old and new media. Her work tells stories, examines public opinion, encourages civic engagement, and creates platforms for public discussion. Formerly a journalist, Oring uses the tools of that trade––camera, typewriter, pen, interview and archive—to create concept-driven photographic and video installations, performances, artist’s books, and internet-based works.

Working in new media at the University of Illinois, Chicago, Brittany Ransom probes the relationships and differences among humans, animals, and the environment in the form of interactive sculpture, possible prosthetics, wearable recording devices, and digital manipulations. Her artwork invites technology—real and imagined—to heighten a viewer’s awareness of the existence and perspectives of the world from the point of view of other species.

Currently pursuing an MFA in documentary film and video at Stanford University in California, Mina T. Son makes films on an eclectic range of topics, offering a glimpse into underrepresented and rarely seen subjects and individuals. Her thesis film, a short observational film following two Korean students who attend the California School for the Deaf, explores how each navigates the complexities of adolescence and the transition to adulthood in both deaf and Korean cultures. Watch Son’s An Architect’s Vision online at KQED Media.

Amanda Valdez, an MFA student at Hunter College, City University of New York, uses fabric, scissors, a sewing machine, and a frame as ingredients for her current body of work, which she calls Fabric Paintings. Her approach grants her a recycling-based process of invention that plays with images and material from diverse sources. These works also combine her interests in craft and abstraction, encouraging an intimate relationship with shape and line between them while pushing these forms toward the edge of their frame.

Honorable Mentions

The jury also named five artists as honorable mentions: Maria Antelman, who studies photography and video at Columbia University’s School of Fine Arts in New York; Caetlynn Booth, a painter enrolled in the Mason Gross School of the Arts at Rutgers University in New Brunswick, New Jersey; Gregory Hayes, a painter pursuing an MFA at Brooklyn College, City University of New York; Ashley Lyon, an artist working in sculpture and extended media at Virginia Commonwealth University in Richmond; and Georgia Wall, who creates works in video and performance at the School of the Art Institute of Chicago in Illinois.

Jury Members

The 2010–11 jury members are: Virginia Derryberry, professor of painting and drawing, University of North Carolina, Asheville; Dianna Frid, assistant professor in studio arts, School of Art and Design, University of Illinois, Chicago; Reni Gower, professor of art, Department of Painting and Printmaking, Virginia Commonwealth University in Richmond; Dennis Y. Ichiyama, professor of art and design at Purdue University in West Lafayette, Indiana; and Maria Ann Conelli, executive director of the American Folk Art Museum in New York. As CAA vice president of committees, Conelli is a nonvoting juror.

First image: Sheryl Oring, I Wish to Say, 2010, performance at the 01SJ Biennial in San Jose, California (artwork © Sheryl Oring)

Second image: Brittany Ransom, Only a Mother Could Love, 2008, digital manipulations, 5 x 7 in. (artwork © Brittany Ransom)

CAA has announced the recipients of the 2011 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 ceremony to be held during the 99th Annual Conference in New York, on Thursday evening, February 10, 2011, 6:00–7:30 PM, at the Metropolitan Museum of Art. Led by Barbara Nesin, president of the CAA Board of Directors, the ceremony will take place in the Grace Rainey Rogers Auditorium (use the 83rd Street entrance) and precede the Centennial Reception in the museum’s Great Hall and Temple of Dendur (7:30–9:00 PM). In connection with CAA’s one-hundredth anniversary, past recipients of each award will introduce the winners of the same award, bringing past and present together. The awards ceremony is free and open to the public; tickets for the reception are $35. RSVP to the event on Facebook.

In addition, Nesin, will formally introduce the five recipients of CAA’s 2010–�11 Professional-Development Fellowships in the Visual Arts: Alma Leiva, Sheryl Oring, Brittany Ransom, Mina T. Son, and Amanda Valdez. This fellowship program awards grants to outstanding MFA students who are nearing graduation. She will also has also recognized five additional artists who have received honorable mentions: Maria Antelman, Caetlynn Booth, Gregory Hayes, Ashley Lyon, and Georgia Wall.

The 2011 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.

Distinguished Artist Award for Lifetime Achievement
Lynda Benglis
For more than forty years, Lynda Benglis has challenged prevailing views about the nature and function of art, producing sculpture, painting, video, photography, and installation that demonstrate extraordinary breadth and invention. She models the life of an artist lived according to the rhythm of her own creativity and curiosity, rather than to the beat of fashion or the market and its enormous but inconstant rewards. Benglis’s career inspires younger artists, not because she was a star as a young artist, or because she has now begun to be recognized as a major artist at a later date. Her work has been and continues to be an ever-shifting monument to the body in motion, as she herself continues to change and grow as an artist. Her retrospective exhibition, Lynda Benglis, opens at the New Museum of Contemporary Art in New York on February 9.

Artist Award for Distinguished Body of Work
John Baldessari
Few artists of the postwar era are so influential—or so elusive of definition—as John Baldessari, who has made extraordinary contributions in such wide-ranging registers as Conceptualism, appropriation, and art education. This seeming paradox—in which the artist at once towers over contemporary art and often slips through its cracks (while also prompting his students to seek new alternatives)—no doubt arises, at least in part, from his subtle wit. This year’s retrospective exhibition, John Baldessari: Pure Beauty, which opened at Tate Modern in London, appeared at the Los Angeles County Museum of Art, and ends its tour at the Metropolitan Museum of Art in New York (on January 9), firmly establishes his preeminence over the course of five decades of artistic production.

Distinguished Lifetime Achievement Award for Writing on Art
Mieke Bal
The protean career of Mieke Bal, Royal Academy of Arts and Sciences Professor at the University of Amsterdam, has traversed many fields in the humanities. Emerging as a brilliant biblical scholar with path-breaking books that explored the gendered nature of Old Testament narratives, Bal became a star in literary criticism with the English translation of her 1977 book Narratology (1985). Ever curious and creative, her interests then migrated to art history, where she rapidly challenged established methodological conventions with Reading Rembrandt: Beyond the Word Image Opposition (1991) and Quoting Caravaggio: Contemporary Art, Preposterous History (1999)—not to mention her well-known essay “Semiotics and Art History,” coauthored with Norman Bryson and published in The Art Bulletin (1991). Applying philosophical principles to an enterprise too often obsessed with empirical “evidence,” Bal provocatively rethinks the status of artistic authorship, the nature of the text/image relationship, the structure of text/context relationships, and the character of historical time.

Frank Jewett Mather Award
Luis Camnitzer
Luis Camnitzer has translated his tricultural perspective—born in Germany, raised and educated in Uruguay, and a participant in the New York art world—into a tripled practice. As an artist, teacher, and critic, he has lucidly addressed the aesthetic, social, and political conundrums of our times with firm but low-key authority. His latest collection of writings, On Art, Artists, Latin America, and Other Utopias (Austin: University of Texas Press, 2009), speaks incisively to issues of cultural displacement, transnational aesthetics, and the peripheral condition of contemporary art. Written originally for international art journals, exhibition catalogues, and academic conferences, the essays, which date from 1969 to 2007, assume a universal address, and Camnitzer’s intricate perception, laced with humor and irony but not dependent on them, allows him reasoned closeness to, and passionate distance from, his myriad topics.

Distinguished Feminist Award
Faith Ringgold
Faith Ringgold has been a forceful voice for feminism, successfully and gracefully encapsulating crucial issues of race despite the often-contentious relationship between gender and race in enfranchisement movements over the last four decades. Her work not only captures the strength of black women in fighting slavery, oppression, and sexual exploitation, but it also chronicles the dreams of black women who sought to transcend circumstance and find a brighter future. Ringgold’s American People paintings (1963–67) and Black Light series (begun in 1967) sought to examine how traditional color values could be modified for black subjects. From there she explored traditions of “women’s work” in fabric, first in collaboration with her late mother and then in her Story Quilts, which have become her signature statement. As a committed activist, Ringgold was a founder of Women, Students, and Artists for Black Liberation and a cofounder and member of Where We At, a collaborative of black women artists in the 1970s and 1980s.

Distinguished Teaching of Art Award
William Itter
William Itter’s gifted teaching approach, dedication to the instruction of freshman students, and curricular innovations in foundations have had a momentous, immeasurable impact on art pedagogy for more than fifty years. During his tenure as director of the Fundamentals Studio Program at Indiana University in Bloomington, which he joined in 1969, Itter has mentored several generations of graduate students with insight and commitment, turning them into great artists and teachers from a time when the MFA degree was in its infancy to the present day. In a unique pedagogical approach, he has regularly and generously shared his museum-quality collection of ceramics, textiles, baskets, and sculpture with his students as pedagogical tools to help them understand how visual languages have manifested across cultures and times. Now professor emeritus of fine arts, Itter continues to exhibit his own painting and drawing in prestigious venues nationwide.

Distinguished Teaching of Art History Award
Patricia Hills
An active, gifted teacher, faithful mentor, and valued colleague, Patricia Hills has maintained a prodigious career, producing scholarship that has profoundly shaped the history of American art and visual culture. Her textbook Modern Art in the USA: Issues and Controversies of the Twentieth Century (2001) has become standard reading in the field, and her work on Jacob Lawrence, Alice Neel, Stuart Davis, John Singer Sargent, and Eastman Johnson is highly esteemed. As professor of art history at Boston University, she is a creative, active, and engaged classroom leader who has developed an innovative style of teaching that emphasizes intellectual role-playing and demonstrates striking methodological openness. Hills’s admirable commitment to the time-demanding aspects of pedagogy, such as her rigorous attention to student writing and her ability to combine that investment with a remarkable publication record, are a model for students and teachers across the discipline.

Charles Rufus Morey Book Award
Molly Emma Aitken
Informed by history, connoisseurship, and contemporary artistic practice, Molly Emma Aitken’s The Intelligence of Tradition in Rajput Court Painting (New Haven: Yale University Press, 2010) is an original contribution to the history of South Asian art. Aitken’s closely argued yet accessible account overturns long-held assumptions regarding the conservatism of Rajasthani miniatures, revealing the subtle yet powerful dynamism that animates this tradition. She acknowledges that the “enormous red-tipped eyes, narrow skulls, and squat or strangely arching bodies” of the figures depicted in these works can seem formulaic or alienating, but these images cannot be understood as mere repetitions of moribund conventions. Instead, Aitken shows that these court paintings were intended to elicit emotional states from the viewer, a conclusion she reaches through an innovative application of formal analysis and social history.

CAA announced the shortlist on December 15, 2010.

Alfred H. Barr, Jr., Award
Darielle Mason, ed.
Darielle Mason’s Kantha: The Embroidered Quilts of Bengal from the Jill and Sheldon Bonovitz Collection and the Stella Kramrisch Collection of the Philadelphia Museum of Art (Philadelphia: Philadelphia Museum of Art, 2009) constitutes a model of how to make a catalogue about specific collections that far outreaches the task of honoring the collectors in question. Offering acute insights into an important region and an understudied medium, the book not only celebrates a lively vernacular textile tradition but also accords, for the first time, a comprehensive, sensitive treatment to this form of women’s domestic, creative, and social expression. In a series of richly grounded, engagingly written essays, Mason and her collaborators—Pika Ghosh, Katherine Hacker, Anne Peranteau, and Niaz Zaman—locate Kantha in wider sociocultural, historical, political, economic, and religious currents while tackling issues sometimes avoided in such studies, such as matters surrounding the quiltmakers’ agency.

CAA announced the shortlist on December 15, 2010.

Alfred H. Barr, Jr., Award for Smaller Museums, Libraries, and Collections
Yasufumi Nakamori
Yasufumi Nakamori’s Katsura: Picturing Modernism in Japanese Architecture; Photographs by Ishimoto Yasuhiro (Houston: Museum of Fine Arts, 2010) revisits a book of photographs of an elegant imperial villa in Kyoto, a seventeenth-century structure that interestingly foreshadows Western modernist design. While this errand may sound obscurantist to some, the author has a profoundly fascinating story to tell. It emerges that the architect Tange Kenzō (with Walter Gropius, who authored the original Herbert Bayer–designed book from 1960) extensively altered the vision of Ishimoto, a fledgling photographer, by drastically cropping the images to better align them with Bauhaus aesthetics, and to reinforce his own position in postwar Japanese debates on the relation of the modern to tradition. In this astutely, impeccably produced catalogue, Nakamori importantly rehabilitates Ishimoto’s initial vision of Katsura, reproducing his original, perfectly stunning photographs.

Arthur Kingsley Porter Prize
Ross Barrett
In “Rioting Refigured: George Henry Hall and the Picturing of American Political Violence,” published in the September 2010 issue of The Art Bulletin, Ross Barrett recovers the history of the artist and a landmark painting of an American laborer. Rooting his analysis in close observation, the author enlivens a work that could easily be dismissed as little more than an academic study of a male model. Calling attention to the title Hall gave his 1858 painting (The Dead Rabbit, a term New Yorkers applied to a street rowdy), to bruises on the man’s torso, and to the brick clutched in his right hand, Barrett identifies the figure as a working class, Irish immigrant. Barrett calls on an arsenal of resources—history, biography, iconography, pedagogical practices in the academy, reports and illustrations in the popular press, theories of the body and spectatorship, and ancillary images of the male athlete in mid-nineteenth-century America—to build a clear and convincing case for reading class conflict and civil disorder in this material body.

Art Journal Award
Kirsten Swenson, Janet Kraynak, Paul Monty Paret, and Emily Eliza Scott
Organized by Kirsten Swenson for the forthcoming Winter 2010 issue of Art Journal, “Land Use in Contemporary Art” is an impressive, useful, and theoretically significant series of articles on a new genre of aesthetic practices. Presented with relevant introductions and histories, the contributions address social, economic, and conceptual issues on Land Use, which has attributes related to but occasionally outside what is usually considered art. Especially impressive are the differences among the texts, particularly in the authors’ descriptions of their values and approaches, which range from self-conscious nonjudgementalism to explicit activism. (CAA members will receive the Winter 2010 Art Journal later this month.)

CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
Joyce Hill Stoner
Based at the University of Delaware’s Center for Material Cultural Studies, Joyce Hill Stoner is a highly respected scholar, a dynamic, beloved professor, and a meticulous conservator of paintings. As director of the Preservation Studies Doctoral Program, which developed from the first art conversation program in the United States that she founded at her school in 1990, she has developed an interdisciplinary focus on art history and conservation. In the words of one nominator: “Three decades ago the prospect of conservation as a scholarly discipline was, at best, nascent if not merely notional. Since that time conservation scholarship has come to embody inquiries that include the investigation of an artist’s materials and techniques, the documentation of a contemporary artist’s ideas and intentions, the history of conservation, the development of new techniques in the conservation of art, to name but a few. Dr. Stoner has contributed essential research in each of these areas and has thereby fundamentally shaped the discipline.”

Contact

For more information on the 2011 Awards for Distinction, please contact Emmanuel Lemakis, CAA director of programs. Visit the Awards section of the CAA website to read about past recipients. The Metropolitan Museum of Art is located at 1000 Fifth Avenue, New York, NY 10028.

Updated on January 27 and February 3, 2011.

CAA recognizes the lives and achievements of the following artists, scholars, architects, museum directors, collectors, and other men and women whose work has had a significant impact on the visual arts. Of special note is a text on the art historian Angela Rosenthal, written by her colleague David Bindman for CAA.

• David Becker, curator of prints and drawings at the Museum of Fine Arts in Boston and professor of art history at several schools across New England, died on November 26, 2010. He was 63
• Frederick S. Beckman, professor emeritus at the University of Notre Dame who taught industrial and graphic design for more than fifty years, died on October 31, 2010. He was 93
• H. Allen Brooks, a professor of architecture at the University of Toronto for nearly thirty years, died on August 8, 2010, at the age of 84. An authority on Frank Lloyd Wright and Le Corbusier, he was a past president of the Society of Architectural Historians
• Laura Cohen, cofounder of Krafti-Kit, an online fiber-arts kit store, who studied art history at the University of California in Santa Barbara, died on September 22, 2010. She was 42
• William Cumming, a painter of the Northwest School whose contemporaries included Mark Tobey and Morris Graves, died on November 22, 2010, at the age of 93. He also taught at the Burnley School of Professional Art (now the Art Institute of Seattle) and Cornish College of the Arts
• Nassos Daphnis, a Greek-born painter based in New York who showed his colorful, precise geometric abstractions at Leo Castelli Gallery, died on November 23, 2010, at age 96. He was also a noted horticulturist who grew hybrid tree peonies
• Diane Darst, the founder and director of Learning to Look, an art-education program for children, and the author of two textbooks, Western Civilization to 1648 and Learning to Look: A Complete Art History and Art Appreciation Program for Grades K–8, died on June 22, 2010. She was 62
• John Diebboll, an architect who worked for Michael Graves and who, as an artist, transformed pianos into sculptural objects, died on November 23, 2010, at age 54. He also founded his own firm, Diebboll Architects, in 2007
• Denis Dutton, scholar, cultural commentator, author of The Art Instinct, and founder and editor of the website Arts & Letters Daily, died on December 28, 2010. He was 66
• Robert Joseph Forsyth, professor emeritus of art history at Colorado State University who began his career at the Minneapolis Institute of Arts in the 1950s, died on June 19, 2010, at the age of 88
• Sally D. Garen, professor of art history at the Corcoran College of Art and Design and Marymount University, among other schools around Washington, DC, died on November 29, 2010. She was 63
• Kay Gaskill-Jaeger, an artist, quilter, and urban planner for the Texas State Parks Department who studied art history at the University of Texas at Austin, died on November 27, 2010, at the age of 61
• Jane Tiley Griffin, an art historian who taught at the University of Maryland, George Washington University, and Howard University for more than thirty years, died on November 18, 2010, at the age of 84. She also organized tours to Southeast Asia
• Garry Gross, a fashion photographer who took the infamous photograph of a nude Brooke Shields that was later appropriated by the artist Richard Prince, died on November 30, 2010. He was 73
• Varnette P. Honeywood, an artist and teacher whose colorful works appeared in The Cosby Show during the 1980s, died on September 12, 2010, at the age of 59
• Stephen Irwin, an artist based in Louisville, Kentucky, who was a member of a collective called Zephyr Gallery, died on December 27, 2010. He was 51
• Theodore W. Kheel, a labor negotiator who was collected modern and contemporary art, especially works by Robert Rauschenberg, died on November 12, 2010. He was 96
• Peter C. Marzio, the director of the Museum of Fine Arts in Houston since 1982 who oversaw a rapid growth in the permanent collection, died on December 9, 2010. He was 67
• Roy R. Neuberger, the founder of the investment firm Neuberger Berman whose private collection comprises the core of a museum that bears his name at Purchase College, State University of New York, died on December 24, 2010. He was 107
• Angela Rosenthal, an associate professor of art history at Dartmouth College and a scholar of eighteenth-century European art, died on November 11, 2010. David Bindman has contributed an obituary for CAA
• Matthew Selsor, a curator and the director of the Anderson Gallery at Drake University, died on July 11, 2010, at the age of 27
• Elizabeth C. Shepherd, a professor of art history at the University of Pittsburgh and the former head of the Frick Fine Arts Library at her school, died on April 6, 2010, at the age of 95
• Andrzej Stanislaw Tomaszewski, a former director of the International Centre for the Study of the Preservation and Restoration of Cultural Property, died on October 25, 2010. Born in 1934, he had been a professor of conservation at numerous universities in Poland and Germany
• John Warhola, a brother of Andy Warhol and founding member of the Andy Warhol Foundation for the Visual Arts, where he served as vice president for twenty years, died on December 24, 2010. He was 85
• Peter J. Worth, an artist, art historian, and former chair of the Department of Art and Art History at the University of Nebraska in Lincoln, died on May 3, 2010. He was 93

Read all past obituaries in the arts on the CAA website.

CAA warmly thanks the many contributions of the following dedicated members who joined CAA in 1960 or earlier. This year, the annually published list welcomes nine new members. Seven are distinguished scholars whose teaching and publications have shaped the history of art over the last fifty years. The other two are celebrated artists with deep roots in the Great Plains: Dan Howard, a painter and longtime professor and department chair at the University of Nebraska in Lincoln; and Edward Navone, a draftsman and painter who taught for many years at Washburn University in Topeka, Kansas.

1960: Shirley N. Blum; David C. Driskell; Mojmir S. Frinta; Dan F. Howard; W. Eugene Kleinbauer; Ruth Mellinkoff; Edward W. Navone; Linda Nochlin; and J. J. Pollitt.

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

1958: William D. Badgett; Samuel Y. Edgerton, Jr.; Damie Stillman; Eric Van Schaack; and Clare Vincent.

1957: Marcel M. Franciscono; Bruce Glaser; William C. Loerke; Susan R. McKillop; John F. Omelia; and Frances P. Taft.

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

1955: Carroll W. Brentano; Lola B. Gellman; Oleg Grabar; Irving Lavin; Marilyn A. Lavin; Suzanne Lewis; Leo Steinberg; and Cornelius C. Vermeule.

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

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

1951: Wen C. Fong; J. Richard Judson; and Carl N. Schmalz, Jr.

1950: Jane Dillenberger; Alan M. Fern; and Marilyn J. Stokstad.

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

1948: William S. Dale; Clarke H. Garnsey; and Peter H. Selz.

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

1946: Mario Valente.

1945: James Ackerman; Paul B. Arnold; and Rosalie B. Green.

1940: Creighton Gilbert.

CAA has awarded grants to the publishers of nine books in art history and visual culture through two programs: the Millard Meiss Publication Fund and the Wyeth Foundation for American Art Publication Grant.

Meiss Grants Winners

This fall, CAA has awarded four grants from the Millard Meiss Publication Fund. Thanks to the generous bequest of the late Prof. Millard Meiss, these grants are given to publishers to support the publication of scholarly books in art history and related fields. The 2010 grantees are:

• Cynthia Hahn, Strange Beauty: Issues in the Making and Meaning of Reliquaries 400–circa 1204 (Pennsylvania State University Press)
• Megan E. O’Neil, Engaging Ancient Maya Sculpture at Piedras Negras, Guatemala (University of Oklahoma Press)
• J. P. Park, Ensnaring the Public Eye: Painting Manuals of Late Ming China and the Negotiation of Taste (University of Washington Press)
• Stephen C. Pinson, Speculating Daguerre: Art and Enterprise in the Work of L. J. M. Daguerre (University of Chicago Press)

Books eligible for a Meiss grant must already be under contract with a publisher and be on a subject in the arts or art history. Authors must be current CAA members. Application criteria and guidelines for the Meiss grant are available online or from Alex Gershuny, CAA editorial associate.

Wyeth Grant Winners

CAA is pleased to announce five recipients of the annual Wyeth Foundation for American Art Publication Grant. Thanks to a second generous three-year grant from the Wyeth Foundation, these awards are given annually to publishers to support the publication of one or more book-length scholarly manuscripts in the history of American art, visual studies, and related subjects. Receiving 2010 grants are:

• Marianne Kinkel, Races of Mankind: The Sculptures of Malvina Hoffman (University of Illinois Press)
• Analisa Leppanen-Guerra, Children’s Stories and “Child-Time” in the Works of Joseph Cornell and the Trans-Atlantic Avant-Garde (Ashgate)
• Leo Mazow, Thomas Hart Benton and the American Sound (Pennsylvania State University Press)
• Maurie McInnis, Slaves Waiting for Sale: Visualizing the Southern Slave Trade (University of Chicago Press)
• Marian Wardle, ed., The Weir Family, 1820–1920: Expanding the Traditions of American Art (University Press of New England)

For the purpose of this program, “American art” is defined as art created in the United States, Canada, and Mexico prior to 1970. Books eligible for a Wyeth grant must already be under contract with a publisher. Authors must be current CAA members. Application criteria and guidelines for the Wyeth grant are available online or from Alex Gershuny, CAA editorial associate.

CAA recognizes the lives and achievements of the following artists, designers, scholars, critics, and other men and women whose work has had a significant impact on the visual arts. Of special note is Jean Miller’s text on Todd DeVriese, written especially for CAA.

• Todd DeVriese, an artist, educator, and dean of the College of Fine Arts and Humanities at St. Cloud State University in Minnesota, died on November 15, 2010, while at a conference in India. He was 49
• Helen Escobedo, a Mexican sculptor who explored modern materials in site-specific, outdoor, and public locations, died on September 16, 2010, at the age of 76. She was also a curator and director for several university-based and national museums and galleries
• S. Neil Fujita, a graphic designer, illustrator, and painter who worked on numerous jazz album covers for Columbia Records in the 1950s and on book jackets with his own firm, died on October 23, 2010, at age 89. He also taught for many years at the Philadelphia Museum College of Art, Pratt Institute, and Parsons School of Design.
• Robert Goodnough, a painter from the second generation of Abstract Expressionists whose diverse body of work touched on many modernist styles, died on October 2, 2010, at age 92. He showed his work at Tibor de Nagy and André Emmerich galleries in New York
• Kathryn Hixson, an art critic, former editor of the New Art Examiner, and adjunct professor in various departments at the School of the Art Institute of Chicago, died on November 7, 2010, at the age of 55. She also curated several exhibitions in Texas and Illinois
• Eric Joisel, a French artist who created innovative, complex sculptures in origami, died on October 10, 2010, at the age of 53. His works can be found in the Louvre and in private collections worldwide
• Thomas Leavitt, founding director of the Herbert F. Johnson Museum of Art at Cornell University, died on October 14, 2010, at the age of 80. He also organized more than one hundred exhibitions, including Earth Art with Willoughby Sharp in 1969, and wrote numerous catalogue essays
• Jack Levine, an American painter of Social Realism whose works contained biting satire and caricature, died on November 8, 2010, at the age of 95. His works can be found in major museums nationwide, including the Metropolitan Museum of Art and the National Gallery of Art
• Bernd Lohaus, a German artist who created his sculptures with blocks of stone and rugged beams of Azobe wood, died on November 4, 2010. Born in 1940, he studied under Joseph Beuys and settled in Antwerp, Belgium, in 1966
• Nathan Oliveira, a Bay Area painter who emerged in the 1950s as an Abstract Expressionist but later embraced figuration and landscape, died on November 13, 2010, at age 81. He was a longtime professor of art at Stanford University
• Rozsika Parker, a pioneering British feminist, art historian, psychotherapist, and author of The Subversive Stitch: Embroidery and Making of the Feminine, died on November 5, 2010, at the age of 64. She collaborated with Griselda Pollock on two important books: Old Mistresses and Framing Women: Art and the Women’s Movement 1970–1985
• Chuck Ramirez, an artist and graphic designer based in San Antonio who worked in large-scale photography and site-specific sculptural installations, died on November 6, 2010. He was 48
• Sylvia Sleigh, a celebrated figurative painter and devoted feminist who helped found SOHO20 Gallery in 1973, died on October 24, 2010, at the age of 94. Born in Wales but based in New York since 1961, Sleigh received CAA’s Distinguished Artist Award for Lifetime Achievement in 2008
• Miriam Wosk, an illustrator who designed the first cover of Ms. magazine in 1971 but later concentrated on painting, drawing, and collage, died on November 5, 2010. She was 63

Read all past obituaries in the arts on the CAA website.

The Publications Committee, which oversees CAA’s scholarly journals and related projects, welcomes two new members who will serve through June 30, 2013. Anthony Elms is editor of WhiteWalls, a publisher of innovative books and a journal, and assistant director of Gallery 400 at the University of Illinois in Chicago. Cynthia Mills is executive editor of American Art, the scholarly journal of the Smithsonian American Art Museum in Washington, DC. She is also academic programs coordinator for the museum, where she supervises the fellowship program and publications prizes and organizes scholarly symposia.

caa.reviews, CAA’s online journal for reviews of books, exhibitions, and projects in art history and visual studies, has added Elizabeth Marlowe to its editorial board, to serve through June 30, 2014. Marlowe is visiting assistant professor of art and art history at Colgate University in Hamilton, New York. In addition, Janet Kraynak, assistant professor of art history at New School University, has become a field editor for the journal. She will commission reviews of exhibitions on modern and contemporary art in New York and internationally though June 30, 2013.

Over the summer, CAA made additional appointments for all three journals. Editors and members of editorial boards and committees are chosen from an open call for nominations and self-nominations, published on the CAA website from January to April each year and publicized through CAA News.

The Women’s Caucus for Art (WCA), a CAA affiliated society, has announced the 2011 recipients of its Lifetime Achievement Award: Beverly Buchanan, Diane Burko, Ofelia Garcia, Joan Marter, Carolee Schneemann, and Sylvia Sleigh. In addition, WCA has given the 2011 President’s Art and Activism Award to Maria Torres.

The awards ceremony will be held on Saturday, February 12, 2011, during the annual WCA and CAA conferences in New York. The awards ceremony, free and open to the public, will take place from 6:00 to 7:30 PM in the Beekman/Sutton rooms at the Hilton New York, followed by a ticketed gala from 8:00 to 10:00 PM at the nearby American Folk Art Museum. Called LIVE SPACE, the gala will include a walk-around gourmet dinner with three food stations and an open bar, as well as the opportunity to meet the award recipients, network with attendees, and tour the museum.

Ticket prices for LIVE SPACE are $75 for WCA members and $135 for nonmembers (Prices will increase after January 12). CAA members receive a special price of $120. All tickets include reserved seating at the awards presentation. For more information or to purchase tickets, please visit the WCA website.

Beverly Buchanan

Born in 1940, Beverly Buchanan began creating art at an early age. She received a bachelor’s degree in medical technology from Bennett College in Greensboro, North Carolina, and then earned a master’s of science in parasitology and a master’s of public health degree, both from Columbia University. Rather than pursuing a degree in medicine, she decided to focus on making art. Buchanan studied at the Art Students League before moving to Georgia, where she still lives, dividing her time between there and Michigan. Her early sculptures were poured concrete and stone, and she has since worked in a variety of media, focusing on southern vernacular architecture. Buchanan is the recipient of a John Simon Guggenheim Memorial Foundation fellowship, a Pollock-Krasner Foundation award, and two National Endowment for the Arts fellowships. In addition, she was a Georgia Visual Arts honoree and a recipient of an Anonymous Was a Woman Award, and was honored with a Recognition Award by CAA’s Committee for Women in the Arts in 2005.

Diane Burko

A painter and photographer who resides in Philadelphia and Bucks County, Pennsylvania, Diane Burko has been involved in the feminist movement since the early 1970s. She is a founding member of WCA who also founded and organized the first multivenue feminist citywide art festival in Philadelphia, called “Philadelphia Focuses on Women in the Visual Arts, Past and Present,” also known as “Focus.” After that event, Burko continued her feminist commitment to the present day, serving on the WCA and CAA boards and on the Philadelphia Art Commission. She is now the chair of CAA’s Committee on Women in the Arts. Burko has been recognized with fellowships from the Bellagio Center, the Terra Summer Residency in Giverny, and the National Endowment for the Arts, among many other honors. One of the first movers and shakers in the feminist art movement, Burko has not yet been fully recognized for her important contributions.

Ofelia Garcia

Ofelia Garcia is professor of art at William Paterson University, where she was dean of the College of the Arts and Communication for a decade. She earned her BA at Manhattanville College and her MFA at Tufts University, and was a Kent fellow at Duke University. Garcia has been on the art faculty at Boston College, a critic at the Pennsylvania Academy of the Fine Arts, director of the Print Center in Philadelphia, and president of the Atlanta College of Art and Rosemont College. Also a former president of WCA, Garcia has served on numerous boards, including those of CAA, the American Council on Education, and Haverford College; she was most recently board chair of the Jersey City Museum. Garcia now serves as vice chair of the New Jersey State Council on the Arts, on the Hudson County Art Commission, and on the boards of the Brodsky Center for Innovative Editions and Catholics for Choice.

Joan Marter

Joan Marter is distinguished professor of art history at Rutgers University. She received her PhD from the University of Delaware and has lectured and published widely. She is currently editor-in-chief of The Grove Encyclopedia of American Art, a five-volume reference set forthcoming from Oxford University Press in 2010. Marter serves as editor of Woman’s Art Journal, in print continuously for thirty-one years. She has published monographs on artists such as Alexander Calder and has written extensively about Abstract Expressionism and women artists. In 2004, she was inducted into the Alumni Wall of Fame at the University of Delaware. A former member of the CAA Board of Directors, Marter is currently president of the Dorothy Dehner Foundation for the Visual Arts.

Carolee Schneemann

Carolee Schneemann is a multidisciplinary artist whose radical works in performance art, installation, film, and video are widely influential. The history of her imagery is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, and the body of the artist in dynamic relationship with the social body. Her involvement in collaborative groups includes the Judson Dance Theater, Experiments in Art and Technology, and many feminist organizations. Schneemann has exhibited her work at the Museum of Contemporary Art in Los Angeles, and in New York at the New Museum of Contemporary Art, the Museum of Modern Art, and the Whitney Museum of American Art. Internationally, she has shown at the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Moderna Museet in Stockholm, and the Centre George Pompidou in Paris. Her recent multichannel video installation Precarious was presented at Tate Liverpool in September 2009. The Samuel Dorsky Museum of Art at the State University of New York in New Paltz presented a major retrospective in summer 2010.

Sylvia Sleigh

Born in 1916 in Wales, Sylvia Sleigh paints portraits in a realist style, informed by sources ranging from the Pre-Raphaelites to famous portraits throughout history. Her first solo exhibition was held in 1953 at the Kensington Art Gallery; her most recent, at I-20 Gallery in New York, closed in January 2010. She married the art critic Lawrence Alloway in 1954, with whom she became part of the London avant-garde. They later moved to the United States, where she continued painting and showing her work. In 1970, Sleigh became actively involved in feminism and started painting life-size nudes in her precise, realist style. She was active in many of the first women-artist-run galleries, including A.I.R. Gallery and Soho 20. Her work can be found in numerous major public and private collections. Sleigh was honored with CAA’s Distinguished Artist Award for Lifetime Achievement in 2008.

Maria Torres

Winner of the 2011 Presidents Art and Activism Award is Maria Torres, president and chief operations officer of the Point Community Development Corporation, a nonprofit organization dedicated to youth development and the cultural and economic revitalization of the Hunts Point section of the South Bronx in New York. The Point’s mission is to encourage the arts, local enterprise, responsible ecology, and “self-investment” in a community traditionally defined in terms of its poverty, crime rate, poor schools, and substandard housing. In 1993, Torres received a BS from Cornell University. That same year, she launched the Neighborhood Internship Bank for at-risk youth, the first employment service of its kind in the South Bronx, and established La Marqueta, an outdoor community market aimed at lowering the barriers to the marketplace for neighborhood entrepreneurs. In 1994, Torres worked with Paul Lipson, Mildred Ruiz, and Steven Sapp to found the Point. Recipient of Union Square Award in 1998, she served on the Board of the Bronx Charter School for the Arts from 2002 to 2009.

About the Awards

The WCA Lifetime Achievement Awards were first presented in 1979 in President Jimmy Carter’s Oval Office to Isabel Bishop, Selma Burke, Alice Neel, Louise Nevelson, and Georgia O’Keeffe. Past honorees have represented the full range of distinguished achievement in the visual arts, and this year’s awardees are no exception, with considerable accomplishments and contributions represented by their professional efforts.