CAA News Today

Call for Student Videographer

posted by February 23, 2022

CAA is seeking student videographer(s) interested in creating short video profiles on select recipients of our 2022 Distinguished Awards, to be completed this spring. Videos will be limited to three minutes in duration and will tell the story of the award recipient. For this pilot project, two awardees have been selected:

The selected video profiles will be featured on  CAA’s YouTube Channel and on the CAA website. The selected student will receive a complementary one-year membership to CAA and access to CAA’s 2023 Annual Conference.

 

Timeline

March 22, 2022 – Application for videographer deadline

April 5, 2022- Notification of selected videographer(s)

June 8, 2022- Completed videos due

 

Application instructions:

Please fill out this form and send a resume as a PDF to info@collegeart.org with “Distinguished Awards Videographer” in the subject line.

 

Filed under: Awards

CAA 2022 Awards for Distinction

posted by January 24, 2022

CAA announces the 2022 recipients of Awards for Distinction. By honoring outstanding member achievements, CAA reaffirms its mission to encourage the highest standards of scholarship, practice, connoisseurship, and teaching in the arts. With these annual awards, CAA seeks to honor individual artists, art historians, authors, museum professionals, and critics whose accomplishments transcend their individual disciplines and contribute to the profession as a whole and to the world at large.

Among the awards, the Distinguished Artist Award for Lifetime Achievement is presented to Betye Saar who has not only forged a singular practice for six decades but has also influenced generations of artists, makers, and thinkers. Calling upon the legacies of artists like Joseph Cornell, her symbolic and potent assemblages, of which she’s best known, reflect on the lives, experiences, and identities of African Americans, spirituality, and cultural connectivity.

The Distinguished Lifetime Achievement Award for Writing on Art is presented to Wu Hung. Perpetually interested in the shape of time, in relation to the time of the world, he has authored many books, essays, and exhibition catalogues that bring Chinese visual culture into different orders of focus, taking into account the changing conditions of tombs, screens, performances, and protests. The scope of his work has an epic quality, allowing arguments to unfold across centuries without losing sight of the very human presence of artists and audiences.


Art Journal Award 

David J. Getsy and Che Gossett, “A Syllabus on Transgender and Nonbinary Methods for Art and Art History,” Art Journal, vol. 80, no. 4 (Winter 2021): 101-115.

 

Alfred H. Barr Jr. Award  

Robert Cozzolino, ed. Supernatural America: The Paranormal in American Art, University of Chicago Press, 2021.

 

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

Sarah M. Miller, Documentary in Dispute: The Original Manuscript of Changing New York by Berenice Abbott and Elizabeth McCauslandRyerson Image Centre/MIT Press, 2020. 

 

Frank Jewett Mather Award  

Kaira M. Cabañas, Immanent Vitalities: Meaning and Materiality in Modern and Contemporary Art. University of California Press, 2021. 

 

Charles Rufus Morey Book Award 

Elina Gertsman, The Absent Image: Lacunae in Medieval Books, Penn State University Press, 2021.

 

Arthur Kingsley Porter Prize 

Marius B. Hauknes, “Painting against Time: Spectatorship and Visual Entanglement in the Anagni Crypt,” The Art Bulletin, vol. 103, no.1 (February 2021): 7-36.

Artist Award for a Distinguished Body of Work  

Kent Monkman   

 

CAA/AIC Award for Distinction in Scholarship and Conservation 

Zahira Véliz 

 

Distinguished Artist Award for Lifetime Achievement 

Betye Saar 

 

Distinguished Lifetime Achievement Award for Writing on Art 

Wu Hung 

 

Distinguished Feminist Award – Artist  

In lieu of the Distinguished Feminist awards, we will recognize leaders in the field of feminist art and art history in our 2022 programming highlighting the 50th Year Anniversary of feminism at CAA. 

 

Distinguished Feminist Award – Scholar 

In lieu of the Distinguished Feminist awards, we will recognize leaders in the field of feminist art and art history in our 2022 programming highlighting the 50th Year Anniversary of feminism at CAA. 

 

Distinguished Teaching of Art Award 

Fred Hagstrom 

 

Distinguished Teaching of Art History Award 

Terry Smith 

 

Excellence in Diversity Award  

Valerie Cassel Oliver

 


Citations:  

Art Journal Award 

David J. Getsy and Che Gossett, “A Syllabus on Transgender and Nonbinary Methods for Art and Art History,” Art Journal, vol. 80, no. 4 (Winter 2021): 101-115.

In organizing a course of study predicated on the ontological challenge to discourses of art offered by trans and nonbinary positions, David J. Getsy and Che Gossett have generously identified a major lacuna in the field and provided a toolkit for its amelioration. The jury unanimously selected their “A Syllabus on Transgender and Nonbinary Methods for Art and Art History” as the most distinguished contribution to the Art Journal in 2021. The syllabus not only identifies, positions, and summarizes critical scholarship in the field of transgender and nonbinary studies, it also demonstrates the fruitful integration of pedagogy and emerging research methodologies. Noting the relative dearth of art historical scholarship that has taken up trans methods and histories, the authors suggest the ways in which key themes and terms from art might be critically reevaluated in light of transgender studies. An introduction to each section’s bibliography synthesizes complex debates and individual arguments with remarkable clarity. Sensitive to the necessary intersections of trans analytics with critical approaches to race, ability, and class, the authors highlight readings from Black feminist thought and abolition optics, among other transversal concerns, that elucidate points of fracture within and strategies of resistance to the regulatory gender binary. At once rigorous and accessible, Getsy and Gossett’s contribution offers an adaptable blueprint for researchers and educators. 

Committee: 
Omar Kholeif, Sharjah Art Foundation 
Tilo Riefenstein, School of the Arts, York St John University 
Phil Taylor, George Eastman Museum (Chair) 

 

Alfred H. Barr Jr. Award 

Robert Cozzolino, ed. Supernatural America: The Paranormal in American Art, University of Chicago Press, 2021.

America is haunted. Genocidal policies unleashed on Native Americans; the horror of the transatlantic slave trade; war, racism, and social injustice; dark passages in community and individual histories – these traumas and more have left behind a trail of spirits. Taking as its topic the paranormal in American art, Supernatural America reveals the myriad ways in which citizens and artists have sought to see, understand, or come to terms with the ghosts of the past. Lavishly illustrated, with many images never seen before, Supernatural America breaks new ground in presenting the paranormal as a historical subject of wide-ranging importance. Incisive essays by scholars and artists cover painting and sculpture from the late 18th century to the present, spirit photography, art channeled through mediums, spiritualist paraphernalia, folk and outsider art, UFO-inspired materials, video and installation from a range of perspectives. This revealing, thought-provoking investigation into an emerging scholarly field gives proof to William Faulkner’s well-known line: ‘The past is never dead. It’s not even past’. 

Committee: 
Susan Aberth, Bard College 
Benjamin Anderson, Cornell 
Karen Lang, University of Arizona 
Andrew Saluti, Syracuse University (Chair) 
Joyce Tsai, Clyfford Still Museum 

 

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

Sarah M. Miller, Documentary in Dispute: The Original Manuscript of Changing New York by Berenice Abbott and Elizabeth McCauslandRyerson Image Centre/MIT Press, 2020. 

In 2015 the Ryerson Image Centre acquired the archives of Berenice Abbott, including more than 6000 photographs and 7000 negatives, her papers, correspondences, and manuscripts. One of the key figures in the history of documentary photography, Abbott is now known as an archivist as well as an artist. It was Abbott who preserved Eugene Atget’s archives at the end of the twenties and published his work.  Her own photographs, taken while working for the WPA, consolidated her reputation as a documentary photographer.  What exactly is that reputation? In order to answer that question, Documentary in Dispute meticulously reconstructs the manuscript of the book Changing New York, first published in 1939 by Dutton & Co, with photographs by Berenice Abbott and text by renowned art critic Elizabeth McCausland. In a tour de force of archival research and scholarly presentation, Sarah M. Miller reveals how the project was altered to obscure the aesthetic, political and ethical values of photographer and author. Miller’s beautifully written, highly focused essay on Abbott and McCausland situates them in an international avant-garde which recognized the potential of image and text to transform, even to break, our habits of seeing and being.  Miller’s overall approach recalls Walter Benjamin’s own in the 1930s.  Not coincidentally, Benjamin was inspired by Abbott’s archival and photographic achievements.  

Committee: 
Susan Aberth, Bard College 
Benjamin Anderson, Cornell 
Karen Lang, University of Arizona 
Andrew Saluti, Syracuse University (Chair) 
Joyce Tsai, Clyfford Still Museum 

 

Frank Jewett Mather Award 

Kaira M. Cabañas, Immanent Vitalities: Meaning and Materiality in Modern and Contemporary Art. University of California Press, 2021. 

The jury has unanimously selected Kaira M. Cabañas’ Immanent Vitalities: Meaning and Materiality in Modern and Contemporary Art. Cabañas has written a highly readable volume addressing the material relations between objects and subjects as well as addressing the limiting institutional conventions of academic art history. Her work draws upon theories of new materialism, an animating force that, when attended to, requires rethinking binary categories such as living and inert or life and matter. Cabañas’ volume traverses histories and hemispheres: from the perceptual doubts engendered by the force of color in Alejandro Otero’s paintings to the enmeshed material contingencies of Gego’s metal sculptures, from the sensorial therapeutic propositions of Lygia Clark’s relational objects to the curatorial entanglements of Alessandro Balteo-Yazbeck’s challenges to the grid, and from the affective agencies Mario Pedrosa located in the paintings of Djanira da Motta e Silva to the documented rituals of care obfuscating boundaries between the organic and the inorganic in Matheus Rocha Pitta’s Polaroids. Cabañas proposes an alternative to the kind of nation-bounded analyses that often burden studies of modern and contemporary art of Latin America. She addresses academic art history’s tendency to isolate along geographic lines, marginalizing practices and scholarship. Cabañas’ text thus models a critical strategy for assessing not just artworks but the field itself. 

Committee: 
Julia Bryan-Wilson, University of California, Berkeley 
Kim Theriault, Dominican University 
Andrew Wasserman, Dominican University (Chair) 

 

Charles Rufus Morey Book Award

Elina Gertsman, The Absent Image: Lacunae in Medieval Books, Penn State University Press, 2021.

Countering the customary interpretation of late medieval art as relentlessly profuse and exuberant, Elina Gertsman’s The Absent Image: Lacunae in Medieval Books, explores different constructions of emptiness ranging from the presentation of voids in illustrations to represent the unrepresentable to the deliberate inclusion of physical holes in manuscript pages designed to reveal portions of other pages. Gertsman’s investigation of the “fecundity of emptiness” is a generative and compelling topic for scholars of art history/visual studies across areas, both within and outside Medieval Studies. She argues and demonstrates that, between 1200s and 1500s, the broad circulation of scientific thought and its engagement with theology and formal and literary discourses on emptiness, absence, and negation account for visual, cognitive, and material expressions on the pages of medieval books. Cross-disciplinary in its approach, Gertsman’s book simultaneously draws attention to the visual and material aspects of the manuscripts, phenomenological experience, and philosophical, religious, and scientific theories of the period. In doing so she uncovers an unexpected kinship between the medieval artists and the modernist avant-garde, where the void is regarded as the locus of the sublime and of boundless possibility. Her erudite writing and compelling approach to the subject poses questions throughout that magnify the relevance of her study and stimulate personal inquiry—as a reader reflects on other areas of consideration across time called out in the text. The book is lavishly illustrated and artfully designed with a shape and size complementary to the subject of study.  

Committee: 
John Cunnally, Iowa State University 
Christina Hellmich, Fine Arts Museums of San Francisco 
Laura Anne Kalba, University of Minnesota
Lisa D. Schrenk, University of Arizona 
Dorothy Wong, University of Virginia (Chair) 

 

Arthur Kingsley Porter Prize 

Marius B. Hauknes, “Painting against Time: Spectatorship and Visual Entanglement in the Anagni Crypt,” The Art Bulletin, vol. 103, no.1 (February 2021): 7-36.

Marius Hauknes offers a riveting and multi-layered interpretation of the role of spectatorship in the production of meaning in the 13th-century crypt of the Anagni Cathedral. Rather than consider a viewer as a passive onlooker, he devotes attention to multiple aspects of embodied spectatorship: movement, (shifting) angles/perspectives, (in)visibility, temporality, and knowledge. These offer a powerful vantage point from which to consider the intersection of the painting program with the body itself. Drawing attention to contemporary concerns and interests in the body’s health, its cognitive capacities (and limits), and its place in the universe, Hauknes places the paintings into conversation with medicine and astrology. The images emerge as intellectual acts in a religious and political setting that grappled with problems of temporality and being. Hauknes evinces deep and extensive scholarly research, and is able to draw precise and appropriate insights from contemporary cultural and historical contexts, without losing focus on the artwork itself. While offering compelling readings of specific scenes — showing how they could connect, overlap, or echo with one another — Hauknes posits that comprehensive spectatorship was not possible. Instead, human comprehension and temporality contrasts with the divine, creating a space for reflection on the need for medicine and astrology. 

Committee: 
Nathan T. Arrington, Princeton University (Chair) 
Susanna Berger, University of Southern California 
Rachel Miller, California State University, Sacramento 

 

Artist Award for a Distinguished Body of Work  

Kent Monkman   

There is a long-standing history in the visual arts of artists bearing witness to atrocities: Goya’s painting “The Third of May,” Picasso’s “Guernica,” to name but two. Toronto-based Cree artist Kent Monkman’s exhibition “Shame and Prejudice: A Story of Resilience” follows this tradition, with a few notable updates. On the occasion of Canada’s 150th anniversary in 2017, Monkman’s paintings featured in a cross-country touring exhibit that culminated at the University of British Columbia’s Museum of Anthropology, August 6, 2020 – January 3, 2021, provides a searing critique of Canada’s colonial policies past and present, including, in the artist’s accounting: “the signing of the numbered treaties, the reserve system, genocidal policies of the residential schools, mass incarceration and urban squalor.” This is a body of work that, though tackling a grim subject matter, is often a blend of subversive humor, fantasy, and homoeroticism. And, although appropriating the form of Western history painting, Monkman’s artwork breaks from tradition by subverting and de-centering the Western gaze and re-presenting a perspective of history from the vantage point of the Indigenous peoples. Albeit, a history filtered through the particular lens of an artist who identifies as both queer and two-spirit, and through his trickster alter-ego, Miss Chief Share Eagle Testickle, the protagonist within much of Monkman’s paintings and performances. Through his use of history painting, Monkman’s project is one that reminds us of the potency of images, and the potential of the artist to provoke and challenge history and its representations.   

Committee: 
Stephen Fakiyesi, Independent Artist, Toronto 
Jessica Hong, Hood Museum, Toledo Art Museum 
Beauvais Lyons, University of Tennessee, Knoxville, (Chair) 

 

CAA/AIC Award for Distinction in Scholarship and Conservation

Zahira Véliz 

Zahria (Soni) Véliz has enhanced our understanding of art through her numerous, scholarly publications to the fields of art history and paintings conservation. Dr. Véliz has strengthened the methodological approaches of scholars who work on Spanish artists and Franz Kline through her publication record as well as her generosity as a colleague. 

Through the translation and dissemination of Spanish texts, Dr. Véliz’s has made contemporaneous information about early modern painting accessible to researchers who do not read Spanish. Artists Techniques in Golden Age Spain (1987) is often cited in technical studies of Spanish paintings. More recently, Dr. Véliz edited a translation of Jusepe Martínez’s 1673-75 Practical Discourses on the Most Noble Art of Painting (2017). These publications, along with others by Dr. Véliz on subjects including blue pigments, wooden panels, and drawing practice, have been foundational to the study of Spanish art in the United States. 

Dr. Véliz’s PhD dissertation on Alonso Cano served as a foundation for many publications on the artist. In addition, Dr. Véliz’s knowledge and skills of connoisseurship regarding Spanish drawing enriched her drawings catalogues for the Courtauld Institute of Art in London and the Museo de Bellas Artes in Asturias. As Senior Paintings Conservator for the Museum of Fine Arts, Houston, Dr. Véliz published her research into a newly attributed painting to Diego Velázquez as well as technical and art historical research on Franz Kline’s paintings that are models of collaborative research.  

Committee Members: 
Jim Coddington, American Institute of Conservation  
Tiarna Doherty, University of Delaware, (Chair)  
Fernanda Valverde, Amon Carter Museum 

 

Distinguished Artist Award for Lifetime Achievement  

Betye Saar  

Betye Saar (b. 1926, Los Angeles, CA) has not only forged a singular practice for six decades but has also influenced generations of artists, makers, and thinkers. Calling upon the legacies of artists like Joseph Cornell, her symbolic and potent assemblages, of which she’s best known, reflect on the lives, experiences, and identities of African Americans, spirituality, and cultural connectivity. Part of the broader Black Arts Movement in the 1970s, Saar also confronted issues of racism and sexism in groundbreaking and radical works like The Liberation of Aunt Jemima (1972). Saar contends the continual thread in her work is her “curiosity about the mystical.” As she wrote in 1998, “I am intrigued with combining the remnant of memories, fragments of relics and ordinary objects, with the components of technology. It’s a way of delving into the past and reaching into the future simultaneously. The art itself becomes the bridge. Curiosity about the unknown has no boundaries. Symbols, images, place and cultures merge. Time slips away. The stars, the cards, the mystic vigil may hold the answers. By shifting the point of view an inner spirit is released. Free to create.” By foregrounding the mystical, Saar sees people, cultures, contexts, temporalities as part of a larger, interconnected spiritual fabric, an understanding that is needed in a time of extreme ideological polarization, inequities, and geopolitical strife. Saar and her practice continue to resonate and inspire current generations and those to come.  

Committee: 
Stephen Fakiyesi, Independent Artist, Toronto 
Jessica Hong, Hood Museum, Toledo Art Museum 
Beauvais Lyons, University of Tennessee, Knoxville, (Chair) 

 

Distinguished Lifetime Achievement Award for Writing on Art 

Wu Hung  

Trained in both China and the United States, Wu Hung’s writing brings perspectives native to both cultures to bear on aesthetics, art history, and archaeology.  His arguments ground the cultures of China, from the earliest ancient survivals to the interventions of our own time in structures of mind that defy the progress narratives of the West.  He has received countless awards for work that has transformed the study of East Asian art and drawn attention to the relationship between images and the spaces within which they are observed, from the Dunhuang caves to the double screens to Zhu Jinshi’s Fangzhen: A Cubic Meter of Canvas in Berlin.  

Overall, his writings explore the many, restless transitions across time and space.  Perpetually interested in the shape of time, in relation to the time of the world, he has authored many books, essays, and exhibition catalogues that bring Chinese visual culture into different orders of focus, taking into account the changing conditions of tombs, screens, performances, and protests.  The scope of his work has an epic quality, allowing arguments to unfold across centuries without losing sight of the very human presence of artists and audiences.  He works in the discipline of art history as a poet-scholar who knows the brushstroke from the inside out, crafting prose of great clarity and nuance that opens the field to specialists and new readers alike. 

 

Distinguished Feminist Award – Artist 

In lieu of the Distinguished Feminist awards, we will recognize leaders in the field of feminist art and art history in our 2022 programming highlighting the 50th Year Anniversary of feminism at CAA. 

Committee: 
Robin Cass, Rochester Institute of Technology (Chair) 
Delinda J. Collier, School of the Art Institute of Chicago 
Midori Yoshimoto, New Jersey City University 

 

Distinguished Feminist Award – Scholar 

In lieu of the Distinguished Feminist awards, we will recognize leaders in the field of feminist art and art history in our 2022 programming highlighting the 50th Year Anniversary of feminism at CAA. 

Committee: 
Robin Cass, Rochester Institute of Technology (Chair) 
Delinda J. Collier, School of the Art Institute of Chicago 
Midori Yoshimoto, New Jersey City University 

 

Distinguished Teaching of Art Award  

Fred Hagstrom 

Fred Hagstrom, a member of the Carleton College faculty since 1984, is the 2022 recipient of the CAA Distinguished Teaching of Art Award. Hagstrom’s nomination included endorsements from former students and colleagues, including a listing of 341 former students who have taken his printmaking, book arts, and drawing classes. Hagstrom also directed a bi-annual study abroad 10-week trip for students to Australia, New Zealand, and the Cook Islands twelve times over twenty years, where students learned about South Pacific and Maori art and culture. Based on this experience, Dylan Yvonne Welch (BA, ‘08) recalls “Each trip, he candidly and humbly facilitates conversations about colonial history, racism and art. As a student, this was a breath of fresh air as I had found that many other professors seemed uncomfortable or simply avoided discussing those topics.” Eleanor Jensen (BA, ’01) credit him with teaching her to both see and draw, while also observing that “Fred is deeply sensitive to his students and is always ready to stand up for somebody who has been harmed or overlooked.” Students observed that Hagstrom’s classes were interdisciplinary, challenging them to connect their studies in other disciplines as well as their life stories to their studio work. Jade Hoyer credits Professor Hagstrom with being a mentor long after she graduated in 2007. Fred Hagstrom has profoundly impacted his students, many of whom have pursued careers as artists and educators.  We are pleased to recognize Fred Hagstrom’s more than three decades of teaching with this award.  

Committee: 
Stephen Fakiyesi, Independent Artist, Toronto 
Jessica Hong, Hood Museum, Toledo Art Museum 
Beauvais Lyons, University of Tennessee, Knoxville, (Chair) 

 

Distinguished Teaching of Art History Award 

Terry Smith 

Terry Smith has long written, curated and taught across borders, in the beginning coming from Australia to study and work in New York as both a scholar and an active member of Art & Language. He has been expanding his sights ever since. He has long advocated for the study of indigenous art. For the past twenty years, starting with projects such as Global Conceptualism: Points of Origin, 1950s -1980s at the Queens Museum, he was the trusted collaborator of Okwui Enwezor. He has always insisted that the past and the present be given their due consideration and global perspectives. 

All of this came to his teaching. Students have understood the breadth of his expertise and curiosity; they have used them as inspiration for their own paths; they have appreciated his warmth, his encouragement and the gift of his time. The example he has set as an art historian and a curator has had visible effects in the ranks of university professors and museum curators in the United States and abroad. They do not conform to a single, theoretical way. His students repeatedly speak of his belief in the independent existence of the art object and at the same time his insistence that it be grounded and imbricated in its own real time social relations. Art is allowed its scale, its interior place in our minds, and its exterior place in our world. 

Committee: 
Shirin Fozi, University of Pittsburgh (Chair) 
Joseph Masheck, Hofstra University 
Molly Nesbit, Vassar College 

 

Excellence in Diversity Award 

Valerie Cassel Oliver, curator of modern and contemporary art at the Virginia Museum of Fine Arts
Valerie Cassel Oliver is the Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts (VMFA). With her life-long commitment to increasing diversity in modern and contemporary art, her work has always focused on representation, inclusivity and highlighting artists of different social and cultural backgrounds. Cassel Oliver began her career working with the Black Arts Alliance in Austin, Texas, where she administered grants for the National Endowment for the Arts. Then, she became director of the Visiting Artist Program at the School of the Art Institute of Chicago and served as Senior Curator at Contemporary Arts Museum Houston from 2000 to 2017. Cassel Oliver was the organizer of the acclaimed exhibits including Double Consciousness: Black Conceptual Art Since 1970 (2005); Cinema Remixed and Reloaded: Black Women Artists and the Moving Image with Dr. Andrea Barnwell Brownlee (2009); Benjamin Patterson: Born in the State of Flux/us, and Radical Presence: Black Performance in Contemporary Art (2012).  In 2018 at the VMFA, she co-organized the 50-year survey, Howardena Pindell: What Remains to be Seen, with Naomi Beckwith then with the Museum of Contemporary Art Chicago. The exhibit was named one of the most influential of the decade. Most recently, she organized the acclaimed survey, The Dirty South: Contemporary Art, Material Culture and the Sonic Impulse. Cassel Oliver’s many achievements have been widely recognized. In 2000 she was one of six curators selected to organize the Biennial including the Whitney Museum of American Art in New York. She also has earned fellowships with the Getty Research Institute and the Center for Curatorial Leadership (New York). 

Committee: 
Carmelita Higgenbotham, Virginia Commonwealth University 
Kelly Murdoch-Kitt, University of Michigan 
Sohl Lee, Stony Brook University

 

 

Filed under: Annual Conference, Awards

Finalists for the 2022 Morey and Barr Awards

posted by January 03, 2022

CAA is pleased to announce the 2022 finalists for the Charles Rufus Morey Book Award and the two Alfred H. Barr Jr. Awards. The winners of the three prizes, along with the recipients of other Awards for Distinction, will be announced in January 2022 and presented during Convocation in conjunction with CAA’s 110th Annual Conference, February 16–19, 2022. 

 

Charles Rufus Morey Book Award Shortlist, 2022 

Monica Bravo, Greater American Camera: Making Modernism in Mexico, Yale University Press, 2021 

Elina Gertsman, The Absent Image: Lacunae in Medieval Books, Penn State University Press, 2021

Dipti Khera, The Place of Many Moods: Udaipur’s Painted Lands and India’s Eighteenth Century, Princeton University Press, 2020

Susanna P. Newbury, The Speculative City: Art, Real Estate, and the Making of Global Los Angeles, University of Minnesota Press, 2021

 

Alfred H. Barr Jr. Award Shortlist, 2022 

Carmen Ramos, ¡Printing the Revolution!: The Rise and Impact of Chicano Graphics, 1965 to Now, Princeton University Press, 2020

Sarah Fee, Cloth that Changed the World: The Art and Fashion of Indian Chintz, Yale University Press, 2020

Dorothy Moss, Hung Liu: Portraits of Promised Lands, Smithsonian National Portrait Gallery, 2021

Sarah Roberts and Katy Siegel, Joan Mitchell, Yale University Press, 2021

Andrea Nelson with Elizabeth Cronin, Mia Fineman, Mila Ganeva, Kristen Gresh, Elizabeth Otto, Kim Sichel, The New Woman Behind the Camera, DelMonico Books, 2020

Julia Griffin and Andrzej Szczerski, editors, Young Poland: The Polish Arts and Crafts Movement, 1890–1918, Lund Humphries, 2020

 

Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions Shortlist, 2022 

Nadezhda Kavrus-Hoffmann with the collaboration of Pablo Alvarez, A Catalogue of Greek Manuscripts at the University of Michigan, Ann Arbor, University of Michigan Press, 2021

Julie L. McGee, David Driskell: Icons of Nature and History, Rizzoli, 2021

Sarah M. Miller, Documentary in Dispute. The Original Manuscript of Changing New York by Berenice Abbott and Elizabeth McCausland, Ryerson Image Centre/MIT Press, 2020

Elizabeth Finch; Marshall N. Price; Graham Bader; Scott Manning Stevens; Ruth Fine,  Roy Lichtenstein: History in the Making, 1948-1960, Rizzoli, 2020

David S. Areford, Strict Beauty: Sol LeWitt Prints, Yale University Press, 2020

Tameka Ellington & Joseph Underwood, TEXTURES: The History and Art of Black Hair, Hirmer Publishers / University of Chicago Press, 2022

Filed under: Awards

Nicole Fleetwood, recipient of CAA’s Frank Jewett Mather and Charles Rufus Morey book awards, discusses the inspiration behind her book, Marking Time: Art in the Age of Mass Incarceration.

Supporting excellence in the arts for over 100 years, CAA and its members are highly integrated into the fabric of art and its history, particularly in New York City. On September 1, 2021, CAA had the privilege to highlight its impact in an event featuring its distinguished awardees and partnerships. The event, an Inaugural Evening with CAA Distinguished Awardees and Artists, recognized the talent of CAA’s membership and reaffirmed CAA’s commitment and advocacy for scholars, artists, designers, teachers, young professionals, and many others.  

Surrounded by recent artworks created by The League’s faculty members, CAA Executive Director and CEO Meme Omogbai introduced celebrated critic and curator Nicole R. Fleetwood. Fleetwood delivered a private presentation discussing her book and exhibition Marking Time: Art in the Age of Mass Incarceration, including detailed insights into the backstory and personal inspiration behind the important project. The book, published by Harvard University Press, unprecedently won both CAA’s Frank Jewett Mather and Charles Rufus Morey book awards in 2021. It was also reviewed across CAA’s publications, including The Art BulletinArt Journal, and caa.reviews. Fleetwood’s book accompanies a groundbreaking exhibition that began at MoMA PS1 in 2020 and continues to travel; it will open on September 17 at the Abroms-Engel Institute for the Visual Arts at the University of Alabama at Birmingham and be on view through December 11, 2021.  

CAA Executive Director and CEO, Meme Omogbai, presents Nicole Fleetwood with the CAA Frank Jewett Mather and Charles Rufus Morey book awards.

The reception also commended CAA’s Outstanding Leadership in Philanthropy Award recipient, the Samuel H. Kress Foundation. The Samuel H. Kress Foundation has supported CAA in its mission for over 60 years, through programs in art history and, more recently, digital transformation. With support from the Samuel H. Kress Foundation, CAA’s new strategic focus on digital initiatives will bridge history, scholarship, and accessibility to better serve all segments of its constituency, especially underprivileged audiences. 

The Art Students League of New York graciously hosted CAA for this event. Like CAA, The League is an organization with a long history of promoting the arts and education. Indeed, CAA and The League have been highly integrated into the fabric of art and its history in New York City and have been closely intertwined, collaborating on several events and initiatives dating back to at least the 1950s. 

CAA Executive Director and CEO, Meme Omogbai, presents Max Marmor, President of the Kress Foundation, with the CAA Philanthropy Award.

Located west of The League, the site-specific exhibition Re:Growth, A Celebration of Art, Riverside Park, and the New York Spirit, curated by Karin Bravin, included several artists from the CAA community: current CAA Board Member Dahlia Elsayed, former Board President DeWitt Godfrey, and CAA member Jean Shin. While the weather prevented a group walk-through of the exhibition, Elsayed spoke to attendees about the unique exhibition, her sculpture in the show, and its significance.  

Altogether, the evening underscored CAA’s wide reach and impact in the arts and the talent of its members. As the largest international organization of arts professionals, CAA has a vital mission to promote the visual arts and their understanding through intellectual engagement, commitment to diversity, and advocacy. This upcoming year will provide opportunities to celebrate several milestones in this mission. CAA’s next virtual event in November 2021, will celebrate the 10-year anniversary of the publication of CAA’s seminal history, The Eye, the Hand, the Mind: 100 Years of the College Art Association. In February 2022, CAA will host its first hybrid Annual Conference in Chicago and online; registration will open in October.  

Jennifer Rissler, Vice President for External Relations and acting CAA Board President, and Dahlia Elsayed, current CAA Board Member and artist, both spoke at the event.

Filed under: Awards — Tags:

 Dr. Nancy Odegaard discusses a strategy of pottery condition reporting with interns as a type of triage, or assignment of conservation treatments based on the types of damage or documentation need when a large volume of vessels are involved. The annual activity known as the Pottery Blitz has been a regular summer activity for many years at the Arizona State Museum.

Dr. Nancy Odegaard discusses a strategy of pottery condition reporting with interns as a type of triage, or assignment of conservation treatments based on the types of damage or documentation need when a large volume of vessels are involved. The annual activity known as the Pottery Blitz has been a regular summer activity for many years at the Arizona State Museum.

Watch the recording of our virtual celebration of Dr. Nancy Odegaard, this year’s recipient of the CAA/American Institute for Conservation (AIC) Award for Distinction in Scholarship and Conservation.

Dr. Odegaard’s scholarship and gracious leadership have been central to modeling collaboration between disciplines, advancing conservation discourse, and fostering a more inclusive and nuanced understanding of art and cultural heritage. She has authored several publications that have become standards in the field for conservators, academics in the arts, and students.

The CAA/AIC Award for Distinction in Scholarship and Conservation annually recognizes outstanding contributions by one or more persons who, individually or jointly, have enhanced understanding of art through the application of knowledge and experience in conservation, art history, and art.

This event was produced in partnership with CAA’s affiliate organization, the American Institute for Conservation (AIC) in tandem with their 2021 AIC/SPNHC Joint Virtual Annual Meeting.

Watch the Recording

Filed under: Awards, Conservation, Event, Video — Tags: ,

CAA is pleased to announce the recipient of the 2020 Professional Development Fellowships. The recipient of the $10,000 fellowship in visual art is Ana Maria Farina, SUNY New Paltz. A fellowship in art history was not awarded this year.

The honorable mention in visual art is awarded to Sabrina Pastard, Columbia College Chicago. All fellows and honorable mentions receive a complimentary one-year CAA membership and registration for the 2022 Annual Conference in Chicago.

2020 PROFESSIONAL DEVELOPMENT FELLOWSHIP IN VISUAL ARTS

Ana Maria Farina, SUNY New Paltz

Ana Maria Farina paints using a gun––a tufting gun––along with needles, hooks, and knots. Repurposing a phallic signifier of violence, she conjures vibrant objects of comfort that inhabit a mystical pictorial space between abstraction and representation.

Ana Maria was born and raised in Brazil and is now based in the Hudson Valley, New York. She received her masters degree in Art and Art Education from Columbia University in 2016, and in 2018 she was awarded a fellowship to the New York Foundation for the Arts Immigrant Artist Mentoring Program. In 2019, she received a scholarship to attend the MFA program at SUNY New Paltz, where she also served as the Visiting Artist Director and Instructor of Record. Ana’s work has been featured in many spaces throughout New York and she has upcoming exhibitions at the Wassaic Project, the Garrison Art Center, the Dorsky Museum, among others.

HONORABLE MENTION IN VISUAL ART

Sabrina Pastard, Columbia College Chicago

Sabrina Pastard is a visual artist who works with the poetics in the meta of the mundane. Often balancing her visuals on the borderline of familiarity and the abject, safety and crisis. Her multidisciplinary practice ranges in medium from ready-made sculptures and abstract prints to conceptual writings and poetry. Each new work invites an intellectual intimacy from the viewer as it inquires to the status of our assumed lives and societal taboos. Pastard was raised in St. Louis, MO and received her B.A. in studio art from George Fox University. She currently resides in Chicago and will complete her MFA at Columbia College Chicago in May 2021.

ABOUT THE PROFESSIONAL DEVELOPMENT FELLOWSHIP

CAA’s Professional Development Fellowship program supports promising artists and art historians who are enrolled in MFA and PhD programs nationwide. Awards are intended to help them with various aspects of their work, whether for job-search expenses or purchasing materials for the studio. CAA believes a grant of this kind, without contingencies, can best facilitate the transition between graduate studies and professional careers. The program is open to all eligible graduate students in the visual arts and art history. Applications for the 2021 fellowship cycle will be due December 15, 2021. Learn more. 

Honorees this year include Samella Lewis, Deborah Willis, Kenneth Frampton, and many other scholars, artists, and teachers, including special commendation for service to art historical scholarship to Gillian Malpass.

CAA Annual Conference, February 10-13, 2021 

We are pleased to announce the recipients and finalists of the 2021 CAA Awards for Distinction. Among the winners this year is Samella Lewis, recipient of the 2021 Distinguished Artist Award for Lifetime AchievementShe was the first African American to earn a PhD in art history at Ohio State University. Mentored by Elizabeth Catlett and Charles White, Lewis embodied the visual culture of the civil rights movement through her prints. In addition to her studio practice, Lewis advocated African American art by writing for and creating exhibition venues. Her book, African American Art and Artists, originally published in 1978, was updated in subsequent editions and remains an important examination of more than two centuries of Black art and artists in the United States. For decades Lewis was a committed educator and scholar. In addition to her Fulbright, Lewis has been honored with a Charles White Lifetime Award (1993), with a UNICEF Award for the Visual Arts (1995), by being named a Getty Distinguished Scholar (1997), and by being interviewed by the HistoryMakers Archives (2003).  

 


 

Deb Willis 

and

Kenneth Frampton Photo credit: Alex Fradkin 

Deborah Willis and Kenneth Frampton are the recipients of the 2021 Distinguished Lifetime Achievement Award for Writing on Art 

Deborah Willis has opened the field of African American photography. When the invention of photography coincided with the promise of abolition, a new arc of aspiration was combined. Its new pictures, thought to be the work of light itself, began to transmit images so that, as Frederick Douglass said, “Men of all conditions may see themselves as others see them.” From the first, photographs and photographic studios proliferated inside the Black community. It is the true extent of this practice that has been revealed by the lifework of Deborah Willis. In effect she has acted as its archaeologist, sifting through the layers from the time of Louis Daguerre to the surface of our present, retrieving the images and researching their histories. 

Kenneth Frampton, trained as an architect, is a prolific architectural historian and critic who has managed to face the behemoth of globalized capital with an enduring version of humane modernity. Frampton has been writing about architecture for over half a century. A model of the architect-scholar, Frampton not only opens new cosmopolitan perspectives on the work of widely influential architects from Le Corbusier and Louis Kahn to Zaha Hadid and Álvaro Siza Vieira with his scholarship but also gives due attention to transitional spaces and movements. 


 

Gillian Malpass 

Gillian Malpass is the recipient of aCAA Commendation for Service to Art Historical ScholarshipAs publisher of art and architectural history at Yale University Press, London, Gillian Malpass assembled a matchless list of titles over three decades that set the press apart from all others. She fostered projects that were gorgeously designed, accessibly written, and beautifully illustrated, including numerous now-classic books by both emerging and senior scholars. She worked on monographs, exhibition catalogs, reference, and biography, from books examining previously unexplored fields to bestsellers. Authors of many of the most important books published in art history over the past thirty years attest in their prefaces to the ways in which Malpass’s encouragement, expertise, and eye shaped their work. 

The Awards for Distinction will be presented during Convocation at the CAA Annual Conference on Wednesday, February 10 at 6:00 PM. This event is free and open to the public. A free and open registration is required.

 


The full list of 2021 CAA Awards for Distinction Recipients:

Sampada Aranke

Art Journal Award  

Sampada Aranke, “Blackouts and Other Visual Escapes,” Art Journal, vol. 79, no. 4 (Winter 2020): 6275 


Katherine A. Bussard

 

Kristen Gresh Photo credit: Oswaldo Ruiz

Alfred H. Barr Jr. Award  

Katherine A. Bussard and Kristen Gresh, eds., “Life” Magazine and the Power of Photography, Princeton University Art Museum, 2020 

and

Louis Marchesano

Louis Marchesano, ed., Käthe Kollwitz: Prints, Process, Politics, Getty Research Institute, 2020 

 


 

Julieta Gonzalez

 

Tomás Toledo

 

Adriano Pedrosa

 

José Esparza Chong Cuy

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

Adriano Pedrosa, José Esparza Chong Cuy, Julieta González, and Tomás Toledo, Lina Bo Bardi: HabitatMuseu de Arte de São Paulo Assis Chateaubriand (MASP) / DelMonico Books, 2020 

 


 

Nicole R. Fleetwood                                  Photo credit: Bayeté Ross Smith

Frank Jewett Mather Award  

Nicole R. Fleetwood, Marking Time: Art in the Age of Mass Incarceration, Harvard University Press, 2020 

 


 

Charles L. Davis, II

Charles Rufus Morey Book Award

Charles L. Davis, II, Building Character: The Racial Politics of Modern Architectural Style, University of Pittsburgh Press, 2019 

and

Nicole R. Fleetwood                                  Photo credit: Bayeté Ross Smith

Nicole R. Fleetwood, Marking Time: Art in the Age of Mass Incarceration, Harvard University Press, 2020 

 


 

Adam Jasienski

Arthur Kingsley Porter Prize

Adam Jasienski, “Converting Portraits: Repainting as Art Making in the Early Modern Hispanic World,” The Art Bulletin, vol. 102, no. 1 (March 2020): 7–30 

 

Jessie Park

Honorable Mention:
Jessie Park, Made by Migrants: Southeast Asian Ivories for Local and Global Markets, ca. 1590–1640,” The Art Bulletin, vol. 102, no. 4 (December 2020): 6689 

 


 

Maren Hassinger                          Photo credit: Ava Hassinger

Artist Award for a Distinguished Body of Work  

Maren Hassinger 

 


 

Nancy Odegaard

CAA/AIC Award for Distinction in Scholarship and Conservation 

Nancy Odegaard 

 


 

Samella Lewis

Distinguished Artist Award for Lifetime Achievement  

Samella Lewis 

 


 

Deb Willis

and

Kenneth Frampton Photo credit: Alex Fradkin

Distinguished Lifetime Achievement Award for Writing on Art  

Deborah Willis and Kenneth Frampton 

 


 

Simone Leigh                                Photo credit: Kyle Kodel

Distinguished Feminist Award—Artist  

Simone Leigh

 


 

Katy Deepwell

Distinguished Feminist Award—Scholar  

Katy Deepwell

 


 

Dona Nelson

Distinguished Teaching of Art Award  

Dona Nelson

 


 

Kaori Kitao

Distinguished Teaching of Art History Award  

Kaori Kitao 

 


 

Margo Machida

Excellence in Diversity Award  

Margo Machida 

 


 

Gillian Malpass

CAA Commendation for Service to Art Historical Scholarship

Gillian Malpass 

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

 

Filed under: Awards — Tags:

A woman seated on a obstetrical chair giving birth aided by a midwife who works beneath her skirts. Woodcut.

MEET THE GRANTEES

Twice a year, CAA awards grants through the Millard Meiss Publication Fund to support book-length scholarly manuscripts in the history of art, visual studies, and related subjects that have been accepted by a publisher on their merits, but cannot be published in the most desirable form without a subsidy.

Thanks to the generous bequest of the late Prof. Millard Meiss, CAA began awarding these publishing grants in 1975.

The Millard Meiss Publication Fund grantees for Fall 2020 are:

  • Cammy BrothersGiuliano da Sangallo and the Ruins of RomePrinceton University Press 
  • Lindsay CaplanProgrammed Art: Freedom, Control, and Computation in 1960s ItalyUniversity of Minnesota Press 
  • Margaret Graves and Alex Dika SeggermanMaking Modernity in the Islamic MediterraneanIndiana University Press 
  • Diana GreenwaldPainting by Numbers: Data-Driven Histories of Nineteenth Century ArtPrinceton University Press 
  • Subhashini KaligotlaShiva’s Waterfront Temples: Self and Space in Medieval IndiaYale University Press 
  • Sigrid LienColonial LegaciesDecolonial Activism: Indigenous Photographs RevisitedUniversity of British Columbia Press
  • Elizabeth PerrillBurnished: Zulu Ceramics Between Rural and Urban South Africa Indiana University Press
  • Stephanie Sparling WilliamsSpeaking Out of Turn: Lorraine O’Grady and the Art of LanguageUniversity of California Press
  • Rebecca Whiteley, Birth Figures: Early Modern Prints and the Pregnant BodyUniversity of Chicago Press 

Read a list of all recipients of the Millard Meiss Publication Fund from 1975 to the present. The list is alphabetized by author’s last name and includes book titles and publishers.

BACKGROUND

Books eligible for a Meiss grant must currently be under contract with a publisher and be on a subject in the arts or art history. The deadlines for the receipt of applications are March 15 and September 15 of each year. Please review the Application Guidelines and the Application Process, Schedule, and Checklist for complete instructions.

CONTACT

Questions? Please contact Cali Buckley, Grants and Special Programs Manager, at cbuckley@collegeart.org.

Filed under: Awards

CAA is pleased to announce the 2021 finalists for the Charles Rufus Morey Book Award and two Alfred H. Barr Jr. Awards. The winners of the three prizes, along with the recipients of other Awards for Distinction, will be announced in February 2021 and presented during Convocation in conjunction with CAA’s 109th Annual Conference, taking place on February 10-13, 2021.

2021 Charles Rufus Morey Book Award finalists  

Charles L. Davis II, Building Character: The Racial Politics of Modern Architectural Style, University of Pittsburgh Press, 2019 

Emine Fetvaci, The Album of the World Emperor: Cross-Cultural Collecting and the Art of Album-Making in Seventeenth-Century IstanbulPrinceton University Press, 2019 

Nicole R. Fleetwood, Marking Time: Art in the Age of Mass IncarcerationHarvard University Press, 2020 

John Warne Monroe, Metropolitan Fetish: African Sculpture and the Imperial French Invention of Primitive Art, Cornell University Press, 2019 

Liza Oliver, Art, Trade, and Imperialism in Early Modern French India, Amsterdam University Press, 2019 

 

2021 Alfred H. Barr Jr. Award finalists 

Katherine A. Bussard and Kristen GreshLife Magazine and the Power of Photography, Yale University Press, 2020 

Eleanor Jones Harvey, Alexander von Humboldt and the United States: Art, Nature, and Culture, Princeton University Press, 2020 

Stephen Little and Virginia Moon, ed., Beyond Line: The Art of Korean Writing, Los Angeles County Museum of Art and DelMonico Books, 2019

Alisa LaGammaSahel:  Art and Empires on the Shores of the Sahara, The Metropolitan Museum of Art, 2020 

Louis Marchesano, ed.Käthe Kollwitz: Prints, Process, PoliticsGetty Publications2020 

Catherine Jenkins, Nadine M. Orenstein, and Freyda SpiraThe Renaissance of Etching, The Metropolitan Museum of Art, 2019 

                

2021 Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions finalists 

Gean Moreno, Ettore Sottsass and The Social Factory, Institute of Contemporary Art, Miami and DelMonico Books, 2020

Adriano Pedrosa, José Esparza Chong Cuy, Julieta González, and Tomás ToledoLina Bo Bardi: HabitatMuseu de Arte de São Paulo Assis Chateaubriand (MASP) and DelMonico Books, 2020 

Luca Guido, Angela Person, and Stephanie Pilated., Renegades: Bruce Goff and the American School of Architecture, University of Oklahoma Press, 2020 

Andrea RosenWood Gaylor and American Modernism, 1913-1936, Fleming Museum of Art, 2020 

Jinah Kim and Todd LewisDharma and Puya: Buddhist Ritual Art of Nepal, Brill, 2019

Aprile Gallant, Floyd Cheung, and Margo MachidaDefiant Vision: Prints & Poetry by Munio Makuuchi, Smith College Museum of Art, 2019 

Susan Cookseyed. Peace, Power, and Prestige: Metal Arts in Africa, University Press of Florida, 2020 

Filed under: Awards

Former CAA Interim Director David Raizman and Denise Murrell, who received the Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions for her catalog Posing Modernity: The Black Model From Manet and Matisse to Today, at the 2020 Annual Conference in Chicago. Photo: Stacey Rupolo

CAA invites nominations and self-nominations for individuals to serve on our Awards for Distinction, Publication Grant, Fellowship, and Travel Grant juries. Terms begin August 2020.

Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2020. CAA’s president and vice president for committees appoint jury members for service.

Awards for Distinction Juries

CAA has vacancies in ten of the fourteen juries for the annual Awards for Distinction for three years (2020–23). Terms begin in August 2020; award years are 2021–23.

  • Alfred H. Barr Jr. Award for museum scholarship in the history of art/Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions for museum scholarship in the history of art published by smaller institutions: two vacancies
  • Frank Jewett Mather Award for art criticism: two vacancies
  • Charles Rufus Morey Book Award for non-catalogue books in the history of art: one vacancy
  • Arthur Kingsley Porter Prize for articles written by younger scholars in The Art Bulletin: one vacancy
  • Artist Award for Distinguished Body of Work: two vacancies
  • Distinguished Artist Award for Lifetime Achievement: one vacancy
  • Distinguished Feminist Awards for Scholars and Artists: one vacancy
  • Distinguished Teaching of Art History Award: one vacancy
  • Excellence in Diversity Award: four vacancies

Publication Grant Juries

CAA has vacancies on our Millard Meiss Publication Fund grant jury for four years (2020–24) and the Terra Foundation for American Art Publication Grant jury for one year (2020-21).

  • Millard Meiss Publication Fund: three vacancies
  • Terra Foundation for American Art Publication Grant: one vacancy

Professional Development Fellowship Juries

CAA has vacancies on our Professional Development Fellowship juries for three years (2020–23). Terms begin August 2020.

  • Professional Development Fellowship in Visual Arts: three vacancies
  • Professional Development Fellowship in Art History: two vacancies

Travel Grant Juries

CAA has vacancies on our Art History Fund for Travel to Special Exhibitions jury for three years (2020–23). Terms begin August 2020.

  • Art History Fund for Travel to Special Exhibitions: two vacancies

HOW TO APPLY

Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and a CV (an abbreviated CV no more than two pages may be submitted). Please send all materials by email to Cali Buckley (cbuckley@collegeart.org), CAA grants and special programs manager; submissions must be sent as Microsoft Word or Adobe PDF attachments.

For questions about jury service and responsibilities, contact Tiffany Dugan (tdugan@collegeart.org), CAA director of programs and publications.

Deadline: July 31, 2020