CAA News Today

CAA announces the 2023 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 Barbara Kruger whose influential works have consistently had viewers question the larger society around them for over four decades.  

The Distinguished Lifetime Achievement Awards for Writing on Art are being presented to feminist art historian Griselda Pollock and art historian of northern Renaissance and Dutch Golden Age art Svetlana Alpers.  

 

---

Art Journal Award  

 

Alfred H. Barr Jr. Award  

Julia Burtenshaw, Héctor García Botero, Diana Magaloni, and María Alicia Uribe Villegas, The Portable Universe / El universo en tus manos: Thought and Splendor of Indigenous Colombia (DelMonico Books/Los Angeles County Museum of Art, 2022) 

 

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

No recipient this year 

 

Frank Jewett Mather Award  

Eduardo Cadava 

 

Charles Rufus Morey Book Award  

Sylvia Houghteling, The Art of Cloth in Mughal India (Princeton University Press, 2022)   

 

Arthur Kingsley Porter Prize 

Tomasz Grusiecki, “Doublethink: Polish Carpets in Transcultural Contexts” and Hugo Shakeshaft, “Beauty, Gods, and Early Greek Art: The Dedications of Mantiklos and Nikandre Revisited”

 

Artist Award for a Distinguished Body of Work 

Dawoud Bey 

 

CAA/AIC Award for Distinction in Scholarship and Conservation  

Michele Marincola and Lucretia Kargère 

 

Distinguished Artist Award for Lifetime Achievement  

Barbara Kruger 

 

Distinguished Lifetime Achievement Award for Writing on Art  

Svetlana Alpers and Griselda Pollock 

 

Distinguished Teaching of Art Award  

Mary Lum 

 

Distinguished Teaching of Art History Award  

No recipient this year 

 

Excellence in Diversity Award 

Arlene M. Dávila

---

Citations:  

Art Journal Award  

Emilie Boone, “When Images in Haiti Fail: The Photograph of Charlemagne Péralte,” Art Journal, Winter 2022 

The 2022 jury has chosen Emilie Boone as the recipient of the 2022 Art Journal Award for the essay, “When Images in Haiti Fail: The Photograph of Charlemagne Péralte.” Boone’s deconstruction of a single photo offers readers an entry into the contested history surrounding the US occupation of Haiti, as well as the attendant visual politics of this period (1915–34). Through close textual analysis of Péralte’s historically significant image, the author weaves together a situated narrative of Haitian visual culture under occupation, interrogating crucial notions of ontology through examination of photographic composition. Boone frames the racialized body as a contested and imagined site rife for adaptation and tampering, first through vernacular photographic techniques, as well as other forms of pictorial representation. In the end, Boone’s text summons an interrogation of tradition, and indeed, of the implicit politics of the medium of photography itself. 

Jury members: 

Omar Kholeif, Sharjah Art Foundation, Chair
Phil Taylor, George Eastman Museum
Tilo Reifenstein, York St John University 

 

 

 

Alfred H. Barr Jr. Award  
Julia Burtenshaw, Héctor García Botero, Diana Magaloni, and María Alicia Uribe Villegas, The Portable Universe/El universo en tus manos: Thought and Splendor of Indigenous Colombia (DelMonico Books / Los Angeles County Museum of Art, 2022) 

The Western concept of El Dorado has long impacted the study of the ancient cultures of Colombia, overshadowing the manifold stories that pre-Columbian art weaves across time and space. How can museum curators uncover those stories, illuminate their nuanced complexities, and present them to the public in engaging and innovative ways? The Portable Universe/El universo en tus manos is the remarkable outcome of just such an undertaking. Both the catalog and related exhibition are the result of a six-year collaboration between the Los Angeles County Museum of Art and Museo del Oro, Bogotá. Most importantly, the curators collaborated with a contemporary Indigenous community in Colombia, the Arhuaco of the Sierra Nevada de Santa Marta. The Portable Universe reveals that pre-Columbian artifacts—including goldworks, ceramics, and textiles—are not mere objects, but rather messengers that link living beings (people, animals, plants) and places across space and time. Each is, in brief, a portable universe. The Arhuaco explain that these messengers need to be “nourished,” or brought back to life. Thus, the concept of nourishment enters curatorial practice: a form of sustained, reciprocal attention that goes well beyond customary models of stewardship. Incisively written, gorgeously illustrated, and ingeniously designed, this groundbreaking book brings together interdisciplinary research (in history, archaeology, anthropology, environmental studies, and ornithology) and Indigenous knowledge to propose a new approach to the material and spiritual culture of ancient Colombia, one which underscores the transformative powers of cross-cultural dialogue. A major advance in the study of Indigenous art, the book spurs us to creatively rethink our notions of both the museum and scholarship. 

Jury Members: 

Benjamin Anderson, Cornell University, Co-chair
Karen Lang, Independent Scholar, Co-chair
Francesca Pietropaolo, Independent Scholar
Jochen Wierich, Aquinas College 

 

Frank Jewett Mather Award 

Eduardo Cadava 

The jury has awarded this year’s prize to Eduardo Cadava, based on his elegant book Paper Graveyards (MIT Press, 2021) and in recognition of his long career within the field of art criticism, especially his influential theories of photography. Paper Graveyards is the culmination of decades of Cadava’s thinking about how images and technical media actively transform social and political life, and his far-ranging case studies (including examinations of artists Leon Golub, Nancy Spero, Fazal Sheikh, and Susan Meiselas) orient themselves towards activist practices that speak to and from the margins.  Wending through ruminations on materiality, forms of documentary, and modes of circulation, Cadava writes a new account of what it means to pay visual witness in the face of constant emergency. 

Jury members: 

Julia Bryan-Wilson, Columbia University, Chair
Nicole Fleetwood, New York University
Kim Theriault, Dominion University 

 

Charles Rufus Morey Book Award  

Sylvia Houghteling, The Art of Cloth in Mughal India (Princeton University Press, 2022) 

The Art of Cloth in Mughal India by Sylvia Houghteling focuses on the production, circulation, and consumption of South Asian textiles in the sixteenth and seventeenth centuries, a period of both global manufacturing dominance and intense artistic creativity for Indian cloth-makers. The book offers a uniquely comprehensive account of the complex meanings of cloth as it moved across the Mughal imperial courts, the kingdoms of Rajasthan, the Deccan sultanates, and the British Isles, all the while remaining attentive to the richness of regional specialties. Houghteling brilliantly weaves together a capacious range of topics including issues of patronage and labor, iconography and symbolism, technical and ecological considerations, connections with poetry and other fine as well as decorative arts, and the sensory experience of the various textiles, from gauzy muslins to tent panels. Starting with an account of the Emperor Akbar’s patronage of dyers and weavers, Houghteling analyzes the elaborate Bikaner Robe, which Akbar’s successor Jahangir presented to a provincial raja. She moves on to the elegant textile culture of the Rajput Court of Amber and the kalamkari cloth of Machilipatnam, ending with a survey of the flourishing market for Hindustani cloth in early modern Britain, evidence of a new global cosmopolitanism that linked the Mughal court with the Stuarts. The book’s handsome design, color illustrations, and vivid writing make Art of Cloth an engaging read for scholars and general readers alike. 

Jury members: 

Lisa Schrenk, University of Arizona, Chair
John Cunnally, Iowa State University
Laura Anne Kalba, University of Minnesota, Minneapolis
J. P. Park, University of Oxford
Andrew Wasserman, American University 

 

 

Arthur Kingsley Porter Prize  

Tomasz Grusiecki and Hugo Shakeshaft 

Tomasz Grusiecki, “Doublethink: Polish Carpets in Transcultural Contexts,” The Art Bulletin, September 2022
That art objects move, and that in doing so their meaning changes, is now widely accepted, but conceptualizing and describing the ways in which such changes occur still often eludes us. Tomasz Grusiecki’s winning essay provides a framework for doing just that, in its elegant examination of the lives and plural significances of carpets in early modern Eastern and Central Europe. Borrowing George Orwell’s notion of “doublethink,” Grusiecki shows, with a keenly historical eye, that there was little tension for early modern patrons between the provenience of carpets in Safavid Persia or Ottoman Turkey and their adaptation into local European contexts, where they became fundamental to the construction of individual and burgeoning national identities. Grusiecki moves past the simple charting of the “surprising” provenances of individual objects to weave a complex web in which he embraces the inevitable messiness of movement—and of meaning—in early modernity. Grusiecki’s transcultural doublethink promises to be a concept of great utility for our discipline as it continues to grapple with these issues. 

 

Hugo Shakeshaft, “Beauty, Gods, and Early Greek Art: The Dedications of Mantiklos and Nikandre Revisited,” The Art Bulletin, May 2022 

In his groundbreaking article “Beauty, Gods, and Early Greek Art: The Dedications of Mantiklos and Nikandre Revisited,” Hugo Shakeshaft transforms narratives around the topic of beauty in the religious art of archaic Greece. He moves away from such still-influential Enlightenment frameworks as Kant’s account of aesthetic autonomy and Winckelmann’s concern with timeless aesthetic values to examine the question of beauty from a historicizing vantage point. In order to assess how beauty mattered for those who patronized, created, employed, and observed artworks in ancient Greece, Shakeshaft focuses on two anthropomorphic votive figurines—a bronze statuette dedicated by Mantiklos (ca. 700–675 BCE) and a marble life-size statue dedicated by Nikandre (ca. 660–630 BCE). In his deeply researched discussion, he reconsiders these celebrated objects through a layered analysis of their forms, inscriptions, and materials as well as by reading them alongside aesthetic values expressed in the writings of Homer and Hesiod. In particular, he calls attention to the ideal of charis, a rich concept that can be translated as “beauty,” “favor,” “gratitude,” and “grace,” to show how beauty was inextricably tied to ideas of reciprocity. Ultimately, Shakeshaft posits that beauty needs to be treated as rigorously as any other interpretive category, and—far from being a universal—demands contextualized cultural awareness. 

 

Jury members:
Adam Jasienski, Southern Methodist University, Chair
Susanna Berger, University of Southern California
Christine I. Ho, University of Massachusetts Amherst 

 

Artist Award for a Distinguished Body of Work 

Dawoud Bey 

Dawoud Bey has a photographic career spanning four decades, beginning in 1975 with the seminal five-year portrait project of everyday life in Harlem. His work has recently traveled in a retrospective titled An American Project” at the San Francisco Museum of Modern Art and co-organized by the Whitney Museum of American Art. In his recent publication, Dawoud Bey: Two American Projects, his work explores race, African American history and underrepresented communities; featuring portraits memorializing the six children who were victims of the Ku Klux Klan’s bombing at 16th Street Baptist Church in Birmingham, and a group of black-and-white landscapes made in Ohio where the Underground Railroad once operated. In the 1980s Bey collaborated with artist David Hammons by documenting the performances Bliz-aard Ball Sale and Pissed Off. In 2017 he received the MacArthur Fellowship and is Professor of Photography at Columbia College Chicago where he has taught for over twenty years.  Bey’s work is in permanent collections of leading museums, including the Art Institute of Chicago, the Museum of Modern Art in New York, and the Whitney Museum of American Art. 

Jury members: 

Derek G. Larson, Purdue University, Chair
Stephen Fakiyesi, Independent Artist
Jessica Hong, Art Museum  

 

 

CAA/AIC Award for Distinction in Scholarship and Conservation 
Michele Marincola and Lucretia Kargère 

Michele Marincola and Lucretia Kargère are recognized by conservators, curators, and art historians, for their contributions to the study of European sculpture. Their recent, joint publication titled The Conservation of Medieval Polychrome Wood Sculpture: History, Theory, Practice (Los Angeles: Getty Conservation Institute, 2020) is a major contribution to the fields and represents two-decades of collaborative work. 

Marincola is the Sherman Fairchild Chair, and Sherman Fairchild Distinguished Professor of Conservation, at the Conservation Center, Institute of Fine Arts, New York University, a position she has held since 2014. Kargère is a Conservator of Medieval Sculptures at the Metropolitan Museum of Art and the Cloisters. Marincola previously worked with Kargère at the Cloisters where they collaborated on conservation and research. Marincola’s contributions to scholarship include research on the sculptor Tilman Riemenschneider and the translation and commentary of Johannes Taubert’s Farbige Skulpturen into English. Kargère, who is known for her work on French sculpture, has collaborated with Maricola and conservation scientists at the Metropolitan Museum of Art on the publications about the materials and techniques used in Medieval polychrome sculpture.  

Both Marincola and Kargère are recognized for having educated students and colleagues about the history and conservation of European Medieval polychrome sculpture. Numerous students, interns, and Fellows have benefitted from their expertise both at the Metropolitan Museum of Art and at New York University. Moreover, Marincola and Kargère are known for producing publications and presentations that touch upon important issues in art conservation, art making, art history, and ethics. 

Jury members:
Tiarna Doherty, University of Delaware and Smithsonian, Chair
Fernanda Valverde, Amon Carter Museum
Rebecca Rushfield, Rebeccah Rushfield Arts Consultants 

 

Distinguished Artist Award for Lifetime Achievement  

Barbara Kruger 

Barbara Kruger’s distinct artistic practice has palpably shaped the broader social, cultural, and visual fields for decades. For over four decades, the artist has persistently expanded her practice, exploring new media, from video to large-scale installations, collaborating with popular brands (with some even co-opting her iconic visual language) extending her influence beyond the art world, to pursuing intrepid interventions in the public sphere. Best known for her works with bold, declarative, often imposing and seemingly authorless text in which she overlays appropriated black-and-white imagery, Kruger interrogates mass media and consumer culture’s effects on how we see and understand ourselves. As the artist expressed, “I work with pictures and words because they have the ability to determine who we are, what we want to be and what we become,” and she sees her works as prompts “to question and change the systems that contain us.” With the internet boom, explosion of social media, advertising’s increasingly sophisticated, if not untruthful, tactics, and advertising’s constant presence now from an infinite number of sources, Kruger’s work, past and present, feels more relevant than ever (as seen with numerous and recent solo presentations around the globe). Throughout her dedicated practice, Kruger has reminded us that these issues will continue to raise existential concerns and impact society writ-large until actively contended with. 

Jury members: 

Derek G. Larson, Purdue University, Chair
Stephen Fakiyesi, Independent Artist
Jessica Hong, Art Museum  

 

 

Distinguished Lifetime Achievement Award for Writing on Art  

Svetlana Alpers and Griselda Pollock 

Renowned for her groundbreaking work on Dutch Golden Age painting, Svetlana Alpers’ writings have had a profound impact on the field of art history. A founder of the journal Representations and one of the central figures in the revisionist turn of the new art history, Alpers broke with long-standing approaches to northern European art by asking new questions about visual culture and ways of seeing. In The Art of Describing (1983), her questions about optics and image-making devices ignited scholarship in premodern and modern fields alike. In subsequent publications, Alpers’ notions about the monetary value of art materials and the marketing strategies of artists also proved fertile ground for later scholars. However, the Art of Describing did not only reinvent methodologies for understanding Dutch art, pushing against the field’s reliance on ideas forged in the study of Italian artistic practices; it recast what it means to “describe” art, the ekphrastic basis of our field, effecting the writing of art history ever since. 

Professor Emerita from the University of California at Berkeley, where she taught from 1962–98, Alpers continues to publish across and redefine fields ranging from the Baroque to contemporary art and photography history. Widely known for Rembrandt’s Enterprise: The Studio and the Market (1988), which won CAA’s Charles Rufus Morey Book Award in 1990, Alpers has also penned field-changing monographs on Tiepolo, Rubens, and Velázquez. To this list, Alpers has added her latest book, Walker Evans: Starting from Scratch (2020), a monograph on one of the most important photographers of the twentieth century, and part of a subset of her writings that have confronted directly the challenges of photography, as The Art of Describing long ago became required reading in this field. Her recent publications such as Roof Life (2013) make concrete the writerly challenge that her work has always issued to art history, the need to reinvent “how” as well as “what” we say and write about art. 

Arguably the leading feminist art historian of the generation after Linda Nochlin, Griselda Pollock first made an impact with a vigorous dissembling of the “artists mythologies and media genius” that attended the canonization of artists such as Vincent van Gogh. She went on to devote close attention to previously devalued women artists such as Mary Cassatt, Eva Hesse, and, more recently, in her innovative Virtual Feminist Museum, Charlotte Salomon. Essays such as “Modernity and the Spaces of Femininity” in her 1987 book Vision and Difference were powerful examples of her strategy of “feminist interventions” into the history of art, rather than falling for the trap of settling for the inclusion of women artists within the prevailing patriarchal structures.  

The Award acknowledges this groundbreaking work as well as a wider, far-reaching achievement, ranging across several decades. Pollock’s writing has long refused to stay in its art historical place, to belong to a single position or way of working. Her brand of feminist revisionism constantly engages the social history of art, bridges art history with cinema studies, opens onto the fields of psychoanalysis and cultural geography, while also participating in the debates of postcolonial theory and responding to the imperatives of decolonization. While remaining attentive to the demands of each of these critical disciplines, her writing about art remains passionate, profound, open-hearted, and, always, political. 

Jury Members:
Terry Smith, University of Pittsburgh, Chair
George Baker, University of California Los Angeles
Gillian Elliott, George Washington University 

 

 

Distinguished Teaching of Art Award  

Mary Lum 

Mary Lum is CAA’s 2023 Distinguished Teaching of Art Award recipient. Lum, an accomplished visual artist in her own right, has been a professor of painting and drawing at Bennington College in Vermont since 2005, and prior to that taught at the New York State College of Ceramics at Alfred University. Among her many notable contributions as an educator is her ability to nurture a passion for art making in her students that has taken many of them from foundational studies, to graduate school, and to successful professional practices as artists, art directors, curators, and academic professors.  

Steven Frost, Assistant Professor and Faculty Director, University of Colorado Boulder says of his time as a foundation student under Lum; “With her help I began to understand a creative practice needed to be fed by more than time in the studio . . . She took the time to bring me up to speed and prepare me for the professional world.” 

Rebekah Modrak, foundation student, current professor University of Michigan, STAMPS School of Art and Design says of Lum “Thank goodness her main concern was the possibility that there might be compelling artists lurking below our early and often tenuous attempt at artmaking.” “When I think of moments in my life that changed my trajectory,” says former student and UK-based art director and curator Christine Serchia, “Mary Lum is responsible for multiple moments.”  

CAA is excited to recognize Mary Lum’s more than two decades of teaching with this award. 

Jury members: 

Derek G. Larson, Purdue University, Chair
Stephen Fakiyesi, Independent Artist
Jessica Hong, Art Museum  

 

 

Distinguished Feminist Awards  

Nalini Malani and Marsha Meskimmon 

Nalini Malani’s work has been recognized in solo exhibitions at over thirty international institutions. Her work has embraced painting, video, stop-motion, and other time-based media, while engaging issues of women’s equality in India, where her family took refuge in 1946 after the partition. Malani’s early career in painting gave way to a more focused approach to time-based media in the 1990s, making works such as the 1998 Remembering Toba Tek Singh, a meditation on nuclear testing in India and Pakistan. Focusing on the aftereffects of the devastating partition of India and Pakistan, Malani’s work has been liberal in its use of media types and productions, including the emotive devices of theater.  

Malani has turned this unflinching attention to the ways in which the woman’s body has been used as a pawn in games of nationalism and internationalism. Her Mother India: Transitions in the Construction of Pain (2005) combined archival footage and other imagery, a series of juxtapositions that shed new light on the depicted contorted bodies of women. She continues this thread in a 2020 multimedia performance of images projected onto the Taj Mahal Hotel, inspired by the week-long gang rape and murder of an eight-year-old girl. Malani’s work is a beacon; her work is eminently important now as the world bears witness to an increase in femicide and gender-based violence. 

Marsha Meskimmon, PhD is a professor of art history who studies, teaches, and writes on global feminisms. Her groundbreaking scholarly work has been matched by a commitment to promoting and mentoring women in the field. Meskimmon is editor for Drawing In, and she is also a consultant editor for Open Arts Journal. She has authored or co-authored twelve books over her career, with a sustained focus on the political stakes of feminism and its ability to shed light on the circulation of art and the discourse of aesthetics. With Amelia Jones, she edits the book series Rethinking Art’s Histories for Manchester University Press, a series that has promoted books that rethink art and its histories, and has used feminist thought in relation to “global” and non-Western approaches to art history. Her work on the exhibition WACK! Art and the Feminist Revolution marked an important return to feminism in the art world, a redefinition of the stakes and of the purview of its ideas. Her essay for the exhibition succeeded in arguing why feminism is global—describing it as a constellation of approaches, places, and times. It models an interdisciplinary and collaborative idea of feminism, not a static theory that spreads from the North Atlantic out to world.  Her tireless work on behalf of women in the arts is a model for scholars who do their work out of a stated commitment. 

Jury Members: 

Delinda Collier, School of the Art Institute of Chicago, Chair
Yvonne Love, Penn State University
Midori Yoshimoto, New Jersey City University 

 

 

Excellence in Diversity Award 
Arlene M. Dávila

Arlene M. Dávila is Professor of Anthropology and American Studies at New York University and founding director of The Latinx Project. Established in 2018, The Latinx Project is an interdisciplinary space focusing on US Latinx Art, Culture and Scholarship. In addition to hosting artists and programs, it functions as a platform fostering critical public programming. 

Professor Dávila’s has published extensively on Latinx cultural politics in museums and contemporary art, media, and urban environments to explore the intricacies and ultimate challenges of visualizing Latinx art and culture. Her research spans urban ethnography, the political economy of culture and media, consumption, immigration and geographies of inequality and race. 

Professor Dávila’s publications, with a focus on public imagery and cultural politics, include Latinx art: Artists, Markets and Politics (Duke University Press, 2020), El Mall: The Spatial and Class Politics of Shopping Malls in Latin America (University of California Press, 2016), the revised edition of Latinos Inc: Marketing and the Making of a People (University of California Press, 2012), Culture Works: Space, Value, and Mobility Across the Neoliberal Americas (NYU Press, 2012), and Latino Spin: Public Image and the Whitewashing of Race (NYU Press, 2008). Dávila also co-edited the collection Contemporary Latina/o Media: Production, Circulation, Politics (NYU Press, 2014). Her articles have appeared in AZTLAN: A Journal of Chicano Studies and Centro: Journal of the Center for Puerto Rican Studies. 

Carmenita Higginbotham, Virginia Commonwealth University, Chair
Anne H. Berry, Cleveland State University
Kelly Walters, Parsons School of Design 

CAA News

• CAA News Today
• CAA Weekly Newsletter
• Archive 1976–2010

Categories

• Acknowledgments
• Advertising
• Advocacy
• Affiliated Societies
• Annual Conference

• Art Bulletin
• Art Fairs
• Art History
• Art Journal
• Art Journal Open (AJO)
• Artists
• Artists’ Materials
• ARTspace
• Audio
• Awards
• Blogs
• Board of Directors
• Book and Trade Fair
• Books
• CAA Conversations
• CAA News
• caa.reviews
• Calls for Papers
• Career Services
• CDP Highlights
• Centennial
• Committees
• Conservation
• Copyright
• Cultural Heritage
• CWA Picks
• Design
• Development
• Digital Issues
• Dissertations
• Education
• Emerging Professionals
• Event
• Exhibitions
• Fair Use
• Film
• First Amendment
• Global Conversations
• Google+ Hangout
• Governance
• Government and Politics
• Graduate Programs
• Grants and Fellowships
• Higher Education
• Highlighted Content
• Humanities
• Intellectual Property
• International
• Jobs
• Learned Societies
• Legal Issues
• Libraries
• Member Benefit Highlight
• Member Spotlight
• Membership
• Membership Benefit
• Membership Partners
• Mentoring
• myCAA
• Obituaries
• Online Resources
• Organizations
• Orphan Works
• Pedagogy
• People in the News
• Podcast
• Professional Development
• Publications
• Research
• Service
• Social Media
• Staff
• Standards and Guidelines
• Strategic Plan
• Students
• Surveys
• Task Force
• Teaching
• Tours
• Uncategorized
• Video
• Webinars
• Workforce
• Workshops

More +

Archive

• 2024 +
  • May 2024
  • April 2024
  • March 2024
  • February 2024
  • January 2024
• 2023 +
  • December 2023
  • November 2023
  • October 2023
  • September 2023
  • July 2023
  • June 2023
  • May 2023
  • March 2023
  • February 2023
  • January 2023
• 2022 +
  • December 2022
  • November 2022
  • September 2022
  • August 2022
  • July 2022
  • June 2022
  • May 2022
  • April 2022
  • March 2022
  • February 2022
  • January 2022
• 2021 +
  • December 2021
  • November 2021
  • October 2021
  • September 2021
  • August 2021
  • July 2021
  • June 2021
  • May 2021
  • April 2021
  • March 2021
  • February 2021
  • January 2021
• 2020 +
  • December 2020
  • November 2020
  • October 2020
  • September 2020
  • August 2020
  • July 2020
  • June 2020
  • May 2020
  • April 2020
  • March 2020
  • February 2020
  • January 2020
• 2019 +
  • December 2019
  • November 2019
  • October 2019
  • September 2019
  • August 2019
  • July 2019
  • June 2019
  • May 2019
  • April 2019
  • March 2019
  • February 2019
  • January 2019
• 2018 +
  • December 2018
  • November 2018
  • October 2018
  • September 2018
  • August 2018
  • July 2018
  • June 2018
  • May 2018
  • April 2018
  • March 2018
  • February 2018
  • January 2018
• 2017 +
  • December 2017
  • November 2017
  • October 2017
  • September 2017
  • August 2017
  • July 2017
  • June 2017
  • May 2017
  • April 2017
  • March 2017
  • February 2017
  • January 2017
• 2016 +
  • December 2016
  • November 2016
  • October 2016
  • September 2016
  • August 2016
  • July 2016
  • June 2016
  • May 2016
  • April 2016
  • March 2016
  • February 2016
  • January 2016
• 2015 +
  • December 2015
  • November 2015
  • October 2015
  • September 2015
  • August 2015
  • July 2015
  • June 2015
  • May 2015
  • April 2015
  • March 2015
  • February 2015
  • January 2015
• 2014 +
  • December 2014
  • November 2014
  • October 2014
  • September 2014
  • August 2014
  • July 2014
  • June 2014
  • May 2014
  • April 2014
  • March 2014
  • February 2014
  • January 2014
• 2013 +
  • December 2013
  • November 2013
  • October 2013
  • September 2013
  • August 2013
  • July 2013
  • June 2013
  • May 2013
  • April 2013
  • March 2013
  • February 2013
  • January 2013
• 2012 +
  • December 2012
  • November 2012
  • October 2012
  • September 2012
  • August 2012
  • July 2012
  • June 2012
  • May 2012
  • April 2012
  • March 2012
  • February 2012
  • January 2012
• 2011 +
  • December 2011
  • November 2011
  • October 2011
  • September 2011
  • August 2011
  • July 2011
  • June 2011
  • May 2011
  • April 2011
  • March 2011
  • February 2011
  • January 2011
• 2010 +
  • December 2010
  • November 2010
  • October 2010
  • September 2010
  • August 2010
  • July 2010
  • June 2010
  • May 2010
  • April 2010
  • March 2010
  • February 2010
  • January 2010
• 2009 +
  • December 2009
  • November 2009
  • October 2009
  • September 2009
  • August 2009
  • July 2009
  • June 2009
  • May 2009
  • April 2009
  • March 2009
  • February 2009
  • January 2009
• 2008 +
  • December 2008
  • November 2008
  • October 2008
  • September 2008
  • August 2008
  • July 2008
  • May 2008
  • April 2008
  • March 2008
  • February 2008
  • January 2008
• 2007 +
  • December 2007
  • October 2007
  • August 2007
  • July 2007
  • June 2007
  • May 2007
  • April 2007
  • March 2007
  • January 2007
• 2006 +
  • December 2006
  • November 2006
  • September 2006
  • July 2006
  • May 2006
  • April 2006
  • March 2006
  • January 2006
• 2005 +
  • November 2005
  • October 2005
  • September 2005
  • July 2005
  • May 2005
  • March 2005
• 2004 +
  • September 2004
  • July 2004
  • June 2004
  • March 2004
  • January 2004
• 2003 +
  • November 2003
  • September 2003
  • March 2003
  • January 2003
• 2002 +
  • November 2002
  • September 2002
  • March 2002
  • February 2002
  • January 2002
• 2001 +
  • December 2001
  • November 2001
  • September 2001
  • July 2001
  • May 2001
  • March 2001
  • January 2001
• 2000 +
  • October 2000