CAA News Today
Member Spotlight: Meet New Editor-in-Chief of Art Journal, Derek Conrad Murray!
posted by CAA — Aug 01, 2024
Can you tell our members about your current academic post, research interests, and larger scholarly motivations?
I am currently Professor of History of Art and Visual Culture at the University of California, Santa Cruz. My research is in late modern and contemporary art and visual culture. I’m an interdisciplinary theorist who utilizes methodologies and critical approaches from various disciplines and fields. Much of my research focuses on the conjunction between ideology and visuality, and I often explore the interrelations between identities and cultural identifications (gender, sexuality, race, and disability) and contemplate the complexities of their envisioning.
In recent years, I’ve been exploring the broader multidisciplinary landscape of visually based research. The increasing expansiveness of arts-related and visual culture scholarship across disciplines and fields has inspired me to consider the necessity of multidisciplinary collaboration. As society has become inundated with images—many of which are intended to spread propaganda, disinformation, insidious forms of social engineering, and nefarious capitalist agendas—there’s an ever-growing multidisciplinary urgency to critically contend with the visual. In response to this complex visual landscape, there is a need for arts writing to embrace a broader range of methodological and critical frameworks. My approach has always been to maintain an openness to embracing emerging ideas that hold the potential to transform how we envision the social role of artistic production, art history, theory and criticism, and visual culture.
I’m also motivated by the failures of empathy and decency that plague our world, not to mention within many of the institutions we operate in. My work thus far is a reflection of my ethical commitment to inclusivity and an expansive interest in culture. I have always had a strong impulse not to look away and a resistance to disidentifying with the humanity and social struggles of others. I have committed myself to always fostering empathy and mutuality to the extent that I can—while maintaining a parallel dedication to disciplinary and methodological expansiveness. My commitment to inclusivity and multidisciplinary is a priority and has encouraged me to bring together diverse artists, scholars, and cultural producers from various backgrounds into critical conversation.
What is your vision for Art Journal during your term as Editor-in-Chief?
My vision is rooted in a commitment to supporting pathbreaking creative and intellectual work—and modeling an editorial approach invested in the transnational exchange of ideas. I am inspired by new critical approaches that may break from scholarly trends, ideological fixities, and expected modes of thought. To achieve this aim, I acknowledge that resisting the abusive forms of social control, division, and marginalization that plague our world necessitates embracing often unexpected perspectives. Doing so, I believe, will significantly expand the journal’s reader base. However, technology has also presented challenges to the traditional means by which intellectual ideas are circulated and valued in our discipline and its related fields. The rise of Internet-based, public-facing art discourses occurring in online journals has created new readerships and a broader expansion of emergent ideas. I truly believe that Art Journal can be at the forefront of expanding how we envision the social role of the arts.
I also look forward to locating and supporting impactful artmaking that may be adrift from representational and conceptual trends and the often overbearing dictates of market forces. Building strong relationships with artists is a personal priority, but I endeavor to acknowledge how new technologies have led to an ever-expanding understanding (or reimagining) of what an art object is formally and aesthetically. And I have always been critical of the binary-based dividing lines so often drawn between aesthetic formalism and the concerns of identity and representation. I am committed to breaking free of these non-productive delineations—while maintaining a commitment to openness and mutuality that necessitates listening to, respecting, and supporting a broad range of cultural producers.
What motivated you to become E-I-C of AJ? How does your research and public scholarship dovetail with your vision for the journal?
Art Journal has been a fixture in my life from my undergraduate and graduate school years to my professional career. I’ve always been an avid reader of the journal. It had a huge impact on me intellectually as an undergraduate art student, and during those years, I started to become more interested in the histories and critical ideas around art than its making. However, at the time, I had no idea what to do with that interest. In 2004, a year before I completed my doctoral degree at Cornell, I published my first feature-length article in Art Journal: “Hip-Hop vs. High Art: Notes on Race as Spectacle.” That publication was pivotal to my burgeoning career as a scholar. At the time, I had simultaneously begun publishing in NKA: Journal of Contemporary African Art, which, during those years, was published at Cornell by editors Salah Hassan (my advisor) and the curator and critic Okwui Enwezor. Because of their commitments to greater inclusivity and internationalism in art scholarship, NKA, and Art Journal were personally the most impactful art publications during my formative years. Both gave me recognition and a strong sense of professional possibility. In the following years, I published in Art Journal on several more occasions, eventually leading to serving on the AJ Editorial Board from 2016 to 2020.
Throughout my career, Art Journal has been a leading forum for progressive arts scholarship, and it has profoundly informed how I approach my own work. The journal has been particularly impactful for underrecognized scholars, artists, and arts professionals, so I am extremely grateful for the opportunity to continue and expand upon the exemplary editorial work of my predecessors. The values and commitments that drive my scholarship have always been intertwined with Art Journal. Few art publications are as open as AJ, so it’s a natural home for me intellectually and situates me within a milieu where I can engage in productive and enriching conversations with a diverse group of cultural producers. I endeavor to break from the conventional thinking of my discipline, so I seek out artists and intellectuals with similar commitments, especially those who are compelled to make a measurable difference in the lives of others and, by extension, are committed to the well-being of society. In keeping with Cornell’s founding principle, “. . . any person . . . any study,” I am a strong advocate for nurturing and protecting the unfettered intellectual possibilities of scholars within my discipline and its related fields. Regardless of their identities, scholars should feel their intellectual and scholarly endeavors are supported and cultivated. And who they are perceived to be should not hinder the perception of their expertise. At root, my vision is about fostering inclusivity, new ideas, and intellectual freedom.
And finally, what are you reading/viewing these days? What is inspiring you?
Lately, I’ve been listening to Helga Davis’s podcast, HELGA, which has some terrific—and often very personal and reflective—interviews with artists and other impactful creatives and thought leaders. I’m currently fascinated by several films: Showing Up (dir. Kelly Reichardt, 2022) and Civil War (dir. Alex Garland, 2024). While completely divergent narratively and visually, both films engage with the often-fraught condition of being a producer of images and aesthetic objects. Showing Up envisions the contemplative quietude of creative practice, art school, and the subtle forms of competition, insecurity, and isolation of being a gallery artist—while Civil War is a disturbing exploration of the ethical quandaries and psychic traumas of being a war photographer. I’ve been thinking about these films because they wrestle with the role of art and artists in a time where the visual matters more than ever. I recently re-watched Louis Malle’s My Dinner with Andre (1981), and I started thinking about how much—because of the COVID-19 pandemic—I missed having lengthy in-person conversations with others. I think we’re all coming out of that isolation and attempting to relearn how to interact again. And that interaction is necessary for empathy, reciprocity, and human connection.
Writer and director Cord Jefferson’s 2023 film American Fiction has also dominated my thinking lately. Among many intersecting themes, the film satirizes how perilous Black representation can be—and the particular quandary of the Black cultural producer negotiating a desire for individual expression in the face of a culture industry that often demands ethnic caricatures, trauma narratives, and Black stereotypes.
In terms of books, I’ve been reading Jack Whitten: Notes from the Woodshed (2018), edited by Kate Siegel; Craig Owens’s Beyond Recognition: Representation, Power, and Culture (1992); Percival Everett’s novel Erasure (2001); To Make Their Own Way in the World: The Enduring Legacy of the Zealy Daguerreotypes (eds. Ilisa Barbash, Molly Rogers, and Deborah Willis; Sara Ahmed’s On Being Included: Racism and Diversity in Institutional Life (2012); Göran Therborn’s The Ideology of Power and the Power of Ideology (1980), Zahi Zalloua’s Žižek on Race: Toward an Anti-Racist Future (2020); and Norman Mailer’s selected essays Mind of an Outlaw (2014).
Call for Applications: CAA-Getty International Program 2025
posted by CAA — Jul 10, 2024
CAA is currently accepting applications for the CAA-Getty International Program! Thanks to generous support from Getty, the program—now in its thirteenth year—will enable scholars from all over the world to travel to New York to participate in the CAA 113th Annual Conference, February 12–15, 2025. The program features a preconference colloquium on international issues in art history, followed by a week of sessions, workshops, events, museum visits, and professional development opportunities.
The CAA-Getty International Program was established to diversify CAA membership, increase international presence at CAA conferences, and foster greater cross-cultural understanding of different contexts and methodologies of art scholarship and practice. Rigorous dialogue between international scholars and their North American peers has yielded collaboration, community, and lasting connections: CAA-Getty alumni have worked together on publications, exhibitions, convenings, and many other projects. To date, the program has gathered over 150 scholars from sixty countries and continues to have significant global impact on the field. Many participants become CAA ambassadors in their respective countries by sharing knowledge acquired during the program with their colleagues at home.
The individuals selected for the 2025 program will receive a one-year CAA membership, conference registration, travel expenses, hotel accommodations, and per diems for meals and incidentals. International art historians, curators, and other visual arts professionals are encouraged to apply.
Visit our website for detailed guidelines and to apply.
Deadline: August 15
This program is made possible with support from Getty.
Member Spotlight: Hilary Robinson
posted by CAA — Jul 08, 2024
For over forty years, Dr. Hilary Robinson, CAA’s recipient of the 2024 Distinguished Feminist Award, has been devoted to advancing feminist art history, feminist art education, feminist art theory, and feminist art criticism. Trained as a painter, she received a BA in Fine Art from the Newcastle University. She went on to earn an MA in Cultural Theory from the Royal College of Art in London, where her research resulted in a thesis entitled “The Subtle Abyss: Body-Image and Sexuality in Contemporary Feminist Art.” Robinson’s groundbreaking doctoral dissertation, “Becoming Beauty: The Implications of the Writings of Luce Irigaray for Feminist Art Practices,” teased out the aesthetic theory embedded in the work of the Belgian feminist philosopher. “Becoming Beauty” offers highly original readings of selected artworks by Louise Bourgeois as well as contemporary British artists. Her doctoral thesis was subsequently published as the well-regarded monograph, Reading Art, Reading Irigaray: The Politics of Art by Women (2006).
As an exemplary scholar and feminist thinker who is also a committed activist, Robinson realized early the critical importance of documenting to not only revolutionize feminist art history but also to institutionalize it, which contributes to the establishment of its value within academia. Through meticulous archival research, she has played an instrumental role in the collation and editing of a range of groundbreaking and accessible anthologies that have become required reading in university courses while also reaching a wider readership, thus contributing to feminist art history’s public and global impact. Visibly Female: Feminist Art Today (1987) focused primarily on documents from the 1980s. It was followed in 2001 by the first edition of Feminism-Art-Theory: An Anthology 1968–2000, which gathered a much more comprehensive range of ninety-nine previously published texts. Robinson radically revised the second edition in 2015 and demonstrated her commitment to representing feminist art’s diversity.
In 2019, with her co-editor Dr. Maria Elena Buszek, Robinson published the invaluable Companion to Feminist Art, which collected scholarly essays by thirty contributors whom Robinson and Buszek warmly referred to as companionistas. The volume also included Robinson’s own essay on feminism, art, and activism. The collection offered an overview of contemporary feminist art’s multiple ways of making and thinking across the globe. Companion to Feminist Art demonstrates feminist scholarship and international collaboration at their finest.
A highly prolific scholar, curator, and editor, Robinson’s multifaceted work advocating for an expansive view of feminist art practices and feminist art education was internationally and formally recognized when in 2005 she was appointed Dean of the College of Fine Arts and Professor of Art Theory and Criticism at Carnegie Mellon University in Pittsburgh. She returned to England in 2012 to become the Dean of the School of Art and Design and Professor of Visual Culture at Middlesex University. In 2017, Professor Robinson joined Loughborough University’s School of Arts, English, and Drama as Professor of Feminism, Art, and Theory. In 2018, Professor Robinson established the Centre for Doctoral Training (CDT): Feminism, Sexual Politics, and Visual Culture at Loughborough.
Currently, Robinson is the UK Principal Investigator for Feminist Art Making Histories (FAMH, 2021–24). This three-year-long oral history and digital humanities project, funded by the Irish Research Council and the UK Arts and Humanities Research Council (AHRC), aims to unearth hidden stories of feminist art since the 1970s. As a collaboration between Loughborough and the Institute of Art, Design and Technology, Dún Laoghaire, the project involves recording, curating, and archiving fifty years’ worth of oral histories and digitized records of feminist artists in the UK and Ireland.
Dr. Robinson’s service to the field has been nothing short of extraordinary. An active participant in College Art Association conferences, she was a member of CAA’s Committee for Women in the Arts from 2000 to 2005 and a member of the CAA’s jury of the Distinguished Feminist Award from 2015 to 2017. She served on the editorial boards of Art Journal (2012–16) and, critically, throughout its history, of n.paradoxa: international feminist art journal—a biannual academic journal published in the UK from 1996–2017.
With her groundbreaking research, outstanding record of publication, unwavering dedication to inclusive feminist art activism, education, administration, and professional service, Robinson has not only enriched our understanding of art’s relationship with gender and power but has also championed the voices of marginalized artists and expanded conventional narratives of art history.
This special member spotlight was written by CAA Committee on Women in the Arts members Kimberly Lamm and Tanya Augsburg.
Apply for CAA Committee Service!
posted by CAA — Jun 10, 2024
Join one of CAA’s twelve Professional Committees, the Annual Conference Committee, or the Publications Committee as an at-large member! Each committee works from a charge established by the Board of Directors. For many CAA members, committee service fosters professional relationships, community, and facilitates impactful contributions to pressing issues in the visual arts and higher education.
Important Committee Service Information:
- Committee members serve a three-year term. Service for this committee cycle begins in February 2025 at the CAA 113th Annual Conference and concludes in February 2028 at the 116th Annual Conference.
- All applications are reviewed by current committee members as well as CAA leadership.
- Appointments will be announced by November 1, 2024. New members will be introduced to their committees during their respective business meetings at the 113th Annual Conference in New York City (February 12–15, 2025).
- If appointed, applicants are expected to attend committee meetings, participate actively in the work of the committee, and contribute expertise to defining the current and future work of the committee.
- Appointees must be current CAA members before the start of their committee service, but do not need to be CAA members to apply.
- All committee members volunteer their service without compensation.
Visit our website using the links below to review the mission of each committee as well as the current roster of committee leadership and members.
CAA ANNUAL CONFERENCE COMMITTEE
The Annual Conference Committee is responsible for shaping the program of the Annual Conference, ensuring that the program reflects CAA’s goals: to make the conference an effective place for intellectual, aesthetic, and professional learning and exchange, to reflect the diverse interests of the membership, and to provide opportunities for participation that are fair, equal, and balanced.
CAA PROFESSIONAL COMMITTEES
CAA’s twelve Professional Committees represent the constituent interests of the organization by addressing standards, practices, and guidelines in the professions of our individual and institutional members.
- Committee on Design
- Committee on Diversity Practices
- Committee on Intellectual Property
- Committee on Research and Scholarship
- Committee on Women in the Arts
- Education Committee
- International Committee
- Museum Committee
- Professional Practices Committee
- Services to Artists Committee
- Services to Historians of the Visual Arts Committee
- Student and Emerging Professionals Committee
CAA PUBLICATIONS COMMITTEE
The Publications Committee oversees CAA’s publishing activities and supervises the editorial boards of The Art Bulletin, Art Journal/AJO, and caa.reviews.
Please Note: At-large members of the Publications Committee represent the voice of our membership, and perform the role of committee secretary, taking minutes at three Publications Committee meetings per year in February, May, and October.
If you are interested in applying to serve on a CAA committee, please click the APPLY TO SERVE button below to fill out the application form and upload your CV as well as a brief personal statement describing your interest and experience. If you are applying to more than one committee, please submit a separate personal statement tailored to each of the committees to which you are applying, noting why you’d like to serve on that specific committee.
Contact Maeghan Donohue, CAA Chief of Staff and Director of Strategic Planning, Diversity & Governance with any questions.
Deadline: August 8, 2024
Register for CAA Summer Publishing Webinars!
posted by CAA — Jun 10, 2024
This summer, CAA will hold webinars in response to an influx of requests for guidance on and advice about academic publishing. Organized and moderated by Christy Anderson, Editor-in-Chief of The Art Bulletin and professor of the History of Architecture at University of Toronto, a panel of publishing experts will discuss and answer audience questions on the topics of turning longer research into an article and responding to readers reports and revisions. Our aim is to help demystify the academic publishing process, expand access to publishing education and professional development, and ultimately increase diversity in publishing.
July 31, 2–4 p.m. ET
In Print: From the Archive to the Essay
Getting Your Research Into Print
Shaping a large amount of research into a powerful essay can be more difficult than writing a book. A successful article needs a strong argument, clear organization, and effective use of images. In this workshop we will discuss some guidelines on developing an essay for The Art Bulletin or other journals. Join Christy Anderson, the Editor-in-Chief of The Art Bulletin and other scholars for a roundtable discussion with time for your questions.
August 7, 2–4 p.m. ET
Contending with Critique: How to Effectively Respond to Readers’ Reports
Each essay in The Art Bulletin has been through multiple revisions in response to comments from readers and the editor. If you are asked to ‘revise and resubmit’ how do you respond to readers’ reports? This workshop will demystify the peer review process and help you to incorporate the best of the advice into your writing.
Publishing webinars are free for CAA members and students.
Non-member registration is $15 per webinar or $20 to register for both.
Not currently a member of CAA? Join for $8 per month to attend both summer publishing webinars for free and receive discounted CAA Annual Conference registration!
Publishing webinars sponsored in part by:
CAA Signs on to the American Council of Learned Societies Statement on 2024 Campus Protest
posted by CAA — May 13, 2024
CAA has signed on to the American Council of Learned Societies (ACLS) Statement on 2024 Campus Protests, which, like the American Historical Association (AHA) statement last week, was issued in response to recent decisions by colleges and universities to encourage police intervention and suppress protests.
Both AHA and ACLS statements resonate with CAA’s mission to advocate for the visual arts through “intellectual engagement and a commitment to the diversity of practices and practitioners,” as more broadly this speaks to a commitment to advocating for diversity of ideas. Opposing ideas, whether expressed via visual art or through protest, can disturb and trigger discomfort. However, per the ACLS statement, “while administrators have every right and duty to secure the safety of their campus communities, they cannot and should not shield students or others from the experience of hearing strongly worded statements which might make them deeply uncomfortable. It is the nature of protest to be loud, sometimes discourteous, and contentious. But, as scholars, we believe that suppressing the expression of unpopular or uncomfortable ideas by students or faculty engaged in peaceful protest does not do justice to the values at the heart of the university.”
Visit the ACLS website to view the full list of individuals, societies, and institutions who have signed on to this statement.
Join the CAA Board of Directors
posted by CAA — May 06, 2024
Now accepting Board of Directors nominations for the 2025–29 term! CAA seeks individuals passionate about shaping the future of the organization and the field. The Board is responsible for all financial and policy matters related to CAA, as well as promoting excellence in scholarship, curation, design, and art practice. CAA’s Board is also charged with representing and advocating for the membership regarding current issues affecting the visual arts and humanities.
Nominations and/or self-nominations must include the following:
- Nominee name, affiliation, and e-mail address
- Nominator name, affiliation, and e-mail address (if different from nominee)
- Nominee résumé/CV
- Nominee statement of interest (250 words maximum)
Please send all information and/or any questions via e-mail to Maeghan Donohue, CAA Chief of Staff & Director of Strategic Planning, Diversity, and Governance, with the subject line: Board of Directors Nomination.
Deadline: July 12, 2024
CAA Signs on to the American Historical Association’s Statement on 2024 Campus Protests
posted by CAA — May 06, 2024
CAA has signed on to the American Historical Association (AHA) Statement on 2024 Campus Protests, in response to recent decisions by colleges and universities to encourage police intervention and suppress protests. We stand with AHA in recognizing the historical dangers of suppression, “the fundamental value of peaceful protest on college and university campuses,” and the need for administrators at these institutions to reevaluate their forceful handling of such peaceful demonstrations:
“It is appropriate for universities to establish and enforce, through fair and transparent procedures, reasonable and content-neutral restrictions on the time, place, and manner of protests and other assemblies. These procedures should not, however, deprive students, faculty, and staff of their right to gather, speak, debate, and protest.”
AHA’s statement resonates with CAA’s mission to advocate for the visual arts through “intellectual engagement and a commitment to the diversity of practices and practitioners,” as more broadly this speaks to a commitment to advocating for diversity of ideas. Opposing ideas, whether expressed via visual art or through protest, can disturb and trigger discomfort. However, as AHA’s statement underscores, “encountering ideas that might make us uncomfortable is central to the educational process.”
OTHER LEARNED SOCIETIES AND INSTITUTIONS WHO HAVE SIGNED THE AHA STATEMENT
American Association for Italian Studies
American Association of Geographers
American Society for Environmental History
American Society for Theatre Research
American Sociological Association
Association for Asian Studies
Berkshire Conference of Women Historians
California Scholars for Academic Freedom
Dance Studies Association
Disability History Association
Executive Committee of Czechoslovak Studies Association
Historians for Peace and Democracy
International Labor and Working-Class History
Labor and Working-Class History Association
Linguistic Society of America
Medieval Academy of America
North American Conference on British Studies
Network of Concerned Historians
Oral History Association
PEN America
Shakespeare Association of America
Sixteenth Century Society
Society for French Historical Studies
Society for Historians of the Gilded Age and Progressive Era
Society for the History of Children and Youth
Society for US Intellectual History
Southern Association for Women Historians
Southern Historical Association
Western Society for French History
World History Association
CAA Advocacy Policy and Procedures
posted by CAA — Apr 22, 2024
As the preeminent international leadership organization in the visual arts, CAA has an important role to play in public discourse on matters related to visual arts scholarship and practice. The CAA Board of Directors, Executive Director, members, and staff contribute to public understanding of visual arts advocacy through our newsletter, ED letters, social media platforms, special events, and sessions/workshops at our Annual Conference.
When the Executive Director or the Advocacy Committee perceives good reason to publish a statement on behalf of CAA (which may involve requesting endorsements from affiliated member societies/organizations or signing on to advocacy statements drafted by those affiliates), the Advocacy Committee convenes to interrogate the issue. If this issue is deemed in service to CAA’s mission and a majority of Advocacy Committee members agree to act, a member of the committee or staff will draft an original statement depending on capacity. The Advocacy Committee may approve the statement, reject it, or request changes; responses are needed from all members as soon as possible and no later than two days after receipt. The Advocacy Committee and Executive Director will agree on any action to be taken in response to expressed concerns. Once the entire committee reviews and approves the final draft, the statement will go live on the CAA website and will be distributed across social media channels when appropriate. In the case of a sign on to another organization’s advocacy statement, the Executive Director will share the sign on opportunity with the Advocacy Committee, and they will discuss and vote to determine whether to proceed.
The Executive Director is authorized to issue statements on behalf of the organization without review by the Advocacy Committee on time-sensitive matters (see example). At these times, the ED will specify this an ED response, so as not to speak on behalf of the Advocacy Committee, Executive Committee, or Board of Directors without consent.
CAA cannot respond to every advocacy request brought forth by our members. Our goal remains maximum impact when advocating for the field. There are times when calls to advocacy from one constituency directly conflict with another. It is for this reason that it is imperative our Board of Directors, and by extension, our Advocacy Committee remain diverse in background, field, and perspective, to ensure decisions are made as objectively as possible on behalf of membership and the field; advocacy action must also be in direct alignment with our mission, and in accordance with our 501(c)(3) status.
CAA must concentrate its energy and prestige on matters related to the advancement and protection of visual arts and scholarship, including academic infrastructure and professional practice.
Because CAA is the umbrella organization for a diverse membership with varying needs and viewpoints, we cannot engage in party politics and cannot take a stand on issues that are not in direct alignment with our mission.
CAA SOCIAL MEDIA POLICY
The CAA Board, Executive Director, and staff agree that due to the limitations of the mode, comments made on social media about visual arts practice or scholarship by CAA staff are most effective when they are constructive and celebratory of the achievements of CAA and members of the CAA community. CAA staff and Board members may wish and indeed are encouraged to share information about CAA and its programs, including on social media.
CONTACT US
If you have an advocacy request, please contact info@collegeart.org with the subject line “Constituent Advocacy Request” and your concern will be escalated to the Advocacy Committee for immediate discussion.
Policy adopted by the CAA Board of Directors on February 18, 2024.
Call for Nominations: Jury Members for CAA Grants and Awards (2024–2027)
posted by CAA — Apr 03, 2024
CAA invites nominations and self-nominations for individuals with relevant expertise to serve on our juries for Awards for Distinction, Publication Grants, Travel Grants, and Fellowships. Jury service is one of the most impactful volunteer positions at CAA; help select our next awardees and grantees!
To apply, send an e-mail to Cali Buckley, CAA Manager of Grants and Awards & Director of CAA-Getty International Program, with the following:
- Statement of interest outlining qualifications and experience of nominee (150 words maximum)
- CV (two pages maximum)
Three-year terms begin in July. Current CAA Committee and Editorial Board members are not eligible to apply.
Deadline: June 1, 2024
CURRENT JURY OPENINGS
- Art Journal Award
- Charles Rufus Morey Book Award for Non-catalogue Books in the History of Art
- Arthur Kingsley Porter Prize for Art Bulletin articles
- The CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation
- Jury for the Artist Award for Distinguished Body of Work, Distinguished Artist Award for Lifetime Achievement, and Distinguished Teaching of Art Award
- Distinguished Feminist Awards for Scholars and Artists
- Millard Meiss Publication Fund for Books in Art History
- Wyeth Foundation for American Art Publication Grant
- Art History Fund for Travel to Special Exhibitions
- Professional Development Fellowship in Visual Art
- Michael Aurbach Fellowship for Excellence in Visual Art