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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


Awards for Distinction 

  • 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  

 Publication Grants  

  • Millard Meiss Publication Fund for Books in Art History 
  • Wyeth Foundation for American Art Publication Grant  

 Travel Grants 

  • Art History Fund for Travel to Special Exhibitions   

 Fellowships

  • Professional Development Fellowship in Visual Art  
  • Michael Aurbach Fellowship for Excellence in Visual Art   

 

Filed under: Awards, Grants and Fellowships

Wyeth Foundation Publication Grants for 2023

posted by CAA — Nov 17, 2023

A photograph of a Maya Christian Mural of Yucatán. Credit: Amara Solari. All Rights Reserved.

Since 2005, the Wyeth Foundation for American Art has supported the publication of books on American art through the Wyeth Foundation for American Art Publication Grant, administered by CAA. The 2023 grantees are:    

  • Ellen Levy, A Book About Ray, MIT Press  
  • Ellen Macfarlane, Politics Unseen: Group F.64, Photography, and the Problem of Purity, University of California Press  
  • Yxta Maya Murray, We Make Each Other Beautiful: Art, Activism, and the Law, Cornell University Press  
  • Akela Reason, Politics and Memory: Civil War Monuments in Gilded Age New York, Yale University Press  
  • Amara Solari and Linda K. Williams, Maya Christian Murals in Early Modern Yucatán, University of Texas Press  

Read a list of all recipients of the Wyeth Foundation for American Art Publication Grant from 2005 to the present.   

BACKGROUND   

For the Wyeth Foundation for American Art Publication Grant, “American art” is defined as art created in the United States, Canada, and Mexico. Eligible for the grant are book-length scholarly manuscripts in the history of American 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. The deadline for the receipt of applications is September 15 of each year.   

Guidelines  
Process, Materials, and Checklist   

CONTACT   

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

 

Filed under: Awards, Grants and Fellowships

Fall 2022 Wyeth Foundation for American Art Publication Grant winner Stephanie Buhmann, Frederick Kiesler: Galaxies, The Green Box, Berlin, 2023

We’re pleased to announce that we are now accepting grant applications for the Wyeth Foundation for American Art Publication Grants and the Millard Meiss Publication Fund. Applications are due September 15, 2023.  

WYETH FOUNDATION FOR AMERICAN ART PUBLICATION GRANT 

Since 2005, the Wyeth Foundation for American Art has supported the publication of books on American art through the Wyeth Foundation for American Art Publication Grant, administered by CAA.  

For this grant program, “American art” is defined as art created in the United States, Canada, and Mexico. Eligible for the grant are book-length scholarly manuscripts in the history of American 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.  

The deadline for the receipt of applications is September 15 of each year. Learn more about the Wyeth Foundation for American Art Publication Grant.  

MILLARD MEISS PUBLICATION FUND 

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.  

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. Learn more about the Millard Meiss Publication Fund. 

Filed under: Grants and Fellowships

We’re delighted to announce fourteen scholars have been awarded Terra Foundation for American Art Research Travel Grants in 2021. 

These grants provide support to doctoral, postdoctoral, and senior scholars from both the US and outside the US for research topics dedicated to the art and visual culture of the United States prior to 1980.

International Research Travel Grants for US-based Scholars 

Doctoral Scholars 

Thomas Busciglio-Ritter, The University of Delaware, “‘The Union of Excellences’: An Atlantic History of Early American Landscape Views (1790–1860)”

Ann Tartsinis, Stanford University, “Modernism in Pieces: Transatlantic Visual Culture Between the Wars”

Postdoctoral & Senior Scholars 

Caroline Riley, Boston University, “Thérèse Bonney’s Photography: The Politics of Art, the Body,and War from 1920–1970”

Nadia Sethi, University of Washington, “Alaska Native Cultural Belongings held in Museums in Estonia, Finland and Sweden”

Kay Wells, University of Wisconsin-Milwaukee, “Uncanny Revivals: Designing Early America during the Rise of Fascism”

International Research Travel Grants to the United States  

Doctoral Scholars

Max Böhner, Humboldt-Universität zu Berlin, Germany, “Twilight Aesthetics: Queer Visual Culture in the United States Between 1945 and 1969”

Sarah Happersberger, Justus-Liebig-Universität Giessen, Germany, “Connection, Community, Kinship, Network: Women Artists Performing Togetherness in the Long 1970s”

Jacqueline Mabey, University College London, England, “This Must Be the Place: Mapping Artistic Kinship and Economic Change in Downtown New York, 1973–1987”

Ana Gabriela Rodriguez, The Courtauld Institute of Art, England, “Tracing Puerto Rican Graphic Arts: Bridging Workshops and Crossing Borders, 1940s –1970s”

Frances Varley, The Courtauld Institute of Art, England, “Identity, Provincialism and Modernism in the US and Britain from a Comparative Perspective, c. 1870–1914”

Wen Yao, The University of York, England, “A Travelling Surrealist: Mobility and Representation in Stella Snead’s Paintings, Photographs and Collages Made in the US (1940–1980)”

Postdoctoral & Senior Scholars 

Dafne Cruz Porchini, Universidad Nacional Autónoma de México, “Jean Charlot: A French Artist in the United States and Mexico (1921–1944)”

Maria Stavrinaki, Université Paris I Panthéon–Sorbonne, France, “‘After History’: Variations on a Theme in the Art and Thought of the 1950s–1960s”

Emily Warner, Independent Scholar, “Abstraction Unframed: Abstract Murals at Midcentury”

Learn more about the Terra Foundation Research Travel Grants

Filed under: Art History, Grants and Fellowships, Research — Tags:

The University of Washington announced last week that it would cancel in-person classes and have students take courses and finals remotely. Image: The UW campus in 2017, photo by Priyaranjan Pattnayak.

To help stop the spread of COVID-19 throughout the United States, several universities, including the University of Washington, Stanford, Columbia and Princeton, have chosen to temporarily forgo in-person classes in favor of remote learning. The decision to transition classes is part of an attempt at “social distancing,” the practice of limiting large gatherings and in-person contact to slow the transmission of the virus.

In most of these cases, it has been left up to faculty to make decisions about how to move their classes online. In an effort to crowdsource resources, we’ve gathered tweets and links that instructors are sharing to help, and will continue to update this list as we receive new ones.

For the most up-to-the-moment updates, please visit our Twitter feed. You can also explore resources others are sharing here.

Is your institution canceling in-person classes? Log it here:

Resources for getting started:

On including your students in an online learning plan:

Explore more resources using #CovidCampus:

HELPFUL LINKS

As Art Schools Cancel Student Shows, One Instagram Account Pledges to Give Them Life (ARTnews)

The Ultimate Guide to Virtual Museum Resources, E-Learning, and Online Collections (MCN)

Online Art & Design Studio Instruction in the Age of “Social Distancing” (Facebook group)

COVID-19 Freelance Artist Resources (link)

A New Medical Emergency Grant for Artists (Hyperallergic)

15 Tips for Working Remotely (American Alliance of Museums)

Online Teaching – In the context of COVID19 (Simon D. Halliday)

Art History Resources via Smarthistory (link)

Internet Assistance for Low-Income Families (link)

RELATED READING

Opinion: Please Do a Bad Job of Putting Your Courses Online (Rebecca Barrett-Fox)

The Coronavirus and the Ruptured Narrative of Campus Life (The New Yorker)

How to Close Colleges Without Hurting Vulnerable Students (The Washington Post)

Have a resource to contribute? Email Joelle Te Paske, CAA media and content manager, at jtepaske@collegeart.org

We’re pleased to announce our administration of the Terra Foundation for American Art Research Travel Grants.

Now administered and juried by CAA, the Terra Foundation initiated this grant program in 2003 to fund European candidates. It was expanded to reach candidates worldwide in 2012, and opened to US-based researchers in 2017 to travel abroad, developing American art scholar networks around the world with a total of 173 grantees since its inception.

The Research Travel Grants will be awarded annually, providing support to doctoral, postdoctoral, and senior scholars from both the US and outside the US for research topics dedicated to the art and visual culture of the United States prior to 1980.

“We are excited to expand our partnership with the Terra Foundation to provide continued support for scholars of American art,” said David Raizman, interim executive director of CAA. “Research funding for domestic and international scholars is essential to the vitality of the field, and these generous grants from the Terra Foundation will facilitate the advancement of their work. The inclusion of international scholars for these grants is especially gratifying, as it promotes new perspectives and engages the wider scholarly community.”

The grants foster firsthand engagement with American artworks and art-historical resources; build networks for non-US-based scholars studying American art; and expand access to artworks, scholarly materials, and communities for US-based scholars studying American art in an international context.

SEE APPLICATION CRITERIA

Awards of up to $9,000 will be granted on a per project basis by a jury formed by CAA. The first awards will be announced in March of 2020.

CAA’s administration of the Terra Foundation for American Art Research Travel Grants continues a long history at CAA of supporting travel and scholarship for professionals and students in the visual arts and design. Other grants offered by CAA include the Professional Development Fellowships for Graduate Students, the Terra Foundation for American Art International Publication Grant, the Wyeth Foundation for American Art Publication Grant, the Millard Meiss Publication Fund, the CAA Getty International Program, Travel Grants to the CAA Annual Conference, and introduced last year, the Art History Fund for Travel to Special Exhibitions.

ABOUT THE TERRA FOUNDATION FOR AMERICAN ART

The Terra Foundation for American Art is dedicated to fostering exploration, understanding, and enjoyment of the visual arts of the United States for national and international audiences. Recognizing the importance of experiencing original works of art, the foundation provides opportunities for interaction and study, beginning with the presentation and growth of its own art collection in Chicago. To further cross-cultural dialogue on American art, the foundation supports and collaborates on innovative exhibitions, research, and educational programs. Implicit in such activities is the belief that art has the potential to both distinguish cultures and unite them.

Cali Buckley takes part in the Rijksmuseum’s Museum Objects as Evidence: Approaches to the Material World Summer School, 2018. Photo: Thijs Gerbrandy

We’re delighted to introduce Cali Buckley, CAA’s new Grants and Special Programs Manager and RAAMP Coordinator, who began her full-time role in January after working part-time as the CAA Programs Assistant in 2017. She received her PhD from Penn State University on interactive anatomical models and their creation by craftsmen in the early modern era. Joelle Te Paske, CAA Media and Content Manager, spoke with her in late January to learn more about her research and her hopes for the Resources for Academic Art Museum Professionals (RAAMP) program, which provides publicly accessible resources to academic museum professionals.

Joelle Te Paske: Thanks for taking the time to chat, Cali. So to begin, where are you from?

Cali Buckley: I’m from Pottsville, Pennsylvania. It’s only about three hours from here. It’s north of Philly, best known for Yuengling beer which is the oldest brewery in America. That’s our claim to fame.

JTP: Good to know. And you worked with CAA a few years ago, correct?

CB: Yes, I moved to New York after my Fulbright and worked for CAA for six months as a programs assistant part-time while I was finishing my dissertation. Once I defended and graduated, I moved back to Germany.

I actually have long ties with CAA. Right out of college, I worked for Penn State University Press on art history books. I was able to actually attend CAA and talk to authors, and I worked at the Book and Trade Fair for about three years. It was fun. You can hear people talking about their wonderful book ideas. If I had more time, I would just sit around and see how people pitch these things because it’s fascinating.

I went to Penn State for journalism and then went into publishing right after graduating—I worked on history books and then got really into art history and thought about all the possibilities. Because I guess I had this much narrower idea of traditional art history. And then working on some of these new books really expanded my sense of what that could be.

JTP: That’s great.

CB: I knew some folks in our art history department at Penn State through the editorial board, and I started talking to them about the possibility of my doing my masters there. And I met one of my professors through an editor there. So I planned on going for my masters and then back into publishing, but I completely fell in love with it. I found some great topics, and I just kind of wanted to keep moving forward.

I started going to CAA as a graduate student, so no longer in the Book and Trade Fair. I was part of this group called The Graduate Student Association for Visual Culture. And we would apply for money from Penn State to get groups of us to go to CAA every year. So we would have this group caravan to CAA, all the art historians.

JTP: Sounds ideal.

CB: It’s wonderful. We created this Valentine’s Day tradition because CAA usually falls over Valentine’s Day. And we still get together on the 14th and watch our favorite movie and eat pizza.

JTP: Are you going to do it this year?

CB: Yes, yes, absolutely.

So I started with doing the Book and Trade Fair at CAA. Then I went as a graduate student, gave a talk at CAA in Chicago a few years back. And the same day participated in a roundtable in publishing. CAA’s been huge in my life.

JTP: I’d love to speak a bit about your research, too—early anatomical models and the control of women in medicine.

CB: Originally, when I went into publishing, I was doing weird research projects on interactive books and books as objects. And I used to give talks at Columbia to journalism students in the summer about how to create physical books and how it’s different from books online. How to work with the movement of books and do all these funny things that literary magazines were experimenting with. And then I found this sixteenth-century version of what I was talking about, in the form of an anatomical model.

These have become much more popular in the last ten years but some of these [models] had layers. So they were just images of the body with layers showing the different organs and systems. And that idea of movement and interactivity was fascinating—and a lot of them are inaccurate, even for their time, which makes them even more interesting.

There are all these different layers to audiences, whether you’re trying to highlight the accuracy, which a lot of these are not, or the visuality and the interactivity. And that seems to be more important.

Then I got into ivory models, which is a huge project of mine, creating a whole catalogue of them. That’s a big part of my dissertation.

JTP: Interesting.

CB: I found 180 in the world and I have new people emailing me every year. They’re a much bigger phenomenon than we thought and I’ve done quite a bit of research in Germany to pull these threads together and find out more about their history. I’ve been trying to bring these to light and hopefully I’ll have an article out soon.

JTP: That’s terrific. I’m curious—what is one of your favorite CAA conference memories?

CB: I think one of the great memories was actually an event connected to CAA where I was giving a talk with someone from The Art Institute of Chicago and they let us do a private showing of prints and different objects [at the museum]. Some of the prints were the actual interactive prints that I had worked on.

JTP: That’s always exciting, to be in the same room with objects you’ve studied.

Do you have a favorite exhibition you’ve seen recently?

CB: I just went to the Brueghel exhibition in Vienna and it was amazing. I mean, it was really well done and it went through both his history and paintings and a lot of his earlier drawings and sketches. But it also included a lot of the process to make the materials—some of the wooden planks and those sorts of thing that he used, and the process of painting and printing. That process stuff was really interesting. I think that should be in a lot more exhibitions.

JTP: I agree. My first job was as a registrar at a gallery and I can never quite divorce myself from “How much did the crate cost?”! Because you have a different sense of the process.

CB: Absolutely. I work a lot on materiality. I’m interested in the process of how a work was made, what it’s made of, and how the material affects it. I actually started taking a lot more art classes in different areas to get a feel for it.

I took a class in wax modeling with someone who does wax moulages and restoration. Moulages are generally medical things. So I essentially made a moulage using wax of some skin condition! That was a fun workshop. I was at the Narrenturm which is an old insane asylum in Vienna that now houses a pathological museum. And then you spend a couple of hours making these wax moulages. It was just such a bizarre and wonderful day.

JTP: That does sound bizarre and wonderful.

So, thinking forward to your work with RAAMP, what do you find the most exciting part of that resource?

CB: I’m excited to be [at CAA] and working on a diversity of projects so that I get that bigger, that broader umbrella of what’s new and exciting outside of my little area of the research world. Part of that is the RAAMP program, which really allows people in various facets of the academic and museum worlds to share experiences and have discussions about issues facing those institutions—and those who they serve—today. I love the idea of having meetings and sharing discussions online, because that way they are more accessible. Our Coffee Gatherings are like afternoon meetings at a café with a small audience that can discuss matters in a casual way, but they are also recorded now so students can always watch these later to gain insight into particular matters. The video practica are similar, but more streamlined with one person discussing a specific topic. I can’t wait to get more Coffee Gatherings together because those small group discussions can be really valuable.

JTP: How do you see of the role of academic art museums moving forward?

CB: Academic art museums are as integral as ever to education, but they are facing different issues as time goes on while also dealing with age-old dilemmas. They need to learn how to use the latest technology and how to deal with the latest controversies over artwork, but they also need to engage students. The whole idea of RAAMP is to provide resources for academic art museums to tackle these problems. Part of that is providing a network of professionals who share their expertise.

I do think that museums have to be aware of the social environment and how to contend with criticism. Our session at the 2019 conference allows us to open up this topic to see how artists and professionals deal with some very serious issues of artwork being interpreted as offensive. Artwork is inherently open to interpretation, so I think it’s important to discuss how museums act as mediators to a degree—and how their role is balanced with their place in an academic institution.

I should add that one of my favorite teaching experiences was being able to introduce first-year students to the Palmer Museum of Art at Penn State and asking them to describe the giant [Helen] Frankenthaler painting we had hanging there. There’s nothing quite like it when a student realizes that they have history right in front of them.

Explore free resources

Join the RAAMP mailing list

Filed under: CAA Conversations, Staff

We’re pleased to announce the opening of three publications grants for 2019, the Terra Foundation for American Art International Publication Grant, the Wyeth Foundation for American Art Publication Grant, and the Millard Meiss Publication Fund.

Terra Foundation for American Art International Publication Grant

The 2019 Terra Foundation for American Art International Publication Grant provides financial support for the publication of book-length scholarly manuscripts in the history of American art circa 1500–1980. The grant considers submissions covering what is the current-day geographic United States.

The deadline for letters of intent is September 15, 2018. Awards of up to $15,000 will be made in three distinct categories:

  • Grants to US publishers for manuscripts considering American art in an international context
  • Grants to non-US publishers for manuscripts on topics in American art
  • Grants for the translation of books on topics in American art to or from English.

Learn more about the Terra Foundation for American Art International Publication Grant.

Wyeth Foundation for American Art Publication Grant

Since 2005, the Wyeth Foundation for American Art has supported the publication of books on American art through the Wyeth Foundation for American Art Publication Grant, administered by CAA.

For this grant program, “American art” is defined as art created in the United States, Canada, and Mexico. Eligible for the grant are book-length scholarly manuscripts in the history of American 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.

The deadline for the receipt of applications is September 15 of each year. Learn more about the Wyeth Foundation for American Art Publication Grant.

Millard Meiss Publication Fund

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.

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. Learn more about the Millard Meiss Publication Fund.

Grants, Awards, and Honors

posted by CAA — Aug 18, 2017

CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.

Grants, Awards, and Honors is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.

August 2017

Anila Quayyum Agha, associate professor in the Herron School of Art and Design at Indiana University Purdue University Indianapolis, has won the Schiele Prize from the Cincinnati Art Museum in Ohio.

Michelle Moore Apotsos, assistant professor in the Art Department at Williams College in Williamstown, Massachusetts, has won a research grant from the Graham Foundation. She will use the funds for “Selling South Africa: Architecture, Tourism, and Identity in the Post-Apartheid Era.”

Natalie Beall, an artist based in Salt Point, New York, has won a 2017 fellowship from the New York Foundation for the Arts in the printmaking/drawing/book arts category.

Jetshri Bhadviya, a recent MFA graduate from the Cranbrook Academy of Art in Bloomfield Hills, Michigan, has received a 2017–18 Post-Graduate Teaching Fellowship from the Association of Independent Colleges of Art and Design. She will be placed at College for Creative Studies in Detroit.

Susanneh Bieber, assistant professor in the Departments of Visualization and Architecture at Texas A&M University in College Station, has been awarded the 2017 Terra Foundation for American Art International Essay Prize by the Smithsonian American Art Museum in Washington, DC. Her winning essay, “Going Back to Kansas City: The Origins of Judd’s Minimal Art,” will be published in a forthcoming issue of the journal American Art.

Angela Fraleigh, an artist based in New York and Allentown, Pennsylvania, has received studio space in Brooklyn through the 2017 Sharpe-Walentas Studio Program.

Amir Hariri, an artist based in Brooklyn, New York, has received a 2017 fellowship from the New York Foundation for the Arts in the category for printmaking, drawing, and book arts.

Valerie Hegarty, an artist based in Brooklyn, New York, has won a 2017 fellowship in crafts/sculpture from the New York Foundation for the Arts.

Stacy C. Hollander, deputy director for curatorial affairs, chief curator, and director of exhibitions for the American Folk Art Museum in New York, has won two 2017 Awards for Excellence from the Association of Art Museum Curators. One award is for her exhibition, Securing the Shadow: Posthumous Portraiture in America; the other is for her catalogue essay, “Securing the Shadow: Posthumous Portraiture in America.”

Melissa Huddleston, an artist and assistant conservator at the Getty Research Institute in Los Angeles, has completed an artist’s residency at the Sam and Adele Golden Foundation for the Arts, based in New Berlin, New York.

Sarah Hwang, an art director and designer based in San Leandro, California, has earned the 2017 Art Publishing Residency, awarded by three online publications: Daily Serving, Art Practical, and c3:intiative.

Jennifer Karady, an artist based in Brooklyn, New York, has received a 2017 fellowship in the visual arts from the MacDowell Colony, based in Peterborough, New Hampshire. Karady has also received Art Omi’s Francis Greenburger Fellowship for Mitigating Ethnic and Religious Conflict, which included an artist’s residency in Ghent, New York.

Bahareh Khoshooee, who recently earned an MFA in studio art from the University of South Florida in Tampa, has been appointed an MFA Resident Artist for summer 2017 at the Ox-Bow School of Art and Artists’ Residency in Saugatuck, Michigan.

Sharon Louden, an artist and the editor of The Artist as Cultural Producer, has received studio space in the 2017 Sharpe-Walentas Studio Program, based in Brooklyn, New York.

Forrest McGill, Wattis Senior Curator of South and Southeast Asian Art for the Asian Art Museum of San Francisco in California, has won a 2017 Award for Excellence from the Association of Art Museum Curators for his exhibition catalogue, The Rama Epic: Hero, Heroine, Ally, Foe.

 

Helina Metaferia, a 2015–17 AICAD Post-Graduate Teaching Fellow at the San Francisco Art Institute in California, has been appointed to the 2017 Arts Faculty this summer at the Ox-Bow School of Art and Artists’ Residency in Saugatuck, Michigan

Itohan I. Osayimwese, assistant professor of history of art and architecture at Brown University in Providence, Rhode Island, has won a grant from the Graham Foundation in the publications category. Her project is editing “‘African Building Types: An Architectural-Ethnographic Study’ and Other Essays by Hermann Frobenius.”

Jim Osman, an artist based in Brooklyn, New York, has received a 2017 fellowship in the category for crafts and sculpture from the New York Foundation for the Arts.

Corinna Ray, who recently completed an MFA at the University of Tennessee in Knoxville, has been appointed an MFA Resident Artist for summer 2017 at the Ox-Bow School of Art and Artists’ Residency in Saugatuck, Michigan.

Adam Liam Rose, who earlier this year received an MFA in sculpture from Columbia University in New York, has become an MFA Resident Artist for summer 2017 at the Ox-Bow School of Art and Artists’ Residency in Saugatuck, Michigan.

Felicity D. Scott, director of the PhD Program in Architecture (History and Theory) and codirector of the program in Critical, Curatorial, and Conceptual Practices in Architecture at Columbia University’s Graduate School of Architecture, Planning, and Preservation in New York, has won a research grant from the Graham Foundation. She will work on “Vann Molyvann and the Absent Archives of Cambodian Modernism” with Branden W. Joseph and Mark Wasiuta.

Makia Sharp, who earlier this year earned an MFA in sculpture from the Rhode Island School of Design in Providence, has won a 2017–18 Post-Graduate Teaching Fellowship. The Association of Independent Colleges of Art and Design will place her at California College of the Arts in San Francisco and Oakland.

Emily Silver, an artist based in Ferndale, California, and a faculty member at the College of the Redwoods in Eureka, has completed a residency at PLAYA at Summer Lake in Summer Lake, Oregon.

Irene V. Small, assistant professor in the Department of Art and Archaeology at Princeton University in Princeton, New Jersey, has won a research grant from the Graham Foundation. Her project is titled “The Organic Line and the Ends of Modernism.

Linda Stein, an artist based in New York, has been recognized as Artist of the Year by the New York City Art Teachers Association and the United Federation of Teachers.

Despina Stratigakos, professor of architecture at the University at Buffalo in Buffalo, New York, has won a research grant from the Graham Foundation. Her project is titled “Hitler’s Northern Dream: Building an Empire in Occupied Norway.”

Dannielle Tegeder, an artist based in New York, has accepted a 2017 fellowship in printmaking, drawing, and book arts category from the New York Foundation for the Arts.

Penelope Umbrico, an artist and faculty member at the School of Visual Arts in New York, has been selected to receive studio space in Brooklyn through the 2017 Sharpe-Walentas Studio Program.

Kristina Wilson, associate professor of art history at Clark University in Worcester, Massachusetts, has received a 2017 Award for Excellence from the Association of Art Museum Curators for her exhibition Cyanotypes: Photography’s Blue Period, organized with Nancy Kathryn Burns.

Mabel O. Wilson, associate professor for the Graduate School of Architecture, Planning, and Preservation at Columbia University in New York, has won a grant for publications from the Graham Foundation. She and her fellow editors, Irene Cheng and Charles L. Davis II, will work on a book project called “Race and Modern Architecture.”

Filed under: Uncategorized — Tags: ,

Grants, Awards, and Honors

posted by CAA — Jun 13, 2017

CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.

Grants, Awards, and Honors is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.

June 2017

Marina Berio, chair of the general studies in photography program at the International Center of Photography in New York, has won a 2017 fellowship in photography from the John Simon Guggenheim Memorial Foundation.

Noga Bernstein, a doctoral student in art history at Stony Brook University, State University of New York, has received a 2017 Henry Luce Foundation/ACLS Dissertation Fellowship in American Art from the American Council of Learned Societies. Her dissertation topic is “Global Age Design: Ruth Reeves and Cross-Cultural Practice.”

Elizabeth Buhe, a doctoral candidate in art history at New York University’s Institute of Fine Arts, has been awarded a 2017 Henry Luce Foundation/ACLS Dissertation Fellowship in American Art from the American Council of Learned Societies for her dissertation examining Sam Francis and midcentury abstract painting, titled “Sam Francis: Functional Abstraction.”

Jennifer Chuong, a PhD student in the history of art and architecture at Harvard University in Cambridge, Massachusetts, has received a 2017 Henry Luce Foundation/ACLS Dissertation Fellowship in American Art from the American Council of Learned Societies. She will continue work on “Surface Experiments in Early America.”

Leslie Cozzi, curatorial associate for the Hammer Museum at the University of California, Los Angeles, has won the 2017–18 Andrew W. Mellon Foundation/National Endowment for the Humanities Post-Doctoral Rome Prize in modern Italian studies. During her time at the American Academy in Rome, she will work on “Fra: Relation and Collaboration in Contemporary Italian Art.”

Lisa Deleonardis, Austen-Stokes Professor in the Department of the History of Art at Johns Hopkins University in Baltimore, Maryland, has received the 2017–18 Charles K. Williams II Rome Prize in historic preservation and conservation. At the American Academy in Rome, she will continue work on “A Transatlantic Response to Worlds That Shake: Jesuit Contributions to Anti-Seismic Building Design in Early Modern Italy and Peru.”

Cécile Fromont, assistant professor in the Department of Art History at the University of Chicago in Illinois, has won a 2017–18 Rome Prize in Renaissance and early modern studies from the American Academy in Rome. Her project is titled “Images on a Mission: Cross-Cultural Encounters and Visual Mediation in Early Modern Kongo and Angola.”

Jennifer Germann, associate professor in the Department of Art History at Ithaca College in Ithaca, New York, has received a 2017 Summer Stipend of $6,000 from the National Endowment for the Humanities. The funds will support “A Study of the Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray, an Eighteenth-Century British Artwork.”

Ken Gonzales-Day, professor of art at Scripps College in Claremont, California, has been awarded the 2017 fellowship in the category of photography by the John Simon Guggenheim Memorial Foundation.

Saisha M. Grayson, a PhD candidate in art history at the Graduate Center, City University of New York, has been awarded a 2017 Henry Luce Foundation/ACLS Dissertation Fellowship in American Art by the American Council of Learned Societies. She will continue researching “Cellist, Catalyst, Collaborator: The Work of Charlotte Moorman, 1963–1980.”

Sarah B. H. Hamill, assistant professor of art history at Sarah Lawrence College in Bronxville, New York, has received a 2017 ACLS Fellowship from the American Council of Learned Societies. She will continue work on “Surface Matters: Contemporary Photography and the Metaphor of Sculpture.”

Adam Herring, professor of art history in the Meadows School of the Arts at Southern Methodist University in Dallas, Texas, has received a 2017 fellowship in fine-arts research from the John Simon Guggenheim Memorial Foundation.

Margaret Grace Innes, a doctoral candidate in the history of art and architecture at Harvard University in Cambridge, Massachusetts, has earned a 2017 Henry Luce Foundation/ACLS Dissertation Fellowship in American Art from the American Council of Learned Societies. Her study is titled “Signs of Labor in the American Photographic Press, 1926–1951.”

Margarita Karasoulas, a doctoral student in art history at the University of Delaware in Newark, has accepted a 2017 Henry Luce Foundation/ACLS Dissertation Fellowship in American Art from the American Council of Learned Societies. The award will help with “Mapping Immigrant New York: Race and Place in Ashcan Visual Culture.”

Marci Kwon, assistant professor in the Department of Art and Art History at Stanford University in Stanford, California, has received the McNeil Center’s 2017 Zuckerman Prize for best dissertation connecting American history with literature and/or art. The title of her study is “Vernacular Modernism: Joseph Cornell and the Art of Populism.”

Jenna Lucente, assistant professor of visual and performing arts at Salem Community College in Carneys Point, New Jersey, has been commissioned by New York’s Metropolitan Transportation Authority to design twenty-eight large-scale laminated glass panels at the newly opened Arthur Kill Station on the Staten Island Railway. The works, to be permanently installed, will feature a mix of wildlife and landscape scenes that are unique to the area’s geography and community.

Allison Joan Martino, a doctoral student in the history of art at the University of Michigan in Ann Arbor, has earned a 2017 Mellon/ACLS Dissertation Completion Fellowships from the American Council of Learned Societies. She is completing a study called “Stamping History: Stories of Social Change in Ghana’s Adinkra Cloth.”

Christina Michelon, a doctoral candidate in art history at the University of Minnesota, Twin Cities, has received a 2017 Henry Luce Foundation/ACLS Dissertation Fellowship in American Art from the American Council of Learned Societies. The funds will support her research project, “Interior Impressions: Printed Material in the Nineteenth-Century American Home.”

Laura Morowitz, professor in the Department of Art, Art History, and Film at Wagner College in Staten Island, New York, has received a 2017 National Endowment for the Humanities Summer Stipend. With the $6,000 funds, she will continue researching “Art Exhibitions in Vienna, Austria, during the Nazi Occupation.”

Christopher J. Nygren, assistant professor of history of art and architecture at the University of Pittsburgh in Pennsylvania, has won a 2017 ACLS Fellowship from the American Council of Learned Societies. His project is titled “Matter and Similitude in Italian Painting and the Transatlantic Renaissance.”

Sun-Young Park, assistant professor of history and art history at George Mason University in Fairfax, Virginia, has won a 2017 Summer Stipend from the National Endowment for the Humanities. She will use the $6,000 award to develop “A History of French Disability Architecture and Design, 1750–1975.”

Bissera V. Pentcheva, professor in the Department of Art History at Stanford University in Stanford, California, has accepted a 2017 fellowship in fine-arts research from the John Simon Guggenheim Memorial Foundation. Pentcheva has also won the 2017–18 Millicent Mercer Johnsen Post-Doctoral Rome Prize in medieval studies from the American Academy in Rome for “Animation in Medieval Art.”

Aviva Rahmani has earned a 2017 fellowship for socially engaged art from A Blade of Grass. She will become the inaugural ABOG Fellow for Contemplative Practice and create Blued Trees Symphony in prospective pipeline locations across the United States, in collaboration with scientists and attorneys involved in copyright, environmental policy, and real estate.

Valerie Rousseau, curator of self-taught art and art brut at the American Folk Art Museum in New York, has received a $50,000 grant from the National Endowment for the Humanities to digitize and create broad online access to the Henry Darger Papers.

Margaret Samu, an art historian based in New York, has been awarded a 2017 Franklin Research Grant from the American Philosophical Society. She will use the grant to conduct research in Saint Petersburg and Moscow on art collecting in eighteenth- and nineteenth-century Russia.

Carolee Schneemann , an artist based in Hudson Valley, New York, has won the Golden Lion for Lifetime Achievement at the fifty-seventh international art exhibition of La Biennale di Venezia – Viva Arte Viva.

Allie Terry-Fritsch, associate professor of art history at Bowling Green State University in Bowling Green, Ohio, has received a $6,000 Summer Stipend for 2017 from the National Endowment for the Humanities. Her research project is titled “Cosimo de’Medici, Fra Angelico, and the Public Library of San Marco.”

Anne Verplanck, associate professor of American studies at Pennsylvania State University in Harrisburg, has won a 2017 Summer Stipend from the National Endowment for the Humanities. With a $6,000 grant, she will develop “The Business of Art: Transforming the Graphic Arts in an Age of Mechanical Reproduction.”

Oliver M. Wunsch, a PhD student in the history of art and architecture at Harvard University in Cambridge, Massachusetts, has won a 2017 Mellon/ACLS Dissertation Completion Fellowships from the American Council of Learned Societies. His research project is titled “Painting against Time: The Decaying Image in the French Enlightenment.”