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.  

 

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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

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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 is pleased to announce the 2023 finalists for the Charles Rufus Morey Book Award and the two Alfred H. Barr Jr. Awards. The winners of the three prizes, along with the recipients of other Awards for Distinction, will be announced in January 2023 and presented during Convocation in conjunction with CAA’s 111th Annual Conference, February 15–18, 2023.  

Charles Rufus Morey Book Award Shortlist, 2023  

Cécile Fromont, Images on a Mission in Early Modern Kongo and Angola, Pennsylvania State University Press, 2022  

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

Sonya S. Lee, Temples in the Cliffside: Buddhist Art in Sichuan, University of Washington Press, 2022

Natalia Majluf, Inventing Indigenism: Francisco Laso’s Image of Modern Peru, University of Texas Press, 2021 

Thy Phu, Warring Visions, Duke University Press, 2022 

Alfred H. Barr Jr. Award Shortlist, 2023 

Darsie Alexander and Sam Sackeroff, eds., Afterlives: Recovering the Lost Stories of Looted Art, Yale University Press and the Jewish Museum, New York 

Kristin Juarez, Rebecca Peabody, and Glenn Phillips, eds., Blondell Cummings: Dance as Moving Pictures, X Artists’ Books and Art + Practice 

Victoria I. Lyall and Terezita Romo, eds., Traitor, Survivor, Icon: The Legacy of La Malinche, Yale University Press and Denver Art Museum 

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 and the Los Angeles County Museum of Art 

Jessica Niebel, Hayao Miyazaki, DelMonico Books and the Academy Museum of Motion Pictures 

Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions Shortlist, 2023 

Katherine D. Alcauskas, ed., Michael Rakowitz: Nimrud, DelMonico Books and Wellin Museum of Art, Hamilton College 

Janet Dees, ed., A Site of Struggle: American Art against Anti-Black Violence, Princeton University Press and The Block Museum of Art, Northwestern University 

Adriano Pedrosa and Tomás Toledo, eds., Afro-Atlantic Histories, DelMonico Books and the Museu de Arte de São Paulo Assis Chateaubriand 

Janice Glowski, ed., The Pandemic Portraits by Nicholas Hill, The Frank Museum of Art, Otterbein University 

 

We are delighted to announce the Distinguished Scholar Session at the 111th CAA Annual Conference will honor Edward J. Sullivan. This session will highlight his career and provide an opportunity for dialogue between and among colleagues. This event will be held in-person at the New York Hilton Midtown during the 111th Annual Conference, February 16, 2022 at 4:30–6:00 pm.

Established in 2001, the Distinguished Scholar Session illuminates and celebrates the contributions of senior art historians. The Annual Conference Committee identifies a distinguished scholar each year who then invites a group of colleagues to create the session. The honoree’s involvement is fundamental to the series, which has become a tradition that gives voice to the continuities and ruptures that have shaped art-historical scholarship from the twentieth century into the new millennium.

Access to this program requires registration and is included with an All Access–level registration. Recordings will be accessible to registrants after the event. Register here.

Sullivan’s work has been transformative for the field of art history, especially in relation to the study and elevation of Latin American and Caribbean, Latina/o/x art and artists, and for the advancement of women and the BIPOC and LGBTQIA+ communities in these regions.

Edward J. Sullivan is the Helen Gould Shepard Professor in the History of Art at New York University (Institute of Fine Arts and the Department of Art History). Since receiving his PhD from NYU’s Institute of Fine Arts in 1979 (with a dissertation on painting in Madrid after the death of Velázquez) he has taught at Hunter College, Williams College, the University of Miami, and Trinity College, Dublin. However, his service as professor and administrator at New York University has been the defining aspect of his professional career. Sullivan has mentored hundreds of students at the undergraduate and graduate levels. His fields of research and teaching focus on a wide variety of geographical and temporal areas from Viceregal art in the Americas and the Philippines, to nineteenth-, twentieth-, and twenty-first-century art in Mexico, Central and South America, the United States, and the Caribbean. Sullivan has also had a parallel career as an independent curator and has worked on exhibitions in museums and cultural institutions throughout the US, Latin America, and Europe. He is the author of more than thirty books and exhibition catalogs, among which are The Language of Objects in the Art of the Americas (Yale University Press, 2007), Fragile Demon: Juan Soriano in Mexico 1935–1950 (Philadelphia Museum of Art, 2008), Continental Shifts: The Art of Edouard Duval Carrié (Haitian Cultural Institute 2008), Nueva York 1613–1945 (Scala Books, 2010), From San Juan to Paris and Back: Francisco Oller and Caribbean Art in the Era of impressionism (Yale University Press, 2014), Making the Americas Modern: Hemispheric Art 1910–1960 (Laurence King, 2018), and Brazilian Modern: The Living Art of Roberto Burle Marx (New York Botanical Garden, 2018).

The panel will include Ilona Katzew (Los Angeles County Museum of Art), Estrellita Brodsky (Another Space), Sean Nesselrode-Moncada (Rhode Island School of Design), Joseph Shaikewitz (Institute of Fine Arts), and Lynda Klich (City University of New York, Hunter College) as moderator.

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

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

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

 

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Art Journal Award  

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

 

Alfred H. Barr Jr. Award  

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

 

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

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

 

Frank Jewett Mather Award  

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

  

Charles Rufus Morey Book Award  

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

  

Arthur Kingsley Porter Prize  

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

Artist Award for a Distinguished Body of Work  

Kent Monkman   

 

CAA/AIC Award for Distinction in Scholarship and Conservation  

Zahira Véliz 

 

Distinguished Artist Award for Lifetime Achievement  

Betye Saar 

 

Distinguished Lifetime Achievement Award for Writing on Art  

Wu Hung 

 

Distinguished Feminist Award – Artist  

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

 

Distinguished Feminist Award – Scholar  

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

 

Distinguished Teaching of Art Award  

Fred Hagstrom 

 

Distinguished Teaching of Art History Award  

Terry Smith 

 

Excellence in Diversity Award  

 

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Citations:  

Art Journal Award  

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

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

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

 

Alfred H. Barr Jr. Award  

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

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

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

 

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

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

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

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

 

Frank Jewett Mather Award  

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

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

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

 

Charles Rufus Morey Book Award 

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

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

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

 

Arthur Kingsley Porter Prize  

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

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

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

 

Artist Award for a Distinguished Body of Work  

Kent Monkman   

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

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

 

CAA/AIC Award for Distinction in Scholarship and Conservation 

Zahira Véliz 

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

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

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

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

 

Distinguished Artist Award for Lifetime Achievement  

Betye Saar  

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

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

 

Distinguished Lifetime Achievement Award for Writing on Art  

Wu Hung  

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

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

 

Distinguished Feminist Award – Artist  

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

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

 

Distinguished Feminist Award – Scholar  

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

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

 

Distinguished Teaching of Art Award  

Fred Hagstrom 

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

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

 

Distinguished Teaching of Art History Award  

Terry Smith 

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

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

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

 

Excellence in Diversity Award  

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