CAA News Today
Getty Foundation Funds a Third Year of CAA’s International Travel Grant Program
posted by Christopher Howard — June 10, 2013
The Getty Foundation has awarded CAA a major grant to fund the International Travel Grant Program for a third consecutive year. The foundation’s support will enable CAA to bring twenty international visual-arts professionals to the 102nd Annual Conference taking place February 12–15, 2014, in Chicago. CAA’s International Travel Grant Program supports art historians, artists who teach art history, and museum curators, and provides the grantees with funds for travel expenses, hotel accommodations, per diems, conference registrations, and one-year CAA memberships. The program will include a one-day preconference meeting to be held on February 11, 2014, providing grant recipients and their hosts with the opportunity to address their common professional interests and issues.
The goal of the International Travel Grant Program is to increase international participation in CAA and to diversify the organization’s membership, which now includes members from seventy-five nations. CAA also strives to familiarize international participants with the submission process for conference sessions and foster collaboration among American art historians, artists, and curators and their international colleagues. As in previous years, members of CAA’s International Committee and the National Committee for the History of Art have agreed to host the program participants.
Grant guidelines and the 2014 application can be found on the CAA website. Professionals who have not previously attended a CAA conference are especially encouraged to apply. Applicants do not need to be CAA members. This grant program is not open to graduate students or to those participating in the 2014 conference as chairs, speakers, or discussants. The deadline for applications has been extended to August 23, 2013.
For information on applying to the International Travel Grant Program, please contact its project director, Janet Landay, at jlanday@collegeart.org or 212-392-4420.
Image: Two International Travel Grant recipients and their CAA hosts at the 2013 Annual Conference. From left to right: Elaine O’Brien (CAA host), Venny Nakazibwe (with back turned, from Uganda), Trinidad Perez (Ecuador), and Ann Albritton (host and chair of CAA’s International Committee) (photograph by Bradley Marks)
Inaugural Recipients of the Meiss/Mellon Author’s Book Award
posted by Christopher Howard — June 05, 2013
CAA is pleased to announce the five inaugural recipients of the new Meiss/Mellon Author’s Book Award. Thanks to a one-year grant of $60,000 from the Andrew W. Mellon Foundation, CAA will provide funds to emerging authors who are publishing monographs on the history of art and related subjects. The purpose of the subventions is to reduce the financial burden that authors carry when acquiring images for publication, including licensing and reproduction fees for both print and online publications.
The winning books for spring 2013 are:
- Claudia Brittenham, The Cacaxtla Paintings: How Art Shaped the Identity of an Ancient Central Mexican City, University of Texas Press
- Chelsea Foxwell, In Search of Images: Kano Hogai and the Making of Modern Japanese-Style Painting, University of Chicago Press
- Jesse Locker, “The Hands of Aurora”: Artemisia Gentileschi and Her Contemporaries, Yale University Press
- Megan R. Luke, Kurt Schwitters: Space, Image, Exile, University of Chicago Press
- Karl Whittington, Body-Worlds: Opicinus de Canistris and the Medieval Cartographic Imagination, Press of the Pontifical Institute of Mediaeval Studies
Successful applicants are emerging scholars who are under contract with a publisher for a manuscript on art history or visual studies. For full details on the grant, please review the Application Guidelines and the Application Process, Schedule, and Checklist. Fall deadline: September 15, 2013.
Spring 2013 Meiss Winners
posted by Christopher Howard — May 28, 2013
This spring, CAA awarded grants to the publishers of six books in art history and visual culture through the Millard Meiss Publication Fund. Thanks to the generous bequest of the late Prof. Millard Meiss, CAA gives these grants twice a year to support the publication of scholarly books in art history and related fields.
The grantees for spring 2013 are:
- Claudia Brown, Great Qing: Painting in China, 1644–1911, University of Washington Press
- James M. Cordova, The Art of Professing in Bourbon Mexico: Crowned-Nun Portraits and Reform in the Convents, University of Texas Press
- Elina Gertsman, Fragments, Ruptures, Imprints, Play: The Shrine Madonna in the Late Middle Ages, Pennsylvania State University Press
- Jeanette F. Peterson, Visualizing Guadalupe: From the Black Madonna to the Queen of the Americas, University of Texas Press
- Victoria L. Rovine, African Fashion, Global Style, Indiana University Press
- Karl Whittington, Body-Worlds: Opicinus de Canistris and the Medieval Cartographic Imagination, Pontifical Institute of Mediaeval Studies
Books eligible for Meiss grants must already be under contract with a publisher and on a subject in the visual arts or art history. Authors must be current CAA members. Please review the application guidelines for more information. Deadline for fall applications: September 15, 2013.
CAA Awarded $20,000 NEA Grant for ARTspace
posted by Nia Page — April 23, 2013
CAA has been awarded a $20,000 grant from the National Endowment for the Arts (NEA) to support the next ARTspace, taking place during the 2014 Annual Conference in Chicago. Initiated twelve years ago by CAA’s Services to Artists Committee, ARTspace is a forum for presenting programming designed by artists for artists that is free and open to the public. Held at each conference since 2001, ARTspace is intended to reflect the current state of the visual arts and arts education and is among the most vital and exciting aspects of the yearly meeting.
The grant, which is the NEA’s fifth consecutive award to CAA for ARTspace, will help fund ARTexchange, the popular open-portfolio event for artists, and [Meta] Mentors, which has recently addressed such topics as making a living as an artist with and without a dealer. ARTspace programming at the 2013 conference in New York also included several panels on the intersections of art and ethics, law, and social change.
Designed to engage CAA’s artist members as well as the general public, ARTspace offers program sessions free of charge and includes diverse activities such the Annual Artists’ Interviews (most recently with Mira Schor and Janine Antoni); screenings of film, video, and multimedia works; live performances; and papers and presentations that facilitate a conversational yet professional exchange of ideas and practices.
Image: the painter and writer Mira Schor (left) participated in CAA’s Annual Artists’ Interviews, hosted by ARTspace during the 2013 Annual Conference in New York. Schor was interviewed by Stuart Horodner, artistic director of the Atlanta Contemporary Art Center (photograph by Bradley Marks)
My Trip to New York (Thanks to CAA and the Getty Foundation)
posted by Karen von Veh — March 22, 2013
Early last year, in my role as president of the South African Visual Arts Historians (SAVAH), I was asked by Professor Federico Freschi (at the University of Johannesburg) to send out a call for participants to apply for a travel grant to attend the CAA Annual Conference in New York in February 2013. After mailing the request to SAVAH members, I read through the requirements and found that it was an extraordinarily generous grant for which one only needed to be a full-time practicing art historian residing in a country not well represented in CAA membership. The grant, which was funded by the Getty Foundation, was aimed at encouraging dialogue between art historians from around the globe and included a year’s membership to CAA.
As a lucky recipient I was one of twenty people heading for the icy snow-laden New York in February and arrived on the first morning that JFK airport was opened again after being closed for two days due to blizzards. My first activity in New York was to head for Central Park and enjoy the novelty of walking in the deep snow.
The day before the CAA conference, travel-grant recipients had a preconference gathering where we met the other grantees and gave five-minute presentations to introduce ourselves. This allowed us to get to know each other and identify like minds and areas of collaboration, so from the first meeting there was already a networking frenzy taking place. The grantees reminded me of the League of Nations, with people from various African countries, South American countries, India, Pakistan, China, Haiti, Korea, Iceland, and several Eastern European countries (and I have probably missed a few). There was a lot of lively discussion every time we met, and we got on very well with each other as a group. It was wonderful to meet so many diverse people who shared a passion for the development and teaching of art history.
The CAA conference was huge and frenetic with many parallel sessions, so one had to choose the papers very carefully. I heard some wonderful presentations by Amelia Jones, Griselda Pollock, and Whitney Chadwick (among others) in a feminist session that was packed to the hilt, with people sitting on the floor and lining the walls. As part of conference attendance, everyone had free access to many galleries and museums in New York for the duration of the conference, so there was much rushing to see exhibitions between listening to papers.
I was also lucky enough to be invited (with the other African delegates) to the opening of El Anatsui’s glorious exhibition, Gravity and Grace, at the Brooklyn Museum, where the artist made an appearance as well. For this and other wonderful visits (such as a private tour of the African collection at the Metropolitan Museum) I must thank Jean Borgatti, who was assigned as host to two of the African delegates but was kind enough to include all the visitors from Africa in her plans. At the end of the conference, we had a final “debriefing” session where we could state what worked and what didn’t. From my point of view, the entire event was splendidly arranged and I cannot fault anything, although on a purely personal note I would have enjoyed more time with the group as a whole.
After the conference we were invited by the Sterling and Francine Clark Art Institute to visit their museum and research center in Williamstown, Massachusetts. Most of the group were able to extend their visit for the extra three days required for this trip, and we were bussed off to Williamstown, where we stayed at the delightful Williams Inn. At the Clark we were given a tour of the library, the print archives, and the museum, and joined in discussions of possible future projects for the Clark’s Research and Academic Programs to pursue. We were also taken to one of the biggest art spaces I have ever seen: the Massachusetts Museum of Contemporary Art (or MASS MoCA), which had a room large enough (one football field long) to display Xu Bing’s enormous flying Phoenix.
After returning to New York, most travel-grant recipients returned to their countries, while I and a few others were able to stay another few days (in my case until the weekend—two more days) to make the most of the city. I spent this time literally running from one gallery to another to try and fit them all in before leaving. New York is amazingly rich in terms of what it has to offer culturally, and I feel this trip was altogether an enriching experience—from the intellectual stimulation and visual excitement to the wonderful people I met. This affords great networking opportunities such as reciprocal arrangements between institutions (student or staff exchanges) and invitations to conferences or ongoing discussions about the state of art history on a global scale (via email, of course). As a direct result of this trip I have already been invited to speak at a global conference in Slovakia this September, and am making arrangements for exchange programs with other institutions.
First image: Me (the “Michelin Man”) in Central Park.
Second image: The “African Contingent” admiring El Anatsui at the Met.
Third image: Our group at the final “debriefing” in New York.
Twenty International Travel Grant Recipients Attend CAA’s Annual Conference
posted by Ann Albritton and Janet Landay — March 12, 2013
Twenty recipients of CAA International Travel Grants, funded by the Getty Foundation, attended the Annual Conference in New York in February. For the second year, CAA’s International Committee, chaired by Ann Albritton, worked with Janet Landay, organizer of this project for CAA, to host a diverse group of art historians—scholars, teachers, and curators from nineteen countries around the world—in CAA’s endeavor to become more connected in our increasingly global art world.
CAA Executive Director, Linda Downs, explains the project in this way:
We developed the concept for a program that would:
- introduce individuals who have not had the means to participate in the annual conference to provide travel, hotel and stipends to attend;
- attempt to interest individuals who are teaching in relatively small or new art and art history departments to provide access to an international network of people in the visual arts;
- to do a good job of hosting them and connecting them to other members of similar sub disciplines and interests (be they US or international members) in order to provide the beginnings of networks that they can build on;
- to give them instruction on what is sought by the Annual Conference Committee for vetted session proposals so that they might propose sessions in the future in order to present their perspectives, critical concerns and resent research; and
- to start a dialogue with US art historians and artists on their methodology, research, networks and interests.
Each grantee was hosted by a colleague from CAA—members of the International Committee, Board members, or representatives of the National Committee on the History of Art (NCHA)—who introduced them to the conference and scholars in their fields, and also arranged meetings, museum visits and informal gatherings. This year, we were very grateful for a grant from NCHA to support the hosts’ activities.
On February 12, the day before the Annual Conference began, the grant recipients and their hosts met for a half-day preconference about issues in global art history. Beginning with short presentations by the grantees about their research and experiences, the afternoon included a panel discussion on global art history, moderated by Marc Gotlieb, the president of NCHA and professor of art history at Williams College, with representatives from the Getty Foundation (Joan Weinstein), the Getty Research Institute (Gail Feigenbaum), the Clark Research and Academic Program (Michael Ann Holly), and the Center for Advanced Study in the Visual Arts (Elizabeth Cropper). Exciting exchanges prompted by the panel discussion as well as the research projects of the grant recipients produced energy that enlivened our discussions for the remainder of the conference. Here’s how one grantee summarized it:
The pre-conference was probably the most useful aspect of this visit as it allowed each of us to get to know each other and to immediately identify people with whom we could network and set up reciprocal projects or research exchanges between our institutions. I have made some wonderful contacts and we are already busy with plans for invitations to speak at conferences and plans to arrange student/staff visits to linked institutions.
—Karen von Veh, South Africa
On Thursday, during a luncheon for the grantees and hosts, James Elkins, E.C. Chadbourne Chair of art history, theory, and criticism at the School of the Art Institute of Chicago, had lunch with the group and shared with them ideas and stories from his international study of the field. This, again, was a highlight for many. In fact, Elkins plans to visit some of them in the near future as he travels around the world.
A whole new range and scope of possibilities have entered my horizon. I think it will open up many opportunities for my students and colleagues as well. But on a personal and human level the conference was a great gathering for creating global understanding.
—Musarrat Hasan, Pakistan
Jean Borgatti, specialist in African Art, commented on her hosting activities for several of the grant recipients from African countries: Joseph Adande from Benin; Peju Layiwola of Lagos, Nigeria; Venny Nakazibwe of Uganda; Ohioma Pogoson of Nigeria, and Karen von Veh of South Africa (and also, at times, Marly Desir of Haiti). A week after the CAA conference, Jean flew to Africa for several months of study and wrote this:
I’m looking forward to actually visiting three of my five grantees in Lagos, Ibadan, and what I refer to as ‘the other’ Benin, since I am currently in Benin City, heart of the old kingdom. During CAA, we had three great outings together: on Monday, Yaelle Biro at the Metropolitan Museum graciously provided a tour of her exhibit on the reception of African art in New York in the 1930s, and then left us with the Met’s archivist who gave us an overview of the various media encompassed by the archive. On Wednesday, we were invited to a private reception for El Anatsui’s exhibition at the Brooklyn Museum and were stunned by the beauty of the objects and thrilled to meet with the artist himself. On Thursday, Susan Vogel, founding director of the Center for African Art, invited the group to her Soho loft for dinner, a nice way to unwind and extend our conversations about ongoing and upcoming projects. A good time was had by all.
In addition to the events Borgatti described, these recipients also attended several CAA sessions, exchanged ideas with other recipients, and met many other CAA members.
The International Committee is delighted with CAA’s travel grant program, not only for bringing international scholars to the Annual Conference, but for the opportunity for us to interact with them: to learn about each other’s research and discuss mutual interests and concerns. We are indeed grateful to the Getty Foundation and NCHA for making this program possible and hope the friends we made this year will come to future conferences to continue our conversations. As one of the grantees put it:
I will be an ambassador for the CAA henceforth and will advise art historians in my country and elsewhere to endeavor to attend their annual meetings.
—Ohioma Pogoson, Nigeria
First image: Parul Mukherji (India) and Ding Ning (China), two of this year’s recipients of CAA’s International Travel Grants.
Second image: Gail Feigenbaum, Elizabeth Cropper, Marc Gotlieb, Michael Ann Holly, and Joan Weinstein participated in a panel discussion on issues in global art history during the February 12 pre-conference for the International Travel Grant program.
Third image: James Elkins, professor at the School of the Art Institute of Chicago, met with the CAA International Travel Grant recipients during the conference. Pictured are Peju Layiwola, Ann Albritton, James Elkins, and Elaine O’Brien.
Fourth image: Jean Borgatti took five recipients of this year’s CAA International Travel Grant to the Metropolitan Museum of Art, where they received a tour from curator Yaelle Biro. Front row: Jean Borgatti, Venny Nakazibwe (Uganda) Back row: Ohioma Pogoson (Nigeria), Karen von Veh (South Africa), Yaelle Biro, Joseph Adande (Benin), Peju Layiwola (Nigeria).
Mellon Foundation Helps CAA Initiate a Publishing Award for Emerging Scholars
posted by Christopher Howard — January 23, 2013
The Andrew W. Mellon Foundation has awarded the College Art Association (CAA) a one-year grant of $60,000 to administer the Meiss/Mellon Author’s Book Award. The award is a temporary measure to provide financial relief to early-career scholars in art history and visual studies who are responsible for paying for rights and permissions for images in their publications. The Meiss/Mellon Author’s Book Award will provide grants directly to emerging scholars to offset the high costs of image acquisition. Recipients will be selected on the basis of the quality and financial need of their project, and awards will be made twice during the year (in the spring and fall) in conjunction with CAA’s Millard Meiss Publication Fund awards to publishers. CAA anticipates awarding between eight and ten Meiss/Mellon Author’s Book Awards in 2013.
The Meiss/Mellon Author’s Book Award supports image rights and reproduction costs for books on topics in art history and visual studies. The Society of Architectural Historians (SAH) also received one year of funding from the Andrew Mellon Foundation and will award grants to emerging scholars who are publishing monographs on the built environment. Both the CAA and SAH awards will provide leading authors in the early stages of their careers with the financial resources to acquire images for scholarly publications. For information about the SAH award, visit www.sah.org or contact Beth Eifrig at info@sah.org.
Applications for the first round of the Meiss/Mellon Author’s Book Award are now being accepted. The deadline for submission is March 15, 2013, with a second round of applications due on September 15, 2013. CAA will administer the Meiss/Mellon Author’s Book Award according to guidelines developed for the Millard Meiss Publication Fund grant, an award established in 1975 by a generous bequest from the late Professor Millard Meiss. The jury for the award, comprising distinguished, mid-career or senior scholars whose specializations cover a broad range of art scholarship, has discretion over the number of and size of the awards. For further information about the award and to apply, please visit www.collegeart.org/meissmellon.
CAA seeks to alleviate high reproductions rights costs related to publishing in the arts. With funding from a separate grant from the Andrew W. Mellon Foundation, CAA recently initiated a project to explore the overall impact of copyright on the arts and how different understandings of copyright affect creative and scholarly choices in the visual arts. Over a four-year period, from 2013–2016, CAA will produce an issues report and a code of best practices for fair use in the creation and curation of artworks and scholarly publishing in the visual arts.
For further information please contact Virginia Reinhart, CAA marketing and communications associate, at vreinhart@collegeart.org or 212-392-4426. For information on applying to the Meiss/Mellon Author’s Book Award, please contact Alex Gershuny, CAA editorial associate, at agershuny@collegeart.org or 212-392-4424.
CAA Receives Major Mellon Grant
posted by Christopher Howard — January 14, 2013
The Andrew W. Mellon Foundation has awarded the College Art Association (CAA) a major grant of $630,000 to develop, publish, and disseminate a code of best practices for fair use in the creation and curation of artworks and scholarly publishing in the visual arts. The initiative will examine the intersection of copyright understandings and creative practices of the visual arts community in art production, art scholarship, museum curation, and editing of work on art. The project will be completed over four years, from January 2013 through December 2016. During this period, CAA will produce an issues report documenting the effects of copyright understandings on creative choices and write a code of best practices in fair use for the communities of practice represented by its members.
In noting the importance of this work, Anne Collins Goodyear, CAA board president, observed: “The challenges and uncertainties faced by artists and art historians today in securing rights to reproduce works of art in hardcopy and electronically—and the difficulties in knowing when the law might require securing such rights—have serious adverse consequences for creative practice. Both scholarly and artistic projects are often compromised or even abandoned because of the arduous and expensive process of clearing permissions. An improved understanding of the scope of fair use and a field-wide agreement on its application will be invaluable to all practitioners in the visual arts.”
By undertaking this critical and timely project, CAA aims to provide much-needed clarification of best practices in the use of third-party copyrighted material, and establish a practicable code of conduct for members of the visual-arts community. In order to create a code that functions across all areas of the visual arts, CAA’s fair use project will involve participants from the fields of art history, studio art, print and online publishing, art museums, and related areas.
Linda Downs, executive director and CEO of the College Art Association emphasized the association’s capacity to lead this effort: “As the premier association in the visual arts, CAA is uniquely positioned to address these challenges. CAA’s membership represents a broad range of stakeholders—including artists, art historians, photographers, curators, writers, and educators, as well as museums, editors, and colleges and universities—who will benefit from the issues report and code of best practices. The organization has a strong record of advocacy on a variety of issues involving intellectual property. Moreover, as a scholarly publisher in the visual arts, CAA is familiar with the challenges associated with the uncertainty surrounding the application of fair use.”
The efforts funded by the Mellon grant will be overseen by a Task Force on Fair Use established by the CAA board in May of last year. The cochairs of the task force are: Jeffrey P. Cunard, long-standing CAA counsel and a managing partner in the law firm Debevoise & Plimpton LLP; and Gretchen Wagner, a member of CAA’s Committee on Intellectual Property and general counsel of ARTstor. In addition to the cochairs, task force members include: Anne Collins Goodyear, CAA board president and associate curator of prints and drawings at the National Portrait Gallery, Smithsonian Institution; Linda Downs, CAA executive director and chief executive officer; Randall C. Griffin, CAA vice president for publications and a professor in the department of art history at Southern Methodist University; and other CAA members with professional experience in studio art, art history, curatorial work, and copyright law.
CAA has engaged two principal investigators to lead the four-year project: Patricia Aufderheide, university professor in the School of Communication and co-director of its Center for Social Media; and Peter Jaszi, professor of law and faculty director of the Washington College of Law’s Glushko-Samuelson Intellectual Property Clinic. Aufderheide and Jaszi, who have significant expertise in successfully developing fair use codes for documentary filmmakers, dance archivists, research librarians, and journalists, will be responsible for conducting the investigatory work that will inform the report and code. Aufderheide and Jaszi will also work with a Community Practices Advisory Committee to review the report and a Legal Advisory Committee to review the code. Two project advisors—Virginia Rutledge, an art advisor, art historian, and lawyer who practices in the areas of both copyright and art law, and Maureen Whalen, associate general counsel for the J. Paul Getty Trust—will contribute expertise during all phases of the project. The task force cochairs, Cunard and Wagner, together with Goodyear, Downs, Aufderheide, and Jaszi will also serve as principal investigators.
CAA approaches this project with an established history of engagement on the issues of copyright and fair use, and gratefully acknowledges the work done in this area by allied scholarly societies including the Visual Resources Association, the Association of Research Libraries, and the New York City Bar Association Art Law Committee (ALC). With the assistance of a start-up grant from the Samuel H. Kress Foundation, awarded in September 2012, CAA recently completed a preparatory phase of the fair use project that will inform the activities now funded by the Mellon Foundation. During this preparatory phase, the task force met with Aufderheide, Jaszi, and CAA’s board of directors to discuss the research methodology and select thought leaders to be interviewed about copyright and fair use practices. Additionally, Aufderheide and Jaszi conducted twenty-five exploratory interviews with some of these thought leaders to help identify the key topics that the issues report and code should address. With this work completed, the task force and principal investigators are in a strong position to move forward with the formal investigative phase of the project.
For more information about the fair use project, please contact Janet Landay, project manager, at jlanday@collegeart.org (212-392-4420) or Virginia Reinhart, CAA marketing and communications associate, at vreinhart@collegeart.org (212-392-4426).
Applications for Spring Grants from the Millard Meiss Publication Fund
posted by CAA — January 14, 2013
CAA is accepting applications for spring 2013 grants through the Millard Meiss Publication Fund. Thanks to a generous bequest by the late art historian Millard Meiss, the twice-yearly program supports book-length scholarly manuscripts in any period of the history of art and related subjects that have been accepted by a publisher but require further subsidy to be published in the fullest form.
The publisher, rather than the author, must submit the application to CAA. Awards are made at the discretion of the jury and vary according to merit, need, and number of applications. Awardees are announced six to eight weeks after the deadline. For the complete guidelines, application forms, and a fuller grant description, please visit the Meiss section of the CAA website or write to nyoffice@collegeart.org. Deadline: March 15, 2013.
Image: The University of Oklahoma Press received a Meiss grant in fall 2010 to help publish Megan E. O’Neil’s book, Engaging Ancient Maya Sculpture at Piedras Negras, Guatemala (2012).
Recipients of CAA’s Meiss and Wyeth Publishing Grants
posted by Christopher Howard — December 11, 2012
CAA has awarded grants to the publishers of eighteen books in art history and visual culture through two programs: the Millard Meiss Publication Fund and the Wyeth Foundation for American Art Publication Grant.
Wyeth Grant Recipients
CAA is pleased to announce seven recipients of the annual Wyeth Foundation for American Art Publication Grant, established in 2005. Thanks to a generous grant from the Wyeth Foundation, these awards are given annually to publishers to support the publication of one or more book-length scholarly manuscripts in the history of American art, visual studies, and related subjects. For this grant program, “American art” is defined as art created in the United States, Canada, and Mexico through 1970.
Receiving 2012 grants are:
- Katherine A. Bussard, Unfamiliar Streets: Photographs by Richard Avedon, Charles Moore, Martha Rosler, and Philip-Lorca DiCorcia, Yale University Press
- Melissa Dabakis, The American Corinnes: Women Sculptors and the Eternal City, 1850–1876, Pennsylvania State University Press
- Michael Lobel, Becoming an Artist: John Sloan, the Ashcan School, and Popular Illustration, Yale University Press
- Amy F. Ogata, Designing the Creative Child: Playthings and Places in Midcentury America, University of Minnesota Press
- John Ott, Manufacturing the Modern Patron in Victorian California: Cultural Philanthropy, Industrial Capital, and Social Authority, Ashgate
- Rachel Sailor, Meaningful Places: Local Landscape Photography in the Nineteenth-Century American West and Its Legacy, University of New Mexico Press
- George E. Thomas, Frank Furness and the Poetry of the Present: Architecture in the Age of the Great Machines, University of Pennsylvania Press
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. Authors must be current CAA members. Please review the application guidelines for more information.
Meiss Grant Winners
This fall, CAA awarded grants to the publishers of eleven books in art history and visual culture through the Millard Meiss Publication Fund. Thanks to the generous bequest of the late Prof. Millard Meiss, CAA gives these grants to support the publication of scholarly books in art history and related fields.
The grantees for fall 2012 are:
- Paroma Chatterjee, The Living Icon in Medieval Art, Cambridge University Press
- Anthony Colantuono and Steven F. Ostrow, eds., Critical Perspectives on Early Modern Roman Sculpture, Pennsylvania State University Press
- T. J. Demos, Migrations: The Politics of Documentary during Global Crisis, Duke University Press
- Jennifer Doyle, Hold It against Me: Difficulty and Emotion in Contemporary Art, Duke University Press
- Dorita Hannah, Event Space: Theatre Architecture and the Historical Avant-Garde, Routledge
- Cara Krmpotich and Laura Peers, This Is Our Life: Haida People, Collections, and International Museums, University of British Columbia Press
- Asa Simon Mittman and Susan M. Kim, Inconceivable Beasts: The Wonders of the East in the Beowulf Manuscript, Arizona Center for Medieval and Renaissance Studies
- Bibiana Obler, Intimate Collaborations: Gender, Craft, and the Emergence of Abstraction, Yale University Press
- Dorothy C. Rowe, After Dada: Marta Hegemann and the Cologne Avant-Garde, Manchester University Press
- Linda Safran, Art and Identity in the Medieval Salento, University of Pennsylvania Press
- Robert Slifkin, Out of Time: Philip Guston and the Refiguration of Postwar American Art, University of California Press
Books eligible for Meiss grants must already be under contract with a publisher and on a subject in the visual arts or art history. Authors must be current CAA members. Please review the application guidelines for more information.
Image: The Pennsylvania Academy of the Fine Arts building, built by the American architects Frank Furness and George Hewitt, opened in 1876 (photograph by the Detroit Publishing Company, 1900)