association for art history dissertation prize

Department of History of Art

University | A to Z | Departments

• History of Art
• News and events
• Department news

AAH Dissertation Prize Success for Two MA Students

• York Art History Collaborations
• Undergraduate Study
• Postgraduate Study
• For current students
• For incoming Visiting students
• Postdoctoral Fellowships
• Ethics for Art Historians
• Employability and Professional Development
• Seminars and events
• Conferences
• Publication News
• Information for Chinese applicants
• Contact and find us

Posted on 19 July 2021

We are very proud of MA students Gerry Fässler and Ariana Torres, who are both shortlisted runners up for the Association for Art History 2020 Postgraduate Dissertation Prize!

Ariana wrote on 'Fashion, Commodity & the Surrealist Self in the Photographic Collaboration between Man Ray & Elsa Schiaparelli, 1931-1937' and Gerry wrote about 'The Fleeting Existence of Sin and Death: Neoclassical Personification-Allegory in Paradise Lost Illustrations'.

Huge congratulations to both Gerry and Ariana!

Department of History of Art University of York , York , YO10 5DD , UK | [email protected]

Legal statements | Privacy | Cookies | Accessibility © University of York | Modify | Direct Edit

WHA Dissertation Prize

The World History Association awards the annual WHA Dissertation Prize for the best doctoral dissertation in world, global, or transnational history.

2023 Dissertation Prize Winners

Congratulations to our 2023 Dissertation Prize winner Mejgan Massoumi , Fellow & Lecturer at the Stanford Civic, Liberal, and Global Education Program for her dissertation entitled "The Sounds of Kabul: Radio and the Politics of Popular Culture in Modern Afghanistan, 1960-79."

As noted by the committee: This dissertation explores the history of Afghanistan as a major producer of music across Islamic Eurasia and throughout its own global diaspora. A project about global networks, it is based on research in many archives, including in Kabul, many of which the author visited against serious odds.  Massoumi explains that the radio was a global technology that revolutionized the relationship between everyday people (both men and women) and the world and that permitted Afghans to articulate their place in the world through global lenses like the cold war, decolonization, and student movements worldwide. Massomi makes multiple important contributions to research and analysis in world history, including the emerging field identified as the history of sound. This dissertation presents an important analysis of the relationships between multiple spatial scales in modern world history, showing how radio and sound history offer a way to understand a synthesis of global and local. Moreover, this dissertation makes an excellent case for the importance of popular culture in the shaping of global connections. Massoumi’s analysis of the populism of the Afghan pop star Ahmad Zahir, for example, is a significant contribution to understanding the relationships between pop culture, global cosmopolitanism, and local tradition. It shows the diffusion of popular culture through the diffusion of technology, demonstrating the rise of a local and regional culture that first assimilated and then disseminated secular world popular culture among a Muslim population that world history surveys seldom acknowledge.

The committee has determined two honorable mention winners for this year's prize:

Hayley Genevieve Brazier for her dissertation entitled “Seafloor Machina: Aging Technologies in the Depths of the Pacific Ocean.” As noted by the committee:  This dissertation, an innovative interdisciplinary project that combines research in history and marine science, is a unique and skillfully researched study of the history of the impacts of industrial technologies on the ocean seafloor from the 1890s onward, with a focus on oil and gas drilling, undersea telegraph cables, and cabled observatories. The work is an important contribution to the “blue humanities” and to science and technology studies as well as world history. Brazier makes an excellent case for how historical study can assist in elucidating the long-term environmental impacts of industrial technology by drawing attention to global environmental impacts of late-nineteenth and twentieth-century imperialism. Her work touches on animal studies, technology, and industrialization, revealing a dazzling range of undersea human activity. This methodologically capacious work includes oral interviews and scientific information as well as archival records, and it deftly links ocean and industrial history to twenty-first century global concerns.

Rob Konkel for his dissertation entitled "Building Blocs: Raw Materials and the Global Economy in the Age of Disequilibrium.” As noted by the committee: This lively and relevant dissertation is a globally resonant account of trade in tungsten and manganese, two strategic raw materials needed for steelmaking, which were concentrated in locations that were remote from sites of advanced steel production. Konkel focuses on the decades between the 1880s and the 1940s and on the economic warfare and actual warfare that top steel producers engaged in to obtain the materials in question.  The dissertation is well written, and the proposition that “raw materials are key drivers of global history” is a terrific one for the field to take up. The study is spatially acute, organized around its central proposition that heavy industry was intractably global even as locations of resources and production were relatively fixed and distant from one another. Konkel argues that “bloc thinking” in international affairs was an effort to sequester natural resource supply chains into self-contained units, and he is also well attuned to the implications of his work for contemporary concerns like the race for rare earths today.

Thank you to all of the scholars who submitted their work to this year's competition. Thank you to the 2023 Dissertation Prize Committee: Ruth Mostern (chair), Peter Adebayo, Andrew Barnes, Felipe Fernandez-Armesto, John Voll, and Urmi Willoughby for all of the work you put into this process. You can read the committee's full report here . And congratulations again to this year's winners!

2024 Dissertation Prize Submissions

Submissions for this prize open on August 15, 2024.  The World History Association awards the annual WHA Dissertation Prize for the best doctoral dissertation in world, global, or transnational history—that is, one that examines any historical issue with global implications, including but not limited to the exchange and interchange of cultures, the comparison of two or more civilizations or cultures, or the study in a macrohistorical manner of a phenomenon that had a global impact. To be eligible for the 2024 prize, the dissertation must have been defended as part of Ph.D. or equivalent degree between the dates of 31 August 2022 and 21 August 2024.  Eligible candidates are allowed to submit once, not multiple years.  Deadline date for submissions is October 1, 2024.

The 2024 prize, which consists of a $500 award, a certificate, and a one-year membership to the WHA , will be formally awarded at the  WHA ’s 2025 conference if the awardee is in attendance.

Submissions should include a cover letter or contact information sheet, abstract, and a  PDF file of the full dissertation. All dissertation submissions must be in the English language.  The cover or sheet should include the following: name, professional or home address, email, telephone and name of PhD granting institution. 

Click here to apply for the WHA Dissertation Prize.

Entries must be submitted by  1 October 2024 . Late entries and submissions that do not adhere to these guidelines will be disqualified.

The Dissertation Prize Committee will determine the winner of the prize. In the event that the committee considers that the quality of the entries does not warrant the awarding of any prize, it shall have the right to make no award.

Contact the  WHA  with any questions regarding the prize or its guidelines.

Past Winners

• Carl Kubler : “Barbarians on the Shore: Global Trade and Everyday Life on the South China Coast, 1780 - 1860"

Honorable mention

• Ellen Nye : “Empires of Obligation: Law, Money, and Debt between England and the Ottoman Empire, 1670 - 1720"
• Kristyl Obispado : “The Pacific Sailors: Global workers at and on the edge of the Spanish empire (1580s – 1640s)”

Honorable mentions

• Jake Richards : “Liberated Africans and Law in the South Atlantic, c. 1839 – 1871”
• Nicholas Roberts : “A Sea of Wealth: Sayyid Sa’id bin Sultan, His Omani Empire, and the Making of An Oceanic Marketplace”
• Erik Glowark : “The Christianization of Kyushu: A World-Historical Interpretation of the Jesuit Mission to Japan, 1549-1650”
• Kristen Alff : “The Business of Property: Levantine Joint-stock Companies, Land, Law, and Capitalist Development Around the Mediterranean, 1850-1925”
• Vladimir Hamed-Troyansky : “Imperial Refuge: Resettlement of Muslims from Russia in the Ottoman Empire, 1860-1914”
• Sara Silverstein : “Doctors as Diplomats: The Origins of Universal Healthcare in International Society”
• Barry McCarron : “The Global Irish and Chinese: Migration, Exclusion, and Foreign Relations among Empires, 1784–1904”
• Kathryn Hain : “The Slave Trade of European Women to the Middle East and Asia from Antiquity to the Ninth Century”
• Isaiah Wilner : “Raven Cried for Me: Narratives of Transformation on the Northwest Coast of America”
• Patrick Kelly : “Sovereignty and Salvation: Transnational Human Rights Activism in the Americas in the Long 1970s”
• Phillip Guingona : “Crafted Links and Accidental Connections of Empire: A History of Early Twentieth-Century Sino-Philippine Interaction
• Bryce Beemer : “The Creole City in Southeast Asia: Slave Gathering Warfare and Culture Exchange in Burma, Thailand, and Manipur, 1752–1885”

Awards Sample banner

Awards Sample banner EXCERPT

Medieval Art Research

The latest research, news, and reviews from the world of Medieval Art History

Tag Archives: Association for Art History Dissertation Prizes

Dissertation prize: association for art history dissertation prizes 2020, deadline 1 october 2020 & 1 december 2020.

The Association for Art History Dissertation Prize is awarded each year. There are two awards: one for undergraduate dissertations and one for postgraduate (Master’s-level) dissertations. The 2020 prize is for dissertations written during the 2019-20 academic year.

• Already have a WordPress.com account? Log in now.
• Subscribe Subscribed
• Report this content
• View site in Reader
• Manage subscriptions
• Collapse this bar

NINA KOUPRIANOVA

Graphics and geopolitics in moscow, russia.

There comes the time in every lady's life when she must put up a serious(ly boring) bio. Nina Kouprianova...errr...Why am I talking in the third person? I spend my time between graphics and photography ( ninakouprianova.com ), on the one hand, and independent scholarship and translation (Russia), on the other.

ACADEMIC (selected):

PhD Dissertation (History, University of Toronto): "Revolution, Tradition, and Modernity: Russian Consumer Advertising in the Era of NEP" (2012)

Publications

"Modernity and Natalism in Russia: Historic Perspectives" in the European Journal of Government and Economics (2013): http://www.ejge.org/index.php/ejge/article/view/31

Conferences

“From Heroic Mothers to Maternal Capital: A Brief Overview of Russia’s Natalism,” video presentation and conference, “The Future of the EU 2: Demographics, Education, and Sustainability," University of A Coruña, Spain, (2012): http://www.economicas.udc.es/varela/?q=node/300

“The Birth of a Rock Subculture in the Soviet Union,” conference paper, The Association for Slavic, East European, and Eurasian Studies convention, Philadelphia, U.S. (2008)

TRANSLATION:

Alexander Dugin, Martin Heidegger: the Philosophy of Another Beginning (2014)

Alexander Dugin, The Fourth Political Theory (2012), selected chapters

Contemporary Russian thought at my personal blog: https://ninabyzantina.com/

History of Espionage: https://espionagehistoryarchive.com/author/ninabyzantina/

Historic and contemporary Russia at the Soul of the East: http://souloftheeast.org/author/ninabyzantina/

MUSIC JOURNALISM (JAPAN): http://metropolis.co.jp/author/?auth=Nina%20Kouprianova

• Graphics, translation, independent scholarship.
• PhD (History): modern Russia, culture, U.S. foreign policy
• MA (History of Art): modern, medieval
• BFA (Hon): graphic design, photography, medieval studies

Credit Suisse and Cosmoscow will offer prize for Young Artists for the second year

Moscow, 7 August, 2017 – Credit Suisse, one of the world's leading financial services providers, and Cosmoscow, Russia's only international contemporary art fair, announce they will offer a Credit Suisse Cosmoscow Prize for Young Artists for the second year running at the event in September.

Credit Suisse’s sponsorship of Cosmoscow started in 2015 and, in 2016, the CS Cosmoscow Prize for Young Artists was established for the first time. The Prize aims to support emerging artists in Russia and abroad and provide a platform for young Russian artists to develop their careers.

Selected by an expert jury, the winner of the award will be announced on Sept. 7 during Cosmoscow’s fifth annual fair in Moscow’s Gostiny Dvor

Artists with Russian citizenship under the age of 35 working across both visual and multimedia art are eligible for the Prize. The award includes a financial grant of CHF 3,000, mentorship from Credit Suisse and Cosmoscow, and an art trip to Switzerland. The winner will also have the option to take part in an art residency in Berne, Switzerland.

The winning artist will be subject to a two-step judging process. The first involves being selected for inclusion in the long list of nominees. In the second stage, the Prize Jury, comprised of five international experts, will choose the winner.

André Rogger, head of Credit Suisse Art Collection, said: “With this partnership, Credit Suisse continues the bank’s long-standing commitment to nurturing young talent. This philosophy is well-reflected in our other international artist awards, entrepreneur initiatives, and our corporate art collection. We are delighted to again be able to partner with Cosmoscow to contribute to the development of the contemporary art market in Russia.”

Margarita Pushkina, founding directror of Cosmoscow and art patron said: “We greatly appreciate the partnership between Cosmoscow and Credit Suisse, lasting over three years. We share this confidence in contemporary Russian art and its vast potential. It was this very confidence that has served as a starting point for launch of the Credit Suisse Cosmoscow Prize for Young Artists last year. We very much hope that this philanthropic initiative will go on contributing to the support and development of young talent, while at the same time reviving rich Russian traditions of art patronage.”

In 2016, three Russian artists - Anastasia Bogomolova (Chelyabinsk), Ilya Dolgov (Voronezh) and Anastasia Kuzmina (Moscow) - won the Prize. Based on the 2016 winners’ feedback, the Prize played a significant role in their artistic development enabling them to expand their professional networks, find new sources of inspiration and implement new arts projects.

Credit Suisse’s other sponsorship commitments include: the New York Philharmonic Orchestra, the Shanghai Museum, the Taipei Fine Arts Museum and the Kunsthaus in Zurich. The bank also sponsors the Young Artist Award at the Lucerne Festival. In Russia, Credit Suisse has been the General Sponsor of the Bolshoi Theatre since 2007.

Credit Suisse also has its own Art Collection comprised of more than 10,000 works, mainly by contemporary Swiss and Switzerland-based artists. Based on its strategy to encourage young talent, the bank starts acquiring works from artists at an early stage in their career. For example, back in 2015 Credit Suisse purchased artwork created by Svetlana Shuvaeva.

Members of the international Experts Panel in 2017 include: 

• Sergey Khachaturov, Russian art critic, theorist, art historian, candidate of art history, associate professor of the History of Russian Art Department at Moscow State University named after M.V. Lomonosov
• Alisa Savitskaya, Curator, National Centre Contemporary Art (NCCA), Nizhny Novgorod
• Alisa Bogdanaite, Art Curator and Director at Zarya Contemporary art center and Residency in Vladivostok
• Boris Klyushnikov, young art curator and critic

Members of the Jury in 2017 include:

• André Rogger, Head of Credit Suisse corporate collection
• Iara Bubnova, International art critic and curator
• Nikolas Liucci-Goutnikov, Curator at the Pompidou Centre
• Кaterina Chuchalina, Curator and Program Director at V-A-C Foundation
• Simon Mraz, Director of the Austrian Cultural Forum in Moscow

Finished Papers

Customer Reviews

What is the best essay writer?

The team EssaysWriting has extensive experience working with highly qualified specialists, so we know who is ideal for the role of the author of essays and scientific papers:

• Easy to communicate. Yes, this point may seem strange to you, but believe me, as a person communicates with people, he manifests himself in the texts. The best essay writer should convey the idea easily and smoothly, without overloading the text or making it messy.
• Extensive work experience. To start making interesting writing, you need to write a lot every day. This practice is used by all popular authors for books, magazines and forum articles. When you read an essay, you immediately understand how long a person has been working in this area.
• Education. The ideal writer should have a philological education or at least take language courses. Spelling and punctuation errors are not allowed in the text, and the meaning should fit the given topic.

Such essay writers work in our team, so you don't have to worry about your order. We make texts of the highest level and apply for the title of leaders in this complex business.

Well-planned online essay writing assistance by PenMyPaper

Writing my essays has long been a part and parcel of our lives but as we grow older, we enter the stage of drawing critical analysis of the subjects in the writings. This requires a lot of hard work, which includes extensive research to be done before you start drafting. But most of the students, nowadays, are already overburdened with academics and some of them also work part-time jobs. In such a scenario, it becomes impossible to write all the drafts on your own. The writing service by the experts of PenMyPaper can be your rescuer amidst such a situation. We will write my essay for me with ease. You need not face the trouble to write alone, rather leave it to the experts and they will do all that is required to write your essays. You will just have to sit back and relax. We are offering you unmatched service for drafting various kinds for my essays, everything on an online basis to write with. You will not even have to visit anywhere to order. Just a click and you can get the best writing service from us.

• Before 1500 BCE
• 1500 BCE to 500 BCE
• 500 BCE to 500 CE
• Sixth to Tenth Century
• Eleventh to Fourteenth Century
• Fifteenth Century
• Sixteenth Century
• Seventeenth Century
• Eighteenth Century
• Nineteenth Century
• Twentieth Century
• Twenty-first Century
• Geographic Area
• Central America
• Central and North Asia
• North America
• Northern Europe
• Oceania/Australia
• South America
• South Asia/South East Asia
• Southern Europe and Mediterranean
• Subject, Genre, Media, Artistic Practice
• African American/African Diaspora
• Ancient Egyptian/Near Eastern Art
• Ancient Greek/Roman Art
• Architectural History/Urbanism/Historic Preservation
• Art Education/Pedagogy/Art Therapy
• Art of the Ancient Americas
• Artistic Practice/Creativity
• Asian American/Asian Diaspora
• Ceramics/Metals/Fiber Arts/Glass
• Colonial and Modern Latin America
• Comparative
• Conceptual Art
• Decorative Arts
• Design History
• Digital Media/New Media/Web-Based Media
• Digital Scholarship/History
• Drawings/Prints/Work on Paper/Artistc Practice
• Fiber Arts and Textiles
• Film/Video/Animation
• Folk Art/Vernacular Art
• Genders/Sexualities/Feminisms
• Graphic/Industrial/Object Design
• Indigenous Peoples
• Installation/Environmental Art
• Islamic Art
• Material Culture
• Multimedia/Intermedia
• Museum Practice/Museum Studies/Curatorial Studies/Arts Administration
• Native American/First Nations
• Patronage, Art Collecting
• Performance Art/Performance Studies/Public Practice
• Photography
• Politics/Economics
• Queer/Gay Art
• Race/Ethnicity
• Religion/Cosmology/Spirituality
• Theory/Historiography/Methodology
• Visual Studies
• Mission Statement
• Editorial Board and Field Editors
• Past Editors
• Terms of Use
• Submission Guidelines for Reviewers
• Republication Guidelines
• Citation Guidelines
• Letters to the Editor
• Dissertation Submission Guidelines
• 2011 Centennial Project

It is difficult to assess Margarita Tupitsyn’s new book,  Moscow Vanguard Art, 1922–1992 , because of its strong spirit of partisanship. It covers wide historical ground and brings in a lot of new material gathered from primary sources, but it is also unabashedly selective, its choices circumscribed by the author’s personal history. A well-known art historian and curator of Russian and Soviet avant-garde art, Tupitsyn belongs to the generation of intellectuals who came of age during the period of stagnation and decline of the Soviet Union. The history she narrates belongs to this period fully and inextricably. Her important contribution to the field is to be one of the first and most consistent specialists to write about the formerly marginal subject of Russian and Soviet art, which has come to the attention of mainstream art history in the West only in the past fifty years. The author’s personal participation in this history forms an important part of the book and contributes to its strengths and weaknesses. Beginning in the 1970s, she was first a participant and later an organizer of the key events and exhibitions described in her book. Thus, her narration comes not only from her vast knowledge of history and theoretical literature, but also from her own experience. This personal element is reflected in the fact that Tupitsyn writes only about artists from Moscow, Russia’s capital and its largest and most developed city, where she was born and raised and socialized with many of the artists she describes in her book. This focus is a positive aspect of the book, as the author narrows down the topic to what she knows best. Tupitsyn’s decision to embrace “vanguard” art under a wide chronological umbrella is more problematic because she traces a direct parallel between the avant-garde of the early 1920s and experiments conducted by Moscow artists after Stalin’s death during the Khrushchev and Brezhnev eras. Tupitsyn talks about art in terms of its accepting or, the contrary, confronting the dominant political structure. This argument makes sense within an oppositional framework of a “left” versus “right” political struggle, but it dismisses a “gray” area in-between, which may be most interesting of all in the realm of aesthetics as it questions and often negates the polar divisions. In this sense, Tupitsyn’s reading of “vanguard” art is limited by its insertion into this oppositional structure.

As an actual participant of the many events she chronicles, Tupitsyn certainly has a story to tell. The book captures this story vividly, documenting it with numerous illustrations and photographs, some featuring the author herself. In the introduction to the book, she explains some of her choices by referencing her interest in the particularity of a “milieu” surrounding the artist, “with its perpetual mechanism of conversing” (1). Tupitsyn’s story is connected with the tradition of experimental and political art or “art in context,” which, she explains, demonstrably veers away from the concept of aesthetic purity propagated by Clement Greenberg in particular. Bearing in mind the specificity of Tupitsyn’s point of view, the book uncovers layers of history from published and unpublished sources. As a counterbalance to her personal involvement in the history she writes, Tupitsyn aptly quotes liberal philosophers, cultural critics, and art historians from Ernst Bloch to Michel Foucault and her teacher Rosalind Krauss to make or amplify her argument about the experimental nature of avant-garde thinking and production and its continuity through generations of Moscow artists.

The book has seven chapters, roughly a chapter per decade of the narrated history. The first two cover the decades before World War II, before the author’s lifetime. Tupitsyn begins with a story of an ideological and personal rivalry between Kazimir Malevich, the leading painter of nonobjective art, and a certain Evgeny Katsman, his brother-in-law, who turned out to be among the leading propagandists of conservative visual culture, later endorsed by Stalin and the officially supported Academy of Arts. Tupitsyn weaves an intricate narrative based on Katsman’s diaries, which reads almost like a detective novel. It reveals Katsman as a man ruthless in his attempts to destroy his rival both in art and in life, going as far as meeting with Stalin personally to plead the cause against the avant-garde. Tupitsyn makes Katsman’s diary a foil against which she develops her story of the foundation and functioning of such conservative artistic collectives as AKhRR (Association of Artists of Revolutionary Russia) and Malevich, the protagonist of the avant-garde’s fight against the reactionary tendencies exemplified by the ideology propagated by Katsman. In this chapter, she touches on the key issues of this standoff: the debate about the teaching tendencies in VKhUTEMAS (Higher Artistic-Technical Workshops); the progressive role of Anatoly Lunacharsky, who promoted avant-gardists in the early 1920s; and the government support behind Die Erste Russische Ausstellung in Berlin in 1922, to which apparently only “left” artists were invited. It was interesting to learn, for example, that AKhRR was founded as a reaction to this exclusion as well as a means to associate with the Wanderers, an established group of nineteenth-century realist painters whose agenda, Tupitsyn insists, was much more progressive in its day than that of AKhRR. Tupitsyn’s listings of AKhRR’s exhibitions and her detailed chronicling of its confrontations with theoreticians affiliated with LEF (Left Front of the Arts) is helpful in reminding the reader of the fundamental difference between the approaches of the “right” and the “left” artistic factions: the rear guard aspired to study the conditions of people’s everyday lives and “depict [them] naturalistically,” while the avant-garde “imagined the proletariat not as subject of art, but as its participatory force” (11). This formulation of the pivotal ideological difference between the conservative and the progressive factions in Soviet art touches on the question of the conservatives’ idealization, the progressives’ utopia, and the loss of the reality principle in both camps. Tupitsyn weaves in the stories about other artists, such as Vladimir Tatlin, Alexander Rodchenko, and El Lissitzky, but in her choosing the Malevich-Katsman rivalry as the guiding thread of her argument, she creates a structure resembling that of a phallic, pre-oedipal standoff. In this dualistic confrontation, the raging competitors need each other in order to release their aggression against one another, but in fact the enemy they fight is invincible, because without it, their existence would be devoid of sense. This penchant toward analyzing art from the political perspective of the fight of the “left” against the “right” without giving the issues of aesthetics any consideration makes Tupitsyn argue against a growing interest of Western scholars in a comprehensive study of Socialist Realism, which she raises in the second chapter of her book.

In line with other histories of Soviet nonconformist art, Tupitsyn locates the possibility for a continuation of the spirit of the avant-garde with the death of Stalin, the concomitant end of terror, and the onset of Khrushchev’s thaw. The period from the 1940s to the 1950s is associated for the author with the resurgent interest of the Moscow artists in abstraction. In chapter 3, the author traces the development of this line of artistic thought in the work of Vladimir Nemukhin, Lydia Masterkova, Vladimir Yankilevsky, among others, including such relatively unknown names in the West as Vladimir Slepian and Mikhail Chernyshov. Artists doing three-dimensional work in open air, such as Francisco Infante, Lev Nussberg, and his Movement Group are also included, as well as early works by Ilya Kabakov and Erik Bulatov. Kabakov and Bulatov are well-known artists who resurface in subsequent chapters dedicated chiefly to performance and immigrant art from the 1970s and continuing through the 1980s and 1990s. While developing a convincing chronology of key exhibitions and events that spurred the development of the underground art scene, Tupitsyn excludes several notable names. In the section on abstractionists, important artists, such as Mikhail Shvartsman, are absent, for example. In the section on immigrant art in New York, a recently deceased Leonid Lamm is missing. This is especially surprising because Tupistyn worked with Lamm, having included him in her Sots Art exhibition at the New Museum in 1986, and authored essays and even a book about him. The reader is left guessing about the criteria of the author’s selection. The book has an index, but at times the page numbers do not correspond to the exact mention of a name, as is the case with the group Medical Hermeneutics.

Tupistyn’s book continues an impressive series of her publications, produced in the course of more than thirty-five years. She has always been a strong voice of support for the kind of art she writes about—politically involved and outspoken—which in many ways reflects her own personality. Perhaps partisanship in writing histories is not necessarily a bad thing; in fact, nowadays it may be impossible to write a good history without taking sides and making clear which ideology you support. In this particular book, however, the author pushes this principle to its limit, making the reader wonder what is missing as a result of the personal choices she made.

Natasha Kurchanova Independent Art Historian

• By accessing and/or using caa.reviews, you accept and agree to abide by the Terms & Conditions .

The writers of PenMyPaper establish the importance of reflective writing by explaining its pros and cons precisely to the readers. They tend to ‘do my essay’ by adding value to both you (enhancing your knowledge) and your paper.

Free essays categories

If you can’t write your essay, then the best solution is to hire an essay helper. Since you need a 100% original paper to hand in without a hitch, then a copy-pasted stuff from the internet won’t cut it. To get a top score and avoid trouble, it’s necessary to submit a fully authentic essay. Can you do it on your own? No, I don’t have time and intention to write my essay now! In such a case, step on a straight road of becoming a customer of our academic helping platform where every student can count on efficient, timely, and cheap assistance with your research papers, namely the essays.

Johan Wideroos

Bennie Hawra

Customer Reviews

Dr.Jeffrey (PhD)

Look up our reviews and see what our clients have to say! We have thousands of returning clients that use our writing services every chance they get. We value your reputation, anonymity, and trust in us.

Earl M. Kinkade

Skip to Content

• Subdisciplines
• Undergraduate
• News & Events

Other ways to search:

• Events Calendar

Hale Herald - Spring 2024

Chair's Letter

Warmth has finally arrived in Boulder, just after a foot of snow canceled classes. We remain undefeated by the weather and in good spirits. As I write, we are currently hosting Distinguished Cultural Anthropologist Julie Chu, professor at the University of Chicago. It has been a busy semester of talks, workshops, and visitors including Venezuelan Fulbright Scholar Dr. Hortensia Caballero. Thank you all for bringing such energy and brilliance to these important events.

In February, we had another fun and inspiring accepted student weekend. Thanks to the graduate committee and our graduate students for their thoughtful work to warmly welcome these future grad students. Cultural anthropology professor Alison Cool gave a keynote lecture as did University of Pittsburgh archaeology professor Dela Kuma. We are excited for the new students who will join us in August!

Finally, the Department of Anthropology graduation will be Thursday, May 9 at 4:30 pm outside Hale on the lawn. Once again, professor Alison Cool will delight us with her insights as speaker. Congratulations in advance to all our graduates!

Please read on to learn about the innovative work CU anthropologists are doing on campus and around the world.

All the best from Hale,

Carole McGranahan, Chair

Graduate Student News

Georgia Butcher in the 3MT Finals

Nicholas Puente Receives CARTTS Award

Jack Dalton Featured on German Children's Show: Anna Und Die Wilden Tiere

Paige Edmiston Receives Carol B. Lynch Memorial Fellowship & Publishes Article in Diabetes Technology and Therapeutics

Kelsey Hoppes Awarded Donna C. Roper Research Fund

Graduate Students Yuti Gao, Kelsey Hoppes, Patrick McKenzie, and Nicholas Puente Receive Beverly Sears Awards

Clara Hwayeon Lee Receives the Center for Humanities & the Arts JEDI Completion Fellowship

Sarah Simeonoff Successfully Defends Her PhD Qualifying Exam

Anthropology Department Pre-Dissertation Awards

Anthropology spotlights.

Faculty Spotlight Spring 2024

Lauren hosek (biological anthropolgy, professor).

Professor Lauren Hosoek is a historical bioarchaeologist and her research integrates osteological data from human skeletal remains with archaeological and historical evidence.  She utilizes these intersecting sources to examine how large-scale social phenomena such as religious ideology and institutional practices become embodied through ritual and activity across the life course. Her research projects span from early medieval Central Europe to the 19 th -century American West. Most recently, She has been working on a community-based project in the Denver area exploring the health and ritual practice of the 19 th -century Catholic Sisters of Loretto in collaboration with the living Loretto Community.

Graduate Student Spotlight Spring 2024

Chu may paing (cultural anthropology, phd candidate).

Chu's dissertation titled "Intense Engagements: Social Media Activism in the Aftermath of the 2021 Military Coup in Myanmar" looks at how ordinary Myanmar people's political engagement is fueled by circulation of certain public feelings on social media spaces in the aftermath of the 2021 military coup in Myanmar. Her dissertation explores how the intense circulation of images and speech online creates an atmosphere in which social and political ideals for a new Myanmar are constantly written and rewritten.

Undergraduate Spotlight Spring 2024

Skylar davidson (minor in anthropology in progress).

Skylar is a 4th-year student at CU Boulder, pursuing an Anthropology minor. After taking Primate Life History with Dr. Michelle Sauther, she developed a passion for Primatology and excitedly added an ANTH minor. In the summer of 2023, Skylar traveled abroad to Vietnam with Dr. Covert and Dr. O’Brien to study its diverse ecosystem and native primates. Being in Vietnam developed Skylar’s deep love for the endangered Pygmy Loris and she plans to pursue a Master’s and PhD in Biological Anthropology. She intends to lead conservation research for this species and find her way back to Vietnam.

Alumni Spotlight Spring 2024

Jamie forde (phd anthropology 2015 ).

Dr. Forde is a Lecturer (equivalent to Assistant Professor) in History of Art at the University of Edinburgh, Scotland. Trained as an anthropological archaeologist at CU, he employs both art historical and archaeological methods in studying Indigenous Mesoamerican material and visual culture during the periods surrounding colonial encounter with Europeans. His work has been focused in the Mixtec region of Oaxaca, particularly the site of Achiutla, where he has directed an interdisciplinary field project. His research has been published in journals including  Ancient Mesoamerica, Colonial Latin American Review,  and  Ethnohistory .

Faculty News

Steve Leigh Awarded the Gabriel W. Lasker Service Award

Jerry Jacka Publishes Chapter in Anthropology and Climate Change

Fernando Villanea Gave an Online HOT (Human Origins Today) Topic for the Smithsonian Museum of Natural History

Warren Thompson Publishes Article in the Journal of Anthropological Research

Will Taylor and Lakota Elders Receive AAAS Newcomb Cleveland Prize

Sharon DeWitte's Bioarchaeological Work Featured in the Coloradan Alumni Magazine

Chris Hammons Receives a Kayden Research Award & a Center for Humanities & the Arts Small Grant

Graduate student symposium 2024.

Graduate Student Symposium a Huge Success!

Undergraduate news.

Sophia Busse Receives Graduate Student Symposium Best Poster Award

Undergraduate Students Represent at the AABA Conference

Upcoming events.

Upstream, Downstream, Offshore: Constancy Amidst the Flux of Supply Chains

Upstream, Downstream, Offshore: Constancy Amidst the Flux of Supply Chains 4pm, April 12, British Studies Room

Dr. Julie Chu Associate Professor -Department of Anthropology University of Chicago

Fluvial landscapes have long undergirded logistical projects for building out and maintaining the infrastructural channels of commerce and travel. Drawing on two decades of ethnographic engagements with original “development deltas” of Post-Mao China linking coastal Special Economic Zones to global exchange, this talk offers an estuarial take on what scholars of modernity and supply chain capitalism have described as a “liquid” world full of uncertainty and volatility. This talk focuses on the temporal politics of constancy that make fluvial landscapes thinkable in terms of supply chains and in turn, actionable as valued lifeways.

Co-sponsored by the University of Colorado Boulder Department of Anthropology and the Center for Asian Studies. Free and open to the public.

Digital Aestheticization of the Environment

Digital Aestheticization of the Environment 4PM, April 19, Hale Science RM 230

Veronika Zavratnik Postdoctoral Researcher University of Ljubljana, Slovenia

By becoming increasingly digitalized, the aestheticization of the environment permeates our daily lives. Simply by looking around or listening attentively in any naturalsetting, it can easily be observed that people's engagements with their surroundings are different from a decade ago. Today, ti is hard to find someone in the mountains, by the sea or in the forest who is not tapping on their smartphone, flying drones, using wearable cameras or other devices to digitally 'capture' and augment their experience of the environment. Images, blogs, vlogs and newly added (tourist/walking) maps are then circulated through digital technologies and media, uprooting and disseminating places and environments through time and space.

This talk draws on the ongoing collaborative research project (2022-2025) that aims to study the transformative moment of environmental perceptions by focusing on digital aestheticization as it unfolds in everyday contexts of outdoor leisure in selected European countries - Slovenia, Croatia, Poland, Sweden and Finland. The emphasis will be put on how, through digital aestheticization, sustainability and environmental change become perceptible and meaningful in the local and/or regional context.