The Pulitzer Prize for Criticism has been presented since 1970 to a newspaper writer who has demonstrated 'distinguished criticism'. Recipients of the award are chosen by an independent board and officially administered by Columbia University. The Pulitzer Committee issues an official citation explaining the reasons for the award.
2007:Jonathan Gold, LA Weekly, "for his zestful, wide ranging restaurant reviews, expressing the delight of an erudite eater"
2008:Mark Feeney, The Boston Globe, "for his penetrating and versatile command of the visual arts, from film and photography to painting"
2009:Holland Cotter, The New York Times, "for his wide ranging reviews of art, from Manhattan to China, marked by acute observation, luminous writing and dramatic storytelling"
2010:Sarah Kaufman, The Washington Post, "for her refreshingly imaginative approach to dance criticism, illuminating a range of issues and topics with provocative comments and original insights"
2011:Sebastian Smee, The Boston Globe, "for his vivid and exuberant writing about art, often bringing great works to life with love and appreciation"
2012:Wesley Morris, The Boston Globe, "for his smart, inventive film criticism, distinguished by pinpoint prose and an easy traverse between the art house and the big-screen box office"
2013:Philip Kennicott, The Washington Post, "for his eloquent and passionate essays on art and the social forces that underlie it, a critic who always strives to make his topics and targets relevant to readers"
2014:Inga Saffron, The Philadelphia Inquirer, "for her criticism of architecture that blends expertise, civic passion and sheer readability into arguments that consistently stimulate and surprise"
2015:Mary McNamara of the Los Angeles Times, "for savvy criticism that uses shrewdness, humor and an insider’s view to show how both subtle and seismic shifts in the cultural landscape affect television."
2016:Emily Nussbaum of The New Yorker, "for television reviews written with an affection that never blunts the shrewdness of her analysis or the easy authority of her writing."
2017:Hilton Als of The New Yorker, "for bold and original reviews that strove to put stage dramas within a real-world cultural context, particularly the shifting landscape of gender, sexuality and race."
2018: Jerry Saltz of New York, "for a robust body of work that conveyed a canny and often daring perspective on visual art in America, encompassing the personal, the political, the pure and the profane."