posted by CAA
posted by Tiffany Dugan
CAA invites nominations and self-nominations for individuals to serve on seven of the twelve juries for the annual Awards for Distinction for three years (2017–20). Terms begin in May 2017; award years are 2018–20. CAA’s twelve awards honor artists, art historians, authors, curators, critics, and teachers whose accomplishments transcend their individual disciplines and contribute to the profession as a whole and to the world at large.
Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2017. CAA’s president and vice president for committees appoint jury members for service.
The following jury vacancies will be filled this spring:
- Alfred H. Barr Jr. Award: two members
- Artist Award for a Distinguished Body of Work: two members
- CAA/AIC Award for Distinction in Scholarship and Conservation: one member
- Distinguished Feminist Award: two members
- Distinguished Lifetime Achievement Award for Writing on Art: one member
- Distinguished Teaching of Art History Award: one member
- Frank Jewett Mather Award: two members
Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and an abbreviated CV (no more than two pages). Please send all materials by email to Katie Apsey, CAA manager of programs; submissions must be sent as Microsoft Word or Adobe PDF attachments. For questions about jury service and responsibilities, contact Tiffany Dugan, CAA director of programs. Deadline: May 12, 2017.
posted by CAA
Today the US President released his proposal for 2018 federal budget – it envisions transferring additional billions of dollars to the Department of Defense, Veterans Affairs, and Homeland Security from many important domestic programs such as the Environmental Protection Agency, education, and legal services. As expected, the budget also calls for the complete elimination of the Corporation for Public Broadcasting, National Endowment for the Arts, National Endowment for the Humanities, and 16 other federal agencies. CAA was one of the first national organizations to speak against these cuts.
As educators, art historians, artists, curators, museum directors, designers, scholars, and other members of the visual arts community we must act to defend the role of arts and humanities in our society. The budget process is long and ultimately controlled by the US House and Senate. Earlier this week, CAA traveled to Washington for Humanities Advocacy Day to meet with many congressional offices to discuss the importance of continued NEA and NEH funding. We will return again next week to do the same for Arts Advocacy Day.
In addition, CAA assembled an Arts and Humanities Advocacy Toolkit with information on how to contact your representatives in Congress to voice your support for the NEA and NEH and the many quality programs they fund. Call their offices. Email them. Attend Town Halls. You can learn how these agencies support activities in your area here: funded by the NEA and funded by the NEH. Be sure to let your representatives know of the impact of the arts and humanities in your districts. Spread the word to your colleagues and friends.
Despite the White House’s opposition to continued funding for the NEA and NEH, there is sufficient reason to believe that many members of the US House and Senate will support a budget that includes continued funding for these agencies. I ask our members to join in the effort to make sure all members of Congress knows the importance of the work done by these agencies.
Chief Executive Officer
posted by Christopher Howard
Each week CAA News summarizes eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Can .art Domain Give the Art Business an Online Boost?
London’s Institute of Contemporary Art adopted the new .art suffix last week, a sign that the art and culture business may be coming to terms with its future in the digital realm. The ICA ditched its fusty ica.org.uk domain for the streamlined and descriptive ica.art, and the move may soon be followed at other prestigious art institutions around the world. (Read more from the Guardian.)
BHQFU on How to Run a Free Art School with the “Worst” Business Model
If there’s one thing that sets US education apart from education in other nations, it’s student debt. For art students with vague graduate degrees that don’t offer much job security, the cost of tuition has left many of them worse off after graduating than they were before becoming a student. What can be done? (Read more from Artspace Magazine.)
What Happens to Whitney Biennial Curators after the Show’s Over?
Inclusion in the Whitney Biennial—the influential and sometimes controversial snapshot of contemporary American art that takes place every two years—has launched or resuscitated many an artist’s career. But those tapped to do the selecting have experienced their own professional transformation, as this year’s organizers Christopher Y. Lew and Mia Locks may well discover. (Read more from Artsy Editorial.)
Trigger Warning: Academic Standards Apply
“I don’t like this whole idea of academic standards. Ever since I was in grade school, they’ve made me feel pressured and stressed out. I think academic standards are bullying. Whenever I deal with them, they bring back all these old bad memories. It’s like PTSD or something.” So declared a student from one of my courses at California State University, Fresno. (Read more from Inside Higher Ed.)
New Travel Ban Still Sows Chaos and Confusion
A long-anticipated executive order restricting travelers from a half-dozen predominantly Muslim countries is likely to bring little certainty to American college campuses. The new order imposes a ninety-day ban on issuance of new visas, including student visas, to citizens of Iran, Libya, Somalia, Sudan, Syria, and Yemen. (Read more from the Chronicle of Higher Education.)
Museums Chart a Response to Political Upheaval
As President-elect Donald J. Trump’s Inauguration Day approached, hundreds of artists, critics, and others asked American museums, galleries, and other institutions to close their doors in protest. They wanted museums to show that they are “places where resistant forms of thinking, seeing, feeling, and acting can be produced,” the organizers wrote in a petition for a J20 Art Strike. (Read more from the New York Times.)
When the Private Sector Funds the Arts
I recently wrote a piece defending the NEA, a grant-making organization that is somehow such a drag on the economy that it is now on the chopping block for the federal 2017 budget. This move makes perfect sense for Donald Trump the businessman, according to GOP enablers, because if the arts and so-called free expression are so worthy, the private sector will step in and fund them. (Read more from the Millions.)
US Embassy Art Scheme Should Survive Trump
The Trump administration is considering cutting federal funding for the arts, among other spending programs, to reduce domestic spending. However, one US cultural initiative appears to be secure—the State Department’s Art in Embassies program, which places works by US artists in embassies and ambassadorial homes around the world. (Read more from the Art Newspaper.)
posted by CAA
CAA extends a warm thank-you to all of the artists, scholars, curators, critics, educators, and other visual-arts professionals who served as Career Services mentors during the 2017 Annual Conference. Your knowledge and expertise helped to enrich the Artists’ Portfolio Review, Career Development Mentoring, and Mock Interviews. We also appreciate the efforts of the members who created and led Professional Development Workshops and Brown Bag Sessions based on members’ needs.
Artist’s Portfolio Review
Susan Canning, Sculpture; Jill Conner, Artists Studios; Carrie Ida Edinger, Independent Artist; Nancy Hart, Artist/263 Gallery; Richard Heipp, University of Florida; David Howarth, Zayed University; Paul Hunter, Artist/Painter; Jason Lahr, University of Notre Dame; Suzanne Lemakis, Citibank, retired; Sharon Lippman, Art Without Walls; Craig Lloyd, Mount St. Joseph University; Yelena McLane, Florida State University; Dinah Ryan, Principia College; Paul Bernard Ryan, Mary Baldwin University, Emeritus; and Greg Shelnutt, Clemson University.
Career Development Mentoring
Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University, Emeritus; Roann Barris, Radford University; Colin Blakely, University of Arizona; Leda Cempellin, South Dakota State University; Crista Cloutier, The Working Artist; Rebecca J. DeRoo, Rochester Institute of Technology; James Farmer, Virginia Commonwealth University; Reni Gower, Virginia Commonwealth University; Antoniette (Toni) Guglielmo, Getty Leadership Institute; Dennis Ichiyama, Purdue University; Zach Kaiser, Michigan State University; Ann B. Kim, University East; Carol Herselle Krinsky, New York University; Emmanuel Lemakis, CAA, retired; Jeffery Cote de Luna, Dominican University; Heather McPherson, University of Alabama, Birmingham; Liliana Milkova, Oberlin College; Mark O’Grady, Pratt Institute; Doralynn Pines, CAA; Thomas Post, Ferris State University; Heather Snyder Quinn, DePaul University; Jack Risley, University of Texas at Austin; Andrew Svedlow, University of Northern Colorado; Joe A. Thomas, Kennesaw State University; Ann Tsubota, Raritan Valley Community College; and Barbara Yontz, St. Thomas Aquinas College.
Mock Interview Sessions
Megan Koza Mitchell (Student and Emerging Professionals Committee Chair), Prospect New Orleans; Amanda Wainwright (Student and Emerging Professionals Committee), University of South Carolina; Tamryn Mcdermott, Temple University; Annie Storr, Brandeis University; Lauren Puzier, Sotheby’s; Abbey Hepner, University of Colorado; Rachel Kreiter, Spelman College; Nathan Manuel (Student and Emerging Professionals Committee); Lauren O’Neal, Lamont Gallery, Phillips Exeter Academy; DeWitt Godfrey, Colgate University; Dennis Ichiyama, Purdue University; Rachel Stephens, University of Alabama; Matt King, VCU School of the Arts; Carol Garmon, University of Mary, Washington; Craig Lloyd, Mount St. Joseph University; Maile S. Hutterer, University of Oregon; Mark O’Grady, Pratt Institute; Thomas Post, Kendall College of Art and Design; Greg Shelnutt, Clemson University; Maria Ann Conelli, Brooklyn College, City University of New York; Rebekah Beaulieu, Bowdoin College Museum of Art ; David LaPalombara, Ohio University; Arthur Blake Pierce, Valdosta State University; Michael Lobel, Hunter College; Susan Altman, Middlesex County College; David Howarth, Zayed University; and Colin Blakely, University of Arizona.
Brown Bag Lunches and Sessions
Megan Koza Mitchell (Student and Emerging Professionals Committee Chair), Prospect New Orleans; Amanda Wainwright (Student and Emerging Professionals Committee), University of South Carolina; Tamryn Mcdermott, Temple University; Annie Storr, Brandeis University; Lauren Puzier, Sotheby’s; Abbey Hepner, University of Colorado; Rachel Kreiter, Spelman College; Nathan Manuel, SEPC; Andrea Kirsch, Rutgers University; and Mattie M. Schloetzer, National Gallery of Art.
Professional Development Workshops
Maria Michails, Rensselaer Polytechnic Institute; Susana Sevilla Aho, Modern Language Association; Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University, Emeritus; Emily Pugh, Getty Research Institute; Elizabeth Buhe, Institute of Fine Arts, New York University; Petra ten–Doesschate Chu, Seton Hall University; Kate Kramer, University of Pennsylvania; Shannon Connelly, Lebanese American University; Craig Dietrich, The Claremont Colleges; Jon Ippolito, University of Maine; John Bell, Dartmouth College; Molly Fox, Indiana University; Rebekah Beaulieu, Bowdoin College Museum of Art; Deborah Lutz, Pamela Lawton, Annie Leist, and Emilie Gossiaux, all from the Metropolitan Museum of Art; Alexa Sand, Utah State University; Sara Orel, Truman State University; Jenn Karson, University of Vermont FabLab; Martha Schwendener, New York Times/New York University; Jack Henrie Fisher, University of Illinois, Chicago; and Alan Smart, University of Illinois, Chicago.
posted by Janet Landay, Program Manager, Fair Use Initiative
We are eager to learn how individual CAA members are relying on fair use. Please take the following survey to let us know if, how, and to what extent you rely on fair use! Link here.
At last month’s Annual Conference, CAA’s Committee on Intellectual Property (CIP) organized “Learning from Experience: Fair Use in Practice,” a panel addressing fair use and how reliance on this aspect of copyright law has increased since CAA published its Code of Best Practices in Fair Use for the Visual Arts two years ago. The CIP session featured leading visual arts professionals in four areas: the academic art library, publishing, art-making, and artist-endowed foundations, each of whom described the importance of fair use in her work. The session, which was attended by more than ninety conference-goers, was led by CIP’s new chair, Anne Collins Goodyear, co-director of the Bowdoin College Museum of Art, and CAA president emerita, during whose tenure CAA undertook its fair use project, which culminated in the publication of the Code.
The panel opened with a brief overview of CAA’s fair use initiative by Goodyear, and then offered compelling examples of the Code’s application. Carole Ann Fabian, the Director of the Avery Architectural and Fine Arts Library at Columbia University reported that Columbia advances the principal of open access policy where possible, and that Avery librarians draw upon three fair use codes when advising library users about quoting from or reproducing copyrighted materials: that developed by the Association of Research Libraries (2012), CAA’s Code of Best Practices (2015), and the Association of Art Museum Directors (AAMD) Guidelines (2016). The shared norms of the CAA and AAMD codes, both of which champion a liberal assertion of fair use, provide particularly helpful guidance on fair use applications related to copyrighted images. Avery is often the first point of contact for students and faculty who have questions about these issues, and as a collecting organization, is also a provider of primary content (and their digital surrogates) to scholars worldwide. Fabian noted that the work librarians perform educating users about copyrights and the doctrine of fair use is ongoing with each year’s influx of new students and faculty. Having a concise resource like CAA’s Code, makes it infinitely easier to introduce library users to this essential feature of American copyright law.
Victoria Hindley, Associate Acquisitions Editor, MIT Press, reported that discussions about fair use at last year’s CAA Annual Conference motivated her to work with her colleagues at MIT Press to pursue a fair use initiative of their own. With support from Executive Editor Roger Conover, Press Director Amy Brand, legal counsel, and others, Hindley helped to define a progressive position in support of responsible fair use. “One of our primary goals,” she said, “was to figure out how to reduce the burden of clearing permissions placed on the author.” The resulting proposal, which is undergoing final Institute approval, is a robust document that most notably, as she explained: “would no longer require authors to indemnify the press when they have made a reasonable good faith determination of fair use.” MIT Press has developed proposed new contract language in support of this position; and, to further empower authors, the Press has crafted permissions guidelines that take advantage of the CAA Code and also refer authors to it. “The CAA Code of Best Practices has proven to be an invaluable guide for us as we’ve held these discussions and made decisions about our own guidelines,” noted Hindley. The new policy pending adoption at MIT Press would provide protections similar to those that CAA grants contributors to its publications.
The third speaker was the distinguished artist Martha Rosler, who received a Lifetime Achievement Award during the conference from the Women’s Caucus for Art. Rosler has for decades incorporated into her work images circulating in what she has called the public sphere of mass media, including newspapers, magazines, and television, without stopping to consider copyright. While showing examples of her work, Rosler described the importance of processes like hers, which, she said, for many artists “constitute an essential form of critique.” Although Rosler’s practice predates the publication of CAA’s Code of Best Practices, she acknowledged that the Code serves to clarify the principles on which such a practice is based. She also noted that the Code has the potential to offer support and encouragement to other artists who might otherwise shy away from the legitimate use of copyrighted material in their work, for fear of adverse consequences. She also observed, with regret, that many artists, particularly those working in video, have deliberately abandoned or failed to undertake projects involving appropriation precisely because the legal departments of broadcast entities bar the airing of such works, out of fear of reprisal for purported infringements.
Francine Snyder, Director of Archives and Scholarship at the Robert Rauschenberg Foundation, was the fourth speaker in the CIP session. She talked about the positive effect on the Foundation of a proactive fair use policy in the year since it was introduced. The main goal of the policy has been to foster scholarship about Rauschenberg, disseminate knowledge, and enhance educational initiatives. In this regard, Snyder reported, the policy has proven a great success, generating more scholarship and innovative projects. Among the outcomes to which she referred is an online gallery for children that includes images of Rauschenberg’s work. Snyder indicated that one of the most important values of the Foundation’s public turn to fair use has been to reduce anxiety on the part of those who want to reproduce the artist’s work for creative and scholarly purposes. Snyder mentioned that the fair use policy does not apply to commercial uses, for which the Foundation relies on licensing through VAGA. By way of conclusion, she explained that the Foundation is committed to an open dialogue as interpretations of fair use continue to evolve, as seen in the multiple applications of CAA’s Code of Best Practices.
Following the formal presentations, Jeffrey P. Cunard, CAA’s counsel, and Co-Chair of its Fair Use Task Force, moderated a discussion with the speakers and audience. Cunard noted the importance of the Rauschenberg Foundation’s turn to the doctrine of Fair Use in making work by Rauschenberg available for scholarly and creative purposes, and the relationship between fair use and an open approach to licensing images. He also clarified, in conversation with Rosler, that copyright holders had not objected to her pioneering work, which may not have been surprising, given the transformative nature of her use of appropriated material.
The talks by each of the speakers on this panel, along with the great interest expressed by the audience, point to increased awareness of the application of fair use since CAA published the Code of Best Practices two years ago. While detailing the many ways in which fair use is benefitting scholarship and creative practice, the session also makes clear the need for ongoing education about the Code, and the importance of publicizing and encouraging its use. We invite further examples of fair use in action, and any suggestions for the continued dissemination of the Code and the guidance it provides.
posted by CAA
CAA seeks nominations and self-nominations for one individual to serve on the Millard Meiss Publication Fund Jury for a four-year term, July 1, 2017–June 30, 2021. Candidates must be actively publishing scholars with demonstrated seniority and achievement; institutional affiliation is not required.
The Meiss jury awards subsidies to support the publication of book-length scholarly manuscripts in the history of art and related subjects. Members review manuscripts and grant applications twice a year and meet in New York in the spring and fall to select the awardees. CAA reimburses jury members for travel and lodging expenses in accordance with its travel policy. Members volunteer their services to CAA without compensation.
Candidates must be CAA members and should not currently serve on another CAA editorial board or committee. Jury members may not themselves apply for a grant in this program during their term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a letter describing your interest in and qualifications for appointment, a CV, and contact information to: Millard Meiss Publication Fund Jury, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or send all materials as email attachments to Deidre Thompson, CAA publications assistant, email@example.com. Deadline: April 21, 2016.
posted by CAA
posted by CAA
Part-time and commission based
The College Art Association (CAA), a membership and advocacy organization for those working in the visual arts, seeks a part-time advertising sales rep with media sales experience in both print and digital platforms. The ideal candidate should have established contacts in the arts and culture publishing landscape and in the wider culture field. She/he will have the mindset to strategically target prospective clients to build relationships that support CAA’s prestigious publications and events with a strong ad sales program.
The advertising sales rep would work primarily on CAA’s two flagship print journals, The Art Bulletin and Art Journal, with some work on CAA’s digital reviews platform, caa.reviews. Additional work would include selling ads for the graduate program directories and the CAA Annual Conference. Candidates for the position should have experience in billing clients, advertising proposal creation, and proper tracking of invoices and payments.
This is a part-time, commissioned-based position. The position reports to the Director of Communications and Marketing.
DUTIES AND RESPONSIBILITIES
- Manage relationships with current advertising clients and develop strategy for new client growth
- Work closely with staff across all departments to create client strategy aligned with journals, website content, and programs
- Produce client contracts for ad sales
- Oversee invoicing and record keeping for ad sales on journals and relevant websites
- Report and present on ad sales program and results to staff members and constituents
- Work with publications department staff and in-house graphic designer on ad placement and design as needed
- Other duties as assigned or requested
- At least 2 years of ad sales or comparable experience
- A warm and welcoming personality that encourages relationship building
- Established relationships with advertisers and companies in the arts and culture field
- Proven track record of closing new business and maintaining current business
- Exceptional written/verbal communication skills
- Ability to work independently, organize multiple concurrent tasks, work efficiently, and follow through on details
- Experience with spreadsheets, systems, and database management and generally accepted programs and office equipment required
- BS/BA degree or equivalent preferred
Send resume and cover letter to firstname.lastname@example.org with the subject line “CAA Ad Sales Rep.”
This job description is intended as a summary of the primary responsibilities of and qualifications for this position. The job description is not intended as inclusive of all duties an individual in this position might be asked to perform or of all qualifications that may be required either now or in the future.
The College Art Association is an equal opportunity employer and considers all candidates for employment regardless of race, color, sex, age, national origin, creed, disability, marital status, sexual orientation, gender expression, or political affiliation.
posted by Christopher Howard
Each week CAA News summarizes eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
On Hiring and Diversity This Week
Many colleges and universities want to attract a more diverse workforce and foster greater inclusivity in their faculty and administrative ranks, but don’t know how. The Chronicle of Higher Education is helping by sharing stories, news, and data aimed at helping hiring managers and recruiters make better, more informed decisions about diversity hiring at their institutions and across higher education generally. (Read more from Vitae.)
How to Fix the Met: Connect Art to Life
With the precipitous decrease in art and history education in schools, much of the Metropolitan Museum of Art’s encyclopedic collection now means little to younger viewers. It feels foreign and remote and unsociable in a way that contemporary art, with its familiar references, does not. (Read more from the New York Times.)
Russian and Syrian Forces Retake Palmyra from ISIL
Syrian government troops have retaken Palmyra from Islamic State forces, with help from Russian air support, the Syrian army said last week. Politicians in Russian welcomed the news as a triumph, as widely reported by the state’s media, but few details have emerged about the condition of the ancient site, where ISIL has previously wreaked large-scale destruction. (Read more from the Art Newspaper.)
The Earthquake in Amatrice, Norcia, and the Marche: A Cultural Emergency
This area of Italy—the Valnerina, the Appennine Marches, the Teramo region of the Abruzzo, and a segment of Lazio—has a distinguished cultural patrimony. There may be no large museums or significant art galleries, but in most cases the works of art are still in the buildings for which they were conceived, whether churches, convents, or tiny chapels in the mountains. (Read more from the Burlington Magazine.)
Very Serious Play: A Conversation with Jess Benjamin
The Nebraska-born sculptor Jess Benjamin creates work with an austere sensibility and eloquent narrative that is inextricably tied to the land—more specifically to the water—of her home state. The daughter of a rancher, she earned her BFA in ceramics from Hastings College before working as a studio assistant for Jun Kaneko, and then earning an MFA at Bowling Green State University. (Read more from Sculpture.)
SUPERFLEX’s Hospital Equipment: Context Is Everything
“Sometimes context is everything,” SUPERFLEX’s Jakob Fenger wrote, as he Instagrammed a photo of the latest installation of Hospital Equipment in a gallery in Switzerland. The Danish collaborative calls Hospital Equipment a “readymade upside down” because it pulls objects into an art context, only to send them on their way to a new context, as functional objects. (Read more from Greg.org.)
A Question of Resources
We hear regularly from arts funders and opinion formers about the need to diversify funding streams within the arts to protect future sustainability. And this is absolutely true. Any arts organization that finds itself over-reliant on government or statutory sources, or one single income stream that then dries up, can find itself in trouble. (Read more from Arts Professional.)
Identifying Quality in Scholarly Publishing: Not a Black-and-White Issue
Like every industry, publishing is open to scamming and deceptive behavior in many forms, and there are various influencing factors at play—including the pressure to publish that academics face. An abundance of unfamiliar new publications makes it difficult to know which can be trusted, and the merits of blacklisting or whitelisting publishers are being widely discussed. (Read more from the Open Access Scholarly Publishers Association.)