CAA News Today
News from the Art and Academic Worlds
posted by Christopher Howard — March 05, 2014
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Art and Architecture Thesaurus Now Available as Linked Open Data
The Getty Research Institute has released the Art and Architecture Thesaurus as Linked Open Data. The data set is available for download at vocab.getty.edu under an Open Data Commons Attribution License. The Art and Architecture Thesaurus, a reference of over 250,000 terms on art and architectural history, styles, and techniques, is one of the institute’s four Getty Vocabularies, a collection of databases that serves as the premier resource for cultural-heritage terms, artists’ names, and geographical information. (Read more from the Getty Iris.)
Colleges Need Free Speech More Than Trademarks
What’s in a trademark? To many people in higher education, mention of the term—which denotes the legal protection afforded words or other devices that identify a good’s or service’s source—leads to bewildered looks. “You mean the designs on shirts sold in the bookstore?” Trademarks in higher education encompass institutional names, logos, and insignias, the iconography that fans love to see featured on all kinds of merchandise. Institutions license their marks on these products, often relying on third parties to broker deals that can produce significant royalties. This $4.6-billion industry appears to be good for colleges, which exploit the revenue channel to make up for losses elsewhere in their operations. (Read more from the Chronicle of Higher Education.)
Good Art Is Popular Because It’s Good, Right?
In July of last year, a man named Sidney Sealine went to see the Mona Lisa in Paris. The idea was to spend some time with the picture, to see for himself the special spark that made the painting so famous. But he couldn’t even get close to Leonardo’s famous work. (Read more from National Public Radio.)
Women at the Top
Their ages span four generations, and their careers follow no linear path. They have enough letters behind their names to form a small university. They’ve worked in Switzerland, Qatar, and too many small towns to count, hailing from regions as diverse as the southern hemisphere and the segregated South. The thirteen women who direct some of the region’s prominent museums are as different as the institutions they lead. But nine of them have at least one similarity: they succeeded men. (Read more from the Washington Post.)
Frieze Sits Down with New York Labor Unions
Representatives from Frieze New York met with local union leaders for the first time to discuss the organization’s labor practices. The fair, which is set to return to Randall’s Island in May, has been criticized by artists and activist groups for employing nonunion workers to build its sprawling tent and transport art. (Read more from the Art Newspaper.)
The Adjunct Penalty
Much discussion exists about how to escape the adjunct’s life of indentured servitude for tenure-track positions. After all, positions in the coveted ivory tower will always outrank a life of little pay and heavy, lower-level teaching loads. Despite the many pitfalls of adjunct life, many adjuncts choose to forgo the ivory tower. In doing so, they enter a career with a penalty that is both tangible and psychological. (Read more from the Adjunct Blog.)
Speculating on Trophy Art
Works by contemporary artists born after 1945 generated $17.2 billion in worldwide auction sales last year, a 39 percent increase from 2012, according to figures just released by the French database Artprice. Last November, a triptych by Francis Bacon sold for $142.4 million, a record for any work of art at a public sale. And a handy new website, www.sellyoulater.com, now advises speculators on which hot young artists to buy, sell, or “liquidate.” (Read more from the New York Times.)
The Art World’s “Wild West”
A fake Marc Chagall painting, owned by a businessman from Leeds who had bought it for $167,309 in 1992, was ordered to be burned last month, and an Istanbul art gallery closed down its Joan Miró exhibition in 2013 after directors of the Spanish Surrealist painter’s estate said some of the works were forgeries. The uncovering of fakes by committees comprising descendants of the artist is increasingly common and has prompted one of Britain’s foremost art historians to condemn the methods used by scholars to authenticate works as a “professional disgrace.” (Read more from the Tapei Times.)
Meiss/Mellon Author’s Book Awards for Spring 2014
posted by Christopher Howard — February 28, 2014
CAA is accepting applications for Meiss/Mellon Author’s Book Awards for the spring 2014 grant cycle. This grant program is designed to support the work of emerging authors of manuscripts in art history and visual studies who are responsible for paying for rights and permissions for images in their publications. Awardees will be selected on the basis of the quality and demonstrated financial need of their project.
Successful applicants will be authors under contract with a publisher for a manuscript on art history or visual studies. Awardees are announced six to eight weeks after the deadline. For a fuller grant description, the complete guidelines, and the application forms, please visit the Meiss/Mellon section of the CAA website or send an email to nyoffice@collegeart.org. Deadline: March 15, 2014.
Image Caption
Megan R. Luke won a Meiss/Mellon Author’s Book Award in spring 2013 for her book Kurt Schwitters: Space, Image, Exile (Chicago: University of Chicago Press, 2013).
Baldwin, Markey, and Nadler Introduce Legislation to Level the Playing Field for American Visual Artists
posted by Christopher Howard — February 27, 2014
US Senators Tammy Baldwin (D-WI) and Ed Markey (D-MA) and Congressman Jerrold Nadler (D-NY) have introduced legislation to level the playing field for visual artists in the United States by establishing copyright protections for their intellectual property.
“Artists and arts organizations make valuable contributions to our communities and strengthen our quality of life. Just as our copyright laws extend to musicians and authors to encourage their artistic creativity, they should also apply to our visual artists,” said Senator Baldwin, who serves on the National Council on the Arts. “The ART Act is a commonsense measure that helps protect the intellectual property of our artists.”
“Our visual artists are critical cultural contributors, and the ART Act ensures they are fairly compensated for their work,” said Senator Markey. “Their creativity is a currency that should be properly valued. The ART Act also brings the United States in line with over seventy other countries, so that American artists can receive royalties when their works are sold overseas.”
“American artists are being treated unfairly,” said Congressman Nadler, who first introduced a version of the ART Act in 2011 and serves as the Ranking Democrat on the Courts, Intellectual Property, and Internet Subcommittee of the House Judiciary Committee. “At a time when more than seventy other countries properly compensate visual artists for their work, it is time for the United States to do the same. The ART Act will ensure that visual artists get the compensation they deserve and will no longer be at a disadvantage on the international art market. It is the only fair thing to do.”
“Visual artists are the only members of the creative community in the United States who do not receive residual payments for their works. Composers, lyricists, actors, playwrights, screenwriters all deservedly receive royalties for the later productions, performances, or sales of their works,” said Frank Stella, one of the most renowned artists in the world and recipient of the National Medal of Arts by President Obama in 2009. “Unfortunately, visual artists in the US do not earn a penny in residual or resale payments. The benefits derived from the appreciation in the later sale of their works accrue entirely to the collectors, auction houses, and galleries. The adoption of the droit de suite in my country is therefore long overdue.”
Under current copyright law, visual artists—painters, sculptors, and photographers—are denied the ability to fully benefit from the success of their work over time. Unlike recording artists or publishers who, if successful, sell thousands of copies of their work and recoup a royalty from each purchase, artists sell their work only once. If they are successful, the price of their work increases but they recoup nothing if their original work is resold at a much higher price. The benefits derived from the appreciation in the price of a visual artists’ work typically accrues to collectors, auction houses, and galleries, not to the artist. In addition, United States artists are at a disadvantage in the global art market where more than seventy other countries have provided resale royalty rights for visual artists. The American Royalties, Too (ART) Act of 2014 remedies this inequity by providing a modest resale royalty right for visual artists.
The ART Act would:
- Provide a competitive resale royalty of five percent of the sales price (up to $35,000) for any work of visual art sold at auction for $5,000 or more
- The resale royalty applies to any auction where the entity conducting the auction has sold at least $1 million of visual art during the previous year
- Royalties are collected by visual artists’ copyright collecting societies who must distribute the royalties to the artists or their heirs at least four times per year
- Allows US artists to collect resale royalties when their works are sold at auction in the European Union and more than seventy other countries
- The ART Act requires further study by the Copyright Office after five years to determine the effects of the resale royalty on the art market and whether it should be expanded to cover works sold by dealers and other art market professionals
The ART Act includes many recommendations from the US Copyright Office’s December 2013 report, entitled Resale Royalties: An Updated Analysis.
News from the Art and Academic Worlds
posted by Christopher Howard — February 26, 2014
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Orr’s Plan Would Protect DIA Artwork, but It’s Not a Done Deal Yet
The fate of the Detroit Institute of Arts remains in limbo in the wake of the recent release of Kevyn Orr’s restructuring plan for Detroit’s finances. While Orr’s plan incorporates the fundamentals of a much-talked-about deal to prevent the forced sale of any masterpieces and to separate the city-owned museum into an independent charitable trust, several critical steps remain before a final settlement would guarantee the museum safe harbor in Detroit’s historic bankruptcy. (Read more from the Detroit Free Press.)
Photographers Band Together to Protect Work in “Fair Use” Cases
To many photographers, a federal appeals court ruling last spring that permitted Richard Prince to use someone else’s photographs in his art was akin to slapping a “Steal This” label on their work, but photographers are pushing back. Several membership and trade organizations have banded together recently to press their cause in Congress and the courts. (Read more from the New York Times.)
No Longer Appropriate?
“Appropriating” other artists’ work without consent is still common, but there is growing evidence—albeit rarely reported—that, although some artists may have started out as willing or unwitting outlaws, they decided that possibly infringing other artists’ copyright was legally unwise and potentially expensive, and they stopped. (Read more from the Art Newspaper.)
Protest Action Erupts inside the Guggenheim Museum
Last weekend, over forty protesters staged an intervention inside the Guggenheim Museum in Manhattan during Saturday night’s pay-what-you-wish admission hours. Unfurling Mylar banners, dropping leaflets, chanting words, handing out information to museum visitors, and drawing attention with a baritone bugle, the group highlighted the labor conditions on Saadiyat Island in the United Arab Emirates, where Guggenheim Abu Dhabi, a franchise of New York’s Guggenheim, is being built. (Read more from ArtLeaks.)
Eminent Domain
A gallery’s street address says a lot more than its web address. We’ll assume that a gallery at 555 West 24th Street in Chelsea sells more expensive art, represents more well-known artists, and is more influential on the market than, say, the residential address of an artist-run apartment gallery in Bed Stuy. A web address can’t connote this same kind of prestige differential. There are no neighborhoods on the internet, and the cost of rent is always somewhere from $1 to $15 a month. (Read more from the New Inquiry.)
People Lose Their Minds over Obama’s Art History Apology
President Barack Obama’s apology to the art historian Ann Collins Johns has created a frenzy of media coverage, including some inexplicably strange responses. When was the last time you heard art history discussed in mainstream news publications and news channels? Crickets. Exactly. (Read more from Hyperallergic.)
In Defense of Art History: Against the Neoliberal Imagination
Obama’s recent statement about art-history majors echoes a crude opinion of the American ruling class—all that is not of immediate and utilitarian interest to the profit system is to be shunned—and underlines a common conception of education and culture and highlights the ongoing onslaught on the humanities and liberal arts. The corporate education model being pushed heavily on public schools, state universities, and city colleges—schools that serve students from largely working-class and poor backgrounds—grants little weight to these subjects. (Read more from Red Wedge.)
The End of the Corcoran Gallery of Art
If the Corcoran Gallery of Art had to be swallowed up by a larger and healthier institution to survive, we might celebrate last week’s announcement that its collection will be devoured by the National Gallery of Art. The National Gallery is hands down the most prestigious and respected steward of fine art in Washington, and its reputation is international. But this is not a swallowing of the Corcoran—this is the end of the Corcoran and its final dismemberment. (Read more from the Washington Post.)
Why Art Is Dangerous: Making Art Is Making Trouble
posted by Christopher Howard — February 24, 2014
Written by Donald Preziosi on February 17, 2014.
Above the entrance to an exhibition in Paris in 2011 at the Centre Pompidou called The Promises of the Past was written the claim that the function of art was to make the world better. Better than it might appear at present.
Yet you could argue, at the same time, that what art creates may be a worse world—worse than it appears, or not at all what you would like it to be. Art as both amelioration, betterment, and creative construction: as world-making—and also as destruction and distraction from what reality is imagined to be. The construction and deconstruction of what one takes as reality or as natural.
How could this be? How can we unravel such a dense fabric?
Art has long been regarded as dangerous to the stability of a society and to its professed or desired ideal order. Indeed, 2,500 years ago, in a text we know as The Republic, the Greek philosopher Plato sought to banish the representational arts from an ideal community, because of their distracting effects on its citizens. However powerful, beautiful, spiritually uplifting, or life-enhancing they might be, works of art had the potential to cause individuals to imagine realities differently than what was promoted as real or natural by those holding or desiring power. Plato was far from alone or unique in such a view either in his own or in other societies, both ancient and modern, but his writings give us an insight into the social logic behind such a view.
The simplest and most compelling rationale is this: that the awareness of the artistry or facture of a work of art—the fact that it is a product of human creativity—makes it possible to imagine that the reality it portrays or projects might be imagined otherwise. Both by others or even by oneself at different times or in different places. In other words, once you are aware that the forms and meanings taken by your society as real or natural (perhaps even as created or inspired by superhuman forces) are among any number of possible realities or belief systems, then space is opened for imagining other ways of world-making. To put it another way, you don’t need the visible presence of different social systems, either next door or across the river, to imagine differences: the different exists within art itself.
But what could this mean? The reason for this has to do with what we might call the inherent instability and slipperiness of how things mean—the demonstrable fact that an object or artifact can have different meanings and connotations in different times and places. Just as the same or similar form can have multiple meanings, so the same or equivalent meaning might be embodied or portrayed by distinct forms or expressions. This has been absolutely central to many theological, philosophical, or political debates, now and in the past. It’s the problem of the “relations between” art and religion, or “between” art and politics.
To put this another way, if the only tool you have were a hammer, you’d tend to treat everything as a nail. Thus, as a species, we would be less likely to have survived very long outside a very specific and isolated environment. In technical terms, the potential indeterminacy of meaning—the fact that it cannot be fully controlled—allows for and affords the possibility of adapting to the vagaries of human encounters with worlds. We are, in short, adapted to change; our very existence depends on that flexibility, that openness.
What all or any of this has to do with the dangers of art should be fairly evident and not exactly, as they say, “rocket science.” But remember that science, after all, is itself one of the finest and powerful of the fine arts. And consequently one of the more dangerous.
Art’s dangers are at the same time the source of its powers for positive change and social advocacy. Art advocates and invokes as much as it revokes what you imagine yourself and your worlds to be. Those selves are porous: permeated by and defined relative to others, real or imagined. And, in fact, a close attention to the real powers of art makes the distinction itself between the real and the imaginary, between fact and fiction, and circumstantial and conditional rather than fixed and permanent.
Art is dangerous, in the end, because it brings to consciousness the reality of the fiction of reality—that reality is a work of art: the finest of the fine arts, the supreme fiction.
News from the Art and Academic Worlds
posted by Christopher Howard — February 19, 2014
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Obama Picks Low-Profile Arts Center Executive to Chair the NEA
Opting for arts-administration and fundraising credentials over star power, the White House announced last week that President Obama will nominate Jane Chu, president and chief executive of the Kauffman Center for the Performing Arts in Kansas City, Missouri, as the next chairman of the National Endowment for the Arts. (Read more from the Los Angeles Times.)
The Monuments Men Did More Than Rescue Nazi-Looted Art
The greatest Rubens altarpiece in America is in Ohio, at the Toledo Museum of Art. We have the Monuments Men to thank for that. George Clooney’s galumphing all-star movie The Monuments Men did not impress the critics—“inert,” lamented the Los Angeles Times movie critic Kenneth Turan—but the real-life story of soldiers sent to protect and rescue Europe’s great artworks during and after World War II is impressive. So was its aftermath. (Read more from the Los Angeles Times.)
How American Museums Protected Their Art from the Nazis
Last weekend, George Clooney’s newest film, The Monuments Men, arrived in theaters, highlighting a fascinating chapter in World War II. Beginning in 1943, the Monuments Men dutifully retrieved canvases and confiscated heirlooms stashed in salt mines and inconspicuous locations across the continent (and later Japan). Given the inconceivable scope of the cultural upheaval, it’s understandable that one element of the story remains largely overlooked: the precautions taken to protect artworks on American soil. (Read more from the Atlantic.)
Who Owns This Image?
CAA, an organization of about fourteen thousand artists, scholars, and curators, recently released a report on the state of fair use in the visual arts. The association commissioned Patricia Aufderheide and Peter Jaszi, a law professor at American, to be the principal investigators, who found that most professionals have no idea how to employ fair use. As a result, they wrote: “Their work is constrained and censored, most powerfully by themselves, because of that confusion and the resulting fear and anxiety.” (Read more from the New Yorker.)
When Cost Cutting and Staff Costs Are Passed Off as Reductions in Administrative Bloat
At the end of December, the Wall Street Journal published an article by Steve Herbert titled “Colleges Trim Staffing Bloat.” So, if you did not read any further than the title, you might think that all of the attention to administrative bloat as a cost-driver in American higher education was finally producing some results. Think again. (Read more from Academe Blog.)
Great Art Needs an Audience
As the virtual replaces the physical and the world gets globalized, we’ve been hearing that art galleries, settled in a single place, are bound to be on their way out. Collectors are now more likely to buy at a fair than from a dealer’s home base; some may do their art shopping online. A few midrange dealers, especially, are already closing their galleries, to conduct all their business in private, at fairs, or by JPEG. I believe that these changes put art itself at risk. (Read more from the Art Newspaper.)
Art at Arm’s Length: A History of the Selfie
We live in the age of the selfie. A fast self-portrait, made with a smartphone’s camera and immediately distributed and inscribed into a network, is an instant visual communication of where we are, what we’re doing, who we think we are, and who we think is watching. Selfies have changed aspects of social interaction, body language, self-awareness, privacy, and humor, altering temporality, irony, and public behavior. (Read more from Vulture.)
Creativity Becomes an Academic Discipline
The world may be full of problems, but students presenting projects for Introduction to Creative Studies have uncovered a bunch you probably haven’t thought of. Elie Fortune, a freshman, revealed his Sneaks ’n Geeks app to identify the brand of killer sneakers you spot on the street. Jason Cathcart, a senior, sported a bulky martial-arts uniform with sparring pads he had sewn in. No more forgetting them at home. (Read more from the New York Times.)
News from the Art and Academic Worlds
posted by Christopher Howard — February 12, 2014
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Art vs. Endowment
More than six years after announcing plans to sell a masterpiece of American painting—the 1912 work Men of the Docks by George Bellows—Randolph College has done so, gaining $25.5 million for its endowment. In selling the painting, the college disregarded the policies of several art and museum groups, which state that museums (including those run by colleges) should sell art only to buy more art, not to improve their finances. (Read more from Inside Higher Ed.)
Lessons of California’s Droit de Suite Debacle
The debate over a national droit de suite in the United States is back, as Congressman Jerrold Nadler from New York is advancing a revised version of his Equity for Visual Artists Act of 2011, which failed to become law the first time around. When American supporters of resale royalties seek to advance their arguments, they usually look to other countries for supporting evidence, such as France, while overlooking the California act. (Read more from the Art Newspaper.)
To Improve Adjuncts’ Plight, “Step One Is to Acknowledge the Problem”
Maria C. Maisto, president of New Faculty Majority, answered via email select questions submitted by viewers of the Chronicle’s online chat about adjunct issues. The questions and her responses have been edited for brevity and clarity. (Read more from the Chronicle of Higher Education.)
Women Really Don’t Ask
Like many research centers, my center offers travel awards to graduate students and postdocs to help cover their expenses when presenting at conferences. The typical award is $500, which is often enough to cover travel to conferences in the region. Because my center is very well funded, we don’t really have an official limit to how much someone can request or be awarded. Yet the only people who had requested the full amount to cover their expensive trips were male graduate students. (Read more from Research Centered.)
Help Desk: Performance Anxiety
I am not trained as a visual artist—I hold my graduate degree in dance choreography and before that worked primarily in live theatrical concert dance. However, my focus shifted in grad school, where I started developing work in performance that should live in a gallery space. Now that I am out of school, I have a great new project in the works but no idea how to make it happen. What are the unspoken rules for approaching art spaces and museums with performance work? (Read more from Daily Serving.)
NEA Funds Benefits Both Rich and Poor, Study Finds
Ever since the late 1980s, when the performance artist Karen Finley started playing with yams and chocolate, the NEA has come under fire from some conservative lawmakers. Now House Republicans charge that the endowment supports programming primarily attended by the rich, causing “a wealth transfer from poorer to wealthier citizens.” A recent study challenges that assertion, concluding that federally supported arts programs attract people across the income spectrum. (Read more from the New York Times.)
Academics Launch Torrent Site to Share Papers and Data Sets
Researchers from the University of Massachusetts have launched a torrent site that allows academics to share papers and data sets. AcademicTorrents provides researchers with a reliable and decentralized platform to share their work with not only peers, but also the rest of the world. The site currently indexes over 1.5 petabytes of data, including NASA’s map of Mars. (Read more from TorrentFreak.)
Contagion: Jack Hyland on The Moses Virus
The author of The Moses Virus, Jack Hyland is also a founding partner of Media Advisory Partners. In addition to his career in investment banking, he has served on the boards of several nonprofit institutions, including those of CAA, the American Academy in Rome, Teachers College at Columbia University, and the Sterling and Francine Clark Art Institute. (Read more from the Hartford Books Examiner.)
Conference Events from CAA’s Student and Emerging Professionals Committee
posted by Christopher Howard — February 10, 2014
News from the Art and Academic Worlds
posted by Christopher Howard — February 05, 2014
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
No Laughing Matter: President’s Quip about Art History Pricks Some Ears
Art history caught some unwelcome attention from President Obama in a recent speech emphasizing the need for job training. To reinforce his point that manufacturing jobs pay off, Obama said that young people who train for them could outearn art-history majors. The remark drew laughter from the president’s audience in Wisconsin, but some in higher education felt slighted. (Read more from the Chronicle of Higher Education.)
Experts Say Academics Are Timid about Fair-Use Laws
Professionals in the visual arts—including art historians—let real and perceived fears about copyright law get in the way of their work, finds a new report from CAA. And while the fundamentally visual nature of their discipline raises particular concerns among scholars of art, artists, editors, and museum curators, experts say their fears are shared across academe—although some disciplines have worked to develop codes to help scholars navigate the murky waters of fair use. (Read more from Inside Higher Ed.)
Teaching for the First Time? Read “Purposeful Pedagogy”
Most doctoral students enter the classroom without any formal teaching experience or pedagogical training. Instead, they are often provided, at best, a quick orientation that offers tricks before entering the undergrad classroom as teachers. As a result, graduate students begin teaching without any support or training to help them be successful. (Read more from Art History Teaching Resources.)
A Modigliani? Who Says So?
Three daunting facts confront anyone interested in buying one of Amedeo Modigliani’s distinctive elongated portraits. They tend to have multimillion price tags; they are a favorite of forgers; and despite an abundance of experts, no inventory of his works is considered both trustworthy and complete. (Read more from New York Times.)
DIA’s $100 Million Pledge to Rescue Fund Helps Clear Path to Bankruptcy Resolution
In a whirlwind day that marks a turning point in Detroit’s historic bankruptcy, the Detroit Institute of Arts pledged $100 million to a growing rescue fund to protect pensions and art, and emergency manager Kevyn Orr released to major creditors an early version of the massive restructuring proposal for the city’s estimated $18.5 billion in debt and liabilities. (Read more from the Detroit Free Press.)
Now Starts the Hard Work for DIA: Raise $100 Million to Meet Its Pledge
The Detroit Institute of Arts has pledged $100 million to the growing rescue fund to shore up municipal pensions, shield its treasures from sale, and spin the city-owned museum into an independent nonprofit. But now DIA leaders have to go out and make good on their word and raise the money. (Read more from the Detroit Free Press.)
Adjuncts Gain Traction with Congressional Attention
Maria C. Maisto went to Capitol Hill last fall to correct what she saw as a misperception about colleges’ response to the nation’s new healthcare law. By the time she left, she had accomplished something bigger. She had gotten lawmakers talking about higher education’s reliance on adjuncts and how their working conditions make it difficult for them to do their best work. (Read more from the Chronicle of Higher Education.)
New Report Urges More Emphasis in Adjunct Faculty Conditions during Accreditation
Accreditors “can and should be doing more” on site visits and in their standards to address concerns about adjunct faculty employment and its effect on student learning, says a report from the Council for Higher Education Accreditation. “Campuses often do not evaluate the type of support they have in place to help faculty perform to their highest capabilities,” the report says. “The negative student learning outcomes [associated with overreliance on adjunct faculty] that have been documented have occurred in part because institutions have not updated or changed.” (Read more from Inside Higher Ed.)
CAA Offers Free Tickets to The Monuments Men
posted by Christopher Howard — February 04, 2014
CAA is giving away free movie tickets to special screenings of The Monuments Men, directed by and starring George Clooney, in four cities across the United States to its members. The organization has ten tickets (five pairs) for the New York screening; ten tickets (five pairs) for Los Angeles; six tickets (three pairs) for Chicago; and six tickets (three pairs) for Houston.
Please send your name, the name of your guest, your city, and your CAA User/Member ID# to caanews@collegeart.org by 3:00 PM EST today. Winners will be notified after 4:00 PM.
The Monuments Men were a group of approximately 345 men and women from thirteen nations who comprised the MFAA section during World War II. Many were museum directors, curators, art historians, artists, architects, and educators—and also members of CAA. Together they worked to protect monuments and other cultural treasures from the destruction of World War II. In the last year of the war, they tracked, located, and in the years that followed returned more than five million artistic and cultural items stolen by Adolf Hitler and the Nazis. Their role in preserving cultural treasures was without precedent.
All four screenings will take place this Wednesday, February 5, 2014, at 7:30 PM. Here are the locations:
- New York screening: AMC Loews West 34th Street 14, 312 West 34th Street, Manhattan
- Los Angeles screening: Edwards Long Beach 26 and IMAX, 7501 Carson Boulevard, Long Beach
- Chicago screening: AMC Showplace Cicero 14, 4779 West Cermak Road
- Houston screening: AMC Gulf Pointe 30, 11801 South Sam Houston Parkway East
Tickets to The Monuments Men are guaranteed, not first-come, first-served. CAA will send the winners’ names to the film promoter, who will put them on the VIP list. You will not need printed tickets.
Watch the Trailer