CAA News Today
A CONVERSATION WITH ANNE COLLINS GOODYEAR
posted by Christopher Howard — November 19, 2012
Anne Collins Goodyear, associate curator of prints and drawings at the Smithsonian Institution’s National Portrait Gallery, became president of the CAA Board of Directors in May 2012. CAA News caught up with her this month to discuss what’s happening in the organization.
Anne Collins Goodyear
CAA just finished its Centennial year at the 2012 Annual Conference in Los Angeles. What’s next?
Marching into its next century, CAA has a number of important initiatives on the docket. Many of these involve taking advantage of new technologies to ease access to CAA’s resources and to enhance the ability of members to connect with one another and to share information. The Board of Directors has just committed to exploring a copublication agreement with an outside publisher that would involve the digitization of Art Journal and The Art Bulletin, albeit retaining print versions of these publications for the foreseeable future. It has also committed to providing open access to caa.reviews within the coming year.
We hope to provide a digital version of our print publications—together with hard copy—by 2014. In addition, a task force formed last year is now reviewing the use of technology at the Annual Conference. At the upcoming 2013 event, we will offer free Wi-Fi for conference goers for the first time. This should make it easier for speakers to bring online resources into the session room and even use Skype or similar services to incorporate talks by artists and scholars who are unable to attend. On the Monday and Tuesday before the conference, we will experiment with the Humanities and Technology Camp—better known as THAT Camp—in order to allow one hundred members to convene for a self-organized discussion on how art, the humanities, and technology intersect.
Of course, one pressing matter that new digital technologies raise—one that “predates” the internet—is obtaining and using reproductions of artwork. This complex issue has important implications for everyone in the visual arts—scholars, curators, and artists. To this end, CAA has undertaken a study that it hopes will lead to a Code of Best Practices for Fair Use of Copyrighted Images in the Creation and Curation of Artworks and Scholarly Publishing in the Visual Arts. Over the course of fall 2012, thanks to funding recently received from the Samuel H. Kress Foundation, CAA will be facilitating a review of the literature in the field and conducting interviews with leaders in the visual arts on the subject of copyright and creativity. We will also develop a survey for CAA members to make their views on the subject known. We are working with Patricia Aufderheide, director of the Center for Social Media at American University, and Peter Jaszi, professor of law and faculty director of the Glushko-Samuelson Intellectual Property Law Clinic at American University’s Washington College of Law, who have successfully developed fair-use codes for other creative disciplines, including for independent filmmakers. Aufderheide and Jaszi are the authors of Reclaiming Fair Use: How to Put Balance Back in Copyright (Chicago: University of Chicago Press, 2011), which describes their work on and approach to the fair use of copyrighted materials. Their efforts will be overseen by a task force of CAA members cochaired by Jeffrey P. Cunard, longstanding CAA counsel and a managing partner in the law firm Debevoise & Plimpton LLP, and Gretchen Wagner, general counsel of ARTstor and a member of CAA’s Committee on Intellectual Property. The committee’s upcoming session at the Annual Conference will provide an update on the task force’s progress to members.
What’s the importance of being a CAA member in 2012, for emerging, midcareer, and established artists and scholars?
To my mind, CAA offers many benefits for artists and scholars at all stages of their careers—though we’re always eager to hear how we can provide more support. CAA delivers top-notch scholarship through its publications and sessions at the Annual Conference and also provides excellent opportunities for artists to discuss and showcase their work at the conference. The Services to Artists Committee, chaired by Sharon Louden, is extraordinarily active in developing terrific programming in ARTspace for 2013.
In addition to these resources, CAA provides valuable guidelines for tenure and promotion, information about navigating copyright, and other best practices. Last year, in response to concern expressed by members engaged with authentication, CAA worked with its insurance broker, which now extends authentication insurance to interested members. CAA also provides great networking opportunities through its committees and its conference. Ultimately, members shape CAA’s identity, from their time as graduate students throughout the duration of their careers. CAA has an incredibly dedicated staff and board, all of whom are committed to serving the membership and addressing matters of professional concern. Members shouldn’t hesitate to reach out to us.
If CAA wishes to be more inclusive of artists and designers, as it has indicated in the 2010–2015 Strategic Plan, how might it do so?
CAA currently has a task force investigating opportunities for designers. As previously mentioned, the Services to Artists Committee produces a lot of conference content. CAA also provides a great forum to present and discuss work outside a commercial framework. Artists have an important hand in the Task Force on Annual Conference Technologies. CAA’s guidelines for artists with respect to academic tenure and promotion, conventions for résumés and CVs, and studio health and safety are highly prized. CAA hopes artists will find much value in the Code of Best Practices for Fair Use of Copyrighted Images. Artist members, like others, should feel encouraged to let the staff and board know if there are other ways in which we can advocate on their behalf or provide services that would be helpful. CAA is also now embarking on the development of its new 2015–2020 Strategic Plan, which will enable the organization to solicit and build upon input from the membership about its evolving needs and priorities and the ways in which CAA can adapt to serve those most effectively.
Digital publications and social networking are among important internet-related issues for artists and scholars. What are your ideas regarding these two areas?
CAA is developing a plan to digitize its print publications, as discussed above, and hopes to offer caa.reviews as an open-access journal in a year. Nia Page, CAA’s director of membership, development, and marketing, recently circulated a study to CAA’s membership to ask how CAA members might benefit from new platforms for social networking related to their professional interests.
How do you envision the relationship between the CAA membership and the president and board?
My hope is for a fluid relationship. The board, which is elected by the membership, is extremely active in the organization. CAA members should feel welcome and encouraged to reach out to anyone who serves on the board, including the president and the executive director. Members should also give serious consideration to becoming personally involved in the governance of the organization. This includes considering running for the board and serving on it, as well as simply taking time to get to know candidates for the board and casting votes in the annual election. The business meeting at the Annual Conference is a great way to get information about recent activities, financial reports, or other matters of interest. Joining one of the Professional Interests, Practices, and Standards Committees is another way for members to have a voice and to shape the organization. Other opportunities for them to contribute to or benefit from CAA’s activities are to serve on an editorial board, the Annual Conference Committee, awards juries, or the Nominating Committee, which is charged with interviewing those who have expressed an interest in serving on the board and developing the final slate of candidates.
What is CAA’s role in relation not only to government, politics, and the freedom of expression, but also to workforce issues and intellectual property?
CAA has the clout and organizational capacity to play an important role advocating issues of significance on behalf of its members and makes every effort to do so. Members should feel free to alert the organization to topics of concern. CAA regularly participates in the national Humanities Advocacy Day and Arts Advocacy Day. It is part of the American Council of Learned Societies and well integrated with other professional organizations. CAA is involved in supporting the interests of adjunct faculty as well as other professionals. CAA is a founding member of the Coalition on the Academic Workforce, which has just published results about part-time professors from its 2010 survey. As noted at the outset of this interview, CAA is currently undertaking a serious study of the fair use of copyrighted materials—including images—by scholars and artists. We hope to clarify how and when nonlicensed reproduction of third-party works can be considered “fair.” A generous grant from the Kress Foundation is supporting preliminary work in this area.
How CAA uses its organization capacity to serve its membership is ultimately the most important concern for the organization. Clearly, that can take many different forms. We welcome the ongoing input of our membership to ensure we are doing that as effectively and meaningfully as possible.
Practice Your Interviewing Technique in Mock Interview Sessions at the New York Conference
posted by Christopher Howard — November 15, 2012
Students and emerging professionals have the opportunity to sign up for a twenty-minute practice interview at the 2013 Annual Conference in New York. Organized by the Student and Emerging Professionals Committee, Mock Interview Sessions give participants the chance to practice their interview skills one on one with a seasoned professional, improve their effectiveness during interviews, and hone their elevator speech. Interviewers also provide candid feedback on application packets.
Mock Interview Sessions are offered free of charge; you must be a CAA member to participate. Sessions are filled by appointment only and scheduled for Thursday, February 14, 10:00 AM–NOON and 4:00–6:00 PM; and Friday, February 15, 10:00 AM–NOON and 4:00–6:00 PM. Conference registration, while encouraged, is not necessary to participate.
To apply, download, complete, and send the Mock Interview Sessions form to Jennifer Stoneking-Stewart, chair of the Student and Emerging Professionals Committee. You may enroll in one twenty-minute session. Deadline extended: February 13, 2013.
You will be notified of your appointment day and time by email. Please bring your application packet, including cover letter, CV, and other materials related to jobs in your field. The Student and Emerging Professionals Committee will make every effort to accommodate all applicants; however, space is limited.
Onsite enrollment will be limited and first-come, first-served. Sign up in the Student and Emerging Professionals Lounge starting on Thursday, February 14, at 8:00 AM.
Call for Mock Interviewers at the Conference
posted by Christopher Howard — November 15, 2012
For the 2013 Annual Conference in New York, the Student and Emerging Professionals Committee seeks established professionals to volunteer as practice interviewers for the Mock Interview Sessions. Participating as an interviewer is an excellent way to serve the field and to assist with the professional development of the next generation of artists and scholars.
In these sessions, interviewers pose as a prospective employer, speaking with individuals in a scenario similar to the Interview Hall at the conference. Each session is composed of approximately 10–15 minutes of interview questions and a quick review of the application packet, followed by 5–10 minutes of candid feedback. Whenever possible, the committee matches interviewers and interviewees based on medium or discipline.
Interested candidates must be current CAA members and prepared to give six successive twenty-minute interviews with feedback in a two-hour period on one or both of these days: Thursday, February 14, 10:00 AM–NOON and 4:00–6:00 PM; and Friday, February 15, 10:00 AM–NOON and 4:00–6:00 PM. Conference registration, while encouraged, is not required to be a mock interviewer. Desired for the sessions are art historians, art educators, designers, museum-studies professionals, critics, curators, and studio artists with tenure and/or experience on a search committee. You may volunteer for one, two, three, or all four Mock Interview Sessions.
Please send your name, affiliation, position, contact information, and the days and times that you are available to Jennifer Stoneking-Stewart, chair of the Student and Emerging Professionals Committee. Deadline extended: February 1, 2013.
The Mock Interview Sessions are not intended as a screening process by institutions seeking new hires.
Survey of Faculty Who Teach Online
posted by Christopher Howard — November 14, 2012
The Coalition on Contingent Academic Labor (COCAL X) and the United Association for Labor Education (UALE) seek participation in the On Line Teaching Working Conditions Survey from all faculty members who teach online for the purpose of gaining information on wages and working conditions. The organizers hope that the results will lead to organizing for improvements. CAA encourages you to take the survey and to forward its link to any relevant lists or individuals.
The survey is for anyone teaching online in colleges or universities. The project committee aims to collect a range of working conditions: how much people get paid, how many hours they work, whether they have union representation, how many students they have in a class, and so on. When the committee collects enough responses to get a sense of what’s out there, it will categorize the examples as “good,” “bad,” and “ugly” in an attempt to establish some kind of standard of what decent working conditions for online teachers—who are suspected to be largely contingent—might look like.
If you do not want to give your name when completing the survey, simply type in random letters in the box for the first question. No names of individuals will appear in the final (or draft) report, and no raw data will be circulated outside the committee that is working on the project. However, the group does need the name of your institution, the one through which you are teaching the class with the working conditions that you are describing.
Please complete this survey even if you filled out the previous draft survey. The current one has been updated to reflect comments that the organizers received from those who took the previous survey.
For more information on the survey or the project, please contact Helena Worthen for COCAL X and UALE’s On-Line Teaching Working Group.
Survey of Faculty Who Teach Online
posted by Christopher Howard — November 14, 2012
The Coalition on Contingent Academic Labor (COCAL X) and the United Association for Labor Education (UALE) seek participation in the On Line Teaching Working Conditions Survey from all faculty members who teach online for the purpose of gaining information on wages and working conditions. The organizers hope that the results will lead to organizing for improvements. CAA encourages you to take the survey and to forward its link to any relevant lists or individuals.
The survey is for anyone teaching online in colleges or universities. The project committee aims to collect a range of working conditions: how much people get paid, how many hours they work, whether they have union representation, how many students they have in a class, and so on. When the committee collects enough responses to get a sense of what’s out there, it will categorize the examples as “good,” “bad,” and “ugly” in an attempt to establish some kind of standard of what decent working conditions for online teachers—who are suspected to be largely contingent—might look like.
If you do not want to give your name when completing the survey, simply type in random letters in the box for the first question. No names of individuals will appear in the final (or draft) report, and no raw data will be circulated outside the committee that is working on the project. However, the group does need the name of your institution, the one through which you are teaching the class with the working conditions that you are describing.
Please complete this survey even if you filled out the previous draft survey. The current one has been updated to reflect comments that the organizers received from those who took the previous survey.
For more information on the survey or the project, please contact Helena Worthen for COCAL X and UALE’s On-Line Teaching Working Group.
November 2012 Picks from CAA’s Committee on Women in the Arts
posted by Christopher Howard — November 09, 2012
Each month, CAA’s Committee on Women in the Arts produces a curated list, called CWA Picks, of recommended exhibitions and events related to feminist art and scholarship in North America and around the world.
The CWA Picks for November 2012 include several important exhibitions in New York, New Jersey, and Nebraska, and in Germany. The first is Creeping Ornamentalism, a prescient, timely installation by Susan Hamburger that focuses on the destruction caused by Hurricane Irene in 2011 in New Jersey, Vermont, and Massachusetts.
In New York, the Brooklyn Museum boasts two stellar shows, Materializing “Six Years”: Lucy R. Lippard and the Emergence of Conceptual Art and Mickalene Thomas: Origin of the Universe, and two commercial galleries are showing the work of Sandra Ramos and Penny Slinger. Out west, the Joslyn Art Museum in Omaha is showing prints by numerous women artists in Under Pressure. Across the Atlantic, Kunstverein Hamburg presents Kiki Kogelnik: I Have Seen the Future.
Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
Image: Susan Hamburger, detail of a cartouche in the installation of Creeping Ornamentalism, 2012, acrylic-painted collage on paper with foam-board molding, dimensions variable (artwork © Susan Hamburger; photograph provided by the Visual Art Center of New Jersey)
Update on CAA after Superstorm Sandy
posted by Christopher Howard — November 06, 2012
Wednesday afternoon update: CAA staffers will return to the office on Thursday, November 8.
As of Tuesday morning, November 6, CAA’s building at 50 Broadway in lower Manhattan has electric power, but the telephones, internet, and heat are not operable. The office will remain closed until further notice. The situation, however, is being reviewed several times a day.
The full CAA staff, which lives throughout the New York, New Jersey, and Long Island regions, is safe.
The senior staff held a conference call on Sunday to discuss options for working. Email is being supported offsite on an emergency and temporary basis. Consequently, there are delays in the transmission of emails—some messages may not be delivered. It will take time to repair telephone service. The building superintendent’s office at 50 Broadway cannot yet determine when heat will be restored.
CAA’s website and conference site are functioning normally. People may continue registering for the conference, workshops, opening reception, and tours; they may also renew their membership or join the organization.
If you are an artist, scholar, or other professional in the visual arts who has been affected by Superstorm Sandy, please consult the list of disaster resources posted by the New York Foundation for the Arts.
Recent Deaths in the Arts
posted by Christopher Howard — October 24, 2012
In its monthly roundup of obituaries, CAA recognizes the lives and achievements of the following artists, scholars, architects, photographers, and others whose work has significantly influenced the visual arts. This month was marked by the loss of the conceptual artist Michael Asher, the Belgian abstract painter Raoul De Keyser, the sculptor and activist An Dekker, and the English gallery director Michael Stanley. CAA has published a special obituary of Jeffrey R. Hayes, a professor of art history at the University of Wisconsin in Milwaukee.
- Michael Asher, the trailblazing Los Angeles conceptual artist and beloved CalArts professor, passed away on October 15, 2012. He was 69 years old. Active since the early 1970s, Asher was one of the first artists to engage in institutional critique by altering the norms that define galleries, museums, and schools. His contribution to the 2010 Whitney Biennial, which requested that the museum be free and open for twenty-four-hours, earned him the prestigious Bucksbaum Award
- Bruno Bobak, a Polish-born Canadian “war artist” during the Second World War, passed away on September 24, 2012, at the age of 88. Bobak enlisted in the Canadian Army at the age of 18, making him the youngest soldier to create artwork during the war. His watercolors and drawings were evocative and disturbing, showing the bare reality of life on the front lines
- Melvin Charney, a Montreal-based architect and teacher, died on September 17, 2012. He was 75 years old. Charney created bold public works that blurred the lines between art and architecture, such as the garden for the Canadian Centre for Architecture and the world’s first human-rights monument in Ottawa, Canada. He was also instrumental in establishing the architecture program at the University of Montreal
- Raoul De Keyser, a Belgian abstract painter, died on October 5, 2012. He was 82 years old. In an ever-expanding art world that prizes the brashest statement, De Keyser’s compositions stood out as examples of forceful gentleness, muted and lyrical. Long admired as a “painter’s painter,” he came to greater prominence during the 2000s with a series of major exhibitions in Germany, France, and England. He is represented by David Zwirner in New York
- An Dekker, a socially conscious sculptor of biomorphic forms, died on September 14, 2012, at the age of 80. Dekker was born in the Netherlands and traveled extensively throughout Europe and Africa. Residing in London the 1970s and 1980s, she was a cofounder of the Hackney Flashers’ photography workshop (with her fellow artist Jo Spence, also recently deceased) and the Women’s Graphic Workshop
- Préfète Duffaut, a Haitian muralist and painter, passed away on October 6, 2012, at the age of 89. Duffaut created brilliantly colored murals of imaginary cities for hospitals and churches. His imagery was inspired by the Haitian religion of voodoo and a personal mysticism
- Gilbert Warren Einstein, an art dealer who founded G. W. Einstein Company in New York, passed away on September 21, 2012, at the age of 70. Einstein’s gallery specialized in twentieth-century works on paper, and he was a member of the International Fine Print Dealers Association of America
- Robin Fior, a British graphic designer at the forefront of the 1960s print revolution, died on September 19, 2012. He was 77 years old. Fior made a name for himself as a designer for radical newspapers, such as Black Dwarf and Peace News. He was political to the bone, active in the Campaign for Nuclear Disarmament, and in later years served as the art director at the left-wing Pluto Press
- Ulrich Franzen, a polarizing German-born architect whose projects exemplified the modernist architecture ethos of “form follows function,” passed away on October 6, 2012. He was 91. Franzen’s most visible project was the skywalks at Hunter College in New York, an enclosed pedestrian walkway connecting the school’s buildings; other prominent commissions included Houston’s Alley Theater in 1968
- Richard Gordon, a photographer and writer based in Berkeley, California, died on October 6, 2012. He was 67 years old. Gordon’s black-and-white street photography followed the tradition of Henri Cartier-Bresson, Helen Levitt, and Robert Frank. An exhibition devoted to his 1970s photographs of American cities is on view at Gitterman Gallery in New York until November 7, 2012
- Pedro E. Guerrero, a photographer who gained recognition for his dynamic images of Frank Lloyd Wright’s architecture, died on September 13, 2012, at the age of 95. Guerrero’s working relationship with Wright, which began in the late 1930s, led to magazine assignments and book projects. In the 1960s and 1970s he embarked on a new photography series documenting the work and personality of the artists Alexander Calder and Louise Nevelson
- Jeffrey R. Hayes, a professor of art history and director of the master’s degree program in liberal studies at the University of Wisconsin in Milwaukee, passed away on June 18, 2012. He was 65 years old. A specialist in outsider art, Hayes wrote several books on the artist Oscar Bluemner. CAA has published a special obituary of Hayes
- Mick Jones, a British illustrator, teacher, and dedicated socialist, died in August 2012 at the age of 68. Jones took part in the Prague Spring of 1968, an experience that revealed to him how art can be a force for social change. Back in England he shared his devotion to politics through community murals and trade-union banners. He spearheaded the Camden Mural Project (1978), which instructed young people in the art of mural painting in public spaces and housing projects
- Jeremy Le Grice, an English painter inspired by the landscape of his native Cornwall, died on August 9, 2012. He was 75. As a young man he studied with the Cornish painter Peter Lanyon and took classes at the Slade School of Art in London. Le Grice’s paintings, a cross between abstraction and representation, have a rough-hewn quality, fitting for an artist who lived for most of his life in close proximity to the sea
- Howard R. Moody, a reverend with a love for radical art and social justice, passed away on September 12, 2012, at the age of 92. For over thirty years Moody was the minister of Judson Memorial Church in New York’s Greenwich Village. No ordinary congregation, the church became famous as an alternative space for experimentation in visual art, theater, and dance; likewise establishing itself as a safe haven for the marginalized poor and drug-addicted inhabitants of the neighborhood
- Harris Savides, a cinematographer who worked closely with young directors, died on October 9, 2012. He was 55 years old. Independent filmmakers depended on Savides’s exacting vision and technical skill to achieve the perfect look for their films. Notable films include Sofia Coppola’s Somewhere (2010) and Noah Baumbach’s Margot at the Wedding (2007), both of which benefited from Savides’s moody and poetic atmosphere
- Serge Spitzer, a Romanian-born installation artist whose work addresses the passing of time and collective memory, died on September 9, 2012, at the age of 61. The artist participated in Documenta and the Venice Biennale. One of his best-remembered works was a 2010 installation at the Palais de Tokyo in Paris, a labyrinthine network of plastic tubing that evoked earlier forms of communication in the city
- Michael Stanley, the director of Modern Art Oxford, a contemporary art gallery in England, passed away on September 22, 2012. He was 37 years old. As the director of both Modern Art Oxford and the Milton Keynes Gallery, Stanley championed young artists, including Jenny Saville, Phil Collins, and Pawel Althamer. This year he served as a judge for the prestigious Turner Prize
- John Steiger, a Chicago-based illustrator and artist known for his educational drawings, died on September 5, 2012, at the age of 89. A veteran of World War II, Steiger contributed work to Encyclopaedia Britannica Films and the children’s magazine Highlights; he also maintained a separate studio practice as a realist painter
- Albin Trowski, a Polish-born artist and illustrator who made his home in Manchester, England, following World War II, passed away on September 12, 2012. He was 93 years old. A gifted draftsman, Trowski realized charming city scenes and landscapes in watercolor and oil paint
- Rodney Uren, an Australian architect known for his large-scale urban projects, passed away on September 9, 2012, at the age of 63. He was a principal designer at the international design firm Hassell Practice; notable projects include the Olympic Park Station, a majestic, environmentally friendly structure that was built for the Sydney Olympics in 2000
Read all past obituaries in the arts in CAA News, which include special texts written for CAA. Please send links to published obituaries, or your completed texts, to Christopher Howard, CAA managing editor, for the November list.
THATCamp CAA: An Unconference on Digital Art History
posted by Christopher Howard — October 17, 2012
Registration for CAA’s THATCamp has now closed.
CAA invites interested participants to attend its first Humanities and Technology Camp (THATCamp) “unconference” on digital art history, taking place on the two days immediately preceding the Annual Conference: Monday, February 11, NOON–5:00 PM, and Tuesday, February 12, 9:00 AM–3:00 PM. The event will take place at Macaulay Honors College, City University of New York, located at 35 West 67th Street in Manhattan.
CAA’s THATCamp is free and open to graduate students and scholars at all career stages. The only requirements for attendance are an active interest in how digital technology is affecting the discipline of art history and the humanities in general and a willingness to share your questions and ideas. Space is limited! Register today to secure your place. Graduate students may apply for a limited number of fellowships funded by the Samuel H. Kress Foundation to lessen the cost of travel expenses to New York.
The purpose of the CAA unconference is manifold: to increase awareness of existing digital projects in art history, architectural history, and archeology; to foster a community of scholars invested in digital art history; to identify digital tools that may be used to improve future CAA conferences; to facilitate technology workshops and training sessions; and to provide support for art-history professionals pursuing nontraditional career paths.
“Unconference” is a term that may be new to people in art and academia but has, in fact, been around since the late 1990s. It is used to describe a participant-driven meeting that in many respects is the opposite of a traditional academic conference. Formal presentations or a set program of speakers are not determined beforehand. Unconferences generate productive encounters among diverse groups of people, an experience that can be compared to being a member of an improvisational acting troupe.
THATCamp itself, however, is a recent invention, founded in 2008 at the Center for History and New Media at George Mason University in Fairfax, Virginia, as a meeting for technology and humanities professionals—including professors, librarians, and museum curators—to share ideas and collaborate on projects. The camps have since sprung up in locations across the United States and internationally.
Appraisers Association of America Presents “On and Off the Road,” an Evening with America’s Most Popular Appraisers
posted by Christopher Howard — October 04, 2012
The Appraisers Association of America, an affiliated society, invites CAA members to attend “On and Off the Road,” an evening with America’s most popular appraisers, to be held at the Grolier Club in New York on Tuesday, October 16, 2012. Experts from television’s Antiques Roadshow—Lee Dunbar, Kathleen Harwood, Daile Kaplan, Leigh Keno, Betty Krulik, Kevin Zavian, and Alasdair Nichol—will share their experiences on and off camera. Attendees will have the rare opportunity to hear some of the country’s leading appraisers discuss the process of evaluating everything from fine art to memorabilia. You also have the chance for private appraisal consultation to find out if you own a hidden gem. Meet and speak with some of the most trusted experts in the business.
Tickets are $85 for individuals and $75 for CAA members, staff, and guests ; $200 for patrons and $175 CAA members, staff, and guests; and $350 for a patron duo and $300 CAA members, staff, and guests. Tickets are tax deductible, with the proceeds benefiting the association’s Appraisal Institute to support educational programs on connoisseurship, assessment, and valuation.
Doors open at 6:00 PM. The panel discussion begins at 6:30 PM, followed by a reception at 7:30 PM. Free appraisal consultations are offered to those with patron tickets; please RSVP by October 9 by calling 212-889-5404, ext. 11., or writing to programs@appraisersassoc.org .
The Grolier Club is located at 47 East 60th Street , New York, NY 10065 (map). For the Appraisal Consultation Guidelines, and for information about the Appraisers Association of America, please visit www.appraisersassociation.org or call 212-889-5404, ext. 11.