CAA News Today
Propose a Poster Session for the 2016 Annual Conference
posted by Emmanuel Lemakis — March 13, 2015
The deadline to propose a Poster Session passed on Friday, May 8, 2015.
CAA invites individual members to submit abstracts for Poster Sessions at the 104th Annual Conference, taking place February 3–6, 2016, in Washington, DC. Poster Sessions—presentations displayed on bulletin boards by an individual for small groups—usually include a brief narrative paper mixed with illustrations, tables, graphs, and similar presentation formats. The poster display can intelligently and concisely communicate the essence of the presenter’s research, synthesizing its main ideas and directions. Colorado State University has published useful general information on Poster Sessions.
Poster Sessions offer excellent opportunities for extended informal discussion and conversation focused on topics of scholarly or pedagogical research. Posters are displayed for the duration of the conference, so that interested persons can view the work even when the presenters are not physically present. Poster Sessions take place in a high-traffic area, in close proximity to the Book and Trade Fair and conference rooms.
Proposals for Poster Sessions must include the following:
- Title of Poster Session
- Summary of project, not to exceed 250 words
- Name of presenter(s), affiliation(s), and CAA member number(s)
- A two-page CV
- Complete mailing address and telephone number
- Email address
Proposals are due by Friday, May 8, 2015—the same deadline as the regular call for papers for the 2016 conference. Send all materials to Lauren Stark, CAA manager of programs. A working group of the Annual Conference Committee selects Poster Sessions based on individual merit and space availability at the conference. Accepted presenters must maintain their memberships through the conference.
Displays must be assembled by 10:00 AM on Thursday, February 4, and cleared by 2:00 PM on Saturday, February 6. Live presentations last ninety minutes and are scheduled during the lunch breaks on Thursday and Friday, 12:30–2:00 PM. During this time, presenters stand by their poster displays while others view the presentation and interact with the presenters.
CAA assigns presenters one freestanding bulletin board (about 4 x 8 feet of display space) onto which they can affix their poster display and other materials, as well as a table to place materials such as handouts or a sign-up sheet to record the names and addresses of attendees who want to receive more information. CAA also provides pushpins or thumbtacks to attach components to the bulletin board on the day of installation.
Printed materials must be easily read at a distance of four feet. Each display should include the title of the presentation (104-point size) and the name of the presenter(s) and his or her affiliation(s) (72-point size). CAA recommends a point size of 16–18 or larger for body text. No electrical support is available in the Poster Session area; you must have your own source of power (e.g., a battery).
Contact
For more information about proposals of Poster Sessions for the 2016 Annual Conference, please contact Lauren Stark, CAA manager of programs, at 212-392-4405.
Propose a Paper or Presentation for the 2016 Annual Conference
posted by Emmanuel Lemakis — March 05, 2015
The deadline to propose a paper or presentation passed on Friday, May 8, 2015.
The 2016 Call for Participation for the 104th Annual Conference, taking place February 3–6, 2016, in Washington, DC, describes many of next year’s programs sessions. CAA and the session chairs invite your participation: please follow the instructions in the booklet to submit a proposal for a paper or presentation. This publication also includes a call for Poster Session proposals and describes the Open Format Sessions.
Listing more than one hundred panels, the 2016 Call for Participation is only available as a PDF download; CAA will not mail hard copies of this twenty-four-page document.
The deadline for proposals of papers and presentations for the DC conference is Friday, May 8, 2015.
In addition to dozens of wide-ranging panels on art history, studio art, contemporary issues, and professional and educational practices, CAA conference attendees can expect participation from many area schools, museums, galleries, and other institutions. The Washington Marriott Wardman Park is the conference headquarters, holding most sessions, Career Services, the Book and Trade Fair, ARTspace, special events, and more. Deadline: Friday, May 8, 2015.
Contact
For more information about proposals of papers and presentations for the 2016 Annual Conference, please contact Lauren Stark, CAA manager of programs, at 212-392-4405.
2015 Annual Conference Highlights
posted by CAA — March 03, 2015
CAA hosted its 103rd Annual Conference from February 11 to 14, 2015, at the New York Hilton Midtown in New York City. This year’s program included four days of presentations and panel discussions on art history and visual culture, Career Services for professionals at all stages of their careers, a Book and Trade Fair, and a host of special events throughout the region. Preceding the Annual Conference was CAA’s third THATCamp, an “unconference” on digital art and art history.
Attendance
Over 5,000 people from throughout the United States and abroad—including artists, art historians, students, educators, curators, critics, collectors, and museum staff—attended the conference. Visual-arts professionals from over 54 countries were represented.
Sessions
Conference sessions featured presentations by artists, scholars, graduate students, and curators who addressed a range of topics in art history and the visual arts. In total, the conference offered over 200 sessions, developed by CAA members, affiliated societies, and committees. Approximately 800 individuals presented their work.
Career Services
Career Services included four days of mentoring and portfolio-review sessions, professional-development workshops, and job interviews with colleges, universities, and other art institutions. Approximately 200 interviewees and 50 mentors participated in Career Services. During the week of the Annual Conference, there were over 150 active jobs posted on the Online Career Center and more than 50 employers participating onsite.
Book and Trade Fair
This year’s Book and Trade Fair presented 155 exhibitors—including participants from the United States, France, Turkey, China, Canada, Italy, Russia, and Ukraine—that displayed new publications, materials for artists, digital resources, and other innovative products of interest to artists, scholars, and arts enthusiasts. The Book and Trade Fair also featured book signings, lectures, and demonstrations, as well as three exhibitor-sponsored program sessions on art materials and publishing.
ARTspace
ARTspace, a “conference within the conference” tailored to the needs and interests of practicing artists, presented programming that was free and open to the public, including this year’s Annual Distinguished Artist Interviews with William Pope.L, who spoke to Jenny Schlenzka of MoMA PS1, and Ursula von Rydingsvard, who conversed with Mark Stevens. Over 200 people attended this lively event.
ARTspace also featured four days of panel discussions devoted to visual-arts practice, opportunities for professional development, and screenings of film and video.
ARTexchange, an open-portfolio event in which CAA artist members displayed drawings, prints, photographs, small paintings, and works on laptop computers, took place on Friday, February 13. Nearly 40 artists participated in ARTexchange this year.
The Media Lounge, a space for innovative new-media programming in conjunction with ARTspace, focused on the theme of “alternative economies.” These programs are considered models of social, cultural, and technological economies that transform changing conditions for critical discourse and art making. “Alternative economies” aimed to create a platform that brought together artists, art collectives, new-media practitioners, video artists, film curators, academics, creative thinkers, economists, writers, and activists, with the aspiration to create a space to reflect on intersections of art, culture, and new-media technologies.
Programmed by CAA’s Services to Artists Committee, ARTspace was made possible in part by a generous grant from the National Endowment for the Arts.
Student and Emerging Professionals Lounge
The Student and Emerging Professionals Lounge served as a hub for networking, information-sharing, collaboration, professional development, and much more. The Student and Emerging Professionals Committee hosted an incredibly informative session on “Teaching Professional Practices in the Arts” to a packed audience; five Brown Bag Sessions with attendance ranging from 25 to 80; a successful social night; and two days of Mock Interviews at full capacity.
Distinguished Scholar Session
Robert Farris Thompson, professor of the history of art at Yale University, was CAA’s 2015 Distinguished Scholar. Grey Gundaker of the College of William and Mary chaired the session, and five additional participants—Charles Daniel Dawson, Wyatt MacGaffey, Rowland Abiodun, Leslie King-Hammond, and Lowery Stokes Sims—joined her in exploring and celebrating Thompson’s many contributions.
Convocation and Awards
More than 500 people attended CAA’s Convocation and presentation of the annual Awards for Distinction, which honor the outstanding achievements and accomplishments of individual artists, art historians, authors, conservators, curators, and critics whose efforts transcend their individual disciplines and contribute to the profession as a whole and to the world at large. Tom Finkelpearl, commissioner of the New York City Department of Cultural Affairs, opened Convocation with a short talk, and Dave Hickey delivered the keynote address.
The recipients of the 2015 awards were:
Charles Rufus Morey Book Award
Megan Holmes
The Miraculous Image in Renaissance Florence
Yale University Press, 2013
Alfred H. Barr Jr. Award
Susan Weber, ed.
William Kent: Designing Georgian Britain
Bard Graduate Center and Yale University Press, 2013
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Lynn Boland, et al.
Cercle et Carré and the International Spirit of Abstract Art
Georgia Museum of Art, University of Georgia, 2013
Arthur Kingsley Porter Prize
Douglas Brine
“Jan van Eyck, Canon Joris van der Paele, and the Art of Commemoration”
The Art Bulletin, September 2014
Art Journal Award
Anna Chave
Art Journal, Winter 2014
Distinguished Feminist Award
Amelia Jones
University of Southern California
Distinguished Teaching of Art Award
Richard Brown
Massachusetts College of Art and Design
Distinguished Teaching of Art History Award
Petra Ten-Doesschate Chu
Seton Hall University
Artist Award for Distinguished Body of Work
Charles Gaines
Charles Gaines: Gridwork 1974–1989
Studio Museum in Harlem
Distinguished Artist Award for Lifetime Achievement
Keith Sonnier
CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
Melanie Gifford
National Gallery of Art
Distinguished Lifetime Achievement Award for Writing on Art
Lucy R. Lippard
Morey and Barr Award Finalists
CAA recognizes the 2015 finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Award for their distinctive achievements:
Charles Rufus Morey Book Award
Matthew C. Hunter, Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (Chicago: University of Chicago Press, 2013)
Karl Whittington, Body-Worlds: Opicinus de Canistris and the Medieval Cartographic Imagination (Toronto: Pontifical Institute of Medieval Studies, 2014)
Catherine Zuromskis, Snapshot Photography: The Lives of Images (Cambridge, MA: MIT Press, 2013)
Alfred H. Barr Jr. Award
Kimberly A. Jones, et al., Degas/Cassatt (Washington, DC: National Gallery of Art and DelMonico Books, 2014)
Special Events
Following Convocation, the Museum of Modern Art hosted CAA’s Opening Reception on Wednesday evening, February 11. Over 500 attendees gathered to celebrate the conference while enjoying a stroll through the museum’s permanent collections.
CAA Travel Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards
Established by Mary D. Edwards with the help of others, the CAA Travel Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards will support women who are emerging scholars at either an advanced stage of pursuing a doctoral degree (ABD) or who have received their PhD within the two years prior to the submission of the application. Julia Louise Langbein of Oxford University delivered her paper “Caricature and Comic Spectacle at the Paris Salon (1857–1880)” in the “Comic Modern” session. and Kristine Tanton of the University of California, Los Angeles, participated in a panel on “Biblical Archetypes in the Middle Ages,” presenting a talk called “Looking onto Galilee: The Narthex Tribune at Vézelay.”
CAA-Getty International Travel Grant Program
In an effort to promote greater interaction and exchange between American and international art historians, CAA brought 15 scholars from around the world to participate in the Annual Conference. This is the fourth year of the program, which has been generously funded by grants from the Getty Foundation since its inception.
The CAA-Getty International Program participants’ activities began with a one-day preconference colloquium on international issues in art history, during which they met with North American–based CAA members to discuss common interests and challenges. The participants were assisted throughout the conference by CAA member hosts, who recommended relevant panel sessions and introduced them to colleagues who share their interests. Members of CAA’s International Committee served as hosts, along with representatives from several CAA affiliated societies, including the American Council for Southern Asian Art, the Arts Council of the African Studies Association, the Association for Latin American Art, the Society of Contemporary Art Historians, and the Society of Historians of East European, Eurasia, and Russian Art and Architecture.
This program has increased international participation in CAA’s activities and expanded international networking and the exchange of ideas both during and after the conference.
The recipients were: Mokammal H. Bhuiyan, Dafne Cruz Porchini, Boureima Tiékoroni Diamitani, Ljerka Dulibić, Georgina Gluzman, Angelo Kakande, Nazar Kozak, Savita Kumari, Nomusa Makhubu, Ana Mannarino, Márton Orosz, Andrey Shabanov, Shao Yiyang, Lize van Robbroeck, and Nóra Veszprémi.
Other Exciting Highlights
CAA published the Code of Best Practices in Fair Use for the Visual Arts, a project funded by the Andrew W. Mellon Foundation with additional funding from the Samuel H. Kress Foundation. This Code of Best Practices provides visual-arts professionals with a set of principles addressing the fair use of copyrighted materials. It describes how fair use can be invoked and implemented when using copyrighted materials in scholarship, teaching, museums, and archives and in the creation of art. The Code’s authors, Patricia Aufderheide and Peter Jaszi of American University, presented the document to conference attendees as part of a panel discussion organized by CAA’s Committee on Intellectual Property.
Board of Directors Update
Results of the Board of Directors election were announced on February 13, 2015, during the Annual Members’ Business Meeting. The new directors are:
- Jawshing Arthur Liou, professor of digital art and the director of the Henry Radford Hope School of Fine Arts at Indiana University, Bloomington
- Chika Okeke-Agulu, associate professor of art history in the Department of Art and Archaeology and Center for African American Studies, Princeton University
- Rachel Weiss, professor of arts administration and policy at the School of the Art Institute of Chicago
- Andrés Mario Zervigón, associate professor of the history of photography and acting chair of the Art History Department at Rutgers, the State University of New Jersey
They will take office at the next board meeting in May 2015.
Jim Hopfensperger of Western Michigan University was voted onto the board for a one-year term.
The CAA board also approved:
- New guidelines developed by the Professional Practices Committee on Fine Art Print Publications for Artists
- A Task Force on Advocacy, which will be chaired by Jacqueline Francis, associate professor at California College of the Arts, to address part-time faculty, diversity, and the interaction of artists and art historians in the public sphere
- A Task Force on the Annual Conference, to be led by Suzanne Blier, Allen Whitehill Clowes Professor of Fine Art at Harvard University, to develop recommendations for changes that will adapt to the changing needs of the field
- The three-year reviews of the Services to Artists Committee, the International Committee, and the Committee on Women in the Arts
New board officers were elected:
- John Richardson, Vice President for External Affairs
- Charles Wright, Vice President for Committees
- Suzanne Blier, Vice President for Annual Conference
- Gail Feigenbaum, Vice President for Publications
- Doralynn Pines, Secretary
Affiliated Societies
CAA would like to welcome two new affiliated societies:
Thank You
Members of CAA’s Board of Directors and staff would like to extend their gratitude to all conference funders and sponsors, attendees, volunteers, and participants; the organization’s committees and award juries; the New York Hilton Midtown staff; the museums and galleries that opened their doors to conference attendees free of charge; and everyone else involved in helping to make the 103rd Annual Conference such a tremendous success!
A warm thanks to the following for their generous support of CAA:
- Alberta College of Art and Design
- Andrew W. Mellon Foundation
- Andy Warhol Foundation for the Visual Arts
- Art in America
- Artstor
- Blick Art Materials
- Bloomsbury
- Getty Foundation
- Institute for Doctoral Studies in Visual Arts
- Knoll
- Laurence King Publishing
- McVicker and Higginbotham
- Museum of Modern Art
- National Committee for the History of Art
- National Endowment for the Arts
- Pearson
- Prestel
- Richmond University
- Samuel H. Kress Foundation
- Terra Foundation for American Art
- Wyeth Foundation for American Art
- Yale University Press
Save the Date
CAA’s 104th Annual Conference will be held in Washington, DC, February 3–6, 2016.
About CAA
The College Art Association is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, websites, and other events. CAA focuses on a wide range of issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching.
Thanks to 2015 Career Services Mentors and Workshop Leaders
posted by Emmanuel Lemakis — March 02, 2015
CAA wishes to thank the artists, scholars, curators, critics, educators, and other professionals in the visual arts who generously served as Career Services mentors—for the Artists’ Portfolio Review, Career Development Mentoring, the Mock Interviews, and the Professional Development Roundtables—during the 2015 Annual Conference in New York. CAA also appreciates the work of leaders of the Professional-Development Workshops and speakers at Orientation.
Orientation
Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University; and Jo-Ann Morgan, Western Illinois University.
Artists’ Portfolio Review
Virginia Fabbri Butera, College of Saint Elizabeth; Michael Bzdak, Johnson & Johnson; Susan Canning, College of New Rochelle; Brian Curtis, University of Miami; Peter Kaniaris, Anderson University; Jason Lahr, University of Notre Dame; Matthew LaRose, Park University; Preston B. Lawing, Saint Mary’s University of Minnesota; Suzanne Lemakis; Sharon Lippman, Art Without Walls; Craig Lloyd, College of Mount St. Joseph; Judith Pratt, Judith Pratt Studio; Habibur Rahman, Claflin University; Steve Teczar, Maryville University of St. Louis; and David Voros, University of South Carolina.
Career Development Mentoring
Susan Altman, Middlesex County College; Frances Altvater, University of Hartford; Michael Aurbach, Vanderbilt University; Brian Bishop, Framingham State University; Colin Blakeley, Eastern Michigan University; Karen Carter, Kendall College of Art and Design, Ferris State University; Leda Cempellin, South Dakota State University; Jaia Chen, Shelton State Community College; Kevin Concannon, Virginia Polytechnic Institute and State University; Anne D’Alleva, University of Connecticut; Rebecca DeRoo, Rochester Institute of Technology; James Farmer, Virginia Commonwealth University; Joan Giroux, Columbia College Chicago; Reni Gower, Virginia Commonwealth University; Jim Hopfensperger, Western Michigan University; Dennis Ichiyama, Purdue University; Carol Krinsky, New York University; Elisabeth Leach; Heather McPherson, University of Alabama, Birmingham; Jo-Ann Morgan, Western Illinois University; Jeff Nathanson, Arts Council of Princeton; Niki Nolin, Columbia College Chicago; Mark O’Grady, Pratt Institute; Christopher Olszewski, Savannah College of Art and Design; Morgan Paine, Florida Gulf Coast University; Doralynn Pines, Metropolitan Museum of Art, retired; Judith Pratt, Judith Pratt Studio; David Raizman, Drexel University; Jack Risley, University of Texas at Austin; Dinah Ryan, the Principia; Paul Ryan, Mary Baldwin College; Gerald Silk, Tyler School of Art, Temple University; Andrew Jay Svedlow, University of Northern Colorado; Joe A. Thomas, Zuckerman Museum of Art, Kennesaw State University; Larry Thompson, Samford University; Ann Tsubota, Raritan Valley Community College; Philip Van Keuren, Southern Methodist University; and Barbara Yontz, St. Thomas Aquinas College.
Professional Development Roundtables
Michael Aurbach, Vanderbilt University; Brian Curtis, University of Miami; Dennis Ichiyama, Purdue University; Peter Kaniaris, Anderson University; and Leo Morrissey, Georgian Court University.
Mock Interview Sessions
Dina Bandel, Virginia Commonwealth University, Qatar; Colin Blakely, Eastern Michigan University; Maria Ann Conelli, Brooklyn College, City University of New York; Jacqueline Coutré, Queens University; Stephanie Dickey, Queens University; Adam Fung, Texas Christian University; Carol Garmon, University of Mary Washington; Joann Giroux, Columbia College Chicago; Bertha Gutman, Delware County Community College; Kim Hartswick, Brooklyn College, City University of New York; Rebecca Harvey, Ohio State University; Richard Heipp, University of Florida; Heidi Hogden, University of South Dakota; David Howarth, Zayed University; Eldred Hudson, University of North Carolina, Charlotte; Dennis Ichiyama, Purdue University; Matt King, Virginia Commonwealth University; Andrea Kirsch, Rutgers University; David LaPolambara, Ohio University; Brittany Lockard, Wichita State University; Carolyn Martin; Tamryn McDermott; Jo-Ann Morgan, Western Illinois University; Thomas Post, Kendall College of Art and Design; Lauren Puzier, Sotheby’s Institute of Art; David Yager, University of California, Santa Cruz; and Megan Koza Young, Prospect New Orleans.
Brown Bag Lunches/Sessions
Leda Campellin, South Dakota State University; Maria Ann Conelli, Brooklyn College, City University of New York; Jacqueline Coutré, Queens University; Lauren Grace Kilroy-Ewbank, Brooklyn College, City University of New York; Brittany Lockard, Wichita State University; Carolyn Martin; Tamryn McDermott; Lauren Puzier, Sotheby’s Institute of Art; Georgia Strange, University of Georgia; and Megan Koza Young, Prospect New Orleans.
Professional Development Workshops
Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University; Barbara Bernstein, Virginia Center for the Creative Arts and University of Virginia; Steven Bleicher, Coastal Carolina University; Mika Cho, California State University, Los Angeles; Curtis Fletcher, University of Southern California; Amanda French, George Mason University; Gigi Rosenberg; and Blaise Tobia, Drexel University.
Membership Categories and Conference Registration
posted by Nia Page — February 26, 2015
This past spring CAA restructured its membership program in order to provide more options and better serve its members. CAA added new benefits such as online access to The Art Bulletin and Art Journal as well as discounted access to JPASS. CAA also added new, discounted membership categories for part-time faculty and independent artists and scholars. These changes were made in direct response to important feedback from CAA members.
The four income-based levels of membership that CAA used for many years were replaced by two general categories: Basic and Premium. The Basic level ($125 a year) provides a lower-cost option for members who aren’t planning to attend the Annual Conference. If they do attend, Basic members receive a 20 percent discount on registration. The Premium level ($195 a year) costs a bit more but offers a much greater value for conference attendees: a 55 percent registration discount.
CAA communicated this information through letters, eblasts, a presentation on CAA’s YouTube Channel, and an Individual Member Guide and member FAQs posted on the website. We have since learned from members, however, that some confusion has arisen over the new membership categories and their respective benefits related to conference discounts.
We are in the process of reviewing and updating the Membership section of the website, and we will aim to be clearer in member correspondence throughout the year. Please keep in mind that if you are renewing your membership and you know at that time that you will attend the Annual Conference, the Premium membership with its larger conference registration discount will provide you with the greatest overall value when combined with the conference cost.
If you ever have any questions about your membership, please do not hesitate to contact us at membership@collegeart.org. Thank you for your continued support of CAA.
John Richardson, CAA Vice President for External Affairs
Professor and Chair, Department of Art and Art History, Wayne State University
Visit the CAA Book at the Annual Conference in New York
posted by CAA — February 12, 2015
Find discounts and special offers at CAA’s booth in the Book and Trade Fair at the 2015 Annual Conference in New York.
Don’t miss these opportunities:
- Speak with a representative of Cuba Educational Travel about the CAA trip to visit the Havana Bienal in May 2015. This tour is nearly full!
- Pick up a print copy of the newly published Code of Best Practices in Fair Use for the Visual Arts
- Purchase discounted copies of Graduate Programs in the Visual Arts and Graduate Programs in Art History, CAA’s comprehensive resources for prospective graduate students and arts professionals alike
- Buy signed artists’ projects by William Pope.L, one of this year’s Annual Distinguished Artists and Barbara Bloom ($35 members/$50 nonmembers)
- Meet representatives of the ACLS Humanities E-Book and discuss their online collection of 4,300 books in the humanities, accessible through institutional and individual subscriptions
Ticket Prices
Exhibit Hall tickets are available onsite in the Registration area on the Second Floor Promenade.
- Conference registrant: FREE Admission with your conference registration badge
- Member: $15, with credit card, check, or cash
- Nonmember: $25, with credit card, check, or cash
The Book and Trade Fair is open on Thursday and Friday, February 12 and 13, 9:00 AM–6:00 PM, and on Saturday, February 14, 9:00 AM–2:30 PM, in the Americas Exhibit Hall, Levels I and II, New York Hilton Midtown.
CAA Announces Publication of Code of Best Practices in Fair Use for the Visual Arts
posted by CAA — February 09, 2015
The College Art Association (CAA) has published the Code of Best Practices in Fair Use for the Visual Arts, a set of principles addressing best practices in the fair use of copyrighted materials based on a consensus of opinion developed through discussions with visual-arts professionals. It will be a vital resource for everyone working in the field, including artists, art historians, museum professionals, and editors. Initiated by CAA in 2012, the multi-year effort has been led by the Code’s authors, Peter Jaszi and Patricia Aufderheide, professors of law and communication studies respectively at American University and the leading experts on the development of codes for communities that make use of copyrighted materials in their professional practices.
Linda Downs, CAA executive director, said, “The Code is a crucial contribution to the field as a clear statement on best practices in the fair use of copyrighted materials that directly reflects a consensus from the visual-arts community. CAA is grateful to all of the artists, art historians, museum professionals, and editors, among others, who participated in the project so generously with their time and collective knowledge.”
The Code describes the relevance of fair use in five broad areas of the visual arts field:
- Analytic Writing: When may scholars and other writers about art invoke fair use to quote, excerpt, or reproduce copyrighted works?
- Teaching about Art: When may teachers invoke fair use in using copyrighted works to support formal instruction in a range of settings, including online and distance teaching?
- Making Art: Under what circumstances may artists exercise fair use to incorporate copyrighted material into new artworks in any medium?
- Museum Uses: When may museums and their staffs invoke fair use in using copyrighted works—such as images, text, and time-based and born-digital material—when organizing exhibitions, developing educational materials (within the museum and online), publishing catalogues, and other related activities?
- Online Access to Archival and Special Collections: When may such institutions and their staffs claim fair use to create digital preservation copies and/or enable digital access to copyrighted materials in their collections?
DeWitt Godfrey, CAA president and professor of art and art history at Colgate University, said, “The research undertaken in this project demonstrated that a significant amount of creative and scholarly work has been stunted by a lack of understanding or clear consensus on fair use. This Code provides a straightforward set of principles that will allow those working in the visual arts to determine when they can assert fair use in their work with confidence.”
In January 2014, CAA published Copyright, Permissions, and Fair Use among Visual Artists and the Academic and Museum Visual Arts Communities: An Issues Report, a summary of one hundred interviews with art historians, artists, museum curators, editors, and publishers describing issues related to the use of third-party images in creative and scholarly work. The Issues Report—which revealed significant challenges to creating and disseminating new work because of actual and perceived limitations of copyright—was the subject of ten discussion groups held last summer throughout the country with visual-arts professionals who deal with fair use and copyright issues on a daily basis. The Code is a result of this extensive research.
Peter Jaszi, professor of law in the Program on Information Justice and Intellectual Property at American University’s Washington College of Law, explained that “Although the visual-arts community is impressively diverse, including art-makers, individual scholars, and institutional users, its members came together determined to reach a useful consensus. The Code reflects the range of perspectives and expertise the participants brought to the process.”
Coauthor Patricia Aufderheide, university professor in the School of Communication at American University and director of the Center for Media & Social Impact, said, “Codes of best practices have proven enormously successful in enabling members of other creative communities to do their work well and effectively. They allow individuals to make judgments knowing where they fall in relation to the thinking of their peers—and that lowers risk. Further, codes give museums, broadcasters, insurers, publishers, educational institutions, and their lawyers a new and valuable tool to use in making better, more reasonable assessments of risk.”
During CAA’s 103rd Annual Conference in New York (February 11–14, 2015), the principal investigators of this project and authors of the Code, Patricia Aufderheide and Peter Jaszi, will speak publicly with Judy Metro, editor-in-chief at the National Gallery of Art and chair of CAA’s Committee on Intellectual Property; Jeffrey Cunard, cochair of CAA’s Task Force on Fair Use; and Christine Sundt, editor of Visual Resources: An International Journal of Documentation and former CAA board member. The session, which will take place on Friday, February 13, from 12:30 to 2:00 PM at the New York Hilton Midtown, is free and open to the public.
CAA’s Code of Best Practices in Fair Use for the Visual Arts is funded by the Andrew W. Mellon Foundation with additional support provided by the Samuel H. Kress Foundation.
About CAA
The College Art Association is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, website, and other programs, services, and events. CAA focuses on a wide range of advocacy issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching.
For more information please contact Janet Landay, CAA fair use initiative project manager, at 212-392-4420. To contact Patricia Aufderheide or Peter Jaszi, please contact Kelly L. Alexander, director of public relations, American University, at 202-885-5952.
2015 Annual Conference Registrant Information
posted by Christopher Howard — February 06, 2015
Thank you for registering for CAA’s 103rd Annual Conference in New York, taking place February 11–14, 2015. This text will provide you with helpful resources and tips to make your conference experience easier and more enjoyable. For a more comprehensive guide, visit the Conference Registrant Information page by logging into your CAA account, where you can access the Conference Program and Abstracts for this year and search or download the Directory of Attendees.
Onsite Check-in
As a preconference registrant, please proceed to the Third Floor West Promenade at the Hilton New York Midtown, 1335 Avenue of the Americas, where you will receive your Conference Program, badge, and tote bag at the registration booths on that floor. If you purchased special event or workshop tickets in advance, they will be included in your registration packet. Depending upon availability, you can buy special event and workshop tickets onsite in the registration area on the Second Floor Promenade.
Conference Website
The Annual Conference website is the best resource for everything related to the conference. There you can find everything from travel discounts and a searchable list of events and sessions to a list of exhibitors in the Book and Trade Fair and the Career Services Guide.
Free Mobile App
CAA is once again offering a free mobile app to help you navigate the conference. The app, which works on most mobile platforms—including iPhones and iPads, Android devices, and Blackberries—allows you to:
- Search and browse sessions and events
- Create a personalized schedule
- Find your way with maps of the conference venue
- Browse exhibitors in the Book and Trade Fair
- Share events on Twitter and Facebook
Visit conference.collegeart.org/app to download the app.
First-time Attendee?
Visit the conference website for a list of practical tips and advice on how to make the most of the four-day event. And watch last year’s preconference Google+ Hangout, which covers conference basics and answers frequently asked questions, from how to choose among the hundreds of sessions and events to what to wear.
Thanks to Attendees and Sponsors
This year’s Annual Conference promises to be our best yet—thank you for being a part of it. We look forward to seeing you in New York next week. Safe travels!
CAA appreciates the support of the 2015 Annual Conference sponsors: the Getty Foundation, the National Endowment for the Arts, Blick, the Samuel H. Kress Foundation, Alberta College of Art and Design, Artstor, Bloomsbury, Laurence King Publishing, Pearson, Prestel, Yale University Press, Richmond University, IDSVA, and Art in America.
CAA to Publish Code of Best Practices in Fair Use for the Visual Arts
posted by Christopher Howard — February 04, 2015
On February 9, 2015, in time for the Annual Conference, CAA will publish the Code of Best Practices in Fair Use for the Visual Arts, a set of principles addressing best practices in the fair use of copyrighted materials based on a consensus of opinion developed through discussions with visual-arts professionals. It will be a vital resource for all those working in the field, including artists, art historians, museum professionals, and editors.
Printed copies of the Code will be available at Registration at the conference and at the CAA booth in the Book and Trade Fair throughout the week. It will also be available online beginning February 9.
If you are attending the conference, please come to an introductory presentation about the Code on Friday, February 13, 12:30–2:00 PM, in the Trianon Ballroom, Third Floor, New York Hilton Midtown.
CAA’s Code of Best Practices in Fair Use for the Visual Arts is funded by the Andrew W. Mellon Foundation with additional support provided by the Samuel H. Kress Foundation.
Media Lounge Workshops at the Annual Conference
posted by Christopher Howard — February 02, 2015
Alternative Economies
A Project of Media Lounge and ARTspace
103rd Annual Conference
February 11–14, 2015
New York Hilton Midtown, Gibson Room
During the 2015 Annual Conference, the Media Lounge and ARTspace will host programming with the shared theme of “Alternative Economies.” These programs will consider models of social, cultural, and technological economies that transform the conditions for critical discourse and art making. The following workshops organized by Jenny Marketou and Stacy Miller are part of the event which take place at the Media Lounge; they are free and open to the public.
Imagining an Alternative School of Art
OWS Arts & Labor | Alternative Economies Working Group
Wednesday, February 11
9:00 AM–1:00 PM
The economic and structural realities of art schools as they exist today can often be a source of anxiety and frustration for students, faculty, and staff alike, so what might an alternative school of art look like? In this workshop the participants will familiarize themselves with over thirty alternative economic models that are in practice throughout the world today. After analyzing the current economic and structural issues apparent in our places of work and study, participants will be asked to imagine and consider the implications of using these alternative models to augment, remedy, or perhaps replace the current structure altogether.
About: Arts & Labor’s Alternative Economies Working Group is focused on researching alternative economic models that can be used to create and nurture more equitable and sustainable art worlds. Believing that vibrant creative communities come from the bottom up, they encourage relationships based on mutual aid rather than competition and advocate for cultural institutions rooted in a framework of social, economic, and environmental justice.
Facilitation: Melissa Liu, Daniel Tuss, Antonio Serna, Yana Dimitrova, and James Douglas Whitman.
Beyond Faxes with Clip Art: Connective Technology and Art Making
Saturday, February 14
9:30–11:00 AM
This hands-on workshop will move beyond social media as a simple broadcast media for artists and examine how technologically engaged creation and collaboration can enhance, enable, and disrupt established models for art-making practice and interaction. In this workshop, participants will use open-source and/or free tools to connect with artists and create works; they will also discuss relevant issues in practice and pedagogy.
Facilitation: David Hart (MA, Art and Art Education, Teacher’s College, Columbia University) is a producer, writer, and educator with an emphasis in the museum field. He has taught in afterschool settings, corporate workshops, museum programs (in-person and virtually), and undergraduate and graduate programs. Hart worked in the Department of Education and the Department of Digital Media at the Museum of Modern Art and currently is a producer for Acoustiguide, partnering with such institutions as the Solomon R. Guggenheim Museum, the New York Botanical Garden, and the J. Paul Getty Museum.