CAA News Today
Louvre Launches English-Language Version of Its Online Collection Database
posted by Christopher Howard — July 30, 2009
Today the Musée du Louvre in Paris has launched an English-language version of its online collection database, Atlas. This interactive research tool will allow visitors to access information on 22,000 artworks from the Louvre, view high-resolution images of masterpieces, and locate exhibited works and galleries throughout the museum. Previously available only in French, Atlas is accessible free-of-charge.
Users can enter via the main Louvre website, choose English at upper right, and then go to Collections –> Databases and select Atlas.
The launch of the English version of Atlas was initiated by and funded with a €300,000 ($380,000) grant in 2004 from the American Friends of the Louvre, which was founded in 2002 to strengthen ties between the museum and its American public. The new version of the site will provide in-depth information on the Louvre’s extensive collection to the museum’s two million English-speaking visitors as well as to educators, students, researchers, and scholars.
Launched in 2003, Atlas provides quick and easy access to an exceptionally rich database of 26,000 of the 35,000 works on permanent display at the Louvre. Currently, 5,500 artists in a variety of media are represented on the site. In addition to gallery views, Atlas also provides online visitors with a virtual “Album” through which they can gather a selection of artworks and create and navigate their own personalized tour of the Louvre.
The English-language version of Atlas will include entries on 22,000 works of art, or approximately 80 percent of the original Atlas database, showcasing works most representative of the depth and scope of the Louvre’s collection.
2009 Member Survey Results
posted by Michael Fahlund — July 16, 2009
As part of information-gathering pursuant to the preparation of CAA’s 2010–2015 Strategic Plan, a 2009 member survey was developed, coordinated, and carried out by a team under the leadership of Elizabeth Knapp, vice president in the Research Division of the marketing firm Leo Burnett Worldwide, to determine member preferences, awareness of CAA publications and programs, and motivations for joining and renewing membership.
In total, 1,451 CAA members responded to the online survey, a response rate of 11 percent (which is within an acceptable range for statistical analysis). The final sample was then weighted to accurately reflect the total CAA membership based on membership type. The results are an enlightening view into CAA members’ views and opinions, revealing important strengths but also giving direction to how the organization can use the next strategic plan to improve its programs and services.
Demographically speaking, CAA members are more likely to be female (70 percent), within the age range of 35–49 (34 percent), Caucasian (87 percent), and in academic settings (73 percent), and to have ten years or more of professional experience (48 percent).
The top three reasons individuals gave for joining CAA and renewing their memberships were for job postings (69 percent), networking (54 percent), and debate in the visual arts (50 percent).
CAA is perceived as most relevant to art historians (78 percent agree). From artist members, enthusiasm for ARTspace at the Annual Conference was one of the higher-ranking areas of interest (61 percent). CAA is viewed as a well-known organization among peers (75 percent agree) and a well-run organization (51 percent agree). Members who responded to the question about CAA’s roles believe the most important are advocacy for artists, art historians, and university art museums (24 percent), a conference provider (21 percent), and a leader of creative and intellectual discourse (17 percent). The most common contact points between members and CAA are through publications and emails. The Art Bulletin has the strongest reputation among members (64 percent). The most used features of the CAA website are membership renewal (76 percent), conference registration (70 percent), and CAA News (60 percent). At least half the members also visit the CAA website regularly. A near majority of members (45 percent) have interest in social networking through CAA.
The CAA Annual Conference is perceived as important for networking (68 percent) and career development (62 percent), an opportunity for intellectual exchange about the visual arts (58 percent), and relevant to professional development (53 percent). At the conference, members mostly likely attend sessions (76 percent), the Book and Trade Fair (65 percent), and, as noted above, ARTspace (61 percent). The most popular conference topics are criticism and theory (33 percent) and contemporary art history (31 percent).
The most popular publication topics for the future are curriculum development for teaching studio and art-history courses; legal and copyright issues in publishing; career-development strategies; and standards and guidelines in the visual arts in academia. Members agree that digital publications are valuable because they can be searched online (76 percent), are environmentally friendly (71 percent), can expand readership and distribution (59 percent), and can include dynamic content (56 percent). Members are undecided on the future of digital publications, but 49 percent of respondents do not favor online, non–peer reviewed publications.
CAA continues to advocate on issues of importance to members and to the visual arts. Among these, members feel that full-time vs. adjunct status is most important (50 percent), followed by intellectual-property issues (38 percent) and salary equity (39 percent).
In efforts to increase its visibility and recognition for the programs and services it provides, CAA is eager to know how members react to or view its name. While some members felt that the name “College Art Association” or “CAA” is not descriptive of what the organization does, or that it does not fit the mission, 65 percent believe that the name is understood in the field of visual arts. Name recognition and identity will be assessed as part of CAA’s communications activities in the strategic plan.
Other directions gathered from this survey that will be addressed in the strategic plan are to: 1) increase programming and publications for artists; 2) attract more young professionals; 3) increase the diversity of members; 4) increase career-development sessions at the conference; 5) increase interactive communications; 6) develop practical peer-reviewed publications; and 7) continue working on advocacy issues, particularly related to adjunct faculty.
CAA thanks its members for participating in this recent survey. Comments and responses have been extremely helpful and are being used to guide changes and improvements in the organization’s services.
Avery Index to Architectural Periodicals Returns to Columbia University
posted by Christopher Howard — July 10, 2009
The J. Paul Getty Trust in Los Angeles has returned full ownership of the Avery Index to Architectural Periodicals to Columbia University in New York. Produced since 1934 at Columbia’s Avery Architectural and Fine Arts Library, the internet-based index has been operated by both institutions for twenty-six years, with the Getty providing funding and technical and administrative support while Columbia managed its production.
An essential research tool, the Avery Index provides a comprehensive listing of journal articles published worldwide on architecture and design, city planning, interior design, landscape architecture, and historic preservation. At present, about 225 institutions are subscribers, which comprise nearly all major academic institutions internationally who support research in architecture.
Last spring, in connection with Getty-wide budget reductions, the Getty Research Institute (GRI) announced its intention to transfer the index back to Columbia. Moreover, says GRI director Thomas Gaehtgens, the index has become increasingly self-supporting.
Columbia and the Getty will ensure a seamless transition for users of the index, coordinating continuing distribution agreements as they have in the past. The Getty will continue providing administrative and technical support during the transition period from July 1, 2009 until December 31, 2009.
Getty Research Institute on the Future of the BHA
posted by Christopher Howard — June 16, 2009
The Getty Research Institute just published a statement on its website regarding the future of the Bibliography on the History of Art (BHA, also known as the International Bibliography of Art, or IBA). The statement appears in full below:
In response to current economic conditions, the J. Paul Getty Trust recently announced it will significantly reduce its 2010 fiscal year budget. This will have an impact on all of the Getty’s operations, including the Getty Research Institute (GRI). Since news of the Getty’s budget reduction became public, including information about the Bibliography of the History of Art (BHA), we have received some inquiries about the BHA’s future. We thought it would be helpful to review the history of the Getty’s involvement with the BHA, the current status of the database, and our expectations for its future.
From 1990, when the International Repertory of the Literature of Art (RILA) and the Répertoire d’Art et d’Archéologie (RAA) came together to form BHA, it was a joint project between the Getty and the major database producer, the Institut de l’Information Scientifique et Technique-CNRS. At the end of 2007, this collaboration ceased and BHA formally came to an end. Since January 2008, the GRI has continued production of the database on its own, under the name of the International Bibliography of Art (IBA), and over the last sixteen months, the GRI has made an effort to forge collaborative partnerships on the IBA both nationally and internationally.
While there is interest in seeing the database continue, there have been no formal partnership commitments and no guarantees of outside funding for the project. Unfortunately, with the GRI facing severe budget challenges and without strong and committed partners to share the work, it has become impossible for the Getty to maintain the IBA on its own. Nevertheless, the GRI continues to be interested in seeing the IBA continue its service to the art historical field.
In the near term, the IBA will continue its work, and the first of three updates to the database will be on June 30, 2009. This update will include new data (IBA), and all of the past data of BHA and RILA. It will not contain RAA. This June 30 update will also include the updates from December 31, 2008 and March 31, 2009, which were delayed for technical reasons. All subscribers will also receive scheduled updates on September 30, and December 31, 2009.
Beginning January 1, 2010, the Getty will no longer support the ongoing IBA. We are hopeful that by this time the IBA will be transferred to an organization that can provide continuing support for this valuable resource. Our goal is to move the BHA/IBA to an organization that will provide a transfer in service smooth enough that subscribers may not even notice. We are hopeful that the same distributors will be used after January 1, 2010, and that updates will continue in a regular way.
We will keep the art historical community informed as this process develops. At this time, we would like to express our gratitude to the art reference librarians, art historians, and graduate students whose support has sustained RILA/BHA/IBA for over 29 years. We look forward to your continued support during this period of transition.
Last week CAA published a short statement addressing its concerns about this invaluable database for academic research in the visual arts.
CAA Statement on BHA and Getty Research Institute
posted by Michael Fahlund — June 12, 2009
Like many of our art colleagues and allied academic and cultural institutions in the field, the College Art Association is deeply concerned about the status of the Bibliography of the History of Art (BHA). CAA continues to communicate with the Getty Research Institute (copublisher of the BHA, along with the French Institut de l’Information Scientifique et Technique du Centre National de la Recherche Scientifique) about the future of the BHA and how this vital bibliographic resource can be maintained. We will do what we can as necessary to secure its longevity once we have had our inquiries answered by the Getty.
Survey for Artists on Art Materials
posted by Christopher Howard — April 28, 2009
The International Art Materials Trade Association (NAMTA) and American Artist magazine have begun a new industry study and are asking all artists and users of art supplies in the United States to contribute by completing an online survey.
About the Survey
The consumer survey is the first phase of a larger study, entitled “Artists & Art Materials USA 2009,” which will also consist of surveys of art-supply retailers and art-materials suppliers. In the study’s second phase, Hart Business Research will analyze this survey data plus government statistics and company financial reports to build a comprehensive picture of artists’ evolving activities. The report will be announced in fall 2009, accompanied by an executive summary that will be made available to all survey participants.
As the first large-scale survey of industry size and trends, business best practices, and artists’ needs and preferences in more than a decade, “Artists & Art Materials USA 2009” is independently researched and written by Hart Business Research and cosponsored by NAMTA, an organization of more than 550 professional art-materials businesses, and American Artist, a primary resource for artists since 1937.
How to Participate
The consumer survey is open to artists working in all areas, including oil and acrylic paintings; watercolors; pastels; pencil, ink, or marker drawings; mixed media or collage; murals or wall art; handmade books, cards, or scrapbooks; functional art; three-dimensional art; conceptual or installation art; communication art or graphic design; digital art; quilting arts; fiber arts; and more.
Survey participants are eligible to win one of five $100 gift certificates to an art-materials store. Participants must register to receive the executive summary and to enter the sweepstakes by clicking on the link on the thank-you page after submitting their completed survey. The sweepstakes and executive summary sign-up is separate from the survey to keep the survey anonymous. All survey responses are anonymous and confidential to Hart Business Research and will only be reported as part of totals or averages.
NAMTA is also donating $1 for every completed survey (for the first 2,000 completed) to visual-arts scholarships through the NAMTA Foundation for the Visual Arts.
Online Database Links Three Major Art Research Libraries
posted by Christopher Howard — March 19, 2009
Whether you’re researching ancient Egyptian art, provenance in Renaissance Italy, modern Latin American art, or contemporary artist’s books, three major New York–based institutions—the Museum of Modern Art, the Frick Collection, and the Brooklyn Museum—have joined forces to help you. The libraries and archives of these three museums recently launched Arcade, an online database that allows researchers worldwide to search their combined resources through a single interface.
Searches may be limited not only by library location—the MoMA library, for example, has two research sites in the city—but also by format specifications, including auction catalogues, artist’s books, primary-source and archival materials, and digital resources. For older users of these collections, Arcade provides specific searching using Dadabase (MoMA’s catalogue), FRESCO (Frick Research Catalog Online), and Brookmuse (the Brooklyn Museum Libraries and Archives catalogue).
Other features include relevancy ranking of results, a searchable table-of-contents in thousands of records, book-jacket images, icons that identify categories of results, and links to Google Books files. RSS feeds provide up-to-date headlines of news in the art world. Featured lists present the collections in new ways. Links to recent acquisitions, finding aids, bibliographies, new digital collections, and library blogs are also offered in Arcade.