CAA News Today
Advertise in CAA’s Directories of Graduate Programs
posted by CAA — Jul 19, 2013
For the first time, CAA is offering advertising space in its annual directories of graduate programs in the arts. Promote your institution, program, product, or service in the go-to resource for prospective graduate students in the arts.
CAA’s directories are the most comprehensive resources available for new and incoming graduate students in fine art and design, art and architectural history, curatorial and museum studies, arts administration, art education, film production, conservation, and more in the United States, Canada, the United Kingdom, Australia, and New Zealand.
The directories provide prospective graduate students with the critical information they need to complete the application process and navigate the academic landscape, from availability of financial aid and fellowships to faculty and deadlines.
Committee on Women in the Arts Picks for July 2013
posted by CAA — Jul 10, 2013
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. 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.
July 2013
Martha Wilson, The Working Girl from A Portfolio of Models, 1974, 6 black-and-white gelatin-silver prints and 7 typed index cards, 20 × 14 in. (artwork © Martha Wilson)
Martha Wilson
Institute of Visual Arts
Kenilworth Square East, University of Wisconsin, 2155 North Prospect Avenue, Milwaukee, WI 53202
June 7–August 11, 2013
It’s been already forty years since Martha Wilson radically intervened in Conceptual art by including the female body, especially her own, in her endeavors. She also pioneered uses of masquerade to explore the effects of the camera in self-representation, deconstructing gender stereotypes and exposing the fluidity of gender and identity. Organized by the Independent Curators International and curated by Peter Dykhuis, this traveling exhibition examines the radical strategies and politics that underpin Wilson’s work as a visual artist—especially her performances, videos, and photo-text compositions—and as an activist and the founder of Franklin Furnace from the 1970s to today. Accompanying the exhibition is a catalogue and a parallel program that will raise interesting questions about feminism today, the state of masculinity codes, and more.
Call for Papers: “Recollecting Forward: Feminist Futures in Art Practice, Theory, and History”
Association of Art Historians Annual Conference
Royal College of Art, London, England
April 10–12, 2014
In recent years, a series of blockbuster exhibitions and several high-profile symposia have set out to assess the past and present of feminist art practice, theory, and history. This session seeks to pinpoint and debate the key issues arising from these attempts to make retrospective sense of the past forty years of feminist work in the visual arts. Does this remarkable upsurge in artistic, curatorial, and art-historical interest in art practice inflected by feminism constitute the first step in putting feminism on the map, or else does it draw a line under a diverse constellation of works, practices, and texts that are to remain forever suspended between countercultural revolution and institutional acknowledgement? Feminism’s impact on art practice, theory, and history is frequently presented either as a series of successive “waves” or as a set of (often mutually antagonistic) mother/daughter/granddaughter relations. This session for the 2014 annual conference of the Association of Art Historians aims to redress this focus on linear progression and generational division by reconsidering temporality in feminist art practice, theory, and history. The session chairs invite contributions from practicing artists, art historians, and art critics that revisit and recast historical practices and texts or otherwise explore potential feminist futures in the visual arts.
To foster a productive encounter among a multiplicity of feminist perspectives and to stimulate open dialogue among those who may have come to feminism at different moments in time and from different cultural contexts, the chairs seek short papers of twenty minutes, which will be followed by a roundtable discussion featuring all speakers. If you would like to participate, please email the chairs directly, providing an abstract of a proposed paper of twenty minutes (unless otherwise indicated): Joanne Heath, independent scholar; and Alexandra M. Kokoli, Robert Gordon University, Aberdeen. The abstract should be no more than 250 words; proposals should include your name and institution affiliation (if any). You will receive an acknowledgement of receipt for your submission within two weeks. Deadline: November 11, 2013.
Lorna Simpson, Momentum, 2010, HD video with color and sound, 6:56 (artwork © Lorna Simpson)
Lorna Simpson
Jeu de Paume
1 Place de la Concorde, Paris, France 75008
May 28–September 1, 2013
The first major survey of the work of Lorna Simpson in Europe brings together signature masterpieces from all stages of her thirty-year-long career, including examples of the large-format photo-texts from the mid-1980s that first brought her critical attention, such as Gestures/Reenactments, Waterbearer, and Stereo Styles, and several series of screen prints on felt from the 1990s, including Wigs, The Car, The Staircase, Day Time, Day Time (gold), and Chandelier. The show also presents a group of recent drawings called Gold Headed, her Photo Booths ensembles of found photos and drawings (such as Gather and Please remind me of who I am…), and several video installations, including Cloudscape and Momentum, with evocative narratives that question the way in which experience is created and (mis)perceived. As such, the exhibition traces the continuity that underpins Simpson’s experimentation with photography and film and her questioning of the conventions of gender, identity culture, and memory, especially as an African American female artist, while seeking to further illuminate the intimate relationship of text and image that characterizes her work and the centrality of memory among her thematic preoccupations.
Yoko Ono: Half-a-Wind Show
Louisiana Museum of Modern Art
Gl Strandvej 13, 3050 Humlebæk, Denmark
June 7–September 29, 2013
Another exhibition celebrating Yoko Ono’s eightieth birthday, Yoko Ono: Half-a-Wind Show is a major retrospective that seeks to reinstate her importance as a Conceptual artist, both political and avant-garde, as well as to complicate the experience of her work in various media. The show is introduced by En Trance, a major architectural installation shown for the first time in many years that offers six entry points to her work, alluding to the participatory aspect of her work while enabling different narratives of it to unfold.
The exhibition’s first section features groundbreaking experimental and conceptual works from the early 1960s, performed first in New York and later in Japan. It continues with large installations and recent works and also includes Moving Mountains, a new installation that invites its participants to form mobile sculptures from cloth bags. One area is devoted to Ono’s music videos, concert recordings, covers, posters, and more. The exhibition also emphasizes Ono’s political commitment and her efforts to engage in dialogue with people all over the world—both inside and outside the museum—through social media, billboards, and participation pieces. In Louisiana Park visitors are invited to hang their personal wishes on a Wish Tree, and large billboards throughout Copenhagen display poetic messages from the artist.
Agnès Varda
Bildmuseet
Umeå University, Konstnärligt Campus, Östra Strandgatan 30, B903 33 Umeå, Sweden
June 2–August 18, 2013
Agnès Varda (born 1928) established herself as an important figure in French cinema with her first film, La Pointe Courte (1954), which was considered as the starting point of the French New Wave—even though she was then in her mid-twenties and had no formal training as a filmmaker. Celebrating her lifelong achievement in filmmaking, Bildmuseet is showing a selection of Varda’s documentary projects from the 1960s and 1970s as well as newer works that display the boundary-transcending way in which she moves between the cinema theatre and the gallery showroom, between photography and cinema, and between moving and still images. Many of her films have political and feminist dimensions, such as Black Panthers (1968) and Réponse de femmes (1975), in which documentation and fiction overlap.
Cornelia Parker, Pavement Cracks (City of London), 2012, black-patinated bronze, 206 x 152 x 9 cm (artwork © Cornelia Parker)
Cornelia Parker
Frith Street Gallery
17-18 Golden Square, London, W1F 9JJ, United Kingdom
June 7–July 27, 2013
Bringing together new sculptural and photographic works by the acclaimed British artist Cornelia Parker that transform overlooked and often uncanny facets of the city streets such as pavement cracks, accidental spills, and discarded pieces of wood into evocative objects and images, this exhibition captures a few of the hard-to-pin down threads that mark Parker’s diverse production: her interest in architecture; the antisculptural fragility of her sculptural objects and their mode of display; and the dark, personal, or social evocations and origins of their conception.
The exhibition consists of Black Path (2013), a linear structure of black bronze that hovers above the floor and three-dimensionalizes the cracks of the paving stones of the Bunhill Fields cemetery, through which the artist has been walking her daughter to school, often playing “don’t step on the lines,” a game that rekindled childhood memories and fears of street cracks. Unsettled (2012) uses wood collected from the streets of old Jerusalem, reassembled and precariously relocated against the walls of the gallery. The found abstract patterns on cracked walls provide the inspiration for Prison Wall Abstracts: A Man Escaped (2012–13), a set of twelve photographic prints depicting the perimeter wall of Pentonville Prison in London, whose broken surface of wall had been repaired by workmen with white filler in gestural patterns worthy of any Abstract Expressionist painter. Parker captured these walls before they were obliterated forever by a layer of magnolia paint. “Jerusalem”—both the poem of Bunhill Fields cemetery’s famous incumbent, William Blake, and the “holy city” where Parker filmed her latest work—lace up all three works, especially due to the effect of the Jerusalem syndrome (the tendency of the locals to attribute religious importance to random images) on the artist and the rekindling of her childhood fascination with identifying configurations on the cracked walks of her room at bedtime.
Valérie Favre: Selbstmord, Suicide
Neuer Berliner Kunstverein
Chausseestrasse 128, 10115 Berlin, Germany
June 8–July 28, 2013
Selbstmord, Suicide presents two extensive series of works by the Swiss-born, Berlin-based painter Valérie Favre that respectively deal with life and death. The Suicide cycle (2003–13) consists of 129 small-format paintings representing scenes of self-chosen death, focusing on the moment of the radical decision to end one’s life and the self-dramatization of the theatrical moment of death. The works refer to known suicide scenes from history, art, and literature as well as from current newspaper reports. Created especially for the exhibition, the second group, called still/leben (de la fragilité des fleurs n°5) (2013), consists of small- and large-scale paintings of floral still lifes. Addressing the creative process in a diaristic manner, the artist produced a small still life of a flower arrangement every day three months prior to the show, while adding one brushstroke at a time to the larger canvases. During the exhibition, a different small work is selected daily for exhibition.
Jane and Louise Wilson, Toxic Camera, Blind Landing Lab 1 (H-Bomb Testing Facility, Orford Ness), 2012, C-print Diasec mounted with aluminum and Perspex, 86½ x 71 in. (artwork © Jane and Louise Wilson)
Jane and Louise Wilson
303 Gallery
507 West 24th Street, New York, NY
June 25–August 2, 2013
At 303 Gallery, the twin sisters Jane and Louise Wilson will for the first time combine several bodies of work, including two photographic series: Atomgrad (Nature Abhors a Vacuum) (2010–12), depicting the town of Pripyat, built in the early 1970s by the Soviet Union to house Chernobyl factory workers; and Toxic Camera, Blind Landing Lab 1 (2012), which documents the Wilson’s first publicly sited installation, on a former H-bomb test facility on Orford Ness, an island off the Suffolk Coast owned by the United Kingdom’s Ministry of Defense.
Pauline Boty: Pop Artist and Woman
Wolverhampton Art Gallery
Lichfield Street, Wolverhampton, West Midlands, WV1 1DU, United Kingdom
June 1–November 16, 2013
Pauline Boty: Pop Artist and Woman is the first survey of this major yet short-lived contributor to British Pop since the rediscovery of her work in a family barn in the early 1990s. Before written out of British Pop’s history and reduced to a pale memory of a mythic figure, Pauline Boty (1938–1966) was included in Ken Russell’s landmark 1962 television documentary Pop Goes the Easel, which introduced her as one of the four protagonists of the Royal College of Art’s Pop scene in London (alongside Peter Blake, Derek Boshier, and Peter Philips). Soon, however, Boty, who had studied stained glass, reinvented herself as a painter by grafting her penchant for abstraction and collage through a figurative Pop idiom and by passionately embracing popular culture—all while speaking subversively as a woman, that is, by using the objects of her fanzine fascination to transgressively celebrate female sexuality and desire and to critically expose the sexism of pop and visual culture.
Bringing together more than forty works, some of which were considered lost and have never before been shown, Pop Artist and Woman traces the development of Boty’s work from a stained-glass student to a British Pop painter and establishes its unmistaken Popness and the radical nature of its politics, especially its feminism. Contextual archival material and an extensive catalogue by the curator Sue Tate further establishes her importance, analyzing her neglect and shedding light onto her life and her brief media stardom as a beauty and an actress. Most important, the exhibition joins other recent scholarship and exhibitions that question the neglect of female Pop artists by standard art history.
Moyra Davey, Kevin Ayers (Psychic), 2013, chromogenic print with adhesive tape, stamps, and ink (artwork © Moyra Davey)
Moyra Davey: Hangmen of England
June 8–October 6, 2013
Tate Liverpool
Albert Dock, Liverpool Waterfront, Liverpool, L3 4BB, United Kingdom
Moyra Davey: Hangmen of England introduces the work of a New York–based photographer, filmmaker, and writer—and a star of the 2012 Whitney Biennial—to the United Kingdom as part of a program called LOOK/13 at the Liverpool International Photography Festival. The project draws attention to the intimacy of Davey’s photographic practice and her use of common objects as starting points to unravel complex themes. For this exhibition, she presents work created using photographs taken in Liverpool and Manchester. As often the case with this artist, these images are influenced by personal stories and by narratives drawn from literature and theory. They were mailed to their city of origin, allowing the creases, tape, and mailing stamps marking each photograph to provide a physical trace of its journey.
The exhibition also includes a new version of the artist’s celebrated Copperhead series. Inspired by the global economic crisis, this series consists of one hundred close-up photographs of the profile of Abraham Lincoln engraved onto the most devalued denomination of American currency—the one-cent coin—to encourage a reevaluation of the fleeting beauty of the everyday. Copperhead reflects on the psychology of money and the varieties of decay brought about by the passage of time.
Propose a Session for the 2015 Annual Conference in New York
posted by Lauren Stark — Jun 24, 2013
CAA invites individual members to propose a session for the 103rd Annual Conference, taking place February 11–14, 2015, in New York. Proposals should cover the breadth of current thought and research in visual art, art and architectural history, theory and criticism, pedagogical issues, museum and curatorial practice, conservation, and developments in technology. For full details on the submission process for the conference, please review the information published on the Chair a 2015 Annual Conference Session webpage.
The Annual Conference Committee welcomes session proposals from established artists and scholars, along with those from younger scholars, emerging and midcareer artists, and graduate students. Particularly welcome are proposals that highlight interdisciplinary work. Artists are especially encouraged to propose sessions appropriate to dialogue and information exchange relevant to artists.
The submission process for the 2015 conference is now open. In order to submit a proposal, you must be a current CAA member. Deadline extended to Tuesday, September 10, 2013.
Image: A. Major, Bird’s-Eye View of the Great New York and Brooklyn Bridge, and Grand Display of Fireworks on Opening Night … May 24, 1883, 1883, color lithograph, 18⅞ x 26¼ in. Metropolitan Museum of Art, New York (artwork in the public domain)
Affiliated Society News for May 2013
posted by CAA — May 09, 2013
American Institute for Conservation
The American Institute for Conservation of Historic and Artistic Works (AIC) is hosting its 2013 annual meeting in Indianapolis, Indiana, from May 29 to June 1, 2013. Its theme, “The Contemporary in Conservation,” will focus on contemporary approaches to conservation—not only the conservation of contemporary art—and include perspectives from both within and outside the field. In addition to the treatment of contemporary art, the conference will consider digitization, environmental sustainability, and the effects of architectural design on the preservation of objects as well as current trends in exhibition design and the new challenges they present for preservation, including greater physical access, longer display times, and more touring exhibitions. Learn more about the upcoming AIC meeting at www.conservation-us.org/meetings and join the organization for the lively discussions that will take place.
Art Libraries Society of North America
The Art Libraries Society of North America (ARLIS/NA) and the Visual Resources Association Foundation (VRAF) will once again sponsor the Summer Educational Institute for Visual Resources and Image Management (SEI), to be held June 18–21, 2013, at the University of Michigan in Ann Arbor. This collaborative professional training program, now in its tenth year, addresses the evolving requirements of image-management professionals. Expert instructors will cover intellectual-property rights, offer a hands-on digital-imaging workshop, and describe best practices and tools for metadata and cataloging. A “think-camp” discussion session will identify topic preferences from registrants, such as the future of the profession, uses of social and new media, visual literacy, and the digital humanities. More than four hundred people serving in a range of professional roles have benefited from past SEIs, including art historians, visual-resources curators, university librarians, archivists, and museum professionals responsible for image rights and reproductions. For more information, please contact the SEI cochairs: Betha Whitlow or Amy Trendler.
Historians of German and Central European Art and Architecture
During CAA’s 2013 Annual Conference in New York, the Historians of German and Central European Art and Architecture (HGCEA) hosted a two-part panel, “Central Europe’s Others in Art and Visual Culture,” chaired by Brett Van Hoesen and Elizabeth Otto, and an Emerging Scholars panel, led by Keith Holz. HGCEA also organized a dinner party at the Scandinavia House, which was attended by about sixty members of the society. The gathering celebrated the achievements of two retiring colleagues, Françoise Foster-Hahn and Reinhold Heller. Former HGCEA president Steven Mansbach delivered a eulogy on Foster-Hahn, and present board member Jay Clark did the same for Heller. The current HGCEA president, Marsha Morton, presented the prize for the winner of HGCEA’s first essay contest to Pepper Stetler and bestowed honorary mention to Amy Hamlin and Elizabeth Brisman. The contest was an initiative for the encouragement and recognition of young scholars. Sixteen essays published during 2011 and 2012 were submitted. A new appeal will be issued for essays published in 2012.
Historians of Netherlandish Art
The Historians of Netherlandish Art (HNA) has published the winter 2013 issue of the open-access, refereed electronic journal, the Journal of Historians of Netherlandish Art. Contents include articles by Sally Whitman Coleman, Matthijs Ilsink and Monica Marchesi, and Elizabeth Sutton, as well as translations of part one and two of D. C. Meijer Jr.’s “The Amsterdam Civic Guard Portraits within and outside the New Rijksmuseum.”
HNA solicits session and workshop proposals for the organization’s quadrennial conference, to be held in Boston, Massachusetts, June 5–7, 2014. For the first time, this event will take place together and in cooperation with the conference of the American Association for Netherlandic Studies. HNA welcomes proposals for sessions that represent new directions in the study of Netherlandish art between 1350 and 1750. Proposals may focus on individual disciplines within this chronological spectrum or feature interdisciplinary approaches and collaborative endeavors. Sessions will be two hours long with a maximum of four papers each. HNA also invites proposals for workshops designed to allow for group discussion of focused topics. Workshop proposals should define the matter to be addressed and describe how discussion will be generated. Prospective session and workshop proposals should be sent via email by May 15, 2013, to Paul Crenshaw, chair of the program committee.
International Sculpture Center
The International Sculpture Center (ISC) will hold the 2013 International Sculpture Symposium in Miami, Florida, from December 1 to 4, 2013. The program is cosponsored by Florida International University and the Patricia and Phillip Frost Art Museum and will comprise daytime and evening programming, including keynote addresses, panel discussions, and an iron pour led by the international sculptor Coral Lambert, joined by Iron Maidens and other selected artists. The symposium marks the first ISC program held in the city of Miami, spans four days, and precedes Art Basel Miami Beach, which takes place December 5–8. Artists and enthusiasts from around the world will have the opportunity to participate in a week of dynamic cultural events. Please visit www.sculpture.org/miami2013 for more details and to join the Miami event mailing list to receive updates as they become available. Discounted early-bird registration for ISC members opens on June 1. Questions should be directed to events@sculpture.org or 609-689-1051, ext. 302.
Italian Art Society
The Italian Art Society (IAS) has announced its new officers and committee members: Cathleen A. Fleck, president; Sheryl E. Reiss, executive vice president; and Nicola Camerlenghi, vice president for programming. The Awards Committee now includes Janis Elliott (chair), Jill Pederson, and Eve Straussman-Pflanzer. Joining the Nominating Committee are Brian Curran (chair) and Janna Israel. The Program Committee welcomes Dorothy Glass and Rebekah Perry, and the Graduate Student and Emerging Scholars Committee greets its new members, Sarah Wilkins and Ashley Elston. IAS thanks those whose terms have ended for their service.
IAS will sponsor four sessions at the International Congress for Medieval Art in Kalamazoo, Michigan; see the IAS website for the titles and the names of the speakers. IAS seeks proposals for papers for its two 2014 CAA Annual Conference sessions: “Periodization Anxiety in Italian Art: Renaissance, Baroque, or Early Modern?” (chairs: Frances Gage and Eva Struhal); and “‘Futuro Anteriore’: Cultural Self-Appropriation as Catalyst in the Art of Italy”(chairs Alison Perchuk and Irina D. Costache). Please visit the IAS website for the CAA session descriptions and submission instructions. Deadline: May 6, 2013.
The speaker of the fourth annual Italian Art Society–Kress Foundation Lecture Series in Italy is Sarah Blake McHam of Rutgers University, who will present “Laocoön, or Pliny Vindicated” at the Fondazione Marco Besso in Rome on Tuesday, May 28, 2013, at 6:00 PM.
Mid-America College Art Association
The board of the Mid-America College Art Association (MACAA) will hold a retreat May 24–25, 2013, in San Antonio, Texas, in preparation for its 2014 conference, which will be hosted by the University of Texas at San Antonio (UTSA). The conference chair is Scott Sherer, and the UTSA institution coordinator is Gregory Elliot. The conference contact is Laura Crist, who can be reached at macaa2014@utsa.edu or 210-458-4391. Conference details will be posted on the MACAA and conference websites, as planning develops.
National Council of Arts Administrators
From September 25 to 28, 2013, Virginia Commonwealth University in Richmond will host the forty-first annual conference of the National Council of Arts Administrators (NCAA), which will focus on reexamining the value of uncertainty and doubt in the arts. The gathering will also spotlight current trends in arts administration; offer forums, speakers, and workshops; and create opportunities to network within a diverse community of higher-education arts professionals. You can expect top-notch speakers, timely and forward-looking sessions, an engaging administrator’s workshop, and much more. NCAA enthusiastically welcomes new members and any interested parties to its events. Learn more about the 2013 conference.
New Media Caucus
The New Media Caucus (NMC) has announced the results of the elections for president, treasurer, and board members. The new president is Vagner Whitehead, associate professor at Oakland University. His term as president-elect begins immediately and runs until the 2014 CAA Annual Conference in Chicago, when he will become president at the 2014 annual business meeting. Reelected as treasurer is Jim Jeffers, visiting lecturer at College of the Holy Cross, who has been actively involved in NMC leadership since the organization’s founding ten years ago. He has served as treasurer for the past two years, a critical position as NMC pursues 501(c)(3) status. Joining the board are Victoria Bradbury, a researcher at the Curatorial Resource for Upstart Media Bliss, University of Sutherland; Mina Cheon, interdisciplinary professor, Maryland Institute College of Art; Carlos Rosas, associate professor, Pennsylvania State University; and Jessica Westbrook, assistant professor, School of the Art Institute of Chicago. View a listing of the entire NMC board of directors and officers and the constitution and bylaws, which describes the terms and election processes.
Public Art Dialogue
At the 2013 CAA Annual Conference in New York, Public Art Dialogue (PAD) sponsored Sally Webster’s session, “Reconsidering Mural Painting: New Methodologies,” which featured five papers: “In the Making: Mural Painting and the Look of Reform in Theodore Roosevelt’s America” by Annelise K. Madsen; “Picturing Jewish History in 1920s Hollywood: The Murals in the Wilshire Boulevard Temple” from MacKenzie Stevens; “‘No Vain Glory’: Cartography and Murals in the American War Cemeteries in France” by Kate C. Lemay; “Looking Beyond ‘The Wall’: Reconstructing City Walls’ Gateway to Soho” from Andrew Wasserman; and “The Renewed ‘Spirit of Hyde Park’: A Case Study in Mural Restoration” by Emily Scibilia. Sarah Schrank was the discussant. A roundtable chaired by Norie Sato on “Time, Transience, Duration” featured presentations by Penny Balkin Bach, Renee Piechocki, and Marisa Lerer.
Penny Balkin Bach of the Association for Public Art (aPA), based in Philadelphia, Pennsylvania, received PAD’s annual lifetime achievement award. Bach has been in the field since the early 1970s, and under her leadership aPA (formerly called the Fairmount Park Art Association, whose staff she joined in 1980) has sponsored numerous groundbreaking installations and special projects. Open Air, which premiered in October 2012, was a spectacular interactive light installation by Rafael Lozano-Hemmer along the Benjamin Franklin Parkway. Bach’s tireless and innovative work has transformed the field of public art.
Society for Photographic Education
The Society for Photographic Education (SPE) seeks proposals for “Collaborative Exchanges: Photography in Dialogue,” its fifty-first national conference, to be held March 6–9, 2014, in Baltimore, Maryland. SPE is accepting proposals for the 2014 conference through June 1, 2013. Topics, which are not required to be theme based, may include but are not limited to: image making, history, contemporary theory and criticism, new technologies, effects of media and culture, educational issues, and funding. Membership in SPE is required to submit, and all proposals are peer reviewed. Descriptions for the five presentation formats follow:
- Graduate Student: short presentation of your own artistic work and a brief introduction to your graduate program
- Imagemaker: presentation on your own artistic work (photography, film, video, performance, installation, multidisciplinary approaches)
- Lecture: presentation on historical topic, theory, or another artist’s work
- Panel: a group led by a moderator to discuss a chosen topic
- Teach: presentations, workshops, or demos that address educational issues, including teaching resources and strategies; curricula to serve diverse artists and changing student populations; seeking promotion and tenure; avoiding burnout, and professional exchange
Visit the website for information on how to join SPE and for full proposal guidelines.
Society for the Study of Early Modern Women
The Society for the Study of Early Modern Women (SSEMW) has announced the names, fields, and affiliations of its officers and committee members for 2013: the new president is Jane Couchman, French and women’s studies, York University; the new vice president is Megan Matchinske, comparative literature and English, University of North Carolina, Chapel Hill; a past president is Allyson Poska, history, Mary Washington University; a second past president is Pamela Benson, English, Rhode Island College; the new treasurer is Deborah Uman, English, St. John Fisher College; the new secretary is Abby Zanger, French, independent scholar; and the new web and listserv coordinator is Karen Nelson, Center for Literary and Comparative Studies, English, University of Maryland, College Park.
The Executive Committee now comprises: Eve Straussman-Pflanzer, art, Art Institute of Chicago; Shannon Miller, English, Temple University; Michelle Dowd, English, University of North Carolina, Greensboro; Meredith Ray, Italian and women’s studies, University of Delaware; Renee Baernstein, history, Miami University; Sheila Cavanaugh, English, Emory University; and Lauren Shook, English, University of North Carolina, Greensboro.
The Awards Committee will consist of: Marina Leslie, English, Northeastern University (chair for 2013); Heidi Brayman Hackel, English, University of California, Riverside; Wendy Heller, music, Princeton University; Mary Nyquist, women and gender, University of Toronto; Eleanor Hubbard, history, Princeton University; Bronwen Wilson, art history, University of British Columbia; Leah Chang, French, George Washington University; Sheila ffolliott, art history, George Mason University (emerita); and Sarah Ross, English, Massey University.
For additional information, including members of the Nominating Committee, please see About SSEMW section on http://ssemw.org.
Society of Architectural Historians
The Andrew W. Mellon Foundation has awarded a one-year grant of $51,330 to the Society of Architectural Historians (SAH) to administer the SAH/Mellon Author Awards. The award is a temporary measure to provide financial relief to early-career scholars who are publishing monographs on architectural history and the history of the built environment and responsible for paying for rights and permissions for images in their publications. Through this grant SAH will provide awards to emerging scholars (those with PhDs earned during the past six years) to help defray the high costs of image licensing and reproduction for monographs on the history of the built environment. Awards will be made once in 2013 for print (hardcover, softcover) and digital publications (ebook, DVD). Awardees will be selected on the basis of the quality and demonstrated financial need for their project. SAH anticipates awarding approximately ten SAH/Mellon Author Awards in 2013. Deadline: June 1, 2013.
Society of Historians of East European, Eurasian, and Russian Art and Architecture
In response to increasing interest in the field, the Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) is extending its activities with renewed vigor under new leadership. After voting in January 2013, Margaret Samu was elected president, and Natasha Kurchanova was chosen vice president and will serve as president-elect. Yelena Kalinsky has become secretary-treasurer, and Inge Wierda will be the society’s webmaster. Joining them on the board of directors are Kathleen Duff, Eva Forgacs, Mark Svede, Danilo Udovicki, and Alla Vronskaya.
SHERA sponsors sessions and holds regular meetings at both CAA and the Association for Slavic, East European, and Eurasian Studies, maintains an active listserv and Facebook page, and is currently creating a new website. New members are welcome; please direct your inquiries to SHERA.artarchitecture@gmail.com for more information.
Society of North American Goldsmiths
The Society of North American Goldsmiths (SNAG) will hold its forty-second annual conference from May 15 to 18, 2013, in Toronto, Ontario, at the downtown historic Fairmont Royal York Hotel. Titled “Meta-Mosaic,” the event will celebrate the multiple industries within jewelry and metalsmithing in the twenty-first century. Toronto is a mosaic of peoples and cultures as well as the center of Canada’s jewelry industry. This conference will examine a fluid identity within art, craft, and design and inspire attendees to embrace a collective mosaic. Join SNAG for presentations and panels featuring industry luminaries from across the globe, rapid-fire presentations by international designers and artists, over twenty exhibition, the third annual member Trunk Show Sale, social events, and so much more! Online registration has closed, but you can still register onsite beginning at 3:00 PM on May 15.
Visual Resources Association
The Art Libraries Society of North America (ARLIS/NA) and the Visual Resources Association Foundation (VRAF) will once again sponsor the Summer Educational Institute for Visual Resources and Image Management (SEI), to be held June 18–21, 2013, at the University of Michigan in Ann Arbor. This collaborative professional training program, now in its tenth year, addresses the evolving requirements of image-management professionals. Expert instructors will cover intellectual-property rights, offer a hands-on digital-imaging workshop, and describe best practices and tools for metadata and cataloging. A “think-camp” discussion session will identify topic preferences from registrants, such as the future of the profession, uses of social and new media, visual literacy, and the digital humanities. More than four hundred people serving in a range of professional roles have benefited from past SEIs, including art historians, visual-resources curators, university librarians, archivists, and museum professionals responsible for image rights and reproductions. For more information, please contact the SEI cochairs: Betha Whitlow or Amy Trendler.
People in the News
posted by CAA — Apr 17, 2013
People in the News lists new hires, positions, and promotions in three sections: Academe, Museums and Galleries, and Organizations and Publications.
The section is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
April 2013
Academe
Harris Fogel, an artist and associate professor at University of the Arts in Philadelphia, Pennsylvania, has been appointed director of the photography program in the school’s College of Art, Media, and Design.
Museums and Galleries
Matthew Affron, associate professor of art history at the University of Virginia in Charlottesville and director of special curatorial projects for the school’s Fralin Museum of Art, has joined the Philadelphia Museum of Art in Pennsylvania as the new Muriel and Philip Berman Curator of Modern Art. Affron will begin his new duties on September 1, 2013.
Margarita AguilarMargarita Aguilar, director of El Museo del Barrio in New York since 2011, has resigned from her position. She was also a curator at the museum from 1998 to 2006.
Colin Bailey (photograph by Michael Bodycomb)Colin B. Bailey, deputy director and chief curator of the Frick Collection in New York, has been named director of the Fine Arts Museums of San Francisco in California.
Antonia BoströmAntonia Boström, senior curator of sculpture and decorative arts at the J. Paul Getty Museum in Los Angeles, California, has been appointed director of curatorial affairs at the Nelson-Atkins Museum of Art in Kansas City, Missouri.
Stephen Gleissner, chief curator of the Wichita Art Museum in Wichita, Kansas, has resigned from his position.
Cody HartleyCody Hartley, formerly director of gifts of arts at the Museum of Fine Arts, Boston, in Massachusetts, has become the next director of curatorial affairs for the Georgia O’Keeffe Museum in Santa Fe, New Mexico.
Risha K. LeeRisha K. Lee, formerly a postdoctoral fellow at the National University of Singapore’s Institute for Southeast Asian Studies, has been named Jane Emison Assistant Curator of Indian and Southeast Asian Art at the Minneapolis Institute of Arts in Minnesota.
Kate Nesin, formerly a Mellon fellow at the Toledo Museum of Art in Toledo, Ohio, has joined the Art Institute of Chicago in Illinois as its new associate curator of contemporary art.
Kim Sajet (photograph by Wendy Concannon)Kim Sajet, formerly president and chief executive of the Historical Society of Pennsylvania in Philadelphia, has become the new director of the Smithsonian Institution’s National Portrait Gallery in Washington, DC.
Organizations and Publications
Walter Robinson, formerly editor of Artnet magazine, has been hired as a bimonthly columnist for Artspace.com.
Rethinking Humanities Graduate Education with Digital Humanities Centers
posted by Linda Downs — Apr 08, 2013
Flying over the Grand Canyon after a meeting at the University of Washington with digital humanities faculty and marveling at the fractal-like patterns that moving water has sculpted out of solid rock, made me think of the slow but steady impact digital humanities centers and institutes are having on academic structure of research and evaluation. Project by project new research tools, interdisciplinary and collaborative research and new approaches to problems at these centers are altering the once rock-solid academic structures of research, peer review and evaluation.
The Scholarly Communications Institute (SCI) http://uvasci.org/ called a meeting on March 11 and 12 in partnership with the Consortium of Humanities Centers and Institutes (CHCI) http://chcinetwork.org/ and centerNet http://digitalhumanities.org/centernet/ an international organization of digital humanities centers with a focus on the topic of “Rethinking Humanities Graduate Education.” The meeting focused on developing pilot projects that would leverage the specific strengths of CHCI and center Net. Possible consortial courses and cross-institutional cohorts of scholars were two of the many ideas presented. Individuals from 15 universities and the American Association of Museum Directors, the New York Council for the Humanities and College Art Association. (For a summary of the meetings and a participants list see: http://uvasci.org/)
Digital humanities centers, institutes and computing centers have been an important presence at universities since the 1990’s first as resources to provide technical assistance to students and faculty and now as strong academic centers of intellectual activity unto themselves offering courses, research products, developing frameworks and digital tools, fellowships, and public programs. Each center has a different disciplinary and technological focus depending on their original mission and purpose. Many of the centers grew out of language, literature and history disciplines. Now the commonality is in method and approach rather than specific disciplinary content or theory. Visual arts projects are being developed in DH centers by graduate students and faculty who have been working on cross-disciplinary research projects.
Computing centers such as the University of Victoria Humanities Computing and Media Center offer digital tools, one-on-one assistance in developing a project and introductory courses on organizing collaborative digitalinitiatives. The University of Virginia’s Scholar’s Lab http://www2.lib.virginia.edu/scholarslab/ offers students technical assistance on digital research to advanced students and faculty, graduate fellowships, workshops, and the opportunity to work on collaborative digital projects. The programs at the Center for History and New Media at George Mason University are targeted to teachers and faculty of history with a huge number of online resources as well as sponsoring dozens of digital history projects as well as free tools such as Zotero, a research tool to help gather, organize and analyze data and images. The concept for THAT Camp (The Humanities and Technology Camp) held at the College Art Association Annual Conference in New York which focused on digital tools, data bases and collaborative projects in art history this past February, originated with Columbia University Libraries and Smarthistory at Khan Academy. Plans are to offer THAT Camps at the CAA Annual Conference again in Chicago next February 2014. The Alliance for Networking Visual Culture grew out of film and media studies. Their multimedia research and publishing platform, Scalar has been utilized for the anniversary projects of CAA’s The Art Bulletin (“Publishing The Art Bulletin: http://scalar.usc.edu/anvc/the-art-bulletin/index developed by Thelma Thomas at the Institute of Fine Arts, New York University and of caa.reviews by Sheryl Reiss at the University of Southern California.
Other well established digital humanities centers offer digital resources, publications, programs and tools. The Maryland Institute for Technology in the Humanities http://mith.umd.edu/, as their website indicates, “ is jointly supported by the University of Maryland College of Arts and Humanities and the University of Maryland Libraries, MITH engages in collaborative, interdisciplinary work at the intersection of technology and humanistic inquiry. MITH specializes in text and image analytics for cultural heritage collections, data curation, digital preservation, linked data applications, and data publishing.” (While I was attending the SCI Anne Collins Goodyear, CAA President was presenting at MITH on her digital curatorial work at the National Portrait Gallery.)
The wide-ranging discussions touched upon collaborating on introductory courses for first year graduate students; changing standards to assist in evaluating collaborative digital projects and dissertations and promotion and tenure; how DH can contribute to lowering the time-to-degree; interdisciplinary collaboration; developing shared meaning between humanities researchers and technologists unfamiliar with the humanities; teaching basic skills required for digital research and analysis in either keystone or capstone courses; and assessing the role that DH centers provide to graduate students who are considering non-faculty career alternatives. Ideas came forward on how the academy can introduce non-faculty career options to graduate students from shadowing professionals to internships at museum and non-profit public service institutions where they can apply the knowledge gained in graduate school.
There was general agreement on offering keystone courses on basic programming, how to approach a collaborative digital research project, and database organization and analysis. The University of Victoria Computing Center offers introductory courses in utilizing digital tools to entry level graduate students and to students who sign up for summer courses, or 5 day courses at learned society conferences.
The new standards mentioned at the meeting for evaluation of digital scholarship included the Modern Language Association’s Guidelines for Evaluating Work in Digital Humanities and Digital Media http://www.mla.org/guidelines_evaluation_digital and the digital dissertation guidelines at George Mason University http://historyarthistory.gmu.edu/graduate/rules-guidelines that were established in 2000. Tara McPherson, Associate Professor, School of Cinematic Arts at USC indicated that her graduate students are submitting digital dissertations but still feel compelled to provide approximately 120 pages of written and printed documentation on the process of building the digital tools that they used for research and analysis to the dissertation review committees. Tara also emphasized that her students, enter her program highly skilled in the use of digital technology and are able to devote greater effort in content study.
According to the Humanities Indicators statistics on time-to-degree for tertiary degrees in the humanities in the US is 10.93 years. The United States is ranked fifth internationally (behind Germany at 17 years, Japan, Hungary and Korea) http://www.humanitiesindicators.org/content/hrcoIIB.aspx#topII14 . Todd Presner, Professor of Germanic Languages, Comparative Literature, and Jewish Studies and Director of the Center for Jewish Studies and Chair of the Digital Humanities Program at UCLA floated a concept which became shortened throughout the day and a half meeting as “the twenty-year dissertation.” The idea is not to lengthen the time-to-degree average but to develop one collaborative digital project that several graduate students would work on in part. Each student could develop facets of a major problem that could encompass several disciplines and they could also contribute to enhancing the digital tools that could expand research, analysis and construction of databases.
The time-to-degree issue also raised the question of what is expected of DH graduate students. Are faculty expecting new knowledge or is the expectation that graduate students master problem solving, project organization and leadership qualities to prepare them for faculty positions or for non-academic positions where they can apply their academic knowledge on a daily basis? The reality check was the question as to how many current dissertations actually produce new knowledge.
Kevin Franklin, Executive Director, Institute for Computing in Humanities, Arts, and Social Science (I-CHASS) at the University of Illinois at Urbana-Champaign has developed cross-disciplinary projects where shared meaning is developed between programmers and framework and platform builders who are coming from STEM and humanities disciplines. I-CHASS is also reaching out to governmental policy makers in the Americas to provide collaborative projects that address major global challenges related to the environment, educations and cultural preservation where STEM and humanities researchers are collaborating with international government entities. Two projects that involve image recognition will be presented at future CAA Annual Conferences.
CAA will be seeking opportunities to bring DH courses, workshops and presentations of new digital tools and visual arts research projects to future annual conferences. We hope to find support for more open access publications such as The Art Bulletin and caa.reviews digital projects on the Scalar open access publishing platform. In the meantime, for those who are unfamiliar with the offerings of DH centers, I would recommend visiting the DH centers at your colleges and universities or reading up on DH in the latest issue of Visual Resources: An International Journal of Documentation (29:1-2) and Debates in the Digital Humanities, Ed. Matthew Gold, University of Minnesota Press, 2012 (and check out the review of this book by Paul Jaskot also in the latest issue of Visual Resources).
People in the News
posted by CAA — Feb 17, 2013
People in the News lists new hires, positions, and promotions in three sections: Academe, Museums and Galleries, and Organizations and Publications.
The section is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
February 2013
Academe
Peter ChametzkyPeter Chametzky, formerly professor of art history and director of the School of Art and Design at Southern Illinois University in Carbondale, has been appointed professor of art history and chair of the Department of Art at the University of South Carolina in Columbia.
Irene V. SmallIrene V. Small, formerly an assistant professor in art history at the University of Illinois in Urbana-Champaign, has joined the faculty of the Department of Art and Archaeology at Princeton University in Princeton, New Jersey.
Museums and Galleries
Austen Barron Bailly, previously head of the American Art Department at the Los Angeles County Museum of Art in California, has been named George Putnam Curator of American Art at the Peabody Essex Museum in Salem, Massachusetts.
Susan L. Beningson has joined the Brooklyn Museum in New York as assistant curator of Asian art. She will help with a major reinstallation of the museum’s permanent galleries of Asian and Islamic art, scheduled to open in 2015.
Katherine A. Bussard, associate curator of photography at the Art Institute of Chicago in Illinois, has been named Peter C. Bunnell Curator of Photography at the Princeton University Art Museum in Princeton, New Jersey. She will begin work at the museum on April 15, 2013.
Nicholas CapassoNicholas Capasso, deputy director of curatorial affairs at the deCordova Sculpture Park and Museum in Lincoln, Massachusetts, has become the new director of the Fitchburg Art Museum in Fitchburg, Massachusetts.
Anne Collins GoodyearAnne Collins Goodyear, associate curator of prints and drawings for the Smithsonian Institution’s National Portrait Gallery in Washington, DC, and president of the CAA Board of Directors, has been appointed codirector of the Bowdoin College Museum of Art in Brunswick, Maine. She will lead the institution with her husband, Frank H. Goodyear III.
Alisa LaGammaAlisa LaGamma has joined the Metropolitan Museum of Art in New York as curator in charge of the Department of the Arts of Africa, Oceania, and the Americas. On April 1 she will succeed Julie Jones, who is retiring at the end of March 2013.
Lauren K. O’NealLauren K. O’Neal, a faculty member of the Graduate Arts Administration Program at Boston University in Massachusetts, has been appointed director of the Lamont Gallery at Phillips Exeter Academy in Exeter, New Hampshire.
Lynn Orr, curator in charge of European art for the Fine Arts Museums of San Francisco in California, has left her position after twenty-nine years of service.
Valérie RousseauValérie Rousseau, an independent curator and scholar, has been chosen to serve as curator of twentieth-century and contemporary art at the American Folk Art Museum in New York.
News from the Art and Academic Worlds
posted by Christopher Howard — Feb 06, 2013
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.
Classroom Meets Gallery
At the Yale University Art Gallery, a sunny new fourth-floor gallery was filled recently with a collection of artworks highly unlikely ever to meet in such proximity again. What thread could possibly unite these works? Not a purely curatorial one, of course, but a thread that wends its way through the often wonderfully murky territory where art appreciation meets education. The room, the Levin Study Gallery, is given over to professors—from art history but also from African American studies, South Asian studies, and gender and sexuality studies, among others—who choose pieces from Yale’s vast collection to serve as teaching tools. (Read more in the New York Times.)
Draft Document on Open Review Practices and Possibilities
In April 2011, MediaCommons and New York University Press jointly received a grant from the Andrew W. Mellon Foundation to support a yearlong study of open review practices and possibilities. The document that follows is a draft of the white paper that will serve as the grant’s primary outcome. (Read more at MediaCommons Press.)
Publishers and Library Groups Spar in Appeal to Ruling on Electronic Course Reserves
Fair use and electronic course reserves are back in court. A keenly watched copyright case that pitted three academic publishers against Georgia State University has entered the appeals phase, with a flurry of filings and motions this week and more expected soon. One surprise motion came from the United States Department of Justice, which requested more time to consider filing an amicus brief either in support of the publishers or in support of neither party. (Read more in the Chronicle of Higher Education.)
An Art Installation Made of the Cable News Crawl
We’re constantly inundated with news. Just look at your Twitter feed. We hop from North Korea to Top Chef to productivity tips without a second’s thought. But it’s strange, if you really think about it, that we process the world’s news as indiscriminately as sticking our fingers into every dish on a buffet. And That’s the Way It Is explores this idea of media inundation. By Ben Rubin, it’s a media installation at the University of Texas that scans closed-captioned chirons during the nightly news and projects those hot topics onto a building. (Read more at Fast Company.)
Major Art Museum Group Bolsters Rules for Acquiring Ancient Art
The ethics for adding ancient works to American art museum collections became substantially more stringent five years ago when the Association of Art Museum Directors (AAMD) decided to set the bar higher—prompted by complaints from Italy, Greece, and other ancient lands that museums had long turned a blind eye to evidence that pieces they owned had been looted from archaeological sites. Last month, the group announced a few more subtle tweaks to those guidelines, including requiring a public explanation on the AAMD’s website if a museum decides to acquire a piece despite gaps in its ownership record going back to fall 1970. (Read more in the Los Angeles Times.)
A Bronx Post Office, Home to Ben Shahn Murals, Could Be Sold
A landmark post office in the Bronx that contains thirteen Depression-era murals by the famed New Jersey artist Ben Shahn could be put up for sale. The proposal to sell the Bronx General Post Office on the Grand Concourse was outlined in a letter from the postal service to the Bronx borough president, Ruben Diaz Jr. (Read more at NJ.com.)
A New Way Forward
While some American art museums receive some government support, most depend on three main sources of money: (1) earned income from admissions, retail, restaurants, and the like; (2) revenue drawn from their endowments; and (3) annual contributions, which too often provide the largest part. In lean times, those donations tend to drop or level off—forcing cuts in staff, programming, and other costs or, sometimes, an increase in debt—and if Washington ever caps the tax deductibility of charitable donations, as many politicians want, it will make matters worse. (Read more in the Wall Street Journal.)
Curator, Tear Down These Walls
A modest proposal for this country’s great repositories of pre–twentieth-century American art: why don’t you, as Diana Vreeland might have asked, mix folk art in with the more realistic, academically correct kind that has so dominated museums since the nineteenth century? Despite rising interest in and scholarship about folk art—and even after the wholesale rethinking of several major American wings on the East Coast—the isolation of folk from academic is still the norm. (Read more in the New York Times.)
CAA Receives Major Mellon Grant
posted by Christopher Howard — Jan 14, 2013
The Andrew W. Mellon Foundation has awarded the College Art Association (CAA) a major grant of $630,000 to develop, publish, and disseminate a code of best practices for fair use in the creation and curation of artworks and scholarly publishing in the visual arts. The initiative will examine the intersection of copyright understandings and creative practices of the visual arts community in art production, art scholarship, museum curation, and editing of work on art. The project will be completed over four years, from January 2013 through December 2016. During this period, CAA will produce an issues report documenting the effects of copyright understandings on creative choices and write a code of best practices in fair use for the communities of practice represented by its members.
In noting the importance of this work, Anne Collins Goodyear, CAA board president, observed: “The challenges and uncertainties faced by artists and art historians today in securing rights to reproduce works of art in hardcopy and electronically—and the difficulties in knowing when the law might require securing such rights—have serious adverse consequences for creative practice. Both scholarly and artistic projects are often compromised or even abandoned because of the arduous and expensive process of clearing permissions. An improved understanding of the scope of fair use and a field-wide agreement on its application will be invaluable to all practitioners in the visual arts.”
By undertaking this critical and timely project, CAA aims to provide much-needed clarification of best practices in the use of third-party copyrighted material, and establish a practicable code of conduct for members of the visual-arts community. In order to create a code that functions across all areas of the visual arts, CAA’s fair use project will involve participants from the fields of art history, studio art, print and online publishing, art museums, and related areas.
Linda Downs, executive director and CEO of the College Art Association emphasized the association’s capacity to lead this effort: “As the premier association in the visual arts, CAA is uniquely positioned to address these challenges. CAA’s membership represents a broad range of stakeholders—including artists, art historians, photographers, curators, writers, and educators, as well as museums, editors, and colleges and universities—who will benefit from the issues report and code of best practices. The organization has a strong record of advocacy on a variety of issues involving intellectual property. Moreover, as a scholarly publisher in the visual arts, CAA is familiar with the challenges associated with the uncertainty surrounding the application of fair use.”
The efforts funded by the Mellon grant will be overseen by a Task Force on Fair Use established by the CAA board in May of last year. The cochairs of the task force are: Jeffrey P. Cunard, long-standing CAA counsel and a managing partner in the law firm Debevoise & Plimpton LLP; and Gretchen Wagner, a member of CAA’s Committee on Intellectual Property and general counsel of ARTstor. In addition to the cochairs, task force members include: Anne Collins Goodyear, CAA board president and associate curator of prints and drawings at the National Portrait Gallery, Smithsonian Institution; Linda Downs, CAA executive director and chief executive officer; Randall C. Griffin, CAA vice president for publications and a professor in the department of art history at Southern Methodist University; and other CAA members with professional experience in studio art, art history, curatorial work, and copyright law.
CAA has engaged two principal investigators to lead the four-year project: Patricia Aufderheide, university professor in the School of Communication and co-director of its Center for Social Media; and Peter Jaszi, professor of law and faculty director of the Washington College of Law’s Glushko-Samuelson Intellectual Property Clinic. Aufderheide and Jaszi, who have significant expertise in successfully developing fair use codes for documentary filmmakers, dance archivists, research librarians, and journalists, will be responsible for conducting the investigatory work that will inform the report and code. Aufderheide and Jaszi will also work with a Community Practices Advisory Committee to review the report and a Legal Advisory Committee to review the code. Two project advisors—Virginia Rutledge, an art advisor, art historian, and lawyer who practices in the areas of both copyright and art law, and Maureen Whalen, associate general counsel for the J. Paul Getty Trust—will contribute expertise during all phases of the project. The task force cochairs, Cunard and Wagner, together with Goodyear, Downs, Aufderheide, and Jaszi will also serve as principal investigators.
CAA approaches this project with an established history of engagement on the issues of copyright and fair use, and gratefully acknowledges the work done in this area by allied scholarly societies including the Visual Resources Association, the Association of Research Libraries, and the New York City Bar Association Art Law Committee (ALC). With the assistance of a start-up grant from the Samuel H. Kress Foundation, awarded in September 2012, CAA recently completed a preparatory phase of the fair use project that will inform the activities now funded by the Mellon Foundation. During this preparatory phase, the task force met with Aufderheide, Jaszi, and CAA’s board of directors to discuss the research methodology and select thought leaders to be interviewed about copyright and fair use practices. Additionally, Aufderheide and Jaszi conducted twenty-five exploratory interviews with some of these thought leaders to help identify the key topics that the issues report and code should address. With this work completed, the task force and principal investigators are in a strong position to move forward with the formal investigative phase of the project.
For more information about the fair use project, please contact Janet Landay, project manager, at jlanday@collegeart.org (212-392-4420) or Virginia Reinhart, CAA marketing and communications associate, at vreinhart@collegeart.org (212-392-4426).
New Editions of Graduate Programs in the Arts
posted by Betty Leigh Hutcheson — Jan 04, 2013
CAA has updated its directories of graduate programs in the arts, revising current entries and adding new ones. CAA’s comprehensive guides—listing 650 programs across five countries—provide prospective graduate students with the information they need to begin the application process. Graduate Programs in Art History covers four program types: History of Art and Architecture, Arts Administration, Curatorial and Museum Studies, and Library Science. Graduate Programs in the Visual Arts presents program listings in Studio Art and Design, Art Education, Film Production, and Conservation and Historic Preservation.
Organized alphabetically by school name within each program type, entries describe curricula, class size, faculty and specializations, admission and degree requirements, library and studio facilities, opportunities for fellowships and assistantships, and the availability of health insurance. To get a better sense of the content, look at these sample entries.
Individual programs types can be purchased separately as ebook or print volumes. You can also purchase individual entries in two ways: search the directories by program type, faculty specialization, awarded degrees, country, region, state, availability of health insurance, and whether or not part-time students are admitted, or browse by institution name to download individual entries as PDF files.
The directories also serve as key professional references for career-services representatives, department chairs, graduate and undergraduate advisors, librarians, professional-practices educators, and professors interested in helping emerging generations of artists and scholars find success.
For more details and to order the directories, please contact Roberta Lawson at 212-392-4404.