CAA News Today
Meet the 2018 Participants in the CAA-Getty International Program
posted by CAA — Nov 14, 2017
CAA is pleased to announce this year’s participants in the CAA-Getty International Program. Now in its seventh year, the international program will bring fifteen new participants and five alumni to the 2018 Annual Conference in Los Angeles, February 21-24. The participants—professors of art history, curators, and artists who teach art history—hail from countries throughout the world, expanding CAA’s growing international membership and contributing to an increasingly diverse community of scholars and ideas. Selected by a jury of CAA members from a highly competitive group of applicants, the grant recipients will receive funding for travel expenses, hotel accommodations, conference registration, CAA membership, and per diems for out-of-pocket expenditures.
At a one-day preconference colloquium, to be held this year at the Getty Center, the fifteen new participants will discuss key issues in the international study of art history together with five CAA-Getty alumni and several CAA members from the United States, who also serve as hosts throughout the conference. The preconference program will delve deeper into subjects discussed during the past year’s CAA-Getty reunion, held at the 2017 Annual Conference, in which twenty alumni presented a series of conference sessions titled “Global Conversations.” Topics include such issues as postcolonial and Eurocentric legacies, interdisciplinary and transnational methodologies, and global trends in museum research and exhibitions.
The inclusion of five alumni is an added feature of this year’s CAA-Getty program. They will provide intellectual links between previous convenings of the international group and this year’s program and also serve as ombudsmen between CAA and the growing community of CAA-Getty alumni. In addition to contributing to the preconference colloquium, the five participating alumni will present a new Global Conversation during the 2018 conference titled Border Crossings: The Migration of Art, People, and Ideas.
The goal of the CAA-Getty International Program is to increase international participation in the organization’s activities, thereby expanding international networks and the exchange of ideas both during and after the conference. CAA currently includes members from 70 countries around the world. The CAA-Getty International Program is made possible with a generous grant from The Getty Foundation.
2018 Participants in the CAA-Getty International Program
John Tokpabere Agberia is an artist, art historian, and curator. Graduating in 1983 from the University of Benin, Benin City, he began his academic career as a graduate assistant at the University of Uyo in 1985. He received an MA in art history at University of Ibadan in 1988 and a PhD from the University of Port Harcourt in 1998. Agberia has received several distinguished fellowships from the United Kingdom, including the AG Leventis fellowship at School of Oriental and African Studies (SOAS), University of London (1995), the Sainsbury Research fellowship of Sainsbury Research Unit at the University of East Anglia (1997), and the University of Oxford’s Titular fellowship at the Pitt Rivers Museum (2009). At Oxford Pitt Rivers, he worked with Jeremy Coote, the Joint Head of Collections where he began studying museums, cultural heritage, and curating. He has since become an active curator in Nigeria. Agberia is a professor of fine arts and design at the University of Port Harcourt, Nigeria.
Felipe Soeiro Chaimovich was born in Santiago, Chile, and lives in São Paulo, Brazil. He earned a PhD in philosophy from the University of São Paulo and is a professor of art history, aesthetics, and art criticism at the Arts Faculty of Fundação Armando Álvares Penteado as well as the chief curator of the Museum of Modern Art, both located in São Paulo. He has three areas of academic research: mirrors as the origin of contemporary art, the confusion between gardens and nature in the ecological debate, and the aesthetics of taste and table manners. He has curated Sao Paolo’s International Garden Festival at Ibirapuera Park (2010) and Encounters of Art and Gastronomy at the city’s Museum of Modern Art (2012). Chaimovich is currently finishing a book on the origins of contemporary art that explores optics and the invention of perspective, Versailles, the relationship between mirrors and paintings, and the emergence of a new, self-reflexive working process in early 20th century art.
Thanavi Chotpradit is a lecturer in modern and contemporary Thai art history in the Department of Art History, Faculty of Archaeology, at Silpakorn University, Bangkok, Thailand. She is also a member of the editorial collective of Southeast of Now: Directions in Contemporary and Modern Art, a peer-reviewed journal dedicated to study of contemporary and modern art in Southeast Asia. She received her PhD in art history from Birkbeck, University of London, under a Royal Thai Government Scholarship. In 2015-16, Chotpradit participated in a cross-regional research program, “Ambitious Alignment: New Histories of Southeast Asian Art,” developed by the Power Institute Foundation for Art and Visual Culture, University of Sydney, Australia, and funded by the Getty Foundation’s Connecting Art Histories initiative. Her areas of interest include modern and Thai contemporary art in relation to memory studies, war commemoration, and Thai politics.
Katarzyna Cytlak is a Polish art historian based in Buenos Aires, Argentina, whose research focuses on the artistic creation of Central Europe in the second half of the twentieth century. As seen through a transmodern and transnational perspective, she studies conceptual art, radical and utopian architecture, socially engaged art, and art theory in relation to post-socialist countries. In 2012 she received a PhD from the University Paris 1 Panthéon-Sorbonne with a dissertation titled “The Grey Utopias: Architectural Projects in Central Europe in the 1970s.” Selected publications include articles in Umění/Art, Eadem Utraque Europa, Telón de Fondo, Third Text, and the RIHA Journal. Cytlak is currently a postdoctoral fellow at the Consejo Nacional de Investigaciones Científicas y Técnicas, Argentina (CONICET) and at the University of San Martín, Argentina. Her areas of research include East European and Latin American conceptual art, decolonial theory, and art history and criticism in post-communist countries.
Anna Guseva is an associate professor in the School of History, Faculty of Humanities, National Research University Higher School of Economics (Moscow), where she has been a faculty member since 2014. She also directs a master’s program, “History of Art Culture and the Art Markets,” in the same department. Her research interests span both art and urban history in Russia and Asia in relation to food and rural history. Guseva graduated from the Lomonosov Moscow State University with a degree in art history in 1998 and received her PhD in architecture from the University of Tokyo in the Fujimori-Muramatsu Lab in 2011. She has organized architectural exhibitions as an independent curator, including My Melnikov (2013) and Environmentally Friendly Japanese Architecture: Taira Nishizawa Architects (2013), both at the Moscow Architectural Institute, and the latter also at the House of Architects in Nizniy Novgorod. Guseva also writes reviews for professional journals and trade publications on architecture and Asian art.
Markéta Hánová received a PhD in 2008 from Charles University in Prague, Czech Republic. Since 2000 she has been the curator of Japanese art at Prague’s National Gallery (NG). In 2012 she became the director of the Collection of Asian and African Art at the same institution. Hánová’s fields of interest include Japanese painting, ukiyo-e prints and Japonisme. She organized the exhibition Japonisme in Czech Art at the NG in 2014, one of many she has curated for the museum. In collaboration with the Japanese museums of art in Wakayama and Chiba she is currently developing an exhibition titled Japonisme in the Czech Lands to be presented in Japan in 2019. Her current research focuses on the popularity of collecting Japanese woodblock prints in the Czech lands in the late nineteen and early twentieth centuries. She has also reconceived the installation of Asian art at the NG Prague.
Alison Kearney is a Johannesburg-based artist and scholar of South African art, who lectures on art education in the School of Education at the University of the Witwatersrand (Wits). She obtained her PhD, titled “Beyond the Readymade: Found Objects in Contemporary South African art,” from Wits in 2016. She completed her master’s degree in fine art (with distinction) from the same university in 2004. Through her research Kearney interrogates the continuities and ruptures between African and Western art practices by critically exploring the ways in which Western avant-garde art practices and their attendant theories have informed contemporary African art. Kearney’s artworks have been featured in numerous exhibitions in South Africa, Switzerland and Australia. She has published scholarly work on contemporary South African art and develops education materials that facilitate particular engagements with art for the Wits Art Museum.
Natalia Keller is a graduate of Warsaw University (BA, 2010) and Utrecht University (MA, 2013), and a museum professional in a variety of cultural institutions in Europe and South America. Since 2014 she has been a researcher in the Collection Department of the National Museum of Fine Arts in Santiago de Chile where she studies its foreign works of art and their place within a Latin American context. Her research interests include prints and drawings, gender studies, and women artists. Keller has directed and participated in research and exhibition projects about female devotion in the Late Middle Ages, women’s involvement in the Academy during the 19th century, and contemporary Chilean women artists. She is especially interested in presenting art through the perspective of gender studies and visual and material culture, as well as through themes of community engagement and social justice.
Sandra Križić Roban received a PhD from the Department of Art History, Faculty of Philosophy, at the University of Zagreb, Croatia. Active as a critic, curator, lecturer, and writer, Križić Roban is a senior research advisor at the Institute of Art History in Zagreb, where she also serves as editor-in-chief of the art journal Život umjetnosti. Together with colleagues she established the Office for Photography in 2013, a nonprofit association dedicated to researching and promoting contemporary photography. She is the author of the only two comprehensive studies of contemporary photography and painting in Croatia: At Second Glance: the Position of Contemporary Croatian Photography (2010), and Croatian Painting from 1945 to Today (2013). Within the project Postmedia and Non-institutional Art Practices from the 1960s she has organized three international conferences on contemporary arts. Križić Roban’s main research topics include contemporary art, history and theory of photography, post-war architecture, public space discourse, and contemporary war memorials.
Hsin-tien Liao holds PhDs in art history (University of Central England in Birmingham, UK) and sociology (National Taiwan University, Taipei, Taiwan). He is the dean of the College of Humanities at the National Taiwan University of Arts and also teaches at the school’s Graduate School of Art Management and Culture Policy. From 2010-13 he was a senior lecturer at Australian National University where he is now an honorary professor. Liao’s research focuses on calligraphy, Taiwanese art, the sociology of art, and postcolonial visual art. Recent publications include The Tension of Art: Taiwanese Fine Art and the Politics of Culture (2010), Extending Knowledge through Investigating Art (2013), and A New Thinking on Taiwanese Art: Framework, Criticism, and Aesthetics (2017). He has written biographies about two modern Taiwanese printmakers: Liao Shiou-ping (2016) and Li Xi-chi (2017). In 2013 he published a Chinese translation of Kenneth Clark’s Landscape into Art. In 2016, he established the Taiwanese Art History Association and became its first chair.
Chen Liu teaches art history and architecture at Tsinghua University in Beijing, China, where she received a bachelor’s degree in architecture with honors. After receiving a master’s in architecture and urban planning from the University of Maryland in 2000, she practiced as an architect in Washington DC until 2005. In 2011, she received a PhD in art history from Princeton University, specializing in Renaissance and Baroque art and architecture. In 2012, funded by an Andrew W. Mellow Fellowship, she helped create and direct the first Villa I Tatti summer research seminar designed specifically for Chinese scholars. “The Unity of the Arts in Renaissance Italy” provided participants with the opportunity to study firsthand the art and architecture of Renaissance Italy. Liu also teaches courses on the visual arts at Beijing Film Academy and Tongji University (Shanghai). She publishes widely on early modern art and architecture, as well as on the response of Chinese scholars to the Italian Renaissance.
Natalia Moussienko is a leading research fellow at the Modern Art Research Institute of the National Academy of Arts of Ukraine (Kyiv). She is the author of numerous books and articles on art history, cultural diplomacy, cinema, and urbanism, including Art of Maidan (2016), Kyiv Art Space (2013), and Arts and Politics (2002). In 2016 the National Academy of Arts of Ukraine awarded Moussienko a Golden Medal for her achievements in cultural diplomacy. She was also awarded a Fulbright scholarship to conduct research at the Kennan Institute, Wilson Center, in Washington DC (2011-2012) and a Thesaurus Polonia fellowship to study at the International Cultural Center in Krakow (2017). Moussienko is an initiator and curator of the Art of Maidan, a continuing project begun in 2014 to document the explosion of artistic creativity during the Revolution of Dignity in 2013-14. Central to the project is a book and exhibition that has already been presented in sixteen locations in Ukraine, the United States, and Europe.
Simon Soon is a researcher and senior lecturer in the Visual Art Department of the Cultural Centre, University of Malaya, located in Kuala Lumpur, Malaysia. He completed a PhD in art history at the University of Sydney with a dissertation titled, “What is Left of Art? The Spatio-Visual Practice of Political Art in Indonesia, Singapore, Thailand, and the Philippines, 1950s–1970s.” Soon studies comparative modernities in art, urban histories, and art historiography and writes on various topics related to twentieth-century art across Asia. He is also a co-editor of Narratives of Malaysian Art, Vol. 4. He is the Penang field director for the Power Institute, University of Sydney’s “Site and Space of Southeast Asia,” funded by Getty Foundation’s Connecting Art Histories Initiative. He is also an editorial member of Southeast of Now: Directions in Contemporary and Modern Art, a peer-review journal published by NUS Press (National University of Singapore) and a team member of Malaysia Design Archive.
Romuald Tchibozo is an art historian from Benin. He received his PhD in 2003 from the Humboldt University of Berlin with a dissertation titled “Art and Arbitrary: a Study of the African Contemporary Art Reception in the West: the German Case from 1950 to the Present Day.” Currently, he is a senior lecturer of art history in the Archaeology and History Department, Faculty of Arts and Humanities, National Institute of Art, Archaeology and Cultural Craft, at the University of Abomey-Calavi, Benin. He also teaches art history at the Centre Régional d’Action Culturelle of Lomé in Togo. In 2013-14, Tchibozo was a fellow in the Art Histories and Aesthetic Practices program, an initiative of the Max-Planck-Institute at the Forum for Transregional Studies in Berlin. His research focuses on African contemporary art in the former German Democratic Republic, the evolution of contemporary art in Benin, and heritage issues, such as the Yoruba Gèlèdè Society and the practice of art history.
Sarah Umer is an assistant professor in the Institute of Visual Arts & Design at Lahore College for Women, the largest women’s university in Pakistan and one of the largest in South Asia. In addition to teaching undergraduate and graduate students, Umer organizes seminars and conferences with universities and museums on a national and international level. Her research interests include the study of ancient civilizations and religions, predominantly in the South Asian region. In 2016, Umer received a PhD from Lahore College for Women with a dissertation on the religious beliefs of the Indus Valley people. In early 2017, as a recipient of a Charles Wallace Fellowship, she probed this topic further at SOAS (School of Oriental and African Studies), University of London. In particular, she studied the cuneiform tablets of Mesopotamia to see if this civilization may have shared religious beliefs with the Indus Valley culture, in addition to their known trading connections.
Participating Alumni
Cezar Bartholomeu is an artist and professor of art history at the School of Fine Arts, Universidade Federal do Rio de Janeiro (UFRJ), in Brazil. He received a PhD in visual languages from both the UFRJ and the École de Hautes Études in Paris. Between 2010-17 he was the editor-in-chief of Arte & Ensaios, one of Brazil’s major art journals. His areas of research include photography as art, photography’s history and theory, and photography in Brazil. As an artist, Bartholomeu exhibits widely in Brazil and Europe. His publications include Celebrações/Negociações – Fotografia Africana na coleção Gilberto Chateaubriand (African Photography in the Gilberto Chateaubriand Collection, Museum of Modern Art, Rio de Janeiro, 2011), “Emanation/Abjection” in Laboratório Público de Históra da Arte Mundial (Public World Art History Lab, Rio de Janeiro: UERJ, 2014), and “Thirty Times Failed: Valério Vieira and Experimental Photography in Brazil” in Photography and Failure (New York: Bloomsbury, 2017).
Parul Pandya Dhar is an associate professor of South and Southeast Asian art history in the Department of History, University of Delhi, where she researches and teaches premodern Indian art history and connected histories of Asian art. She has authored The Toraṇa in Indian and Southeast Asian Architecture (2010), edited Indian Art History: Changing Perspectives (2011), and co-edited Temple Architecture and Imagery of South and Southeast Asia (2016), Asian Encounters: Exploring Connected Histories (2014), and Cultural Interface of India with Asia: Religion, Art and Architecture (2004). Dhar has served as a jury member, peer reviewer, and editorial board member for numerous international conferences, publications, and journals. She was awarded the Nehru Trust Travel Grant, UK, in 2004, the Alexander von Humboldt Post-Doctoral Research Fellowship, Berlin, in 2007-08, and the CAA-Getty International Program award in 2012. She is a participating alumna of the CAA-Getty program in 2018. Dhar is also a well-known Bharatanatyam artist.
Ildikó Gericsné Fehér received an MA and PhD in art history from Eötvös Loránd University in Budapest, Hungary. As associate professor in the Department of Art History of the Hungarian University of Fine Arts in Budapest, she lectures and leads seminars on Renaissance and Baroque art. She is also a consultant to the university’s Conservation Department. Fehér’s research interests include detached wall paintings from medieval and Renaissance Italy in the collection of the Museum of Fine Arts Budapest; Florentine art dealers at the end of the nineteenth century; Károly Pulszky’s purchases of paintings in Italy for the museum circa 1890; wall paintings in Umbria from the fourteenth to sixteenth century; self-portraits by Hungarian artists in the Uffizi Gallery; and the works of Jacopo Palma il Giovane.
Peju Layiwola is an artist and professor of art history, Department of Creative Arts, University of Lagos, Nigeria. Through her writing and multimedia works Layiwola has addressed the tragic impact of the British Expedition to Benin, Nigeria, in 1897. Her focus on memory, Benin art and culture, and female participation in the visual arts in Nigeria has led to several articles in edited volumes such as Benin Kings and Rituals: Court Arts from Nigeria (2007), Writing African Women: Gender, Popular Culture and Literature in West Africa (1997) and N.Paradoxa, an international feminist journal (2013). Layiwola’s art has featured in several exhibitions within and outside Nigeria, including Benin1897.com: Art and the Restitution Question (Main Auditorium Gallery, University of Lagos, 2010), Whose Centenary? (Igun Street, Benin City, 2014) and a traveling exhibition Boundary Object organized by Artefakte, Berlin (Dresden, Madrid, 2015-16). She is currently head of the Department of Creative Arts, University of Lagos, Nigeria.
Nomusa Makhubu holds a PhD in art history and visual culture from Rhodes University, South Africa. A senior lecturer of art history at the University of Cape Town’s Michaelis School of Fine Art, Makhubu studies art interventionism, popular culture, and social engagement in African visual art. She is the recipient of the ABSA L’Atelier Gerard Sekoto Award (2006), the Prix du Studio National des Arts Contemporain, Le Fresnoy (2014) and the First Runner Up in the Department of Science and Technology (DST) Women in Science Awards (2017). Makhubu is a member of the South African Young Academy of Science and Chair of the Africa South Art Initiative. In 2016, she was a fellow of the American Council of Learned Societies and an African Studies Association (ASA) Presidential Fellow. Makhubu is currently an Institute for Creative Arts fellow (University of Cape Town) and a Mandela-Mellon Fellow at the Hutchins Center for African and African American Studies, Harvard University.
For more information about the CAA-Getty International Program, please contact project director Janet Landay at jlanday@collegeart.org or 212-392-4420.
News from the Art and Academic Worlds
posted by CAA — Nov 08, 2017
![](https://www.collegeart.org/news/wp-content//Barbara-Kruger_Gothamist_Scott-Heins-1024x683.jpg)
Barbara Kruger installation as part of Performa 17, November 2017. Photo: Scott Heins/Gothamist
Each week CAA News summarizes articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Latinx Community Activism and Social Art Practices Get A Rare Spotlight in New Exhibit
Talking to Action: Art, Pedagogy, and Activism in the Americas is now on view in Los Angeles. (KCET)
Me and My Pencil: Famous Creatives on their Tools – in Pictures
Alex Hammond and Mike Tinney photographed the pencils of 70 artists, designers, musicians and architects. (The Guardian)
The Angriest Librarian Is Full of Hope
After his profanity-laced tweetstorm went viral, Portland librarian Alex Halpern found himself speaking up for his embattled profession. (CityLab)
The Women Who Built the New York Art World
Between 1929 and 1939, four of New York City’s most iconic museums emerged in Manhattan. (Artsy)
Photos: Barbara Kruger’s Bold Statement Pieces Now Up Around NYC
The artist has taken over several spaces in NYC this month as part of the Performa Biennial. (Gothamist)
Galleries Hit by Cyber Crime Wave
Hackers are using an email scam to intercept payments between galleries, collectors and others. (The Art Newspaper)
How to Frame a $100 Million Painting by Leonardo da Vinci
“When you see it with no barrier between you and the actual piece, it’s stunning.” (Artsy)
Refining Hiring Standards for Part-Time Faculty
posted by CAA — Nov 02, 2017
![](https://www.collegeart.org/news/wp-content//Adjunct_IthacaCollege.jpeg)
Students and faculty protest at Ithaca College, 2016. Image courtesy Tompkins County Workers’ Center.
CAA is committed to supporting all professionals in the field. This especially pertains to those who are applying for and working as part-time faculty members. For more than twenty years, CAA has been setting standards for hiring part-time faculty.
CAA’s current guidelines are published here and copied below. We want to hear from members about how these might be updated and strengthened.
Hunter O’Hanian
College Art Association
Executive Director and Chief Executive Officer
CAA Guidelines for Part-Time Professional Employment
Part-time employees play a critical role within the art world, specifically in academia, museums, galleries, and other arts institutions. They help meet curricular demands, offer expertise in specialized areas, and/or provide leadership in institutional programming.
Part-time faculty may be referred to with the following terms: adjunct, temporary, lecturer, graduate assistant, and teaching assistant. The terminology and its implications may vary from institution to institution, with the designation “part-time” or “temporary” serving as the most general and therefore consistent names. While this standard is primarily concerned with addressing the conditions of fully credentialed and professionalized part-time or short-term employees who are not simultaneously graduate students, this guideline may be relevant to those employed in conjunction with their graduate studies.
Part-time/temporary faculty and other part-time/temporary employees may be understood to be of several types: Part-time/temporary employees who would prefer full-time positions, part-time/temporary employees with no other employment, part-time employees who teach/work in addition to other full-time employment, and part-time/temporary employees who are retirees. Additionally, some institutions have paid, professional visitors that are not ongoing, full-time employees and also are not recurring, part-time employees. With this in mind, it is acknowledged that there is no singular reason one seeks part-time employment, and while each person may have individual reasons and needs, CAA encourages institutions to chart a path of continual improvements and aspire to provide the best possible working conditions for all part-time/temporary professionals, especially given the increasing reliance on such professionals.
Among key areas of concern are: equitable compensation; employment stability; access to employee benefits, including health care; access to professional development; and safe and adequate working conditions.
Within academia, these areas of concern may be assessed and addressed by comparing part-time faculty roles against full-time tenured/tenure-track faculty roles. Where similar work is performed and similar institutional expectations are held, equitable compensation and resources should exist. Where the treatment of employees in full- and part-time categories is dissimilar, the differences in expectations/compensation and the reasons for those differences should be articulated to both groups.
Institutions that regularly have visiting or guest faculty or curators should define how such roles are similar and different from other full-time and part-time employee roles. If the visiting appointment has responsibilities most similar to a comparable full-time position, the compensation should resemble such a full-time position.
Certain rights and responsibilities should be consistent regardless of one’s employment category. For example, academic freedom should provide the same protections for all. So too should workers’ compensation and other applicable laws that offer employee safeguards.
Working Conditions for Part-Time Employees
Given the great range of mission and expectations in institutions, it is essential that institutions define the roles of part-time employees and provide them with this information as well as information on their workplaces.
- The following written information should be provided by the institution at the time of employment.
- Institutions with a significant number of part-time employees may wish to create and use a part-time employee handbook.
- Statement on the institutional/departmental mission or philosophy
- A full description of the part-time position, including a definition of the role and duties (in the case of faculty, this would include class title, description, size, contact hours, advising responsibilities, and any other responsibilities)
- Description of teaching facilities, office facilities, and support services
- In the case of art and design faculty, description of and access to studio facilities or teaching and for personal, professional development
- Description of financial support and resources available for performing the work and for personal, professional development
- Information on evaluation and promotion procedures
- Information on employment security
- Information on institutional governance and opportunities to participate in it
- Information on any and all institutional expectations
- A written contract for part-time employment should explicitly state the following:
- Compensation including salary, benefits, and any other compensation
- Duties and responsibilities
- Duration of employment
- Process and timing of evaluation
- Availability and timing of contract renewal
- For part-time/temporary faculty:The standards of excellence defined by visual arts programs should be founded upon realistic criteria
- Generally, part-time/temporary faculty do not have research/creative activity duties; if such expectations exist they should be stated in the contract and the faculty member compensated for them
- Part-time/temporary faculty may or may not have service obligations; if service duties are assigned, the faculty member should be compensated for them
- Institutional expectations should take into consideration changes in academia, the commercial
marketplace, and the discipline in question - Whenever possible, faculty should be included in the design of the course taught
- If a course is to be canceled due to under-enrollment or another issue, the faculty member should be notified in a timely manner; if it is canceled at the last minute, the faculty member should be compensated, either in full or on a pro-rated basis for course preparation
- Part-time faculty should have access to private (or shared with the expectation
of privacy when needed) office space for student/teacher meetings - If a part-time faculty member’s institutional contribution is equivalent to that of a full-time faculty member, the part-time faculty member should be equitably compensated in comparison to such a full-time faculty member. If there is no expectation for research or service, differential compensation may be significant. This should be clearly stated in contractual materials.
- For all part-time employees:
- Personal and environmental safety should be a major concern with adequate protection provided by the employer
- OSHA, EPA, and other relevant standards should be followed
- Institutional practices for ensuring safety should be clearly communicated
- Opportunities for advancement in rank, salary, and responsibilities should be given to recurring, part-time employees.
- Adequate administrative support should be provided: mailbox; office space; telephone and computer access; clerical support; library facilities; and teaching/research support such as assistants and/or graders, when warranted
- When additional duties are offered or assigned, and such duties are ones often performed by full-time employees and go beyond the regular scope of part-time employment, the part-time employee should be offered additional and adequate compensation, such as a stipend
The 2013 ad-hoc committee for revision was co-chaired by Thomas Berding, Michigan State University and John Richardson, Wayne State University. The committee included Janet Casey, Skidmore College; Zoe Darling, Milwaukee Institute of Art and Design; Jim Hopfensperger, Western Michigan University; David LaPalombara, Ohio University; Dennis Nawrocki, Wayne State University; and Kate Wagle, University of Oregon.
Click here for more information.
News from the Art and Academic Worlds
posted by CAA — Nov 01, 2017
Linda Nochlin. Photo: Adam Husted
Each week CAA News summarizes articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Linda Nochlin, Trailblazing Feminist Art Historian, Dies at 86
The pioneering art historian and longtime CAA member passed away this week. (ARTnews)
Over 1,800 Artists and Art Workers Sign Letter against Sexual Harassment
The public letter criticizes “an art world that upholds inherited power structures at the cost of ethical behavior.” (Hyperallergic)
“K Is for Kahlo, B Is for Basquiat”: New Children’s Book Teaches Kids about Artists
An inclusive, educational alphabet book by Dr. Tamara Pizzoli. (Afropunk)
Want to Be an Artist-in-Residence at New York City’s Department of Corrections? Now’s Your Chance
NYC has rolled out 3 new artist-in-residency programs in partnership with city agencies. (Artnet News)
The US Cities with the Highest Concentrations of Working Artists
The vast majority of working artists live in urban areas. (Quartz)
How Many “Lost” Masterpieces Are Already Hanging in Museums?
A potential golden age for finding artworks in public collections that have long been overlooked. (Artsy)
Rejoin CAA This November and Get 25% Off
posted by CAA — Oct 31, 2017
Rejoin CAA during the month of November and get 25% off any Tiered membership level.
We believe in strength in numbers. This past year, CAA fought for the causes of our members and those in the arts and culture field at large.
We released statements against the Trump administration’s Immigration Ban and attempts to defund federal arts and humanities agencies that have a demonstrable public good. We joined an Amicus Brief with the Solomon R. Guggenheim Museum, the Association of Art Museum Directors, the American Alliance of Museums, and over 100 other cultural institutions raising our voices against the Immigration Ban.
In a public survey, our members shared their nuanced ideas on monuments and statues in this politically charged moment.
We added new benefits, like reduced Lynda.com memberships, discounted legal services, and discounts to leading academic publishers, to support our members in their professional careers and daily lives.
And we launched a new advocacy-focused Monday newsletter, ensuring that our audience is informed about the latest news, jobs, and opportunities in the field. The CAA News Monday also features our new CAA Conversations Podcast series.
Rejoin CAA now and take part in the 106th CAA Annual Conference in Los Angeles, February 21–24, featuring over 300 sessions and special events at The Getty, LACMA, and The Broad.
Now it’s time to join those who fight for you.
Offer valid from November 1–November 30, 2017 to all individual lapsed members. Log in to your CAA account to view the discount code. Code will be visible after log in from November 1–November 30, 2017.
News from the Art and Academic Worlds
posted by CAA — Oct 25, 2017
Judy Chicago in front of The Dinner Party. Photograph: Donald Woodman
Each week CAA News summarizes articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Judy Chicago: ‘In the 1960s, I was the only visible woman artist’
An interview with the trailblazing artist as the Brooklyn Museum explores the process behind The Dinner Party. (The Guardian)
Artist Omer Fast’s Take on Chinatown Angers Community Organizations
Omer Fast’s exhibition at the Chinatown branch of James Cohan Gallery has drawn ire from local groups. (Hyperallergic)
The Professor Is In: 4 Steps to a Strong Tenure File
Helpful advice from Karen Kelsky, former tenured professor at two universities, and founder and president of consulting service The Professor Is In. (The Chronicle of Higher Education)
Artist and Art Materials Artist Survey 2018
Take NAMTA’s 2018 survey and help artist associations, websites and art supply businesses serve practicing artists better. (International Art Materials Association)
Disaster Preparedness & Response Resources
Invaluable resources for organizations, museums and collections facing the threat of natural disasters. (American Alliance of Museums)
Artsy and the Rise of the Matchmaker Market
The online art market has been transforming how art is sold at auction. (The Art Newspaper)
Indigenous Futures in Art Journal
posted by CAA — Oct 23, 2017
![](https://www.collegeart.org/news/wp-content//AJ-Summer-2017.jpg)
Postcommodity, Repellent Fence, 2015, installation view (artwork © Postcommodity; photograph by Michael Lundgren provided by Postcommodity)
Recent years have seen a boom in the creation of new art by Indigenous artists across North America—and a concomitant surge in scholarship about this art. The recently published issue of Art Journal is devoted to both the art and the research. In addressing the theme “Indigenous Futures,” editor-in-chief Rebecca M. Brown turned to the scholars Kate Morris and Bill Anthes as guest editors.
Works by dozens of Indigenous artists are featured in the issue, among them Kay WalkingStick, Kent Monkman, Shan Goshorn, Rebecca Belmore, Cheryl L’Hirondelle, Will Wilson, and Edgar Heap of Birds. The artist collective Postcommodity created a project for the issue that includes the covers. Two artists wrote substantial texts: Jolene Rickard explores the theme of sovereignty in Indigenous art, while Marie Watt enjoys a frank chat with Joseph Beuys’s Coyote—who is amazingly au courant about today’s art.
In addition to Morris and Anthes, the scholars Jessica L. Horton, Dylan Robinson, and Sherry Farrell Racette provide insights into bodies of work by specific artists. A strong curatorial thread runs through the issue as well, with essays by Candice Hopkins and Heather Igloliorte; a magisterial essay by the curators Kathleen Ash-Milby and Ruth B. Phillips traces the history of critical exhibitions in North American museums and galleries since 1992, the year of the controversial “celebration” of the Columbus quincentennial.
The Reviews section of the issue features a 2015 book by W. J. T. Mitchell (reviewed by Caroline A. Jones), a substantial anthology on the postwar avant-garde in Scandinavia (by Karen Kurczynski), the exhibition and catalogue of Hélio Oiticica: To Organize Delirium (by Camila Maroja), a multiauthor and -artist volume on the Indian city of Chandigarh (by Tracy Bonfitto), and the exhibition and catalogue of Leap Before You Look: Black Mountain College 1933–1957 (by Erica DiBenedetto).
CAA sends print copies of Art Journal to all institutional members and to those individuals who choose to receive the journal as a benefit of membership. The digital version at Taylor & Francis Online is currently available to all CAA individual members regardless of their print subscription choice.
Registration is Open for CAA’s 106th Annual Conference
posted by CAA — Oct 16, 2017
![](https://www.collegeart.org/news/wp-content//021617_caa_black_lives_matter_7-1024x683.jpg)
Curator and anthropologist Niama Safia Sandy at the CAA 105th Annual Conference New York, 2017. Photo: Ben Fractenberg
Change has been an ongoing topic of conversation in planning the 106th Annual Conference in Los Angeles, February 21-24, 2018. In our meetings with LA-based civic and cultural organizations, the topic came up over and over again. From the new museums opening in downtown, housing astonishing collections, to the protests in Boyle Heights over gentrification, LA is undergoing a metamorphosis. The parallels to CAA, which is undergoing its own transformation, were hard to ignore. We held close these discussions about changes, both CAA’s and LA’s, in designing the content and experience for the Annual Conference. We look forward to bringing together the international visual arts community once again to connect and learn in the great city of Los Angeles.
Registration form for mailing for faxing.
Book your hotel room at the lowest rates and take advantage of travel discounts.
For registration rates and deadlines visit the registration page.
View the schedule for the 2018 Annual Conference.
The 2018 Annual Conference will include over 300 themed sessions, covering discussions on medieval tapestry, contemporary issues in Latinx art, and community engagement through the arts, among many other topics. The Annual Conference will include its Annual Artist Interviews, as part of ARTspace, made possible in part with a generous grant from the National Endowment for the Arts. Past interviewees have included Coco Fusco, Katherine Bradford, Joyce Scott, and Rick Lowe. The schedule for the 2018 Annual Conference is packed with more professional-development workshops than ever, a long list of LA-museums and cultural institutions our attendees can visit for free with their conference badges, and Special Events like a reception at The Getty, guided tours of “Jasper Johns: Something Resembling Truth” at The Broad, and breakfast at LACMA, to name a few.
We are thrilled to welcome Charles Gaines and Wu Hung as our Keynote Speaker and our Distinguished Scholar for 2018.
Convocation Keynote Speaker
![](https://www.collegeart.org/news/wp-content//charlesgaines-199x300.jpg)
Charles Gaines, 2018 Keynote Speaker, Photo by Katie Miller
Charles Gaines is an LA-based artist whose complex grid-work and mapping pulls from conceptual art and the field of philosophy. More on Charles Gaines and his 2015 solo show at the Hammer Museum, “Charles Gaines: Gridwork: 1975-1989.”
2018 Distinguished Scholar
![](https://www.collegeart.org/news/wp-content//20140329_DelhiCenter_034-300x200.jpg)
Wu Hung, 2018 Distinguished Scholar, Photo by Kuni Takahashi
Wu Hung is the Harrie A. Vanderstappen Distinguished Service Professor of Art History and East Asian Languages & Civilizations at The University of Chicago. Wu is a scholar of traditional and contemporary Chinese art and a curator. See the 10 artworks to see China differently that Wu Hung chose for CNN.
The remainder of the CAA Awards for Distinction will be announced later in the fall, as well as the inaugural recipient of CAA’s new Excellence in Diversity Award.
Also new this year is the Cultural and Academic Network Hall, an opportunity for participating museums, colleges, and universities to reserve a full booth to promote academic or cultural programs to conference attendees, as well as the general public. It will be a great way for department leadership and alumni offices to connect with past students and faculty and to meet new students and instructors. Participants will be able schedule time in one of the sixteen interview booths that will be created adjacent to the booth area within the Network Hall.
As always, we thank all our sponsors at all levels who help make this amazing conference possible.
We look forward to seeing you in LA!
News from the Art and Academic Worlds
posted by CAA — Oct 04, 2017
![](https://www.collegeart.org/news/wp-content//garner.jpg)
A T-shirt depicting the face of Eric Garner designed by Ocean Gao, now in the collection of the National Museum of African American History and Culture.CreditJustin T. Gellerson for The New York Times
Each week CAA News summarizes articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Museums Collecting Contemporary History
As history unfolds in the present, curators at institutions such as the National Museum of African American History and Culture in Washington, DC, are committed to collecting and preserving materials from protests, marches, and other important cultural movements immediately. (Read more from The New York Times).
Bilingual Art Spaces in Los Angeles
Museums and galleries in Los Angeles work to become inclusive, bilingual environments, through creating programming, tours, wall text, and more in both Spanish and English. (Read more from The Guardian).
Be a Medici in 2017 (Virtually!)
ARTé: Mecenas is a new video game from Triseum where you play as a member of the Medici family in Renaissance Florence. This educational game was created to address the needs of the Texas A&M University’s art history department as a creative way to teach students about Renaissance art and patronage. (Read more from Hyperallergic).
Proposed Tax Plan and the Art World
Art world experts weigh in on what President Trump’s proposed tax reform plan would mean for the art market and museums if it is passed in Congress. (Read more from artnet).
Crowdfunding a Museum’s New Gallery
Horniman Museum and Gardens in London looks to crowdsourcing to fund the creation of the World Gallery, which will create space to display 3,000 anthropological objects that are currently in the museum’s storage. (Read more from The Art Newspaper).
A Close Look at the Archives
James Somers visits the New York Public Library’s archives, speaking with the archivists who work there. (Read more from The Village Voice).
A New Saint Laurent Museum
Fondation Pierre Bergé–Yves Saint Laurent opens in Paris: a new museum dedicated to the work of the influential fashion designer, Yves Saint Laurent, where visitors can visit a recreation of Saint Laurent’s studio. (Read more from Blouin Artinfo).
Art History Podcasts
Searching for something new to listen to? Salon recommends fourteen podcasts that cover art and art history. (Read more from Salon).
News from the Art and Academic Worlds
posted by CAA — Sep 20, 2017
![](https://www.collegeart.org/news/wp-content//HalprinWEB-1.jpg)
Anna Halprin, detail of installation, documenta Halle, Kassel, documenta 14. Photo: Mathias Völzke
Each week CAA News summarizes articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
University of California Sues Trump over DACA
Has your college taken a stand on DACA?
(Read more from The Chronicle of Higher Education.)
A New Museum Opens Every Year in LA
This February the CAA conference will be in LA. There are so many great museums that it seems that one in opening virtually every year.
(Read more from Hyperallergic.)
Teaching Ph.D.s How to Teach
There are so many options in training the next generation in of talented faculty.
(Read more from The Chronicle of Higher Education.)
Do You Withhold Your Opinions?
Some say that art historians and critics withheld their opinions because it can earn them enemies. Do you agree?
(Read more from e-flux.)
Plenty to See Here
The NYTimes offers its amazing showcase of exhibitions to watch this fall.
(Read more from The New York Times.)
NH Institute Sets Up Fellowship and Expands Photo Collection
Amazing gift of more than 500 prints by significant 20th Century artists: Harry Callahan, Paul Caponigro, Imogen Cunningham, Lee Friedlander, Kenneth Josephson, Andre Kertesz, Sally Mann, Elliot Porter, Man Ray, Edward Steichen, Jock Sturges, Brett Weston, Edward Weston, and Minor White.
(Read more from The Association of Independent Colleges of Art & Design.)