CAA News Today
CAA’s Fair-Use Specialists Answer Your Questions
posted by Patricia Aufderheide — Mar 14, 2016
Patricia Aufderheide is a professor in the School of Communication and director of its Center for Media & Social Impact, School of Communication, American University; and Peter Jaszi is a professor at the Washington College of Law, Program on Information Justice and Intellectual Property, American University.
Since CAA’s Code of Best Practices was released in February 2015, we have met with many groups and individuals in the visual arts, and we have witnessed major policy changes taking place across the visual arts field as a result of the Code.
Recently, two major organizations announced an easing of copyright restrictions that will make publishing about art infinitely easier. In late February, the Robert Rauschenberg Foundation announced new guidelines for fair use that will “make images of Rauschenberg’s artwork more accessible to museums, scholars, artists, and the public.” In its press release, the foundation cites the prohibitive costs associated with rights and licensing, as well as the obstacles copyright restrictions create in converting print publications to online formats. http://www.rauschenbergfoundation.org/newsfeed/foundation-announces-pioneering-fair-use-image-policy.
Also in the past few weeks, the Association of Art Museum Directors (AAMD) announced that it is revoking its guidelines on thumbnail images in online publications, which restricted the fair use of works of art to small-scale reproductions with low resolutions. Furthermore, it encouraged its members to rely on CAA’s Code of Best Practices until such time that they prepare new policies of their own. Additional important changes have taken place at Yale University Press, where they now support reliance on fair use in scholarly catalogues, and at the Museum of Fine Arts, Houston, which relied on CAA’s Code when designing the online catalogue of its collection. Other museums are following suit, as are visual artists.
As we look back on one year living with and promoting the Code, we wanted to pull together some of the most common questions we received, with answers! (You will also find these questions added to the FAQs on CAA’s website.) We have been consistently amazed, but not surprised, by the interest, curiosity, and the sheer will the visual arts field has employed in applying fair use.
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Is fair use only applicable to non-commercial uses?
Fair use is applicable whether the use is commercial or non-commercial. That fact is very well established in law. Recently, the appeals court decision supporting Google Books’ use of copyrighted books as fair use explicitly says, “Google’s profit motivation does not in these circumstances [that is, Google’s transformative use of the information] justify denial of fair use.” The same would be true when an otherwise qualifying fair use occurred in the setting of a print publication offered for sale.
This is not a new or novel proposition. In fact, for the last 175 years, almost all of the creators who successfully asserted fair use have been engaged in commerce, in a big or small way. That’s because, under the prevailing definition copyright law, most things that we do in our professional lives (write, make art, publish books) are “commercial.” If money will or may change hands, that’s enough – even if the transaction is done without the expectation of profit. So treating commerciality as a knock-out factor would be the death knell of a meaningful fair use doctrine.
It is true that the non-commercial character of a use may be one feature that can add to a fair use claim. But it is not a particularly important one. Likewise, the size of the print run generally is not a relevant consideration in assessing the validity of fair use. The key to fair use is making sure your use is “transformative,” that is, using the material for a different purpose than the market purpose.
There’s more about this at pages 15-16 of the Code.
Is the Code only applicable to the so-called fine arts? What about artists working in design or photography?
The Code is carefully crafted to provide a reasoning framework in five common situations in the visual arts: analytic writing, teaching, making art, museum work, and archive/collections digital display. Any artist, teacher, writer, or curator can apply the Code’s fair use reasoning if they are engaged in one (or several) of these activities. So can students in the field, and so can independent visual arts professionals, and even amateurs. Many of the activities that graphic designers and photographers engage in give rise to the same copyright questions that confront other visual arts professionals. Sometimes, however, their work may involve other issues—trademark questions, for example, contractual disputes, that fall outside the scope of the Code. The important point is that fair use is for everyone, not just for a privileged few.
What if rights holders or brokers such as ARS and VAGA don’t accept my fair use claim?
In the first instance, of course, what is (or isn’t) fair use is for the user to decide. Rights holders and their agents don’t have the last word (or any word) on this determination. And, at least so far, they haven’t chosen to make a case of any situation in which a user proceeded without license. If your uses are made within the terms of the Code, and you are able to explain how that is true, you have such a solid argument for fair use that rights holders will be in deep peril of wasting their money and time by bringing any legal action. That doesn’t mean that “nastygrams”—letters demanding payment or expressing outrage and issuing threats of legal action—couldn’t be sent. People are free to write whatever they want in letters, even if it is not true.
You may decide, of course, not to employ fair use if you think rights holders may see it as an unfriendly act, and decide not to like you any more. Personal relationships matter in any field.
But if a rights holder threatens action in an unrelated area—for instance, threatening to withhold access to an artist for a later project, or to raise fees for an unrelated work to cover the lost license—you might want to document it. This might be an illegal act on their part.
How big can images get under fair use on a website? We used to have the pixel sizes that AAMD prescribed, but they have retired those, and currently refer us to the Code. But the Code has no specifics on that.
The Code offers no specific recommendations on image size for any purpose, and that is a deliberate choice. The heart of fair use is repurposing material and using what is appropriate for that new purpose. Therefore, individual visual arts professionals need to ask themselves what size is appropriate for any image used to accomplish their objectives. The question always is the same: what amount is (or what reproduction quality) is reasonable. And the answer to this question will always vary according to circumstance. The requirements of a scholarly monograph, for example, may be different from those of a local art blog. No one wants a document that provides a reasoning framework across fields to offer numerical prescriptions. That would not only be hazardous legally (uses have to be appropriate to the specific transformative purpose), but would run the risk of being sadly and quickly outdated, given the fast pace of digital change.
The decision of the AAMD to withdraw its 2011 recommendations on the size of “thumbnails” is an illustration of this fact. Only a few years ago, this was a pioneering document, but as visual arts professionals have become more familiar with fair use, and both practices and expectations around the use of images to support discourse (especially on-line) changed, what had once offered freedom came quickly to feel like a straitjacket.
Of course, institutions may still choose to adopt rules of thumb on image size for internal use, to simplify day-to-day decision-making. But these always should yield to case-by-case consideration when they stand in the way of completing worthwhile projects.
I don’t understand how to employ fair use when I have to get an image from a museum or archive. Often, they will want to charge me a fee just to obtain that reproduction.
Yes, if you need someone’s permission to get access to material you need, you can’t rely on fair use to get it. As a practical matter, fair use only can be employed by someone who already has independent access to the same or similar documentation. The flip side of this proposition, of course, is that if you can find appropriate documentation from another source, you don’t have to pay reproduction or access fees to the collection that holds the original. Reproduction and access fees are common; many collections still use them to cover the costs of serving you. Sometimes people confuse these with copyright licenses, but it should be clear in the contract what exactly you’re paying for. Increasingly, public museums are posting images, particularly of works in the public domain, to digital platforms. Their goal is to increase public access and limit the amount of work their own staffs have to do.
News from the Art and Academic Worlds
posted by Christopher Howard — Mar 09, 2016
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.
Art Galleries Face Pressure to Fund Museum Shows
Galleries have always provided scholarly support for museums exhibiting their artists’ work. Now they’re expected to provide money, too. In today’s exploding art market and amid diminishing corporate donations and mounting exhibition costs, nonprofit museums have been leaning more heavily on commercial galleries to help pay for shows featuring work by artists the galleries represent. (Read more from the New York Times.)
Help Desk: Critic or Collector?
I want to write a review of a dazzling painting show. While I can’t afford the artist’s paintings, I want to buy a work on paper. Is there an ethical problem of covering this exhibition and buying a piece that is not in it—as long as I don’t write about the artist in the future? (Read more from Daily Serving.)
Co-opting “Official” Channels through Infrastructures for Openness
News recently broke about a new service called DOAI that is designed to support open access. It is not a publishing model or a repository but rather a type of infrastructure. When a user inputs a DOI, DOAI connects the user to a freely available copy of the publication. (Read more from the Scholarly Kitchen.)
Why the Rauschenberg Foundation’s Easing of Copyright Restrictions Is Good for Art and Journalism
The Robert Rauschenberg Foundation has announced it would ease copyright restrictions on art belonging to the artist. The move will make images of Rauschenberg’s work much easier to access and disseminate. It will do this in a number of ways. (Read more from the Los Angeles Times.)
Taking the Family with You on a Fellowship
Seared in my mind is the memory of a day in 2006 when I received my award letter for a much-coveted fellowship in the social sciences at the Institute for Advanced Study. My daughter had just turned four, and I was a recently divorced single mother with a former partner living five thousand miles away. I cried tears of joy at being accepted, followed by tears of sadness for having to turn it down. (Read more from Vitae.)
Archaeology’s Information Revolution
Archaeology, as a way of examining the material world, has always required a certain deftness in scale. You must be able to zoom in very close—at the level of, say, a single dirt-encrusted button—then zoom out again to appreciate why that one ancient button is meaningful. Carrying out that task is now possible in ways that were, until very recently, barely imaginable. (Read more from the Atlantic.)
Read and Unread
Social-media use and text messaging aren’t leading college students to ignore email, according to a new study. But that doesn’t mean students read every email they get. Those findings come from Bowling Green State University, where researchers surveyed 315 students in a variety of majors about their use of email, social media, and text messaging. (Read more from Inside Higher Ed.)
And That’s Me with the Mona Lisa!
An art museum is built for contemplation, exploration, and exhilaration. It’s a place to lose yourself as you’re transported into a wondrous world of color and light, a journey that can leave you dazzled, disturbed, and deeply moved. Or, you can just take a selfie while standing in front of a masterpiece. (Read more from Pacific Standard.)
New and Forthcoming in CAA’s Journals
posted by CAA — Mar 08, 2016
Art Journal Open
“Knight’s Heritage: Karl Haendel and the Legacy of Appropriation,” brings together the artist Karl Haendel and the scholar Natilee Harren, with an introduction by web editor Gloria Sutton, and a response text by the artist and writer Nate Harrison. Harren’s three-part essay looks closely at appropriation as an artistic practice through a case study of three specific episodes in Haendel’s career. Harrison provides a response to each essay by Harren to historically contextualize this enduring artistic tradition. Haendel’s contribution Oral Sadism & The Vegetarian Personality (Approximately) draws on the artist’s extensive archival collection of some ten thousand found images and photographs, which he uses as source material for his drawings. Haendel animated 135 images from his analogue archive especially for Art Journal Open, his first foray into the online presentation of his source imagery.
Art Journal
Artists’ projects by Amy Adler and Jason Simon are highlighted in the Winter 2015 issue of Art Journal. It also features extended essays by Cynthia Chris with Jason Simon on the economics of video art as it nears the half-century mark, and by Daniel Rosenberg on the presentation of complex data about war and disaster in large photographic works by the Dutch artist Gert Jan Kocken; a short essay by Liz Kotz introduces the Adler project. In addition to reviews of books by Matthew Kentridge and Hannah Feldman, the issue includes a review of three exhibitions and catalogues on artists of the Dusseldorf school, as well as an annotated bibliography by Gavin Kroeber on the intersection of art, urbanism, and landscape.
The forthcoming Spring 2016 issue, the first edited by Rebecca M. Brown, features an artist’s project with pen-and-ink drawings and text by Julia Oldham, essays by Emma Chubb and Natilee Harren, and a multiauthor forum organized by Jordana Moore Saggese on diversity and difference. Books by Gil Hochberg, Ros Murray, and Anthony Gardner are reviewed, and an annotated bibliography by James Walsh focuses on books from six centuries that he consulted while creating his artist’s book The Arctic Plants of New York City.
The Art Bulletin
The cover of the December 2015 issue of The Art Bulletin presents an unusual view of Édourad Manet’s painting Olympia: it shows just the right side of the 1863 work, cropping out most of the central figure, but bringing into focus both the courtesan’s black maid, the subject of Darcy Grimaldo Grigsby’s essay “Still Thinking about Olympia’s Maid,” and the elaborate shawl draped over the bed, examined by Therese Dolan in “Fringe Benefits: Manet’s Olympia and Her Shawl.” The issue also features essays by Sun-Ah Choi on the medieval reception of the Mahābodhi Temple statue of the Buddha and by Lisa Pon on the visual and auditory impacts of Raphael’s tapestries for the Sistine Chapel, as well as the recurring “Whither Art History?” feature, in which Filiz Yenişehirlioğlu explores the global reach of Ottoman art and architecture.
The forthcoming March 2016 issue includes essays by Erik Inglis, Paola Demattè, Richard Taws, Jacopo Galimberti, and Youngna Kim. In addition, Nancy Um makes her debut as reviews editor of the journal, with four reviews linked by a theme of artistic exchange and material transmission.
caa.reviews
CAA’s online book and exhibition review journal publishes content continuously on a newly updated platform. Recently published book reviews include Victoria L. Rovine’s African Fashion, Global Style: Histories, Innovations, and Ideas You Can Wear (Bloomington: Indiana University Press, 2014) reviewed by Erin M. Rice; David Young Kim’s The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style (New Haven: Yale University Press, 2014) reviewed by Christian K. Kleinbub; and Cynthia Mills’s Beyond Grief: Sculpture and Wonder in the Gilded Age Cemetery (Washington, DC: Smithsonian Institution Scholarly Press, 2014) reviewed by Melissa Dabakis.
Reviews of recent exhibitions include Cubism: The Leonard A. Lauder Collection at the Metropolitan Museum of Art (October 20, 2014–February 16, 2015), reviewed by Michaël Amy; and Rivera and Frida Kahlo in Detroit at Detroit Institute of Arts (March 15–July 12, 2015), reviewed by Delia Cosentino.
Taylor & Francis Online
In addition to their print subscription(s), CAA members receive online access to current and back issues of Art Journal and The Art Bulletin. Taylor & Francis, CAA’s publishing partner, also provides complimentary online access to Word and Image, Design and Culture, and Public Art Dialogue for CAA members. To access these journals, please log into your account at collegeart.org and click the link to the CAA Online Publications Platform on Taylor & Francis Online.
College Art Association
The College Art Association is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, website, and other programs, services, and events. CAA focuses on a wide range of advocacy issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching. Learn more about CAA at www.collegeart.org.
Top image: Karl Haendel working in his studio, 2001 (photograph © Florian Maier-Aichen)
News from the Art and Academic Worlds
posted by Christopher Howard — Mar 02, 2016
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.
Save Our Public Universities
Ralph Waldo Emerson’s 1837 lecture “The American Scholar” implicitly raised radical questions about the nature of education, culture, and consciousness, and about their interactions. He urged his hearers to make the New World as new as it ought to be, to outlive the constraints that colonial experience imposed on them, and to create the culture that would arise from the full and honest use of their own intellects, minds, and senses. (Read more from Harper’s.)
Rauschenberg Foundation Eases Copyright Restrictions on Art
Museum goers tend to be unaware of the vast network of copyright protections that underlie images of much of modern and contemporary art, until they try to shoot a cellphone picture of a favorite painting and receive an embarrassing tut-tut from a guard. But for decades, historians, curators, and museum officials have been highly aware of these protections. And many have chafed under a system whose fees and elaborate permission agreements can make publishing scholarly books or publicizing exhibitions prohibitively expensive or an administrative nightmare. (Read more from the New York Times.)
How Many Artists Can’t Create?
The starving artist: one who sacrifices a comfortable lifestyle to invest limited resources toward his or her art. This could be anyone: visual artists, literary artists, musicians, actors. But how many artists or potential artists are out there who simply don’t create because life, with its stresses and burdens, has deprived them of the ability? (Read more from the Michigan Daily.)
Met Museum Settles Lawsuit, Will Revise Admission Signs
The Metropolitan Museum of Art will soon get new signs that spell out, in boldfaced type, the voluntary nature of the museum’s pay-what-you-wish admission policy. The changes—which include replacing the word “recommended” with “suggested”—result from an agreement to settle a lawsuit that accused the Met of trying to mislead visitors into paying an entrance fee when none is required. (Read more from the Wall Street Journal.)
Collaborate: An Imperative for Graduate Students
Graduate students need to seek out opportunities for collaboration at every stage of their graduate career. Experience working as part of a team is valuable for PhD students preparing for a rapidly evolving academic job market, and it is indispensable for those pursuing careers beyond academe. Want proof? Survey the requirements section of ads for positions you could see yourself taking. (Read more from Inside Higher Ed.)
The Importance of Being an Artist’s Assistant
The tradition of artists assisting other artists is as old as the profession itself. The New York gallery Luxembourg and Dayan has also made it the subject of an exhibition, In the Making. Three of the artists included in the show spoke to the Art Newspaper about their experience assisting Andy Warhol, Jack Goldstein, and Robert Rauschenberg, and how it shaped their own work. (Read more from the Art Newspaper.)
Ageism and Creativity
Psychologists generally consider creativity to be the domain of the young. In this they have followed the lead of Harvey Lehman, who in 1953 conceded that “the old usually possess greater wisdom and erudition” but claimed that “when a situation requires a new way of looking at things … the old seem stereotyped and rigid.” Lehman and his successors are guilty of ageism: in this case, a mistaken belief that creativity is inversely related to age. (Read more from the Huffington Post.)
Who Owns Culture?
The quiet corridors of great public museums have witnessed revolutionary breakthroughs in the understanding of the past, such as when scholars at the British Museum cracked the Rosetta Stone, deciphering Egyptian hieroglyphs, and no longer had to rely on classical writers to find out about ancient Egyptian civilization. But museums’ quest for knowledge is today under strain, amid angry debates over who owns culture. (Read more from OUP Blog.)
2016 Annual Conference Highlights
posted by Nia Page — Feb 26, 2016
CAA hosted its 104th Annual Conference from February 3 to 6, 2016, at the Washington Marriott Wardman Park in Washington, DC. This year’s program included four days of presentations and panel discussions on art history and visual culture, Career Services for professionals at all stages of their careers, a Book and Trade Fair, and a host of special events throughout the region.
Attendance
Close to 4,000 people from throughout the United States and abroad—including artists, art historians, students, educators, curators, critics, collectors, and museum staff—attended the conference. Visual-arts professionals from over 49 countries were represented.
Sessions
Conference sessions featured presentations by artists, scholars, designers, graduate students, and curators who addressed a range of topics in art history and the visual arts. In total, the conference offered over 200 sessions, developed by CAA members, affiliated societies, and committees. Over 750 individuals presented their work.
Career Services and Professional Development
Career Services included four days of job interviews with colleges, universities, and other art institutions while Professional Development offerings included career mentoring and portfolio-review sessions, professional-development workshops, professional development roundtables and a variety of Student and Emerging Professional Committee programming such as Brown Bag discussions and Mock Interviews. During the professional development programming, approximately 30 professionals served as mentors to 120 young professionals, 5 established professionals led free professional roundtable discussions, and 13 Visual Arts specialists conducted development workshops throughout the conference. During the week of the Annual Conference, there were over 189 active jobs posted on the Online Career Center and more than 24 employers participating onsite.
Book and Trade Fair
This year’s Book and Trade Fair presented 98 exhibitors—including participants from the United States, France, Germany, Belgium, Italy, Singapore, Canda, Mexico, United Kingdom and Ukraine—that displayed new publications, materials for artists, digital resources, and other innovative products of interest to artists, scholars, and arts enthusiasts. The Book and Trade Fair also featured book signings, lectures, and demonstrations, as well as three exhibitor-sponsored program sessions on art materials and publishing. The conference had generous sponsorship support from the exhibitors Artforum/Bookforum, Art in America, Blick Art Materials, Bloomsbury, Frieze, Laurence King Publishers, Pearson, Prestel, Richmond-The American International University in London, Routledge and Yale University Press.
ARTspace
ARTspace, a “conference within the conference” tailored to the needs and interests of practicing artists, presented programming that was free and open to the public, including this year’s Annual Distinguished Artists’ Interviews with Joyce Scott who spoke with George Ciscle, Maryland Institute College of Art and Rick Lowe, who conversed with LaToya Ruby Frazier, Independent Artist and The School of the Art Institute, Chicago. The latter was presented as a partnership with the MacArthur Foundation to celebrate 35 years of its Fellowship program. Both Lowe and Frazier received MacArthur Fellowships in 2014 and 2015, respectively.
Watch the Annual Distinguished Artists’ Interviews
Over 150 people attended this lively event.
ARTspace also featured four days of panel discussions devoted to visual-arts practice, opportunities for professional development, and screenings of film and video.
ARTexchange, an open-portfolio event in which CAA artist members displayed drawings, prints, photographs, small paintings, and works on laptop computers, took place on Friday, February 5. Nearly 35 artists participated in ARTexchange this year.
The Media Lounge, a space for innovative new-media programming in conjunction with ARTspace. This year, the Media Lounge brought together academics, new media artists, artist collectives, alternative communities, guest speakers, filmmakers, and performers to lead workshops, present work, and generate productive discussions and crowd sourcing under the conceptual framework VISIBLE/INVISIBLE, Art & Politics.
The theme, VISIBLE/INVISIBLE, Art & Politics explored the legacy of identity and representation politics, considered in the context of our present culture where individuals, organizations and ideas can be easily captured, tracked, exposed, appropriated from the circulation of digital material which simultaneously feeds capitalist media assembly lines and alternative economies. The aim of the Media Lounge programming was to foster a dialog centered on emerging artistic sensibilities that mix art and a politics of representation amid a transforming sociopolitical landscape. The setting of CAA 2016, Washington DC and an election year, offered a unique opportunity to engage in these discussions.
ARTspace was made possible in part by a generous grant from the National Endowment for the Arts.
Student and Emerging Professionals Lounge
The Student and Emerging Professionals Lounge served as a hub for networking, information sharing, collaboration, professional development, and much more. The Student and Emerging Professionals Committee hosted an incredibly informative session on “Mentoring in the 21st Century” to a packed audience; a breakfast meet-and-greet with 200 attendees; five Brown Bag Sessions with attendance ranging from 45 to 160; a successful social night; and three days of Mock Interviews at full capacity.
Distinguished Scholar Session
Richard Powell, John Spencer Bassett Professor of Art and Art History and Dean of Humanities, Duke University was CAA’s 2016 Distinguished Scholar.
A panel including Kobena Mercer, Professor, History of Art and African American Studies at Yale University; Gwen Everett, Associate Dean of the Division of Fine Arts at Howard University; Kellie Jones, Associate Professor of Art History at Columbia University; and Suzanne Preston Blier, Allen Whitehill Clowes Professor of Fine Arts and of African and African American Studies at Harvard University joined in exploring and celebrating Powell’s many contributions.
Watch the Distinguished Scholar Session honoring Richard Powell.
Convocation and Awards
More than 1,000 people attended CAA’s Convocation and presentation of the annual Awards for Distinction, which honor the outstanding achievements and accomplishments of individual artists, art historians, authors, conservators, curators, and critics whose efforts transcend their individual disciplines and contribute to the profession as a whole and to the world at large. Tania Bruguera, the Cuban performance artist, delivered the keynote address.
Watch the CAA Convocation and Keynote Talk by Tania Bruguera.
The title of Bruguera’s talk was “Aest-ethics: Art with Consequences.” Bruguera’s work on issues of free speech and immigration and her fearlessness to speak out against forces of oppression—many of which she has experienced firsthand in Cuban prisons—is important and undeniably relevant to not just the art and academic worlds, but also the world at large.
The recipients of the 2016 Awards for Distinction were:
Charles Rufus Morey Book Award
Krista Thompson
Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice
Duke University Press
Alfred H. Barr Jr. Award
Stephanie Barron and Sabine Eckmann
New Objectivity: Modern German Art in the Weimar Republic 1919–1933
Los Angeles County Museum of Art and DelMonico Books
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Myroslava M. Mudrak and Tetiana Rudenko
Staging the Ukrainian Avant-Garde of the 1910s and 1920s
Ukrainian Museum
Arthur Kingsley Porter Prize
Matthew C. Hunter
“Joshua Reynolds’s ‘Nice Chymistry’: Action and Accident in the 1770s”
The Art Bulletin, March 2015
Frank Jewett Mather Award for Art Criticism
Chika Okeke-Agulu
Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria
Duke University Press
Art Journal Award
Abigail Satinsky
“Movement Building for Beginners”
Art Journal, Fall 2015
Distinguished Feminist Award
Carrie Mae Weems
Distinguished Teaching of Art Award
Sabina Ott
Distinguished Teaching of Art History Award
Patricia Berger
Artist Award for Distinguished Body of Work
Arlene Shechet
Distinguished Artist Award for Lifetime Achievement
Carmen Herrera
CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation
Debra Hess Norris
Distinguished Lifetime Achievement Award for Writing on Art
Rosalind E. Krauss
Morey and Barr Award Finalists
CAA recognizes the 2016 finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Awards for their distinctive achievements:
Charles Rufus Morey Book Award Finalists
- Paul Binski, Gothic Wonder: Art, Artifice, and the Decorated Style, 1290–1350, Yale University Press, for the Paul Mellon Centre for Studies in British Art
- Elina Gertsman, Worlds Within: Opening the Medieval Shrine Madonna, Pennsylvania State University Press
- Adam Herring, Art and Vision in the Inca Empire: Andeans and Europeans at Cajamarca, Cambridge University Press
Alfred H. Barr Jr. Award Finalist
- Jens M. Daehner and Kenneth Lapatin, eds., Power and Pathos: Bronze Sculpture of the Hellenistic World, J. Paul Getty Museum
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions Finalist
- Timothy Verdon and Daniel M. Zolli, eds., Sculpture in the Age of Donatello: Renaissance Masterpieces from Florence Cathedral, Museum of Biblical Art, in association with D. Giles
Special Events
Following Convocation, the Katzen Arts Center at American University was host to CAA’s Opening Reception on Wednesday evening, February 3. Over 250 attendees gathered to celebrate the conference while enjoying a stroll through the museum’s permanent collections.
CAA Travel Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards
Established by Mary D. Edwards with the help of others, the CAA Travel Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards will support women who are emerging scholars at either an advanced stage of pursuing a doctoral degree (ABD) or who have received their PhD within the two years prior to the submission of the application. Diana Seave Greenwald of the University of Oxford delivered her paper “Within the grade of certain obvious criteria of merit:” Sample Bias in Art History and Earl Shinn’s The Art Treasures of America in the “Very Generally Ignorant, Flippant: Art Criticism and Mass Media in the Nineteenth Century” session and Imogen Wiltshire of the University of Birmingham presented her paper Process and Function at the New Bauhaus in Chicago: Concepts of Modernism and the Development of Therapeutic Art Practices as part of the “Modernism and Medicine” 2-part session.
CAA-Getty International Travel Grant Program
In an effort to promote greater interaction and exchange between American and international art historians, CAA brought 15 scholars from around the world to participate in the Annual Conference. This is the fifth year of the program, which has been generously funded by grants from the Getty Foundation since its inception.
The CAA-Getty International Program participants’ activities began with a one-day preconference colloquium on international issues in art history, during which they met with North American–based CAA members to discuss common interests and challenges. The participants were assisted throughout the conference by CAA member hosts, who recommended relevant panel sessions and introduced them to colleagues who share their interests.
Representatives from several CAA affiliated societies served as hosts, including the Arts Council of the African Studies Association, the Association for Latin American Art, the Society of Contemporary Art Historians, and the Society of Historians of East European, Eurasia, and Russian Art and Architecture. More information about the group’s activities will appear in upcoming articles in CAA News and on the International Desk of the CAA website.
To date, this program has brought 90 scholars from 41 different countries to participate in CAA’s Annual Conference and expanded international networking and the exchange of ideas both during and after the conference.
The 2016 recipients were: Sarena Abdullah, Senior Lecturer, School of the Arts, Universiti Sains Malaysia, Penang; Abiodun Akande, Principal Lecturer, Department of Fine and Applied Arts, Emmanuel Alayande College of Education, Oyo State, Nigeria; María Isabel Baldasarre, Associate Professor, Universidad Nacional de San Martin, Buenos Aires, Argentina; Danielle Becker, Lecturer in Art History and Visual Studies, University of Cape Town and Stellenbosch University, South Africa; Heloisa Espada, Postdoctoral Researcher, Museum of Contemporary Art of the University of Saõ Paulo, Brazil; Ildikó Fehér, Associate Professor, Art History Department, University of Fine Arts of Hungary, Budapest, Hungary; Peyvand Firouzeh, Post-doctoral Fellow, Museum fur Islamische Kunst, Berlin, Germany; Lev Maciel, Associate Professor, National Research University, Higher School of Economics, Moscow, Russia; Bui Thi Thanh Mai, Lecturer of Art History, Head of Department of Academic Research Management and International relations, Vietnam University of Fine Arts, Ha Noi, Vietnam; Emmanuel Moutafov, Associate Professor, Director, Institute of Art Studies, Bulgarian Academy of Sciences, Sofia, Bulgaria; Ceren Ozpinar, Lecturer, Isik University and Kadir Has University, Istanbul, Turkey; Horacio Ramos, Associate Professor, Pontificia Universidad Católica del Perú; Olaya Sanfuentes, Professor, Pontificia Universidad Católica de Chile, Paulo Silveira, Professor, Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil; Sandra Uskokovic, Assistant Professor, University of Dubrovnik, Arts & Restoration Department, Croatia.
CAA 2015 Professional-Development Fellowships
CAA awarded four 2015 Professional-Development Fellowships—two in the visual arts and two in art history—to graduate students in MFA and PhD programs across the United States. In addition, CAA has named two honorable mentions in art history and four in the visual arts. The fellows and honorable mentions also receive a complimentary one-year CAA membership and free registration for the 2016 Annual Conference where they were honored at Convocation and at a private reception.
Recipients of the fellowships in the visual arts were:
- Delano Dunn, School of Visual Arts, $10,000
- Derrick Woods-Morrow, School of the Art Institute of Chicago, $4,000 (gift of the Milton and Sally Avery Arts Foundation)
Recipients of the fellowship in art history were:
- Marin Sarvé-Tarr, University of Chicago, $10,000
- Emilie Boone, Northwestern University, $2,500 (gift of the Elizabeth A. Sackler Museum Educational Trust)
The honorable mentions for art history were awarded to: Adrian Anagnost, University of Chicago; and Monica Bravo, Brown University. For the visual arts, honorable mentions are bestowed upon: Zhiwan Cheung, Carnegie Mellon University; Sarah Hewitt, Purchase College, State University of New York; Victoria Maidhof, San Francisco Art Institute; and Kaiya Rainbolt, San Diego State University.
Board of Directors Update
Results of the Board of Directors election were announced on February 3, 2016, during the Annual Members’ Business Meeting. The new directors are: appear below.
- Carma Gorman Associate Professor & Assistant Chair, Department of Art and Art History, University of Texas at Austin
- Elizabeth Schlatter Deputy Director and Curator of Exhibitions, University of Richmond Museums, Richmond
- Andrew Schulz Associate Dean for Research & Associate Professor, College of Arts and Architecture, Pennsylvania State University
- Anuradha Vikram Lecturer, Graduate Public Practice, Otis College of Art and Design, Los Angeles
They will take office at the next board meeting in May 2016.
New board officers were elected:
- Doralynn Pines, Vice President for External Affairs
- Jim Hopfensberger, Vice President for Committees
Affiliated Societies
CAA would like to welcome two new affiliated societies:
Thank You
Members of CAA’s Board of Directors and staff would like to extend their gratitude to all conference funders and sponsors, attendees, volunteers, and participants; the organization’s committees and award juries; the Washington Marriott Wardman Park staff; the museums and galleries that opened their doors to conference attendees free of charge; and everyone else involved in helping to make the 104th Annual Conference such a tremendous success!
A warm thanks to the following for their generous support of CAA:
- Andrew W. Mellon Foundation
- Artforum/Bookforum
- Art in America
- Blick Art Materials
- Bloomsbury
- Frieze
- Getty Foundation
- Katzen Arts Center
- Laurence King Publishing
- National Endowment for the Arts
- Pearson
- Prestel
- Richmond, The American International University in London
- Routledge
- Samuel H. Kress Foundation
- Terra Foundation for American Art
- Wyeth Foundation for American Art
- Yale University Press
Save the Date
CAA’s 105th Annual Conference will be held in New York, February 15–18, 2017.
About CAA
The College Art Association is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, websites, and other events. CAA focuses on a wide range of issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching.
Image Captions
Conference attendees gather for a Professional Development Roundtable (photograph by Bradley Marks)
Conference attendees meet vendors in the Book and Trade Fair (photograph by Bradley Marks)
Rick Lowe and LaToya Ruby Frazier in conversation in ARTspace (photograph by Bradley Marks)
Mentoring activities in the SEP Lounge (photograph by Bradley Marks)
Tania Bruguera speaks at Convocation (photograph by Bradley Marks)
Friends gather at the Opening Reception at the Katzen Art Center (photograph by Bradley Marks)
The 2016 participants in the CAA-Getty International Program (photograph by Bradley Marks)
Fellowship recipients and honorable mentions in art history (photograph by Bradley Marks)
CAA and SAH Release Guidelines for the Evaluation of Digital Scholarship in Art and Architectural History
posted by Christopher Howard — Feb 23, 2016
The College Art Association (CAA), working jointly with the Society of Architectural Historians (SAH), has released its Guidelines for the Evaluation of Digital Scholarship in Art and Architectural History for Promotion and Tenure. The guidelines are the result of a Task Force convened by the two associations of ten members from the academic community with experience in digital research, publication, and/or scholarly communications and administration. Established by the Board of Directors in October 2014 and supported by funds from the Andrew W. Mellon Foundation, this joint task force of CAA and SAH was co-chaired by DeWitt Godfrey, president, CAA and professor of art and art history, Colgate University; and Kenneth Breisch, SAH president and assistant professor, School of Architecture, University of Southern California.
See the SAH announcement.
The project methodology was developed through a collaborative process involving the Task Force, consultant, researcher, and representatives from CAA and SAH. Research components included results from surveys of CAA and SAH members and department chairs, a similar questionnaire for graduate students, interviews with scholars and administrators, research on existing disciplinary and institutional evaluation guidelines, and a review of relevant literature. Alice Lynn McMichael, PhD candidate in Byzantine art history and digital fellow at the Graduate Center at the City University of New York, and Raym Crow, principal at Chain Bridge Group served as researcher and consultant.
In addition to a review of current guidelines and current literature on the topic, the researcher was charged with balancing broad survey data with more in-depth discussions of topics that resonate with evaluators of digital work. To this end, interviews were conducted with constituents from sixteen institutions across the United States that produce digital work regularly in art and/or architectural history. Institutions were either public and private and research-intensive or teaching-focused. Interviewees at those institutions had varying academic ranks and included department members, librarians, provosts, deans, chairs, and directors of humanities centers or similar.
Highlights from surveys from CAA and SAH members and interviews include the following:
- Most CAA respondents, across all professional ranks, have never used data gathering and imaging tools (83%), data analysis and visualization tools (80%), three-dimensional modeling (75%), digital storage and preservation tools (73%), and geospatial analysis tools (65%).
- Many characteristics of digital resources were generally valued as important, with the highest importance placed on permanent archiving, documentation of the resource, and ease of use; and relatively less importance on the availability of underlying data, financial sustainability, and permanent citation.
- Graduate students report the highest confidence in evaluating digital scholarship.
- Less than 4 percent of total respondents knew of existing evaluative criteria for digital scholarship in their departments.
- The largest barrier to digital scholarship is lack of access to training.
Read the full Guidelines here. An essay, “Case Studies and Examples for Evaluating Digital Scholarship” by Michelle Millar Fisher, a task force member, provides background information on evaluating digital resources and can be found on the College Art Association website.
Members of the Task Force included:
- Suzanne Preston Blier, Allen Whitehall Clowes Professor of Fine Arts and of African and African American Studies, Harvard University
- Kenneth Breisch, SAH President, Assistant Professor, School of Architecture, University of Southern California, and Cochair of Task Force
- Linda Downs (ex officio), Executive Director, College Art Association
- Gabrielle Esperdy, Associate Professor, School of Architecture, New Jersey Institute of Technology, and Editor of SAH Archipedia
- Michelle Miller Fisher, PhD Candidate, Art History, The Graduate Center, The City University of New York, and Curatorial Assistant, Department of Architecture and Design, Museum of Modern Art
- Pamela M. Fletcher, Professor of Art History, Chair of Art Department, and Codirector of Digital and Computational Studies Initiative, Bowdoin College
- DeWitt Godfrey, CAA President, Professor of Art and Art History, Colgate University, and Cochair of Task Force
- Anne Collins Goodyear, Codirector, Bowdoin College Museum of Art
- Paul Jaskot, Professor, History of Art and Architecture, DePaul University, and Andrew W. Mellon Professor, CASVA
- Bruce M. Mackh, Director, Arts and Cultural Management Program, Michigan State University
- Tara McPherson, Associate Professor, School of Cinematic Arts, University of Southern California
- Abby Smith Rumsey, Former Director, Scholarly Communication Institute, University of Virginia
- Pauline Saliga (ex officio), Executive Director, Society of Architectural Historians
- Ann Whiteside, Librarian and Assistant Dean of Information Services, Harvard University
About CAA
The College Art Association is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, website, and other programs, services, and events. CAA focuses on a wide range of issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage, preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching. Learn more at collegeart.org.
About SAH
Founded in 1940, the Society of Architectural Historians is a nonprofit membership organization that promotes the study, interpretation and conservation of architecture, design, landscapes and urbanism worldwide. SAH serves a network of local, national and international institutions and individuals who, by vocation or avocation, focus on the built environment and its role in shaping contemporary life. SAH promotes meaningful public engagement with the history of the built environment through advocacy efforts, print and online publications, and local, national and international programs. Learn more at sah.org.
Art Bulletin Editorial Board Seeks a New Member
posted by CAA — Feb 22, 2016
CAA invites nominations and self-nominations for one individual to serve on the Art Bulletin Editorial Board for a four-year term, July 1, 2016–June 30, 2020. The ideal candidate has published substantially in the field and may be an academic, museum-based, or independent scholar; institutional affiliation is not required. The Art Bulletin features leading scholarship in the English language in all aspects of art history as practiced in the academy, museums, and other institutions.
The editorial board advises the Art Bulletin editor-in-chief and assists her or him in seeking authors, articles, and other content for the journal; performs peer review and recommends peer reviewers; may propose new initiatives for the journal; and may support fundraising efforts on the journal’s behalf. Members also assist the editor-in-chief to keep abreast of trends and issues in the field by attending and reporting on sessions at the CAA Annual Conference and other academic conferences, symposia, and events.
The Art Bulletin Editorial Board meets three times a year, with meetings in the spring and fall plus one at the CAA Annual Conference in February. The spring and fall meetings are currently held by teleconference, but at a later date CAA may reimburse members for travel and lodging expenses for the two New York meetings in accordance with its travel policy. Members pay travel and lodging expenses to attend the conference in February. Members of all editorial boards volunteer their services to CAA without compensation.
Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Members may not publish their own work in the journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a letter describing your interest in and qualifications for appointment, a CV, and your contact information to: Chair, Art Bulletin Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Joe Hannan, CAA editorial director, at jhannan@collegeart.org. Deadline: April 15, 2016.
CAA Celebrates National Fair Use Week
posted by Janet Landay, Program Manager, Fair Use Initiative — Feb 22, 2016
The College Art Association is proud to participate in the 2016 National Fair Use Week. This event is held annually during the last week of February, this year from Monday, February 22, through Friday, February 26. It celebrates the important doctrines of fair use in the United States and fair dealing in Canada and other jurisdictions. In honor of National Fair Use Week, CAA presents the following article about ways its fair use code has been embraced in the year since it was first released.
It’s been exactly one year since CAA published its Code of Best Practices in Fair Use for the Visual Arts. A session at this year’s Annual Conference took stock of the progress made during the past twelve months, and panelists recounted remarkable progress in applying fair use to the visual arts. Chaired by Judy Metro, editor-in-chief at the National Gallery of Art and chair of CAA’s Committee on Intellectual Property, five CAA members described how they or their institutions modified their approach to using copyrighted materials because of CAA’s new Code.
Leading the way was the College Art Association itself, which overturned its copyright policies for authors. As Betty Leigh Hutcheson, CAA’s director of publications, explained, instead of demanding that authors get permissions for all images and indemnify the press, CAA’s contracts now ask authors to read the Code and apply it to their uses. Indemnification is no longer required when asserting fair use.
Other publishers of artwork also told of changing policy. Patricia Fidler, art publisher at Yale University Press, described how, inspired by the Code, the press has now created its own fair use guidelines specific to scholarly publishing. Just as important for Fidler is the fact that other parts of Yale University, including its museums, are now considering expanding their access to fair use. “It’s a big step,” she said, “to give authors the last word on their fair use. And we are proud that it says at the top of our new author guidelines, ‘Yale University Press supports the fair use of art images in scholarly monographs.’”
Joseph Newland, head of publications at the Menil Collection in Houston, announced new policies at his museum. Thanks to the Code, the Menil has expanded access to fair use throughout the institution by adapting CAA’s policy for internal criteria. He said improvements are already apparent: “It’s really helped work flow, especially at the press office, which often needs to respond to the news cycle in a timely way.”
Sometimes progress includes learning from frustration. Susan Higman Larsen, head of publications at the Detroit Institute of Arts, talked about having to publish a work in a scholarly catalogue without a relevant image, because of intolerable attempts at controlling content by an estate. “We misunderstood fair use,” she explained. “We didn’t understand that some commercial uses are just as eligible for fair use as non-commercial ones.” The Code helped clear that up, she said, and now the DIA is publishing a new book, in which the author wants to reproduce an image by the same artist. “This time, we’ll claim fair use,” she said. Furthermore, the DIA is considering changing its institutional policies about fair use.
The last success story of the session was from an artist, Rebekah Modrak, who teaches at the University of Michigan. She recounted the challenges she encountered after creating a work of art that incorporated copyrighted material. She made a video introducing an imaginary company, Re Made Co., that spoofed the overexemplifying hipster-Brooklyn site Best Made Co. After receiving a cease-and-desist letter, she turned for advice to CAA, which steered her to good legal advice at the University of Michigan. Her university’s lawyers welcomed the opportunity to support her fair uses and endorsed her intention to keep her video online. Modrak then published an account of her experience for a Routledge publication, Consumption Markets & Culture. When the editors there initially asked her to get permission to reproduce images from her video, she relied on CAA’s Code to persuade them that fair use would apply.
Another way CAA is measuring the impact of the Code is through annual surveys that provide longitudinal data on how CAA members are relying on fair use. At the conference session, Patricia Aufderheide shared early results from a recent 2,500-person CAA survey, showing broad awareness of the Code. More than two thirds of respondents indicated they knew about the Code, and a third of that group had already shared their knowledge, usually with more than one kind of interlocutor—for example, students, colleagues, and association members. Many of those aware of the Code had already put it to use. Indeed, 11% of all respondents had begun to employ fair use only after the appearance of the Code last year, a big leap and a demonstration of the power of understanding community values and best practice.
Peter Jaszi concluded the session by discussing next steps in CAA’s fair use efforts. Over the coming year he and Aufderheide will work to educate in-house legal counsel about the importance of mission-oriented fair use, resulting in expanded employment of fair use by museums. They will continue to give presentations about the Code to groups of arts professionals around the country, with a special focus on publishing and museum activities. And Jaszi encouraged CAA members to avail themselves of the many resources—FAQs, explainers, infographics, background documents, slideshows and more—available both on the CAA website and at the Center for Media & Social Impact.
CAA will be posting updates about fair use on its website, including the success stories described above. We would like to hear from any of you whose practices have changed because of the Code, whether you have a success story or a challenge to share. Both types of information will support the field’s efforts to make appropriate reliance on fair use the norm. If you have fair use news to share, please contact me at jlanday@collegeart.org.
Find out more about National Fair Use Week here: http://fairuseweek.org/
Below are links to some of the events taking place around the country:
https://blog.library.gsu.edu/2015/02/23/fair-use-week/
http://www.udel.edu/udaily/2016/feb/fair-use-week-021716.html
A comprehensive collection of fair use codes, articles, videos and teaching materials can be found at the Center for Media and Social Impact, http://www.cmsimpact.org/fair-use
And don’t forget to look at the materials available on CAA’s website, which focus on our fair use code. There you will find Frequently Asked Questions, explanatory videos, infographics, and a five-part webinar, along with the Code itself.
Image Captions
Betty Leigh Hutcheson (photograph by Bradley Marks)
Patricia Fidler (photograph by Bradley Marks)
Joseph Newland, Peter Jaszi, and Susan Higman Larsen (photograph by Bradley Marks)
Rebekah Modrak (photograph by Bradley Marks)
Rebekah Modrak, Fair Use Badge of Honor
News from the Art and Academic Worlds
posted by Christopher Howard — Feb 17, 2016
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.
Where Are the Minority Professors?
On average, seventy-five out of every one hundred full-time faculty members at four-year colleges are white. Five are black, and even fewer are Hispanic. But that’s not the whole story. Among the higher ranks and at certain types of institutions, the faculty is even less diverse. (Read more from the Chronicle of Higher Education.)
Seven Tips from the Top: Essential Job Advice from US Museum Directors
How do you become a museum director? That’s the question behind a new book of interviews—Eleven Museums, Eleven Directors: Conversations on Art and Leadership—by Michael Shapiro, the former director of the High Museum of Art in Atlanta. (Read more from the Art Newspaper.)
How Do You Make a Living, Midcareer Artist?
Hank Willis Thomas is midway through the long, slow climb to success as an artist. It’s the type of career that’s seen interest but doesn’t feel solidly sustainable. He talked about the value of an MFA, the problems and advantages of living in New York as an artist, and what banking and art have in common. (Read more from Pacific Standard.)
Syllabus Adjunct Clause
Here is a sample adjunct clause that can be inserted into any syllabus for courses taught by temporary faculty. Please keep in mind that since situations differ from school to school—and even from department to department—the following may not be universally applicable as written. Therefore, if you decide to use it, make the necessary changes to accurately reflect your own situation. (Read more from School of Doubt.)
Maintaining the Artist Within
Don’t lose sight of that which you love. More important, don’t let life knock your source of creativity out of tune. An artist’s mind never rests, for everything they see, experience, and taste pours over into their vision. Whether you are a painter, writer, architect, chef, dancer, musician, or actor, the fuel for creativity and passion comes from every interaction you have in life. (Read more from the Huffington Post.)
Why Use a Paintbrush When You Can Make Mind-Bending Art with Code?
Computer code underpins many aspects of our lives. Usually we know exactly what we want that code to do—but what if we didn’t? This is the question posed by the Los Angeles software artist Casey Reas, who employs code to form abstract, bewildering, and literally unexpected creations. (Read more from Wired.)
Social Practice Degrees Take Art to a Communal Level
The first academic concentration in social-practice art dates to just 2005, at California College of the Arts in San Francisco. Since then, at least ten other institutions have established graduate-level degree programs in the field, which is sometimes called community engagement, contextual practice, or socially engaged art making. (Read more from the New York Times.)
Ten Questions Gallerists Should Be Asking Themselves Now
Art Basel director Marc Spiegler gave a lecture at the Talking Galleries conference in Barcelona at the end of last year, at a starkly transitional moment within the art world, and posed ten questions that every gallerist should be considering seriously because the answers they find will define their future. (Read more from the Art Newspaper.)
People in the News
posted by CAA — Feb 17, 2016
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 2016
Academe
Stacy Boldrick, formerly curator of research and interpretation at Fruitmarket Gallery in Edinburgh, Scotland, has taken up the post of lecturer in the School of Museum Studies at the University of Leicester in the Leicester, England.
Museums and Galleries
Lloyd DeWitt, curator of European art at the Art Gallery of Ontario in Toronto since 2011, has become chief curator of the Chrysler Museum of Art in Norfolk, Virginia.
Caroline Jean FernaldCaroline Jean Fernald has been appointed executive director of the Millicent Rogers Museum in Taos, New Mexico.
Jens Hoffmann has received a new name for his position: Susanne Feld Hilberry Senior Curator at Large for the Museum of Contemporary Art Detroit in Michigan. Hoffman is also deputy director of exhibitions and programs at the Jewish Museum in New York.
Leo G. MazowLeo G. Mazow, formerly associate professor of art history at the University of Arkansas in Fayetteville, has been appointed Louise B. and J. Harwood Cochrane Curator and Head of the Department of American Art at the Virginia Museum of Fine Arts in Richmond.