CAA News Today
CAA NAMES RECIPIENTS FOR 2015 CAA-GETTY INTERNATIONAL PROGRAM
posted by Janet Landay, Program Manager, Fair Use Initiative — Dec 01, 2014
CAA is pleased to announce this year’s recipients of travel support through the CAA-Getty International Program. In an effort to promote greater interaction and exchange between American and international art historians, CAA will bring scholars from around the world to participate in the 2015 program, held during the association’s Annual Conference in New York City from February 11–14, 2015. This is the fourth year of the program, which has been generously funded by grants from the Getty Foundation since its inception. The participants—professors of art history, curators, and artists who teach art history—were selected by a jury of CAA members from a highly competitive group of applicants. In addition to covering travel expenses, hotel accommodations, and per diems, the CAA-Getty International Program includes support for conference registration and a one-year CAA membership.
The CAA-Getty International Program participants’ activities begin with a one-day preconference colloquium on international issues in art history, during which they meet with North-American-based CAA members to discuss common interests and challenges. The participants are assisted throughout the conference by CAA member hosts, who recommend relevant panel sessions and introduce them to colleagues who share their interests. Members of CAA’s International Committee have agreed to serve as hosts, along with representatives from several Affiliated Societies of CAA, including the American Council for Southern Asian Art, the Arts Council of the African Studies Association, the Association for Latin American Art, the Society of Contemporary Art Historians, and the Society of Historians of East European, Eurasia, and Russian Art and Architecture.
This program has increased international participation in the association’s activities, and expanded international networking and the exchange of ideas both during and after the conference. The CAA-Getty International Program supplements CAA’s regular program of Annual Conference Travel Grants for graduate students and international artists and scholars. We look forward to welcoming the recipients at the Annual Conference in New York City this February.
2015 CAA-Getty International Program Participants
Mokammal H. Bhuiyan
Mokammal H. Bhuiyan
Mokammal H. Bhuiyan is chairman of the Department of Archaeology at Jahangirnagar University, Dhaka, Bangladesh. With a BA (honors), MA, MPhil, and PhD in archaeology, he has developed scholarly interests that also include art history, iconography, and heritage studies and management of Eastern India and Bangladesh. The author of a 2003 book, Terracotta Art of Ancient Bengal, Bhuiyan has written numerous scholarly articles on art, iconography, archaeology, and heritage, both nationally and internationally, as well as newspaper articles on current issues in Bangladesh. He edited Studies in South Asian Heritage, featuring contributions by leading international scholars, as well as Pratnatattva, Vols. 17 and 18. He was a member of the editorial board of the Jahangirnagar Review Part-C, Vol. XXIII, 2011–2012 and serves on the Board of Advanced Studies and Academic Council of Jahangirnagar University. A participant in conferences and seminars around the world, Bhuiyan is a research fellow of the SAARC Cultural Centre and was a research fellow of the Asiatic Society of Bangladesh. As a member of Object Identification Committee, Department of Archaeology, Government of Bangladesh, he has been actively involved in researching the vernacular architecture of Narsingdi, Bangladesh, and conducting a comparative study between Buddhist stone sculptures found in Mainamati, Bangladesh, and those in Tripura, India.
Dafne Cruz Porchini
Dafne Cruz Porchini
Dafne Cruz Porchini is a curator at the Museo del Palacio de Bellas Artes (Museum of the Palace of Fine Arts) in Mexico City. From 2007 to 2011 she was the deputy director of the Museo Nacional de Arte (National Museum of Art), Mexico City. Cruz studied at the Universidad Nacional Autónoma de México (UNAM), where she received a PhD in art history in 2014. Her main research interests include the history of modern exhibitions and transcultural artistic exchanges, topics she has tried to link with her curatorial practice. Her most recent publication is a critical catalogue of twentieth-century modern Mexican painting, Catálogo comentado de pintura del siglo XX (Museo Nacional de Arte-Instituto de Investigaciones Estéticas, 2013), for which she served as the academic coordinator. She is currently organizing the exhibition Mexican Modernisms,which will open at the Philadelphia Museum of Art in fall 2016.
Boureima Tiékoroni Diamitani
Boureima Tiékoroni Diamitani
Since 2001, Boureima Tiékoroni Diamitani has been the executive director of the West African Museums Programme (WAMP), based in Ouagadougou, Burkina Faso. From 1989 to 1993, he served as the director of cultural heritage and museums of Burkina Faso and then as a consultant to the World Bank. Diamitani received his PhD in art history from the University of Iowa in Iowa City and is a specialist in the art of the Senufo people. He also holds a master’s degree in architecture and town planning from the African Crafts School of Architecture and Urbanism in Lomé, Togo. Diamitani was a predoctoral fellow at the National Museum of African Art, Smithsonian Institution, and a Coleman fellow at the Metropolitan Museum of Art in New York. Among the many exhibitions he has organized is Deux Roues (Two Wheels: History of Bicycles and Motorcycles in Burkina), National Museum of Burkina Faso, April 1990.
Ljerka Dulibić
Ljerka Dulibić
Ljerka Dulibić is senior research associate and curator of Italian paintings at the Strossmayer Gallery of Old Masters of the Croatian Academy of Sciences and Arts. She received her PhD in the history of art from Zagreb University in 2007 with a thesis on Tuscan fifteenth-century paintings from the Strossmayer Gallery collection. Since 2008 she has taught courses on art history and iconography at the Catholic Faculty of Theology, Zagreb University. Dulibić has received several awards and scholarships, including a grant from the Attingham Trust, England (2008). She has published papers in international conference proceedings and scholarly articles in international journals, as well as several books on the painting collection at the Strossmayer Gallery. Dulibić’s main research interests are focused on Italian Renaissance and Baroque painting, the history of art collecting and collections, provenance research of works of art in Croatian collections, and the history of the European art market in the nineteenth and early twentieth centuries.
Georgina Gluzman
Georgina Gluzman
Georgina Gluzman is an assistant professor of art history at the Universidad de San Andrés in Buenos Aires, Argentina. She graduated with honors from the Universidad de Buenos Aires, where she is currently completing her PhD. Gluzman’s research focuses on the work of nineteenth-century and early-twentieth-century Argentine women artists. She has published articles and book chapters concerning women artists in Buenos Aires, the iconography of the women of the 1810 revolution, and the role of women artists in early Argentine art-history surveys. In 2014 she cocurated Desbordando los géneros (Undoing Genders: Women Artists from the Ateneo) at the Museo de Arte de Tigre. This exhibition, based on the dissertation she is currently working on, showcased the work of three women artists active between 1880 and 1920.
Angelo Kakande
Angelo Kakande
Angelo Kakande is a senior lecturer and head of the Department of Industrial Arts and Applied Design, College of Engineering Design, Art, and Technology, Makerere University in Uganda. He holds degrees in fine arts (painting and ceramics), art history (MA and PhD), and law (bachelor of law). This combination of interests and training has altered the path of his studio practice and approach to art history and turned him into an activist-scholar. Kakande’s research now lies in the nexus of popular culture, art, art history, law, and the injustices and inequities afflicting many African citizens. Currently, he is exploring the ways in which widespread breaches in human rights form the character of Uganda’s art and art history. He has pursued this subject through two postdoctoral research projects. The first, called “Surviving as Entrepreneurs: Contemporary Ugandan Art and the Era of Neoliberal Reform”(2013), explores the ways in which artists have responded to the Structural Adjustment Programme in Uganda since the 1980s. The second project, “Kampala’s Public Monuments and Allegories of Exclusion: Perspectives on Governance, Human Rights, and Development (2014–16),” questions the ways in which Uganda’s national monuments function as agents of exclusion.
Nazar Kozak
Nazar Kozak
Nazar Kozak is a senior researcher in the Department of Art Historical Studies in the Ethnology Institute at the National Academy of Sciences of Ukraine. After receiving his PhD from the Lviv Academy of Arts in Ukraine, he spent a year at the University of Athens under the auspices of the State Scholarships Foundation. A recipient of research and publication grants from the American Council of Learned Societies, Kozak also earned a fellowship to conduct research at the University of Vienna. Between 2001 and 2013, he taught art history at the Ivan Franko National University of Lviv (Ukraine). Kozak’s research focuses on political and religious iconography. He has published a monograph about the portraits of rulers in the art of Kyivan Rus’ as well as articles dealing with Byzantine and post-Byzantine murals preserved in Ukraine. His current studies are concerned with the iconography of the Akathistos Hymn in post-Byzantine art of the sixteenth century.
Savita Kumari
Savita Kumari
Savita Kumari is currently an assistant professor in the Department of History of Art at the National Museum Institute of History of Art, Conservation, and Museology, New Delhi, India. She holds a PhD from the same institute and specializes in medieval and premodern Indian art history. Engaged in research and teaching for the past eight years, Kumari is currently working on an international research project called “Cham Sculptures from Vietnam and Their Interface with Indian Art,” in collaboration with the Da Nang Museum of Cham Sculpture, Vietnam. She published a book entitled Tombs of Delhi: Sultanate Period in 2006 and coauthored a book entitled Heritage of Haider Ali and Tipu Sultan: Art and Architecture in 2012. Kumari has been awarded fellowships from the Indian Council of Historical Research (ICHR), Charles Wallace India Trust Grants for Research and Visit (CWIT), and a UK Travel Award from Nehru Trust for Indian Collections at the Victoria and Albert Museum (NTICVA).
Nomusa Makhubu
Nomusa Makhubu
Nomusa Makhubu holds a PhD in art history and visual culture from Rhodes University, South Africa, and lectures in art history at the Michaelis School of Fine Art, University of Cape Town. She is also a practicing artist who received the ABSA L’Atelier Gerard Sekoto Awardin 2006 and the Rhodes Amnesty International Woman of the Year Award(Art). Since then Makhubu has exhibited her work in South Africa, France, Germany, Italy, Austria, Swaziland, China, and Reunion Island. In 2008 she was nominated as the presenting artist for the Business Day: Business and Art South Africa (BASA) Awardsand received the Purvis Prize for Academic Achievement in Fine Art, Rhodes University. Makhubu has presented research papers nationally and internationally. In 2010, she completed her fellowship with the Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF) in Nigeria. Her current research focuses on African popular culture and photography. She has worked as a Cue reviewer for the National Arts Festival in Grahamstown (2007, 2010, 2012) and was appointed to the National Arts Festival committee in 2011. Makhubu is a member of the Friends of the Michaelis Collection Committee at the Iziko South African National Gallery.
Ana Mannarino
Ana Mannarino
Ana Mannarino is an art-history professor at Rio de Janeiro Federal University in Brazil, where she teaches courses for students working on bachelor’s degrees in art history, as well as for other art degrees at the same institution. She is also an art historian and researcher. Mannarino received a PhD in art history from the Rio de Janeiro Federal University (PPGAV–UFRJ, Brazil) and participated in a year-long collaborative study program at the Université Sorbonne Nouvelle – Paris 3. Her doctoral thesis, “Word in Brazilian Art: Mira Schendel and Waltercio Caldas,” focused on the relationship between text and image in Brazilian contemporary art, especially in the work of these two artists. Her research also considers the connections between art and poetry in Brazil, Concrete and Neoconcrete art, and the production of artist’s books.
Márton Orosz
Márton Orosz
After receiving an MA in art history and in graphic design ten years ago, Márton Orosz defended his PhD in the Institute of Art History at the University of Eötvös Loránd in Budapest, Hungary, in 2014. Since 2005 he has been working at the Museum of Fine Arts (MFA) in Budapest. There, as part of the Department of Art after 1800, he established the collection of photography and media art. In 2014 he became the director of the Victor Vasarely Museum, which is affiliated with the MFA. He now works as a curator in both institutions. Orosz’s research focuses on media art of the twentieth century such as photography, animated film and motion picture, as well as the art of the classical avant-garde, including architecture, design, and collectorship. Orosz has been a Terra Predoctoral Fellow at the Smithsonian Institution, Washington DC; an ESKAS Fellow at University of Berne in Switzerland; a Baden-Württemberg Research Fellow at Hochschule für Gestaltung (HfG) in Karlsruhe, Germany; and he was awarded a Gyorgy Kepes Fellowship for Advanced Studies and Transdisciplinary Research in Art, Culture and Technology at MIT in Cambridge, Massachusetts. He is now working on the first monograph of the Hungarian–American visual artist, Gyorgy Kepes.
Andrey Shabanov
Andrey Shabanov
Andrey Shabanov received an MA in art history from the European University at Saint Petersburg, Russia (EUSPB) in 2004. In 2013 he completed his PhD at the Courtauld Institute of Art, University of London, with a thesis entitled “Re-Presenting the Peredvizhniki: a Partnership of Artists in Late Nineteenth-Century Imperial Russia.” A monograph based on the thesis and translated into Russian will be published by EUSP Press in early 2015. It will be followed in due course by a monograph in English. Shabanov is an associate research fellow in the Department of Art History of EUSPB, where he teaches graduate courses called “Russia and Europe: Emergence and Modernisation of Art Institutions and Practices in XVIII–XX Centuries” and “From Descriptive to Critical, Problem-Based Art Historical Research: Some Aspects of Academic Writing.” Inspired and informed by his work at the Courtauld, these courses aim to meaningfully link the present Russian art-historical scholarship practice with modern Western academic research standards and knowledge on the subject. Shabanov’s broader research interests are Russian and Western art of the second half of the nineteenth century and the twentieth century, contemporary art, the social history of art, the sociology of art, modern institutional art history, and the history of art exhibitions in Europe.
Shao Yiyang
Shao Yiyang
Shao Yiyang is a professor of art history and theory and the head of Western art studies at the Central Academy of Fine Art, Beijing. She is also a member of the Chinese executive committee of the Committée Internationale d’Histoire d’Art (CIHA). Shao received her PhD in art history and theory in 2003 from the University of Sydney, and her MA degree at the University of Western Sydney. Her teaching and research focuses on Western art history, theory, and Chinese modern and contemporary art. She has published widely on contemporary art and theory in Chinese including two books, Art after Postmodern (Hou xian dai zhi hou) and Beyond Postmodern (Chuanyue hou xiandai). Shao presented papers on Chinese modern art at the thirty-second CIHa congress in Melbourne (2008), the thirty-third CIHA congress in Nuremburg (2012), and the twenty-ninth art-history conference organized by Verband deutscher Kunsthistoriker (Association of German Art Historians) in Regensburg in 2007.
Lize van Robbroeck
Lize van Robbroeck
Lize van Robbroeck completed her honors degree in the history of art at the University of the Witwatersrand, South Africa. Her MA, from the same university, dealt with the ideology and practice of community arts in South Africa. Van Robbroeck completed her PhD at the University of Stellenbosch, studying the discursive reception of modern black art in white South African writing. Her subsequent publications focused on postcoloniality and nationalism in South African visual arts. As a council member of the South African Visual Arts Historian’s Association (SAVAH), van Robbroeck organized the association’s 2008 annual conference. She is one of the editors and writers of Visual Century: South African Art in Context: 1907–2007, a four volume revisionist history of South African art in the twentieth century. Recently her research interests have expanded to include psychoanalytic theories of subjectivity, which she is applying to postcolonial visual culture. She is currently associate professor in the Department of Visual Arts at Stellenbosch University, where she coordinates the visual-studies courses.
Nóra Veszprémi
Nóra Veszprém
Nóra Veszprémi is a lecturer at the Institute of Art History, Eötvös Loránd University, Budapest, Hungary. She studied art history and Hungarian literature at the same university, where she completed her PhD in art history in 2012. In 2011, Veszprémi was a visiting research student in art history at University College London, and in 2013 she received a research fellowship from the Cantemir Institute, University of Oxford. Until 2014, she was a curator at the Hungarian National Gallery, where she cocurated a retrospective of the nineteenth-century Hungarian painter József Borsos (2009) and a major exhibition on art and national identity in nineteenth-century Hungary (2010). Veszprémi’s research focuses on nineteenth-century Hungarian and Austrian visual culture. Her PhD thesis, which will soon be published as a book, provided a critical investigation of the concept of “national Romanticism.” She has presented papers at conferences in Hungary and abroad and has published essays on topics including the representation of gypsies in nineteenth-century Hungarian painting and literature, gothic imagery in Hungarian Romanticism, and the artists Miklós Barabás, József Borsos, and Viktor Madarász. Her article on the Rococo revival in mid-nineteenth-century Hungarian and Austrian painting will be published in The Art Bulletin in December 2014.
AN INTERVIEW WITH DAVE HICKEY
posted by Christopher Howard — Nov 26, 2014
The art critic Dave Hickey will deliver the keynote address during Convocation at the 2015 CAA Annual Conference in New York. Free and open to the public, Convocation takes place on Wednesday, February 11, from 5:30 to 7:00 PM. The event will include the presentation of the annual Awards for Distinction and be followed by the conference’s Opening Reception, to be held at the Museum of Modern Art.
Hickey is the author of several books, including Prior Convictions: Stories from the Sixties (1989), The Invisible Dragon: Four Essays on Beauty (1993), Air Guitar: Essays on Art and Democracy (1997), and, most recently, Pirates and Farmers: Essays on Taste (2013). A new book, Pagan America, will appear in 2015, and a two-volume work called Feint of Heart: Essays on Individual Artists is in preparation.
Hickey has also contributed to numerous other books, exhibition catalogues, and anthologies, as well as to a wide range of magazines, journals, and newspapers. He has lectured at museums and universities around the world and taught art theory and creative writing for twenty years at the University of Nevada, Las Vegas. The recipient of numerous grants and fellowships, Hickey was honored by CAA in 1994 with the Frank Jewett Mather Award for distinction in art criticism.
CAA communicated with Hickey via email this month. Here’s what he had to say.
Over the years I’ve consistently seen copies of your 1997 book Air Guitar: Essays on Art and Democracy in the studios of MFA students in New York. Why do you think the impact of this anthology has lasted so long?
I have a steady market of artists ages twenty to thirty. By the time they’re thirty and have tenure and benefits, they aren’t my fans anymore. About Air Guitar, I think it’s a willfully forgiving book that is kinda the Catcher in the Rye for young artists. Not a high recommendation.
At the CAA conference, you’ll have an audience that’s maybe a third artists, a third historians, with a few curators, critics, and art lovers thrown in for good measure. How do you plan to address this diverse crowd?
Unless this crowd has been radically balkanized in the last few years, I think we all have something in common. I could be very wrong.
What have you recently seen in contemporary art that excites or annoys you?
I’ve been a lot of things, but I can’t be a race-track tout.
CAA’s oldest member, the architectural historian James S. Ackerman, retired in 1990 but still conducts research and writes books. At age 94, he even has a website that receives regular updates on his activities. Do people in the visual artists—artists, scholars, critics, and curators—really ever retire?
If you write about art as long as I have, art becomes your language. My art language is being phased out by universities, but I will keep using it while I’m alive. I intend to win the long run.
News from the Art and Academic Worlds
posted by Christopher Howard — Nov 26, 2014
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.
Getty Foundation Celebrates Thirty Years of Philanthropy
Celebrating its thirtieth anniversary this year, the Getty Foundation is one of the most highly respected international funders of the visual arts in the world. The foundation has awarded 7,000 grants totaling more than $370 million, benefitting over 180 countries on all seven continents. It is the only foundation that funds projects that advance the understanding and preservation of the visual arts on a fully international basis. (Read more from the Getty Foundation.)
The Education of William Adams
At a recent National Endowment for the Humanties dinner for winners of the National Humanities Medal, William “Bro” Adams introduced his special guest Morgan Freeman, who could not help but laugh as he said the words, “Thanks, Bro.” What is the story behind his nickname? (Read more from Humanities.)
Adjunct Action Report Investigates Faculty Working Conditions and Advocates Federal Labor Protections and Accountability from Employers
A recently released SEIU/Adjunct Action report called Crisis at the Boiling Point tells an important story of what’s happening in academic labor by documenting and analyzing just how much work part-time faculty are doing, when they are doing it for free, and how federal employment laws often fail to protect the contingent workforce. This report also offers recommendations and actions that faculty, students, and concerned members of the community can take to begin to reclaim our higher-education system. (Read more from Adjunct Action.)
This Job Market Season, Interview More Adjuncts
Most tenure-track and tenured faculty have tremendous empathy for the plight of adjuncts. Aside from a few “lifeboaters” here and there, the prevailing attitude in the academy is a self-aware and very correct “there but for the grace of [favorite deity], go I.” But when it comes to concrete measures to improve academic labor conditions, many ladder faculty still feel, and not without reason, like their hands are tied. (Read more from Vitae.)
Creative Exchange Launched to Drive Grassroots Projects
The Knight Foundation has teamed up with the Minnesota-based nonprofit Springboard for Arts to help American artists launch grassroots initiatives, from pop-up museums to health fairs that connect uninsured artists with doctors. The project, called Creative Exchange, gives enterprising artists access to on-call experts and free step-by-step guides to replicate previously successful programs. (Read more from the Art Newspaper.)
Science and Art Meet, Unveiling Mystery and Cultural Tragedy
In the last decade, art conservators—the people who protect and preserve works of art—have begun practicing complicated science. Now they can tell more stories of the secret lives of artists, the chemistry behind great works, and why many of the most famous masterpieces no longer look anything like they did when they were painted. They also discovered that one form of paint may reduce great works of modern and Impressionist art into white canvases with smudges. (Read more from Inside Science.)
The Forever Professors
The 1994 law ending mandatory retirement at age 70 for university professors substantially mitigated the problem of age discrimination within universities. But out of this law a vexing new problem has emerged: a graying—yea, whitening—professoriate. The law, which allows tenured faculty members to teach as long as they want, means professors are increasingly delaying retirement past age 70 or even choosing not to retire at all. (Read more from the Chronicle of Higher Education.)
Ageism in Academe
Senior faculty. It sounds like an honorific. It isn’t. It’s more a sort of stigmata. Being called “senior faculty” stigmatizes you. I’m called “senior faculty” quite a lot. I have been teaching journalism for thirty-three years, twenty-nine at the same college. My career in academe, begun with innocent hopes and fearsome ambitions, is nearing its obvious end. I expect to be bid farewell in the style to which I have been made accustomed. (Read more from the Chronicle of Higher Education.)
News from the Art and Academic Worlds
posted by Christopher Howard — Nov 19, 2014
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.
DIY Careers: How to Get Paid for Your Art
Often the biggest unknown in launching a DIY career is accounting. Most of us who go down this road are artists of one kind or another, so we don’t necessarily bring a lot of business acumen to the venture. We know how to create but not how to monetize our creation. Of course, not everyone is interested in assigning a value to their art, but anyone who is needs to incorporate some basic business knowledge into their creative endeavor. (Read more from Vitae.)
How Do Award-Winning Artists Spend Their Prize Money
The modern artist faces a conundrum: good work needs time and space, imaginative and physical. But making work also costs money; studios and materials don’t come cheap, and even aesthetes have to eat. So you get a job that pays … then you don’t have the time—or headspace—to make the work. We hear about the super-successful celebrity artists who make a fortune, but they are the minority. For emerging artists, making work and making ends meet is rarely easy. (Read more from the Independent.)
Full Ninth Circuit to Review California Resale Royalty Act En Banc
Several weeks ago, the parties to the appeal over the constitutionality of the California Resale Royalty Act briefed the question about whether the Ninth Circuit Court of Appeals should hear the case, rather than a three-judge panel that would otherwise be assigned to the case. The Ninth Circuit granted the petition in late October, meaning the appeal will now go before the full court. The issue in the case is a California law that requires royalties on secondary sales of art, something that is not part of US copyright law and is more common in civil law countries as “droit de suite.” (Read more from the Art Law Report.)
If Artists Need to Know about VARA, So Do Judges
On August 11, 2010, Gasser Grunert Gallery in Manhattan sold Jomar Statkun’s painting Tubal Cain at Beggar’s Creek (2009) to an art collector for $16,000. Less a 50 percent commission, Statkun walked away with an $8,000 sale. At a party two years later, Statkun met a former employee of the gallery who told him that the gallery facilitated that sale by cropping ten inches off the painting to suit the space needs of the collector. (Read more from re:sculpt.)
How We Look When We Look at a Painting
Among the abounding fascinations of Frederick Wiseman’s National Gallery, a three-hour documentary about the museum on London’s Trafalgar Square, is a leitmotif of lingering shots of solitary viewers of paintings. Looking at art may be the most unguarded action that we perform in public. We aren’t aware of performing, of course, nor do we openly watch one another doing so. Wiseman’s studies of people entranced, or stupefied, by Leonardos and Vermeers amount to a pictorial essay on self-forgetting: faces young and old, plain and fancy, each as vulnerable as that of a sleepwalker. (Read more from the New Yorker.)
At Harvard, Three Become One
Three institutions will be united under one roof when the Harvard Art Museums reopen after a six-year building project. The Renzo Piano–designed scheme on the edge of the Harvard campus doubles the museums’ combined square footage, increasing gallery space by 40 percent. But the changes at Harvard extend well beyond bricks and mortar and creating extra space to show more of its 250,000-strong art collection. (Read more from the Art Newspaper.)
On Elite Campuses, an Arts Race
Closed for six years, the Harvard Art Museums reopen after a radical overhaul by the architect Renzo Piano. He saved only the shell of the chaste, red-bricked Fogg Museum and its interior courtyard, extending it upward in sheets of glass and elegant truss work. Galleries wrap the new public space, but so do a materials lab, an art-conservation suite, and a study center, where students, faculty, and visitors can learn from the collection of 250,000 objects. (Read more from the New York Times.)
What the Midterm Elections Mean for the Arts: Summary of 2014 Election
In this year’s midterm elections, Republicans took back the Senate, kept control of the House, and won governorships in thirty-one states and counting. What does that mean for you and for us, as strong advocates of the arts and arts education? Here we break down the national, state, and local results—and their potential impact on the arts. (Read more from Americans for the Arts.)
News from the Art and Academic Worlds
posted by Christopher Howard — Nov 12, 2014
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.
Judge OKs Bankruptcy Plan: A “Miraculous” Outcome
A federal judge approved a plan to end Detroit’s historic Chapter 9 bankruptcy, giving the Motor City an unprecedented shot at recovering from decades of economic despair and municipal mismanagement that left the city awash in debt and struggling to provide basic public services. Judge Steven Rhodes ruled that Detroit’s comprehensive restructuring plan is fair and feasible, providing the legal authority for the city to slash more than $7 billion in unsecured liabilities and reinvest $1.4 billion over ten years in public services and blight removal. (Read more from the Detroit Free Press.)
“Grand Bargain” Saves the Detroit Institute of Arts
With his decision approving this city’s federal bankruptcy plan, Judge Steven W. Rhodes—aided by nearly a billion dollars in private and state rescue money—ended an unprecedented threat to the Detroit Institute of Arts, whose world-class paintings and sculpture could have been parceled off at auction to help pay city debt. (Read more from the New York Times.)
Warburg Institute Safe as High Court Rules Contents Not the Property of University of London
To the benefit and relief of scholars worldwide, the High Court has rejected the University of London’s claims that all additions to the Warburg Institute since 1944 belong to the university, and instead agreed that they form part of the institute. Furthermore, Justice Proudman held that the University is obliged to provide funding for the activities of the Warburg Institute. (Read more from the Warburg Institute.)
Help Desk: Crowd Funding
I have many friends who are running crowd-funding campaigns. Part of me wants to contribute because these people are my friends, but I would never think to ask others to fund my art practice. Should I give to these campaigns or pretend I never saw the emails? Should I run one myself the next time I need to travel or buy a new laptop? (Read more from Daily Serving.)
Emerging Artists and the New Spirit of Capitalism
Pointing to the avarice of the art world, to its entanglement with big money, is an old game. Concerns about the “corrupting influence” of the market are likely as old as the market itself, and are still voiced with some frequency. Most recently David Bryne caused a surprising ripple of ire by describing how the big money of the Chelsea art scene was making it difficult for him to give the work itself a fair viewing. However, the issue of contemporary art’s relationship to capitalism is more complicated and thorny than being merely a matter of the staggering prices demanded at elite galleries. (Read more from Public Seminar.)
What Can You Really Do with a Degree in the Arts?
Is my BA in creative writing of any use to me at all? It’s hard to say. I sort of have a career in the arts in that I write and think about art all the time. But the relationship between my arts career and my actual career is tenuous. I earn my living writing, but it’s not exactly the type of writing they were preparing me for back at Oberlin. Rather than poetry or fiction or even creative nonfiction, I write entries for business encyclopedias, create items for high school and elementary standardized tests, and do the occasional online study guide for Stephen King novels. (Read more from the Atlantic.)
NCIS: Provence: The Van Gogh Mystery
For many decades, suicide was the unquestioned final chapter of Vincent van Gogh’s legend. But in their 2011 book, the Pulitzer Prize-winning biographers Steven Naifeh and Gregory White Smith offered a far more plausible scenario—that van Gogh was killed—only to find themselves under attack. Now, with the help of a leading forensic expert, the authors take their case a step further. (Read more from Vanity Fair.)
Culture War: The Case against Repatriating Museum Artifacts
Repatriation claims on the national identity of antiquities are at the root of many states’ cultural property laws, which in the last few decades have been used by governments to reclaim objects from museums and other collections abroad. Despite UNESCO’s declaration that “no culture is a hermetically sealed entity,” governments are increasingly making claims of ownership of cultural property on the basis of self-proclaimed and fixed state-based identities. (Read more from Foreign Affairs.)
Affiliated Society News for November 2014
posted by CAA — Nov 09, 2014
American Society of Appraisers
The Personal Property Committee of the American Society of Appraisers invites you to its annual spring conference, “Current Issues in Determining Authenticity in Visual Art and Objects, the Catalogue Raisonné, Art Scholarship, and Value in the Marketplace,” to be held March 25–28, 2015, at the Yale Club in New York. This scholarly conference will gather highly regarded and renowned experts to discuss timely and relevant topics, including authentication of jade objects, certificates of authenticity, conservation issues, connoisseurship in collecting, authenticity of American paintings, who is an expert, and much more. Field trips to the Princeton University museum and library collections and gallery visits in New York will also be part of conference activities. Accommodations have been reserved at the Yale Club for this event. Early-bird registration pricing will be available. This will be a not-to-miss conference! There is limited space for this event, which is expected to sell out. Stay tuned for additional details.
Art, Literature, and Music in Symbolism and Decadence
Art, Literature, and Music in Symbolism and Decadence (ALMSD) will host the session “Symbolist Art and the Unconscious” at the CAA Annual Conference on Saturday, February 14, 2015, 12:30–2:00 PM. This session will feature papers on art and related disciplines that were influenced by the studies of hysteria and the unconscious conducted by the French neurologist Jean Martin Charcot, Sigmund Freud’s teacher.
ALMSD is organizing a conference on angst in visual arts, literature, and philosophy in Paris, to be held June 4–6, 2015, at Univ. Paris IV. The organization is also accepting the submission of articles on mental illnesses and the Symbolist movement for the first issue of its journal, to be published in fall 2015.
Association of Academic Museums and Galleries
This past summer, the Association of Academic Museums and Galleries (AAMG) and the Kellogg School of Management’s Center for Nonprofit Management held its second Academic Museum Leadership Seminar on the campus of Northwestern University (June 23–27, 2014). Forty-two museum leaders from throughout the United States, Canada, Qatar, and Ireland participated in the leadership-training program. Loyola University Museum of Art and Northwestern’s Block Museum also hosted dinners for seminar fellows during the weeklong program. Funding for the seminar was generously provided by the Institute of Museum and Library Services and the Samuel H. Kress Foundation.
New AAMG board and staff members are: Craig Hadley, DePauw University, board member at large (communications); Katie Kizer, Vanderbilt University, membership coordinator; and Joseph Mella, Vanderbilt University, executive board member
Historians of Islamic Art Association
The Historians of Islamic Art Association (HIAA) has established a permanent fund in memory of Professor Oleg Grabar and in support of the annual award of Grabar Grants and Fellowships. These competitive grants and fellowships, open to all nationalities, are intended to encourage and further the professional development of PhD students and postdoctoral scholars in the history of Islamic art, architecture and archaeology. The next deadline for the Grabar Travel Grant and Post-Doctoral Fellowship is December 15, 2014.
International Association of Art Critics
The International Association of Art Critics (AICA-USA), in collaboration with the Vera List Center for Art and Politics, will present the eighth AICA/USA Distinguished Critic Lecture at the New School featuring Carolyn Christov-Bakargiev, curator of the fourteenth Istanbul Biennale (2015). In addition to her other positions, Christov-Bakargiev has been appointed as a guest scholar at the Getty Research Institute for 2015. Her lecture will be held at the New School, 12th Street Auditorium, 66 West 12th Street, New York, on Thursday, November 20, 2014, 6:30–8:00 PM. Admission is free.
International Sculpture Center
International Sculpture Day, or IS Day, is an annual celebration event held worldwide on April 24, 2015, to further the International Sculpture Center (ISC) mission of advancing the creation and understating of sculpture and its unique, vital contribution to society. IS Day will include a wide range of events, openings, and educational and promotional activities around the world to include, but not limited to: open day at museum/sculpture park; open studios tours; demonstrations and workshops; panels, talks, presentations, and discussions; parties and openings; sculpture exhibits and shows; tours of private and public collections; pop-up shows; exhibitions; and more. Visit www.sculpture.org/isday to learn more about the event and how to participate.
Italian Art Society
The Italian Art Society (IAS) will sponsor a CAA annual meeting session in New York, organized by Christopher Bennett and Elizabeth Mangini entitled “Di politica: Intersections of Italian Art and Politics since WWII” (February 11, 2015, 12:30–2:00 PM). IAS will also cosponsor a related two-day conference entitled “Untying the Knot: The State of Postwar Italian Art History Today” at the Center for Italian Modern Art in New York on February 9–10, 2015. IAS encourages members and prospective members to attend the IAS business meeting on February 11, 7:30–9:00 AM. In March 2015, IAS will sponsor five sessions at the March annual meeting of the Renaissance Society of America in Berlin.
IAS is pleased to provide a research and publication grant (deadline: January 10, 2015). In addition, the society seeks proposals of papers from senior scholars for the sixth annual 2015 IAS/Kress Lecture, scheduled for May 20, 2015, in Naples, Italy, on a Neapolitan topic (deadline: January 4, 2015).
National Council of Arts Administrators
The forty-second annual conference of the National Council of Arts Administrators (NCAA) convened September 23–26, 2014 in Nashville, Tennessee. The organization is indebted to Mel Ziegler and Heather Rippetoe of Vanderbilt University for organizing a provocative, powerful conference. Featured speakers included: Pablo Helguera, artist, writer, and raconteur; Jon Rubin, artist and social practitioner; Steven J. Tepper, a sociologist focused on creativity in education; and Ruby Lerner, founding director of Creative Capital.
The membership elected three new board members: Lynne Allen, Boston University; Elissa Armstrong, Virginia Commonwealth University; and Cathy Pagani, University of Alabama. They join these returning directors: Leslie Bellavance, Alfred University (secretary); Steve Bliss, Savannah College of Art and Design; Cora Lynn Deibler, University of Connecticut; Andrea Eis, Oakland University (treasurer); Amy Hauft, University of Texas at Austin (president); Jim Hopfensperger, Western Michigan University (past president); Lydia Thompson, Texas Tech University; and Mel Ziegler, Vanderbilt University. Special thanks goes to Sergio Soave of Ohio State University for his excellent service; he rotates off the board this year.
Activities at the 2015 CAA Annual Conference in New York include the annual NCAA reception (February 12, 5:00–8:00 PM) and an affiliated-society session, “Hot Problems/Cool Solutions in Arts Leadership,” a fast paced series of presentations on leadership (February 12, 12:30–2:00 PM). NCAA welcomes new and current members as well as all interested parties.
Society for Photographic Education
The fifty-second national conference of the Society for Photographic Education (SPE), titled “Atmospheres: Climate, Equity and Community in Photography,” will take place March 12–15, 2015, in New Orleans, Louisiana. Connect with 1,600 artists, educators, and photographers from around the world for programming that will fuel your creativity—four days of presentations, industry seminars, and critiques to engage you! Explore an exhibits fair featuring the latest equipment, processes, publications, and photography/media schools. Participate in one-on-one portfolio critiques and informal portfolio sharing or attend as a student volunteer for free admission. Other highlights include a print raffle, silent auction, mentoring sessions, film screenings, exhibitions, receptions, a dance party, and more! The guest speakers will be Rebecca Solnit, Chris Jordan, and Hank Willis Thomas. Registration will open on November 3, 2014. Preview the conference schedule and register online at www.spenational.org/conference.
Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture
The Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture (SHERA) looks forward to the ASEEES annual convention November 20–23, 2014, in San Antonio, Texas, where its members will participate on a dozen panels ranging from eighteenth-century prints to twentieth-century art and architecture in Eastern Europe and Russia. SHERA’s business meeting, to be held on Saturday, November 22, at 3:30 PM, is open to both members and nonmembers.
In recent months SHERA’s members have been busy organizing exhibitions, publishing new research, and planning conferences. To see their activities, go to www.shera-art.org and click on News; for members’ recent publications and work in progress, click on Research.
SHERA is delighted to welcome the Cambridge Courtauld Russian Art Centre (CCRAC) as a new institutional member. CCRAC is a joint initiative between the Department of History of Art at the University of Cambridge and the Courtauld Institute of Art in London to provide a forum for the investigation of Russian and Soviet art. It aims to stimulate debate, support collaborative work, and generate and disseminate research on all aspects of the visual arts, architecture, design, and exhibitions in Russia and the Soviet Union.
Visual Resources Association
The Visual Resources Association (VRA) presented the organization’s highest honors at a membership and awards dinner on March 13, 2014, during the VRA’s thirty-second annual conference, held in Milwaukee, Wisconsin. Virginia Mason Green (Macie) Hall of the Center for Educational Resources at Johns Hopkins University received the Distinguished Service Award for her contributions to visual resources and image management. Her service as the VRA representative to the Conference on Fair Use and the National Information Infrastructure at the US Patent and Trademark Office from 1994 to 1999 was only the beginning of her contributions to the field of visual resources.
The Nancy DeLaurier Award for distinguished achievement in the field of visual resources was presented to Ann Baird Whiteside of Harvard University. Whiteside was honored for her leadership in the development and implementation of the Society of Architectural Historians’ SAHARA Project. Funded by the Andrew W. Mellon Foundation, SAHARA was developed by the Society of Architectural Historians in collaboration with ARTstor. It contains over 47,000 images of architecture and landscapes contributed by architects, scholars, photographers, graduate students, preservationists, and others who share an interest in the built environment. Nominator and recipient acceptance remarks are available on the VRA Awards website.
News from the Art and Academic Worlds
posted by Christopher Howard — Nov 05, 2014
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.
W.A.G.E. Certification
Working Artists and the Greater Economy has launched W.A.G.E. Certification, a paradigm-shifting model for the remuneration of artistic labor in the nonprofit sector. W.A.G.E. Certification is a program that publicly recognizes nonprofit arts organizations that demonstrate a history of, and commitment to, voluntarily paying artist fees—it is also the first of its kind in the US that establishes a sector-wide minimum standard for compensation, as well as a clear set of guidelines and standards for the conditions under which artistic labor is contracted. (Read more from e-flux.)
Tenure Track Wisdom, Part 3
In the third of this series of faculty interviews, we hear from Steph Hinnershitz, who just started her second year as an assistant professor of history at Valdosta State University in southern Georgia. (Read more from Vitae.)
Indicting Higher Education in the Arts and Beyond
There’s one very clear take-away from the latest report released by the collective BFAMFAPhD: people who graduate with arts degrees regularly end up with a lot of debt and incredibly low prospects for earning a living as artists. Or, as they put it in the report, titled Artists Report Back: A National Study on the Lives of Arts Graduates and Working Artists, “the fantasy of future earnings in the arts cannot justify the high cost of degrees.” (Read more from Hyperallergic.)
Unbound: The Politics of Scanning
The romanticized image of the scanner is based on the assumption that by scanning and uploading we make information available, and that that is somehow an invariably democratic act. Scanning has become synonymous with transparency and access. But does the document dump generate meaningful analysis, or make it seem insignificant? (Read more from Rhizome.)
Intentional Conferencing
Conferences are not cheap. They are exhausting and usually require you to travel. You are taking time away from work, which means risking feeling behind when you return. You arrive home sleep-deprived, information-overloaded, and struggling to play catch-up. So why do we go? We attend conferences to learn, network, and take new ideas back to our institutions. Does this always happen? (Read more from Inside Higher Ed.)
Teaching and the University of Tomorrow
Last week, I attended the De Lange Conference held at Rice University every other year, this time on “Teaching in the University of Tomorrow.” The future-oriented theme had both intrigued me, and left me a little skeptical. But ultimately I was won over by the chance to attend, for the first time, a conference exclusively focused on teaching. I would be able to talk shop about learning and pedagogy. Like many other academics, I’m concerned about what the university of tomorrow might become. (Read more from Vitae.)
Everybody’s an Art Curator
This winter, the Santa Cruz Museum of Art and History will feature an exhibit of works relating to the ocean, with paintings and sculptures by established artists alongside works by local residents. According to a call for submissions, that includes not just watercolors of Pacific sunsets, but “that awesome GoPro footage you took while surfing” and “your two-year-old’s drawing of the beach that’s been on the fridge for five months.” Museums are increasingly outsourcing the curation of their exhibits to the public—sometimes even asking the crowd to contribute art, too. (Read more from the Wall Street Journal.)
Seeking a Postdoc
An advice seeker writes, “My adviser tells me not even to bother applying for postdocs—the competition is too intense. Is that true?” Of course you can apply for postdocs. Yes the competition is fierce, but that doesn’t mean you shouldn’t try. As you craft your application, make sure that it proves four key things: that your research is legitimate, necessary, and viable, and that it meets the needs (or advances the mission) of the hosting laboratory, department, campus, or program. (Read more from Vitae.)
Mellon Foundation Awards Grant to CAA to Partner with SAH on Digital Scholarship Guidelines
posted by Christopher Howard — Oct 29, 2014
The Andrew W. Mellon Foundation has awarded the College Art Association (CAA) a $90,000 grant to partner with the Society for Architectural Historians (SAH) in the development of guidelines for the evaluation of digital scholarship in art and architectural history for promotion and tenure. CAA and SAH will convene a task force, hire a researcher to examine evaluative practices in departments of art and architectural history, develop a survey to seek current practices from CAA and SAH members, and provide evaluative guidelines. CAA President DeWitt Godfrey said, “Since its founding in 1911, CAA has regularly issued Standards and Guidelines for the fields of art and art history. These guidelines will encompass projects in art and architectural history that use digital technologies in research, production, publication, and/or exhibition. These growing forms of scholarship are in critical need of support and recognition, and this grant will allow CAA and SAH to provide standardized guidelines for those evaluating digital art and architectural history.”
This project will mark the first time that CAA and SAH will collaborate on professional practice guidelines, although the two associations have worked closely in other areas in the past. Pauline Saliga, SAH executive director announced, “The Society of Architectural Historians is pleased to collaborate with our sister organization, the College Art Association, on this important endeavor. Because art and architectural historians are increasingly working collaboratively and using digital tools and data to construct their arguments, it is very important that we develop a set of guidelines for universities to recognize this innovative work.”
The ten-person task force will be chaired by CAA President DeWitt Godfrey and SAH President Ken Breisch. In addition to the chairs, the task force will comprise eight members with substantial experience in traditional and digital scholarship: two art historians, two architectural historians, a librarian, a museum curator, a scholar from another humanities or social-science field with expertise in digital scholarship, and a graduate student or emerging professional in art or architectural history.
The need for evaluative guidelines has been expressed by professors of art and architectural history who have developed research and/or publications using digital technologies, have created new digital tools for interpretation and understanding of art-historical and place-based subjects, or have collaborated with other scholars to develop digital archives and resources; by professors and administrators who have responsibility for dissertations and promotion and tenure committees but lack the necessary tools to assess digital scholarship; by CAA’s and SAH’s editorial boards and advisory committees, whose journals and online academic resources now require guidelines to facilitate critical reviews of digital scholarship; by CAA and SAH publication and award juries who need protocols for judging the quality of digital scholarship to determine awards; by academic publishers; and by other disciplines and their learned societies.
CAA and SAH anticipate that the guidelines will address different types of scholarly digital contributions: those that provide new resources, such as archives and new research tools (examples include SAH Archipedia and SAHARA); those that create scholarship in art and architectural history using publishing platforms such as Scalar and the JSTOR Current Scholarship program; those that create scholarship based on spatial and visualization technologies; and those that engage in new computational technologies.
CAA and SAH anticipate that shared guidelines will reassure art and architectural historians that new forms of digital research and scholarship will be evaluated and credentialed; provide tenure committees with specific criteria for evaluating digital projects in art and architectural history; and ensure that digital scholarship can be evaluated and supported through juries and grants, thereby increasing awareness and participation of scholars in the digital realm.
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.
For more information, please contact Hillary Bliss, CAA development and marketing manager, at hbliss@collegeart.org or 212-392-4436.
News from the Art and Academic Worlds
posted by Christopher Howard — Oct 22, 2014
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.
AIA Statement on the Recent Sale of Artifacts by the St. Louis Society
The Archaeological Institute of America has learned with grave concern that the AIA St. Louis Society has sold a collection of Egyptian artifacts entrusted to its care. These objects were intended to benefit the citizens of St. Louis by helping them to understand the record of past human achievement. The decision to sell these objects after a century of custodianship contravenes this expectation. (Read more from the Archaeological Institute of America.)
Publishers Win Reversal of Court Ruling That Favored “E-Reserves” at Georgia State University
How much copyrighted material can professors make available to students in online course reserves before they exceed the boundaries of educational fair use? That’s the essential question at the heart of a long-running copyright-infringement lawsuit that has pitted three academic publishers against Georgia State University. Last week, in a setback for the university, a federal appeals court reversed a May 2012 ruling that mostly favored Georgia State. (Read more from the Chronicle of Higher Education.)
Nurturing Talent
Design education leaves designers lacking in business skills—it’s hard enough to learn to be a designer, but there needs to be a next step for the business side that caters to the entrepreneur. Who wants to spend two years getting an MBA if you’ve got a hot idea? We need a place where smart, talented designers can get an on-demand education about how to start a business, which includes everything from financial planning and costing to how to stay out of trouble. (Read more from Metropolis.)
“Looking” at Art in the Smartphone Age
“Beyoncé and Jay-Z Take Selfie with Mona Lisa!” headlines all over the internet blared. And it’s true, the first couple of American pop culture did take a photo of themselves in front of one of the masterpieces of European art history. But in the instantly iconic image, the two musicians aren’t even looking at the famous work of art that they knowingly appropriate. In fact, they have their backs turned to it, with the Mona Lisa’s face poking out over their shoulders like a photobomb across the centuries. (Read more from Pacific Standard.)
Soft Fabrics Have Solid Appeal
Once dismissed as utilitarian, homespun, and intellectually flimsy, textiles are gaining international stature in art museums. The artist Richard Tuttle just unveiled a vast installation in Tate Modern’s Turbine Hall, called I Don’t Know, or the Weave of Textile Language, while new and older works are on view in his retrospective at the Whitechapel Gallery in east London. Meanwhile, there are shows on fiber art, weaving, and embroidery at the Drawing Center in New York and the Institute of Contemporary Art, Boston. (Read more from the Art Newspaper.)
Hanging a Tapestry in the Met Is a Lot More Complicated Than You Think
The Metropolitan Museum of Art recently opened a new exhibition: Grand Design, a collection featuring nineteen massive tapestries by the Renaissance master Pieter Coecke van Aelst. The tapestries are epic, intricate pieces, spanning up to thirty feet in length and weighing an average of one hundred pounds—which begs the question of how, exactly, the museum hangs them. (Read more from Slate.)
The Confidence Gap in Academic Writing
As a writing workshop instructor, I’ve become familiar with the garden-variety problems that graduate students face in writing a dissertation. Often those difficulties boil down to an avoidance of the daily grind of writing itself. Sometimes students lack any concrete feedback on their drafts or receive comments that are too general to be of much help in the revision process. Many students are unfamiliar with the tricks and tools of the writing trade itself—things like reverse outlines, free writing, or “storyboarding.” (Read more from Vitae.)
Managing Your Academic Career
In my ten years of interviewing and/or observing approximately one hundred faculty members at various types of institutions, I have learned a great deal about how to shape and manage academic work in ways that promote meaningful, balanced, and satisfying careers. To prepare for a presentation at new faculty orientation at Saint Joseph’s University, I reviewed the field notes, interview transcripts, and publications from my past studies with one question in mind: What strategies might best help new faculty members manage their academic careers during a time of rising expectations, decreasing resources, and diminishing boundaries between work and life? (Read more from Inside Higher Ed.)
CAA Seeks Jury Members for the Terra Foundation Publication Grant
posted by Betty Leigh Hutcheson — Oct 20, 2014
The College Art Association (CAA) seeks nominations and self-nominations for one US scholar and two scholars based outside the United States to serve on the jury of CAA’s Terra Foundation for American Art International Publication Grant through June 30, 2017. Candidates must be actively publishing scholars with expertise in any branch of American art history, visual studies, or a related field with demonstrated seniority and achievement; institutional affiliation is not required.
The Terra Foundation for American Art awarded CAA a major, three-year grant to administer an annual program to support book-length scholarly manuscripts in the history of American art. The Terra Foundation for American Art International Publication Grant will award funds of up to $15,000 to US and non-US publishers for books that examine American art in an international context, increase awareness of American art internationally through publication outside the United States, allow wider audiences to access important texts through translation, and/or result from international collaboration. For grant guidelines, detailed eligibility requirements and application instructions, please visit www.collegeart.org/terrafoundation.
Members of the Terra Foundation International Publication Jury meet once each year to select awardees. The first meeting of the jury will take place at CAA’s Annual Conference in New York on February 11, 2014. Subsequent meetings will take place via teleconference each February. Two months prior to the meeting, CAA staff will provide all application materials and reader’s reports to jurors for review prior to the jury meeting. Jurors for this grant would serve as volunteers and would not be entitled to receive compensation for service, however, travel and hotel expenses for the 2014 jury meeting will be paid by the College Art Association.
US candidates must be CAA members in good standing and should not currently serve on another CAA editorial board or committee. Jury members may not themselves apply for a grant in this program during their three-year 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 curriculum vitae, and contact information to: Terra Foundation for American Art International Publication Grant, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or send all materials as email attachments to Betty Leigh Hutcheson, bhutcheson@collegeart.org. Deadline: December 1, 2014.
About CAA
The College Art Association is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, website, and other programs, services, and events. CAA focuses on a wide range of advocacy issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching. Learn more about CAA at www.collegeart.org.
About the Terra Foundation
The Terra Foundation for American Art is dedicated to fostering exploration, understanding, and enjoyment of the visual arts of the United States for national and international audiences. Recognizing the importance of experiencing original works of art, the foundation provides opportunities for interaction and study, beginning with the presentation and growth of its own art collection in Chicago. To further cross-cultural dialogue on American art, the foundation supports and collaborates on innovative exhibitions, research, and educational programs. Implicit in such activities is the belief that art has the potential both to distinguish cultures and to unite them.