CAA News Today
Lilianne Lugo: 2014 International Travel Grant Recipient
posted by Janet Landay, Program Manager, Fair Use Initiative — Apr 01, 2014
After last month’s Annual Conference, recipients of CAA’s 2014 International Travel Grants were invited to contribute short articles reflecting on their experiences in Chicago. What follows is a personal reminiscence from Lilianne Lugo, an educator, administrator, and playwright based in Havana, Cuba. Lugo studies the relationship between the history of art and the history of theater, as well as the intersections of contemporary art practice and the performing arts. She is professor and vice dean of research and postgraduate studies at the Universidad de las Artes in Havana, Cuba.
Saudade
The persistence of melancholy. The persistence of the friends I have released to oblivion. The persistence of the memories of other cities, other people that I miss. I walk in an unknown city. I can barely breathe, it’s so cold. My best friend wrote me an email. “What are you doing?” he asks. “I miss you….” But when I wrote him back I can only send him a picture of my foot on the snow … it’s my way of embracing the spirit of life, my way of saying that I am seizing and enjoying the opportunities that suddenly emerge in our lives and change it forever. Just a few moments in life can be counted like that, and this is one of them.
First time in the snow. From the plane I can see the frozen ground. Behind I have left the unbearable heat of Havana and the noise of its streets. First time in Chicago. First time in the United States. First time at CAA’s conference. So many impressions, so many new people. I can write only in first person singular. I can’t speak for the others. I can’t talk about what I haven’t seen before.
For a couple of days the Hilton Chicago is invaded by hordes of art historians, artists, professors, and recruiters. It’s a huge event, and the whole city seems to inhale a whirlwind of art. Exhibitions, talks, panels, and informal gatherings that interrupt the rhythm of daily routines and establish a different understanding of reality. In a world of white ground, how to conjure the fire of masterpieces? How can we understand and explain (if that’s possible) from a warm and carpeted hotel the always ungraspable world of art and art history?
For twenty people each year, the College Art Association and the Getty Foundation make it possible to attend this conference. That means twenty people in the world receive a gift to come to the States and share and learn what we know about the art in our countries with colleagues from all over the US. This time the group is composed of people from Egypt, Romania, Bulgaria, Russia, South Africa, Portugal, Poland, Cuba, Argentina, Chile, Brazil, Uganda, Ghana, Cameroon, Estonia, Pakistan, Malaysia, Bangladesh, Nigeria, and Croatia.
Some images of those days come to my mind: the day of the preconference, in which each of us presented a paper about our research, and the discussion afterward about so many different topics. Art Shay’s exhibition My Florence at the Museum of Contemporary Photography at Columbia College Chicago that we, as a group, visited together. In the library of the college we saw the photographs and the artist himself. It was the story of his life, the little moments he shared with his wife and family, and it was so impressive to see him, with the energy and look that only years can bring. Or the exhibition at the DePaul Art Museum, The Sochi Project: An Atlas of War and Tourism in the Caucasus, about the 2014 Winter Olympic Games in Sochi, Russia, and the environment of that particular area that, in the former days of Communism, was the recreational spot for Joseph Stalin. And then we walked with our graduate-student host to see the Lakeview neighborhood nearby. Or the meetings with so many bright and marvelous people….
Then, when the conference ended, another trip was waiting for us, to the Clark Art Institute in Massachusetts. From the plane’s window we could see Manhattan and the Statue of Liberty; at LaGuardia airport we said goodbye to our fellow travel-grant recipient Mahmuda Khnam, who was feeling sick and couldn’t travel to Williamstown. We talked on the drive north and shared our opinions, we talked about everything: Brazilian soap operas, LGBT rights, curatorial practices, communism, incomes, outcomes, food, and snow. Then, a warm welcome at the Clark, a very special place in a beautiful setting where studying takes place in real luxury. Outside it snowed all day long, but inside the Clark was joyful and cozy, as we were received in that sanctuary of knowledge like kings and queens.
Now, in the sun again, I remember with joy the city of Chicago, the museums, the extraordinary collection of the Art Institute, the people of CAA, my fellow grant recipients, and, of course, all that I have learned about not only specific issues related to my research, but also the methodologies and approaches that many colleagues are currently using. I learned, too, about how things work in the professional world of art and art history in the United States.
I began this essay talking about melancholy. It’s the feeling I get when I think about those moments during CAA’s conference. Portuguese had a beautiful word to describe it: saudade. And that would be the best word, because even in Spanish nostalgia or melancolía are not the same. I cherish those moments. While I am thinking about what lies ahead, I am eager to come back and share with my new colleagues the fruits of another year of work.
Image Caption
Lilianne Lugo.
Office of Museum Services Funding Letters–Deadlines Extended to Friday, March 28
posted by CAA — Mar 26, 2014
The American Alliance of Museums sent the following email on March 25, 2014.
Office of Museum Services Funding Letters–Deadlines Extended to Friday, March 28
Important Update: The deadlines for legislators to sign the Tonko/Lance/Slaughter/Grimm and Gillibrand/Blunt Office of Museum Services appropriations letters have been extended until THIS FRIDAY, MARCH 28. We need to redouble our efforts in the next few days to make sure every Representative and Senator hears from the museums they represent, asking them to sign on to these important funding letters.
As we have shared in recent Alliance Advocacy Alerts, these six champions are circulating letters among their colleagues in the House and Senate in support of funding for museums nationwide through the Office of Museum Services (OMS) at the Institute of Museum and Library Services (IMLS).
Current HOUSE Letter Signers: Tonko (NY), Lance (NJ), Slaughter (NY), Grimm (NY), Titus (NV), Yarmuth (KY), Pocan (WI), Sablan (MP), McGovern (MA), Ruppersberger (MD), Levin (MI), Tsongas (MA), Clarke (NY), Danny Davis (IL), Hastings (FL), Schneider (IL), Neal (MA), Lofgren (CA), Blumenauer (OR), Pingree (ME), Michaud (ME), Tierney (MA), Braley (IA), McNerney (CA), Norton (DC), Rangel (NY), Cicilline (RI), Christensen (VI), Langevin (RI), Swalwell (CA), Shea-Porter (NH), McCollum (MN), Holt (NJ), Deutch (FL), Moran (VA), Grijalva (AZ), Wilson (FL), Luján (NM), Bonamici (OR), Gutierrez (IL), Higgins (NY), Lipinski (IL), Matsui (CA), Loretta Sanchez (CA), McKinley (WV), Courtney (CT), Cummings (MD), Carson (IN), McDermott (WA), Beatty (OH), Schakowsky (IL), Doggett (TX), Hinojosa (AZ), Gabbard (HI), Clay (MO), Bishop (NY), Connolly (VA), Nadler (NY), Castor (FL), Ellison (MN), Pascrell (NJ), Johnson (GA), Kuster (NH), Capps (CA), Dingell (MI), Linda Sanchez (CA) and Payne (NJ)
Current SENATE Letter Signers: Gillibrand (NY), Blunt (MO), Hirono (HI), Coons (DE), Leahy (VT), Blumenthal (CT), Stabenow (MI), Schumer (NY), Johnson (SD), King (ME), Cardin (MD), Sanders (VT) and Heinrich (NM)
If any of your legislators are NOT yet on these lists, please contact your Representative and Senators TODAY and ask them to please sign the letter supporting museum funding through the Office of Museum Services. You can use our Legislator Look-Up to identify your Representative and Senators.
If they have already signed on, please say THANK YOU.
You can call the Capitol Switchboard (202-224-3121) and ask to be connected to your legislators’ offices.
You can also thank them on Facebook and Twitter, and find your legislators’ Facebook pages and Twitter handles in their profiles in our online Directory.
Thank you for taking action on this important, and time-sensitive, issue!
Senate Museum Funding Push Is Now Bipartisan; Tell Your Senators to Join the Effort
posted by CAA — Mar 20, 2014
The American Alliance of Museums (AAM) sent the following email on March 19, 2014
Senate Museum Funding Push is Now Bipartisan; Tell Your Senators to Join the Effort
Senators Kirsten Gillibrand (D-NY) and Roy Blunt (R-MO) are now circulating a bipartisan letter urging the Senate Appropriations Committee to provide robust funding in FY 2015 for the Office of Museum Services (OMS) at the Institute of Museum and Library Services (IMLS). This is the fifth year that Senator Gillibrand has led this effort, but the first time Senator Blunt will co-lead the letter.
The deadline for Senators to sign on to this letter is March 25, 2014.
The Office of Museum Services is receiving $30.1 million this year, well below its authorized level of $38.6 million. The Gillibrand/Blunt letter is your Senators’ chance to go on record in support of museum funding, so ask them to sign on today!
“Following visits from his constituents during Museums Advocacy Day, Senator Blunt decided to co-lead this letter with Senator Gillibrand, making it a bipartisan effort and demonstrating the value of our field-wide efforts in Washington, D.C.,” said Alliance President Ford W. Bell. “I applaud Senators Gillibrand and Blunt for their leadership in supporting museums nationwide. We are especially thrilled that Senator Blunt has joined the cause this year; museums in Missouri should be proud to have such a responsive museum champion in Congress.”
Last year, you contacted legislators in record numbers and you made a real difference: a record-breaking number of Senators signed the letter supporting funding for the IMLS Office of Museum Services. Keep that momentum going by contacting your Senators now.
Thank you for acting on this important issue!
News from the Art and Academic Worlds
posted by Christopher Howard — Mar 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.
Actual Raises for Faculty
Tenured and tenure-track faculty members at four-year colleges and universities are receiving raises this year that exceed the increase in the cost of living, according to a study that was released by the College and University Professional Association for Human Resources. The study found that the median increase in base salary is 2.1 percent, and that the annual increase in the Consumer Price Index for the period was 1.5 percent. (Read more from Inside Higher Ed.)
Average Salaries of Tenured and Tenure-Track Faculty at Four-Year Colleges, 2013–14
Law, business, and engineering again topped the list of the most lucrative disciplines for professors. But professors of theology and religious vocations saw one of the largest increases in salary, about 8 percent from 2012–13 to 2013–14. Where did the humanities and visual arts rank this year? (Read more from the Chronicle of Higher Education.)
DIA Grand Bargain Could Prove to Be a Work of Art, but Not a Done Deal
In 1919, with the Detroit Institute of Arts in dire financial straits and Detroit’s economy booming, museum leaders ceded ownership of the art and building to city hall in exchange for annual funding. Nearly a century later, history is preparing to do a somersault. Detroit is now bankrupt, DIA is more financially stable than it has been in decades, and the museum stands on the brink of being spun off into an independent charitable trust that would once again own the collection and building. (Read more from the Detroit Free Press.)
No More Silence of the Scholars
A bill introduced in the New York State Legislature seeks to protect art experts from what it describes as “frivolous” lawsuits. The proposed legislation aims to make it more difficult for owners, auctioneers, and dealers to bring lawsuits against art historians simply because they do not like their opinions. (Read more from the Art Newspaper.)
Museum Object Portfolio Performance
Most of us have some experience teaching with art “in the flesh”—in museums or galleries—rather than our usual fallback of classroom PowerPoint, Offline Image Viewer, which is ARTstor’s presentation technology, or Prezi presentations. And we often send students to a local museum or university gallery to write responses of one sort or another, giving them direct access to the original artwork. But in my undergraduate museum-studies class this semester, I wanted my students to consider the variety of ways that text can be used to introduce, augment, and/or constrain our response to the original object. (Read more from Art History Teaching Resources.)
The Ten Weirdest Artworks Ever
From sexy heels trussed and presented on a silver platter to Damien Hirst’s formaldehyde shark, the Guardian presents a tour through some of the strangest, most shocking surrealist art around. (Read more from the Guardian.)
Hoard d’Oeuvres: Art of the 1 Percent
Art collecting is the most esteemed form of shopping in our culture today. And in today’s digital economy, you can monitor this primal battle of achieving egos as it unfolds in real time, on computer screens. At auction you watch incomparable works of art vanish into exchange value: all that’s solid truly melts into air. The spectacle of yen, dollars, and euros mounting on the screen climaxes in the money shot: the sale price. (Read more from the Baffler.)
The Joys and Perils of Artistic Collaborations
Artists aren’t exactly known for their accommodating, easygoing ways. More often, it’s words such as “egocentric” and “introverted” that spring to mind. In reality, though, few artists work in total isolation, especially once they have achieved a certain level of success. Jeff Koons and Damien Hirst have teams of assistants making their work—yet these assistants can hardly be called collaborators. At the other end of the fame scale, collaboration is crucial for so-called emerging artists, through sharing materials and workspaces and exchanging ideas. (Read more from the Financial Times.)
Propose a Paper or Presentation for the 2015 Annual Conference
posted by Emmanuel Lemakis — Mar 13, 2014
The 2015 Call for Participation for the 103rd Annual Conference, taking place February 11–14, 2015, in New York, describes many of next year’s programs sessions. CAA and the session chairs invite your participation: please follow the instructions in the booklet to submit a proposal for a paper or presentation. This publication also includes a call for Poster Session proposals and describes the seven Open Forms sessions.
Listing more than one hundred panels, the 2015 Call for Participation is only available as a PDF download; CAA will not mail hard copies of this twenty-eight-page document.
The deadline for proposals of papers and presentations for the New York conference is Friday, May 9, 2014.
In addition to dozens of wide-ranging panels on art history, studio art, contemporary issues, and professional and educational practices, CAA conference attendees can expect participation from many area schools, museums, galleries, and other institutions. The Hilton New York is the conference headquarters, holding most sessions, Career Services, the Book and Trade Fair, ARTspace, special events, and more. Deadline: May 9, 2014.
Contact
For more information about proposals of papers and presentations for the 2015 Annual Conference, please contact Lauren Stark, CAA manager of programs, at 212-392-4405.
News from the Art and Academic Worlds
posted by Christopher Howard — Mar 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.
The No-Fail Secret to Writing a Dissertation
As a former journalist, assistant professor, and seasoned dissertation-writing-workshop coach at New York University, I can promise you there is only one fail-safe method, one secret, one guaranteed trick that you need in order to finish your dissertation: write. (Read more from Vitae.)
Who Knew? Arts Education Fuels the Economy
In public-policy battles, you might hear that arts education is closely linked to greater academic achievement, social and civic engagement, and even job success later in life. But what about the economic value of an arts education? Here even the field’s most eloquent champions have been at a loss for words, or rather numbers. Until now. (Read more from the Chronicle of Higher Education.)
Study Finds Gender Inequality in Art Museum Director’s Salaries
Fewer than 43 percent of art-museum directors are women, yet female directors, on average, are paid less than their male counterparts, according to a joint study from Southern Methodist University’s National Center for Arts Research and the Association of Art Museum Directors. The study also found that female directors at museums with budgets of more than $15 million earn 71 cents for every $1 that male directors earn. (Read more from Art and Seek.)
Arts Are Failing to Widen Access to Jobs
The cultural sector in the United Kingdom is failing to provide equal access to jobs, which is “stifling” the industry’s ability to grow and diversify, according to a new report written by leading skills-development body Creative and Cultural Skills. The report claims that employers are recruiting from too small a pool of applicants, which has resulted in unfair routes into work. (Read more from the Stage.)
Making History: Wikipedia Editing as Pedagogical and Public Intervention
On the first Saturday in February, the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art hosted an Art + Feminism Wikipedia Edit-a-Thon in partnership with Project Continua and in tandem with a nationwide initiative organized by Eyebeam Art and Technology Center in New York. We were thrilled by the turnout and enthusiasm of the participants—who ranged from professors of art history and women’s literature to long-time editors of Wikipedia to novices in both categories—and wrote about several personal interactions and specific changes that made the day memorable and impactful on the museum’s blog. (Read more from Art History Teaching Resources.)
When Is an Artwork Finished?
In nineteenth-century England, Varnishing Day was traditionally the time when artists arrived at an exhibition to put the finishing touches on their works and seal them with a coat of varnish. J. M. W. Turner famously arrived at one such event in 1835, where he proceeded to squeeze lumps of color onto a half-finished canvas and, according to various accounts, work without a break, using his fingers and a palette knife to coax the surface to life. In the end, the painting Turner produced was one of two versions depicting the burning of the Houses of Parliament a few months earlier. (Read more from ARTnews.)
Help Desk: Selling Unconventional Work
I work for a gallery that has become known as a place for artists to take risks. While this is exciting and great, it is also frustrating—especially for the owner of the gallery, who has been in business for around twenty years and whose patience and enthusiasm, and subsequent income, is waning as a result of these artists’ unconventional and less-popular work. How do we use this reputation to our advantage and pitch new work to potential collectors. (Read more from Daily Serving.)
The Price of “Free”
You’ve probably seen the news. Getty Images—not to be confused with the Getty Museum or Getty Research Center—has made millions of its photos free. Well, not exactly. You have to use their embedded code, which includes branding, a bit of surveillance, and other moneymaking potential. When you embed these images, you’re giving Getty access to information about who sees the image on your page and you provide them ad space on your site, a little virtual real estate where they might someday put up billboards. (Read more from Inside Higher Ed.)
2014 International Travel Grant Recipients Attend the Chicago Conference
posted by Janet Landay, Program Manager, Fair Use Initiative — Mar 10, 2014
This year’s recipients of CAA’s International Travel Grants arrived in Chicago on Sunday, February 9, a few days in advance of the Annual Conference. Although the temperature outside was freezing, the mood among the program’s participants was considerably warmer due to their enthusiasm and friendliness. Funded by a generous grant from the Getty Foundation, the grantees (as pictured above from left to right) included: Katerina Gadjeva (Bulgaria), Freeborn Odiboh (Nigeria), Susana S. Martins (Portugal), Kanwal Khalid (Pakistan); Magdalena Nowak (Poland), Adriana Oprea (Romania), Cezar Bartholomeu (Brazil), Daria Kostina (Russia), Eddie Butindo-Mbaalya (Uganda); Lilianne Lugo Herrera (Cuba), Laris Borić (Croatia), Josefina de la Maza Chevesich (Chile), Fernando Martinez Nespral (Argentina), Portia Malatjie (South Africa), Mahmuda Khnam (Bangladesh), Rael Artel (Estonia); Ahmed Wahby (Egypt), Hugues Heumen Tchana (Cameroon), Heba Nayel Barakat Hassanein (Malaysia), and Eric Appau Asante (Ghana). For some, it was their first visit to the United States; for all, it was their first to Chicago and to a CAA Annual Conference.
Now in its third year, CAA’s International Travel Grant Program aims to bring a more diverse and global perspective to the study of art history by generating international scholarly exchange. Over time, the program will build CAA’s international membership and strengthen its connections to an increasingly global art community. The international travel grant recipients were selected by a jury of CAA members from over one hundred applicants based on the following criteria: all had to be art history professors, artists who teach art history, or museum curators with advanced degrees in art or art history; they had to be from countries not well represented in CAA’s membership; and they had to demonstrate that attending the conference would significantly support or strengthen their work.
With additional support from the National Committee for the History of Art (NCHA), several CAA members—including members of its board of directors and International Committee and representatives from NCHA—took part in the visitors’ activities throughout the conference week, serving as hosts and/or participants in a preconference session about international topics in art history. This year graduate students from Chicago-area universities also participated to assist the grant recipients in visiting museums and galleries around town. Through informal conversations, excursions, and meals, these CAA members introduced grantees to colleagues in their fields, advised them about conference activities, and exchanged information about the practice of art history in their countries. For many, the week’s activities marked the beginning of new friendships and scholarly collaborations, to be continued in various countries around the world and at future CAA conferences.
A highlight of this year’s program was the full-day preconference about International Topics in Art History held on Tuesday, February 11, 2014. Each of the grant recipients gave presentations about their work, addressing topics such as art and national identity, international issues in contemporary art, cross-cultural influences on artistic styles, and curriculum reassessments of art historical training. The talks featured a wide range of art, from Renaissance arches to Islamic-Hispanic domestic architecture, from communist-era paintings in Poland and Russia to contemporary art in Estonia, South Africa, and Malaysia. Following the presentations, Rick Asher, professor of art history at the University of Minnesota, led a lively discussion that further explored these topics and related issues about how art history is practiced in different parts of the world. Joining him were Professors Mark Cheetham (University of Toronto), Jennifer Milam (University of Sydney), Steven Nelson (UCLA), and museum curator Joanne Pillsbury (Metropolitan Museum of Art).
“The diversity of the grantees was astonishing, and their respective self-introductions brought very much to the meeting. It was clear that nobody had had such opportunities of meeting colleagues from so many distant cultures and countries as we did that day.”
–Eva Forgacs, professor of Russian and Central European art history and a host for this year’s program
Later in the week, grantees attended a session sponsored by CAA’s International Committee entitled Topics in Global Art History: Historical Connections. The first in a series of sessions on global art history, this year’s panel included presentations by two former grant recipients, Shao-Chien Tseng (Taiwan) and Trinidad Perez (Ecuador). The goal going forward is to solicit proposals for papers from former grantees to reinforce connections between them and CAA members.
CAA’s International Committee remained centrally involved in planning this year’s travel grant program. We are particularly grateful to Ann Albritton, outgoing chair of the committee, for her enthusiastic support. In addition to co-organizing the session on Topics in Global Art History (with committee member Gwen Farrelly), Ann offered guidance on program plans, lined up several hosts, and served as an energetic host herself.
At the close of the week’s activities, grant recipients and hosts met again to report on what they had learned and how it will impact their work in the future. Several discussed preliminary plans to co-organize meetings, guest curate exhibitions, and/or arrange guest lectures at each other’s universities. Their experiences were well-summarized by Laris Borić, who wrote after he returned home:
Personally I was deeply impacted by the enthusiasm and dedication of some of the speakers at the conference, CAA staff and my fellow grant recipients. As I have already said in one of the debates, awareness that we all share a common passion and dedication towards research and teaching made me feel I belong to a common tribe or nation made of art historians wherever they come from.
–Laris Borić, professor of Renaissance art and architecture and grant recipient from Croatia
Image Captions
First: 2014 CAA International Travel Grant Recipients (left to right): Katerina Gadjeva (Bulgaria), Freeborn Odiboh (Nigeria), Susana S. Martins (Portugal), Kanwal Khalid (Pakistan); Magdalena Nowak (Poland), Adriana Oprea (Romania), Cezar Bartholomeu (Brazil), Daria Kostina (Russia), Eddie Butindo-Mbaalya (Uganda); Lilianne Lugo Herrera (Cuba), Laris Borić (Croatia), Josefina de la Maza Chevesich (Chile), Fernando Martinez Nespral (Argentina), Portia Malatjie (South Africa), Mahmuda Khnam (Bangladesh), Rael Artel (Estonia); Ahmed Wahby (Egypt), Hugues Heumen Tchana (Cameroon), Heba Nayel Barakat Hassanein (Malaysia), Eric Appau Asante (Ghana) (photograph by Bradley Marks).
Second: Joanne Pillsbury and Eric Asante (photograph by Bradley Marks).
Third: Fernando Martinez Nespral and Mahmuda Khnam (photograph by Bradley Marks).
Fourth: Deborah Marrow from the Getty Foundation talks with grant recipients at a reception following the preconference (left to right): Eddie Butindo-Mbaalya, Cesar Bartholomeu, Hugues Heumen Tchana, Freeborn Odiboh, Eric Appau Asante (photograph by Bradley Marks).
Affiliated Society News for March 2014
posted by CAA — Mar 09, 2014
American Institute for Conservation of Historic and Artistic Works
The American Institute for Conservation of Historic and Artistic Works (AIC) Journal of the American Institute for Conservation (JAIC) is being celebrated by Maney Publications as its Journal of the Month. All access restrictions on three years’ worth of journal content are being lifted until February 15, 2014. Go to http://www.maneyonline.com/page/jotm/jac to learn more. You will find:
- Commentaries on the conservation of textiles, archaeological artifacts, and electronic media, as well as a commentary on sustainability and a review of the archive
- Video interviews with Michele Derrick (editor-in-chief) and Pamela Hatchfield (AIC board president)
- “Best of the Archive”: ten articles handpicked by the editor that are free to download
- 20 percent discount on institutional subscriptions
Foundations in Art: Theory and Education
The Herron School of Art and Design, part of Indiana University–Purdue University Indianapolis (IUPUI), will host “Tectonic Shifts,” the thirty-fifth biennial national conference of Foundations in Art: Theory and Education (FATE) in Indianapolis, Indiana, March 25–28, 2015. As the title of the conference, “Tectonic Shifts” suggests, participants will be examining how the forces of change are shaping the foundations landscape. FATE is interested in hearing from foundations faculty and programs that are breaking new ground with their teaching practices. The Herron School of Art and Design looks forward to being the conference host and introducing attendees to its great city.
Glass Art Society
The forty-third annual conference of the Glass Art Society (GAS), titled “Strengthening Community, Collaboration, Forging New Bonds,” will be held March 19–22, 2014, in Chicago, Illinois. The Windy City is second to none when it comes to a thriving, diverse cultural scene: it is home to renowned architecture, public art displays, galleries, museums, and colleges, including the Art Institute of Chicago, the Museum of Contemporary Art, and Millennium Park. GAS will hosts its conference at well-known venues such as the historic Palmer House Hotel and the Chicago Cultural Center, both centrally located in the heart of downtown. GAS will partner with a new addition to Chicago’s flourishing art scene, Ignite Glass Studios, located in the West Loop neighborhood. Hot glass, flame working, and cold working will be showcased in this state-of-the-art learning center. The second demo site is West Supply, a unique facility that joins glass production with a foundry, which casts concrete and metals for many notable collections in the high-end design, interiors, and gallery markets.
View the complete list of presentations. GAS will also be hosting special conference events such as the preconference reception, live and silent auction, Goblet Grab, gallery hop, an international student exhibition, and a closing night party. For additional information about the conference schedule and to register, visit the website.
Italian Art Society
The Italian Art Society (IAS) is delighted to announce the selection of the fifth annual IAS/Kress Lecturer in Italy: Jean Cadogan, professor of fine arts at Trinity College in Hartford, Connecticut, who will speak on “‘Maravigliose istorie:’ The Mural Decoration of the Camposanto in Pisa.” Cadogan will share her intriguing work on the multiphase, comprehensive program of painting on the walls of the Camposanto in a presentation on May 27, 2014, in Pisa. IAS is happy to establish a link with a respected Italian university, as the lecture will take place in the Gipsoteca of the Università di Pisa. Mark your calendars to visit Pisa if you are in Italy in late May! More details to follow on the IAS website. In addition, please look at the organization’s website for details about the five IAS-sponsored sessions and a reception that IAS hopes to host at the upcoming Renaissance Society of America meeting in New York on March 27–29, 2014.
Leonardo Education and Art Forum
The chair of Leonardo Education and Art Forum (LEAF), Adrienne Klein of the Graduate Center, City University of New York, has announced the election of two new chairs-elect. Klein will be immediately succeeded by David Familian, who is artistic director of the Beall Center for Art and Technology at the University of California, Irvine. Familian will then be succeeded in 2015 by the newly elected Suzanne Anker and in 2016 by J. D. Talasek.
Anker is a visual artist and theorist working at the intersection of art and biology in a variety of media ranging from digital sculpture and installation to large-scale photography to plants grown by LED lights. She is chair of the Fine Arts Department in the School of Visual Arts in New York. Talasek is director of cultural programs of the National Academy of Sciences in Washington, DC, which explores the intersections of science, medicine, technology, and visual culture. For the past three years, Talasek has organized and moderated DC Art Science Evening Rendezvous events in Washington, DC, in collaboration with Leonardo/ISAST.
Midwest Art History Society
The Midwest Art History Society (MAHS) will hold its forty-first annual conference in Saint Louis, Missouri, from April 3 to 5, 2014. In addition to more than twenty scholarly sessions, conference activities will include a special viewing of the Pulitzer Foundation for the Arts and Contemporary Art Museum Saint Louis and a curator-led tour of Impressionist France at the Saint Louis Art Museum. Axel Ruger, director of the Van Gogh Museum in Amsterdam, will offer the keynote address. For more information about the conference and access to online registration forms, please visit the MAHS website.
National Council of Arts Administrators
The forty-second annual meeting of the National Council of Arts Administrators (NCAA) convenes September 23–26, 2014, in Nashville, Tennessee, hosted by Vanderbilt University.
Yes is a world
and in this world of yes…e.e. Cummings
(creativity in the expanding field)
The world is the new studio. Artists are involved in an ever-expanding production involving constituents beyond the art world and marketplace. As educational institutions, how do we respond to this massive shift in artistic attitude? Is there a balance between standard nineteenth- and twentieth-century production and the new twenty-first-century practice centered on global and social interconnectedness? This conference will investigate art’s expanding field by exploring the influences of globalization, art education, and integrated practice. Participants will consider their role as educators of creativity, how they influence our institutions, and their effect on local and world communities. Speakers include: Richard Lloyd, author of Neo-Bohemia: Art and Commerce in the Post Industrial City; David Owens, author of Creative People Must Be Stopped! Six Ways We Stop Innovation (without Even Trying); and Steven Tepper, author of Not Here, Not Now, Not That! Protest over Art and Culture in America.Visit the NCAA website to learn more about this conference and to join the organization.
Public Art Dialogue
Established in 2009, the Public Art Dialogue (PAD) award for achievement in the field of public art is given annually to an individual whose contributions have greatly influenced public art practice. Awardees are chosen from nominations made by PAD members. Award winners receive a three-year PAD membership, which includes a subscription to the journal and all other membership benefits. Each year, the recipient accepts the award at a ceremony during the CAA Annual Conference, at which he or she makes a special presentation open to the public. Nominations for the 2015 award are due on May 1, 2014. Past winners have been Suzanne Lacy, Mary Jane Jacob, Anne Pasternak, Ben Rubin, and Penny Balkin Bach. Jack Becker is the 2014 recipient. For more information see http://publicartdialogue.org/award.
Society for Photographic Education
Each spring, Society for Photographic Education (SPE) hosts a conference for the presentation of artistic work and research to a community of peers. “Atmospheres: Climate, Equity and Community in Photography,” SPE’s fifty-second national conference, will be held from March 12–15, 2015, in New Orleans, Louisiana. SPE is accepting proposals for the 2015 conference from March 6 to June 1, 2014. Topics are not required to be theme based and may include (but are not limited to): imagemaking, history, contemporary theory and criticism, new technologies, effects of media and culture, educational issues, and funding. SPE membership is required to submit and proposals are peer reviewed. The presentation formats are:
- Graduate Student: short presentation of your own artistic work and a brief introduction to your graduate program
- Imagemaker: presentation of your own artistic work (photography, film, video, performance and installation, multidisciplinary approaches)
- Lecture: presentation of a historical topic, theory, or another artist’s work
- Panel: group led by a moderator to discuss a chosen topic
- Teaching: presentations, workshops, demos that address educational issues, including teaching resources and strategies; curricula to serve diverse artists and changing student populations; seeking promotion and tenure; avoiding burnout, and professional exchange
Visit the SPE website for information on SPE membership and full proposal guidelines
Society for the Study of Early Modern Women
The Society for the Study of Early Modern Women (SSEMW) held its annual meeting at the Sixteenth Century Studies Conference in San Juan, Puerto Rico, in October 2013. The results of the election of new officers were announced. Megan Matchinske, Department of English and Comparative Literature, University of North Carolina, Chapel Hill, stepped into the office of president, which was vacated by Jane Couchman, emerita of the Department of French and Women’s Studies at York University in Glendon, Canada. A full list of the new officers will be available shortly on the SSEMW website.
An excerpt from Jane Couchman’s letter to the society’s membership at the close of her term as president in 2013:
The highlights of this year were our meetings at SCSC in San Juan, and especially the talk given jointly by Susan Amussen and Allyson Poska, “Shifting the Frame: Trans-imperial approaches to Gender in the Atlantic World,” a topic chosen to mark our presence in Puerto Rico. The large and enthusiastic audience found their gendered, collaborative, transnational, transatlantic approach relevant and exciting. Susan and Allyson modeled the best of the kind of scholarship that SSEMW encourages, and that we hope to offer to early modern scholarship more generally. The Society’s principal work is very visible and we can all be proud of it: Co-sponsored Sessions (17 panels at 6 different conferences in 2013), the Annual Meeting, Reception and Plenary talk, Travel grants to graduate students (5 each year), the slate of Nominations, the Awards for scholarly work (http://ssemw.org/2013-award-winners/), the SSEMW website and Listserv, our support for Early Modern Women, an Interdisciplinary Journal, our collaboration with Attending to Early Modern Women.
Society of Architectural Historians
Registration is open for the Society of Architectural Historians’ annual conference (#SAH2014), taking place April 9–13, 2014, at the Hyatt Regency Austin in Austin, Texas. The conference offers thirty-five paper sessions along with public programming that includes twenty-one guided architectural tours and the SAH Austin Seminar, “Austin and the Place of Historic Architecture in Rapidly Growing Cities.” Please visit sah.org/2014 for more information on the conference, including a complete schedule of events and how to register.
The call for papers for the 2015 conference in Chicago (April 15–19) opens on April 16, 2014. For abstract submission instructions, visit sah.org/2015.
Registration is open for the Croatia Study Tour, a land-and-cruise program tailored for architecture professionals and enthusiasts that will take place August 18–29, 2014. This customized tour from Sarajevo to Venice along the Adriatic Coast, developed by Boris Srdar, will include visits to UNESCO World Heritage sites, exclusive access to landmark buildings as well as those off the beaten path, and admission to the Venice Biennale on August 30. A fellowship is available for this program. To register, visit sah.org/study-tours.
Buildings of Vermont, the latest volume in the Buildings of the United States series, is now available.
Society of Historians of East European, Eurasian, and Russian Art and Architecture
Following elections in January, the Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) has updated its by-laws and added two new officers: Tamara Jhashi is now SHERA’s listserv administrator, a role she has filled since 2004, and Ksenya Gurshtein is web news editor. Joining SHERA’s board as members-at-large are Anna Novakov, Andrea Rusnock, and Nicolas Iljine, as well as one returning member, Eva Forgacs.
At CAA’s Annual Conference in Chicago, Eva Forgacs served as host to visitors from Eastern Europe and Russia who were part of CAA’s International Travel Grant Program. Along with the visitors, Forgacs participated in a full-day preconference program organized by the CAA International Committee about international issues in art history, as well as other events throughout the conference itself.
SHERA is delighted to welcome three new institutional members: the Kolodzei Art Foundation, which promotes the contemporary art of Russia and the former Soviet Union through exhibitions and grants; the Museum of Russian Icons in Clinton, Massachusetts, the largest private collection of Russian icons in North America; and the M. T. Abraham Foundation, a collection of Russian and European modern art.
Southeastern College Art Conference
The Southeastern College Art Conference (SECAC) will meet October 8–11, 2014, in Sarasota, Florida, hosted by the Ringling College of Art and Design. Submissions for the annual juried exhibition is April 1, 2014. The deadline for the call for papers is April 20, 2014. For more information, visit SECAC’s conference page.
Future conferences will be held: October 21–24, 2015 (Pittsburgh, Pennsylvania); October 19–22, 2016 Virginia Tech (Roanoke, Virginia); 2017 (dates TBA) Columbus College of Art and Design (Columbus, Ohio).
SECAC has introduced a new award, the William R. Levin Award for Research in the History of Art. Thanks to the generosity of William R. Levin, professor emeritus at Centre College in Danville, Kentucky, SECAC will offer an award of an annual total of $5000 to one or more art historians who are members of the organization. Levin has been a member of SECAC since 1987; served on the Board of Directors; published in the scholarly journal, Southeastern College Art Conference Review; received the SECAC Award for Excellence in Scholarly Research and Publication in 2004; and has been recognized with two of the organization’s highest honors, the Excellence in Teaching Award and the Exemplary Achievement Award. Deadline for applicants: March 1, 2014.
The deadline for a $5,000 SECAC Artist’s Fellowship is August 1, 2014.
Visual Resources Association
The Visual Resources Association’s thirty-second annual conference will be held March 12–15, 2014, at the historic Pfister Hotel in downtown Milwaukee, Wisconsin. Take a moment to view the full schedule. Selected highlights are:
- Sessions and case studies covering topics such as collaborative practices amongst traditional and nontraditional disciplines within archival and special collections, international copyright and resources, broadening professional roles, management of moving image collections, basic and advanced (RDF and LOD) cataloging procedures, DAM implementation, expanding VRA Core 4 capabilities, personal digital archiving
- Opening speaker, Philip Yenawine, cofounding director of Visual Thinking Strategies
- Tours of Harley-Davidson Museum and Design Archive and Lakefront Brewery
- Networking opportunities provided by Birds of a Feather Lunches throughout the conference and the Sponsors’ Meet and Greet and Poster Presentations
- Members and Awards Dinner
- Informative workshops (many free for conference registrants)
- Unwind with colleagues at the Drink ‘n’ Draw with Stephanie Barenz (Pfister Hotel’s artist in residence).
- Closing speaker Matthew Israel, director of the Art Genome Project at Artsy
The online conference schedule allows for sign up/log in via SCHED to connect with social-media sites, create custom schedules, and share interests with fellow attendees. Search for “vra32.sched.org“ on your mobile device to download the schedule.
News from the Art and Academic Worlds
posted by Christopher Howard — Mar 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.
Art and Architecture Thesaurus Now Available as Linked Open Data
The Getty Research Institute has released the Art and Architecture Thesaurus as Linked Open Data. The data set is available for download at vocab.getty.edu under an Open Data Commons Attribution License. The Art and Architecture Thesaurus, a reference of over 250,000 terms on art and architectural history, styles, and techniques, is one of the institute’s four Getty Vocabularies, a collection of databases that serves as the premier resource for cultural-heritage terms, artists’ names, and geographical information. (Read more from the Getty Iris.)
Colleges Need Free Speech More Than Trademarks
What’s in a trademark? To many people in higher education, mention of the term—which denotes the legal protection afforded words or other devices that identify a good’s or service’s source—leads to bewildered looks. “You mean the designs on shirts sold in the bookstore?” Trademarks in higher education encompass institutional names, logos, and insignias, the iconography that fans love to see featured on all kinds of merchandise. Institutions license their marks on these products, often relying on third parties to broker deals that can produce significant royalties. This $4.6-billion industry appears to be good for colleges, which exploit the revenue channel to make up for losses elsewhere in their operations. (Read more from the Chronicle of Higher Education.)
Good Art Is Popular Because It’s Good, Right?
In July of last year, a man named Sidney Sealine went to see the Mona Lisa in Paris. The idea was to spend some time with the picture, to see for himself the special spark that made the painting so famous. But he couldn’t even get close to Leonardo’s famous work. (Read more from National Public Radio.)
Women at the Top
Their ages span four generations, and their careers follow no linear path. They have enough letters behind their names to form a small university. They’ve worked in Switzerland, Qatar, and too many small towns to count, hailing from regions as diverse as the southern hemisphere and the segregated South. The thirteen women who direct some of the region’s prominent museums are as different as the institutions they lead. But nine of them have at least one similarity: they succeeded men. (Read more from the Washington Post.)
Frieze Sits Down with New York Labor Unions
Representatives from Frieze New York met with local union leaders for the first time to discuss the organization’s labor practices. The fair, which is set to return to Randall’s Island in May, has been criticized by artists and activist groups for employing nonunion workers to build its sprawling tent and transport art. (Read more from the Art Newspaper.)
The Adjunct Penalty
Much discussion exists about how to escape the adjunct’s life of indentured servitude for tenure-track positions. After all, positions in the coveted ivory tower will always outrank a life of little pay and heavy, lower-level teaching loads. Despite the many pitfalls of adjunct life, many adjuncts choose to forgo the ivory tower. In doing so, they enter a career with a penalty that is both tangible and psychological. (Read more from the Adjunct Blog.)
Speculating on Trophy Art
Works by contemporary artists born after 1945 generated $17.2 billion in worldwide auction sales last year, a 39 percent increase from 2012, according to figures just released by the French database Artprice. Last November, a triptych by Francis Bacon sold for $142.4 million, a record for any work of art at a public sale. And a handy new website, www.sellyoulater.com, now advises speculators on which hot young artists to buy, sell, or “liquidate.” (Read more from the New York Times.)
The Art World’s “Wild West”
A fake Marc Chagall painting, owned by a businessman from Leeds who had bought it for $167,309 in 1992, was ordered to be burned last month, and an Istanbul art gallery closed down its Joan Miró exhibition in 2013 after directors of the Spanish Surrealist painter’s estate said some of the works were forgeries. The uncovering of fakes by committees comprising descendants of the artist is increasingly common and has prompted one of Britain’s foremost art historians to condemn the methods used by scholars to authenticate works as a “professional disgrace.” (Read more from the Tapei Times.)
Report on the 2014 Annual Conference
posted by Nia Page — Feb 28, 2014
CAA hosted its 102nd Annual Conference from February 12 to 15, 2014, at the Hilton Chicago in Chicago, Illinois. 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. Preceding the Annual Conference was CAA’s second THATCamp, an “unconference” on digital art history that took place at Columbia College Chicago.
Attendance
Over 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 43 countries were represented at the conference.
Sessions
Conference sessions featured presentations by artists, scholars, 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. Approximately 800 individuals presented their work.
Career Services
Career Services included four days of mentoring and portfolio-review sessions, professional-development workshops, and job interviews with colleges, universities, and other art institutions. Approximately 240 interviewees and 47 mentors participated in Career Services. During the week of the Annual Conference, there were 165 active jobs posted on the Online Career Center and 56 employers participating onsite.
Book and Trade Fair
This year’s Book and Trade Fair presented 108 exhibitors—including participants from the United States, the United Kingdom, the Netherlands, Belgium, Mexico, and Germany—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.
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 Artist Interview with Kay Rosen. Over three hundred people attended this lively event. The scheduled interview with William Pope.L was unfortunately cancelled due to inclement weather.
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 14. Nearly 40 artists participated in ARTexchange this year.
The Media Lounge, a space for innovative new-media programming in conjunction with ARTspace, presented the UncommonCommons project. UncommonCommons was an incubator for skills and knowledge-sharing that responded to the themes of the commons and “commoning.” The project included a series of workshops, film and video screenings, public discussions, and provocations by a range of international artists, filmmakers, activists, art critics, curators, educators, lawyers, and ethnographers.
Programmed by CAA’s Services to Artists Committee, 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 “Teaching Professional Practices in the Arts” to a packed audience; five Brown Bag Sessions with attendance ranging from 25 to 60; a successful, first-ever social night; and two days of Mock Interviews at full capacity.
The SEP Lounge was sponsored by Wix.com. Wix workshops were held daily at the Annual Conference to captive audiences. Wix empowers creatives and entrepreneurs to build their own website—without having to write a single line of code.
Distinguished Scholar Session
Wanda M. Corn, professor emerita of art history at Stanford University, was CAA’s 2014 Distinguished Scholar. Corn was honored during a special session, sponsored by the Terra Foundation for American Art. Gwendolyn DuBois Shaw of the University of Pennsylvania chaired the session and five additional participants—Lanier Graham, Cécile Whiting, Richard Meyer, Ellen Wiley Todd, and Tirza Latimer—joined Shaw in exploring and celebrating Corn’s many contributions to American art.
Convocation and Awards
More than 400 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. Jessica Stockholder of the University of Chicago delivered the keynote address. Video of her presentation will be posted on CAA’s website and YouTube page in the coming weeks.
The recipients of the 2014 awards are:
- Yvonne Rainer, Distinguished Artist Award for Lifetime Achievement
- Kay Rosen, Artist Award for Distinguished Body of Work
- John Berger, Distinguished Lifetime Achievement Award for Writing on Art
- T. J. Demos, Frank Jewett Mather Award
- Lorraine O’Grady, Distinguished Feminist Award
- Yukio Lippit, Charles Rufus Morey Book Award
- Jeff L. Rosenheim, Alfred H. Barr Jr. Award
- Peter C. Sturman and Susan S. Tai, Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
- Reni Gower, Distinguished Teaching of Art Award
- Margaretta M. Lovell and W. J. T. Mitchell, Distinguished Teaching of Art History Award
- Glenn Wharton, CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
- Sascha Scott, Arthur Kingsley Porter Prize
- Jeanne Dunning, Art Journal Award
The recipients of the 2014 Professional-Development Fellowships are:
Professional-Development Fellowships in the Visual Arts:
- Roberta Gentry, University at Albany, State University of New York
- Jaime Knight, University of Iowa
- Liss LaFleur’, Emerson College
- Patrick Segura, School of the Art Institute of Chicago
- Valentina Vella, Columbia College Chicago
Professional-Development Fellowships in Art History:
- Maggie M. Cao, Harvard University
- Michelle Maydanchik, University of Chicago
Honorable Mentions in the Visual Arts:
- Ann Bartges, University of Michigan, Ann Arbor
- Rachael Lynn Davis, Colorado State University
- Michelle Young Lee, New York University
Honorable Mentions in Art History
- Lacey Baradel, University of Pennsylvania
- Karlyn Griffith, Florida State University
Board Election and Member Vote
Results of the Board of Directors election were announced on February 14, 2014, during the Annual Members’ Business Meeting. The new directors are:
- Helen C. Frederick, Professor, School of Art and Design, George Mason University
- Gunalan Nadarajan, Professor and Dean, Stamps School of Art and Design, University of Michigan
- Dannielle Tegeder, Associate Professor of Art, Art Department, Lehman College, City University of New York
- David C. Terry, Director of Programs and Curator, New York Foundation for the Arts
They will take office at the next board meeting in May 2014.
CAA’s membership also voted in favor of an amendment to the By-laws. The board believes that this change will benefit members and sustain the services that CAA provides. The amendment also provides for flexibility in enabling CAA to make further changes to the membership structure as may be deemed desirable in the future.
Special Events
Following Convocation, the Art Institute of Chicago hosted CAA’s Opening Reception on Wednesday evening, February 12. Over 600 attendees gathered to celebrate the conference while enjoying a stroll through the Art Institute’s Modern Wing.
CAA celebrated its copublishing partnership with Routledge, Taylor & Francis, with a reception and champagne toast at the CAA booth in the Book and Trade Fair on Friday afternoon.
International Travel Grant Program
The highlight of this year’s CAA International Travel Grant Program was a full-day preconference on Tuesday, February 11, 2014. The grant recipients, who came from 20 countries from around the world, gave presentations about their work, addressing topics such as art and national identity, international issues in contemporary art, cross-cultural influences on artistic styles, and curriculum reassessments of art-historical training. The talks featured a wide range of art, from Renaissance arches to Islamic-Hispanic domestic architecture, from communist-era paintings in Poland and Russia to contemporary art in Estonia, South Africa, and Malaysia. Following the presentations, Rick Asher, professor of art history at the University of Minnesota, led a stimulating discussion that further explored the above topics as well as the differences in how art history is practiced around the world. This is the third year of the International Travel Grant Program, funded by the Getty Foundation. Additional support for the program was provided by the National Committee for the History of Art.
Online Presence
Digital media were used in a number of creative ways to expand the reach of Annual Conference programming and encourage greater interactivity:
- Thanks to the sponsorship of Golden Artist Colors, select conference sessions were filmed and will be posted to CAA’s YouTube page in the coming weeks
- Informational preconference Google+ Hangout and Q&A currently has 753 views
- A free mobile app helped attendees navigate the conference. The app was downloaded 1,186 times
- Columbia College Chicago students hosted the conference blog, reporting on panels, receptions, exhibitions, and participant experience
- ARTspace organized Art2Make, an exhibition of 3D printed art
- Renowned blog and podcast Bad at Sports recorded a podcast onsite at the conference
Other Exciting Highlights
- CAA released and distributed a Fair Use Issues Report and held a discussion about the ongoing fair-use project. Video from the fair-use session will be posted to CAA’s YouTube page in the coming weeks.
- Unscheduled performance art enlivened the Hilton Chicago during the Annual Conference
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 Hilton Chicago staff; Choose Chicago; the museums and galleries that opened their doors to conference attendees free of charge; and everyone else involved in helping to make the 102nd Annual Conference such a tremendous success!
A warm thanks to the following for their generous support of CAA:
- Andrew W. Mellon Foundation
- Andy Warhol Foundation for the Visual Arts
- Art in America
- Artstor
- Blick Art Materials
- Burlington Magazine
- Columbia College Chicago
- David L. Klein Jr. Foundation
- Getty Foundation
- Golden Artist Colors
- Institute for Doctoral Studies in Visual Arts
- National Committee for the History of Art
- National Endowment for the Arts
- Pearson
- Prestel
- Samuel H. Kress Foundation
- School of the Art Institute of Chicago
- Terra Foundation for the Arts
- Wix
- Wyeth Foundation for American Art
Save the Date
CAA’s 103rd Annual Conference will be held in New York City, February 11–14, 2015.
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.