College Art Association
rss Twitter Facebook You Tube flickr instagram

CAA newsfeed


Re-Views: Field Editors’ Reflections

Routledge and CAA are pleased to announce the fourth installment of “Re-Views: Field Editors’ Reflections,” a series of review essays authored by members of caa.reviews Council of Field Editors.

The latest essay, “Reflections on African and African Diaspora Art,” is by Eddie Chambers, associate professor of art and art history at the University of Texas at Austin. In the essay, Chambers reflects on his role assigning reviews in the area of African art and African diaspora and discusses the complexities of the relationship between the two.

Recent Book Reviews

David Kertai, The Architecture of Late Assyrian Royal Palaces (New York: Oxford University Press, 2015). Reviewed by Kiersten Neumann.

Mary Ann Eaverly, Tan Men/Pale Women: Color and Gender in Archaic Greece and Egypt, a Comparative Approach (Ann Arbor: University of Michigan Press, 2013). Reviewed by Briana C. Jackson.

Recent Exhibition Reviews

Philadelphia Museum of Art, Philadelphia, Pennsylvania, International Pop (February 18–May 15, 2016). Reviewed by Taylor J. Acosta.

High Museum of Art, Atlanta, Georgia, Habsburg Splendor: Masterpieces from Vienna’s Imperial Collections at the Kunsthistorisches Museum (October 18, 2015–January 17, 2016). Reviewed by Jan Volek.

About the Journal

caa.reviews, an open-access journal, publishes timely scholarly and critical reviews of studies and projects in all areas and periods of art history, visual studies, and the fine arts, providing peer review for the disciplines served by CAA. Publications and projects reviewed include books, articles, exhibitions, conferences, digital scholarship, and other works as appropriate.



Filed under: caa.reviews

News from the Art and Academic Worlds

posted by Christopher Howard


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.

Fair Use Prevails as Supreme Court Rejects Google Books Copyright Case

The US Supreme Court declined to hear a challenge from the Authors Guild and other writers claiming Google’s scanning of their books amounts to wanton copyright infringement and not fair use. The guild urged the high court to review a lower court decision in favor of Google that the writers said amounted to an “unprecedented judicial expansion of the fair-use doctrine.” (Read more from Ars Technica.)

Federal Ruling Puts California Artist Royalty Law in Jeopardy

A federal judge recently dismissed a lawsuit against several auction houses sued by artists over failure to pay them royalties as guaranteed by California law. The ruling could spell the end for the California Resale Royalty Act, which allowed some artists to collect 5 percent of any resale of their work if they lived in state or if the work was sold here. (Read more from the Los Angeles Business Journal.)

Loaded Symbols and Artistic Responsibility

An inexcusable cultural blind spot in the South is a glaring lack of education regarding imagery and symbols—their meaning, power, and unmitigated capacity to make people feel threatened. These minatory icons—nooses, Confederate flags, swastikas, blood drop crosses—are not symbols that can be recontextualized or reappropriated in art. They aren’t even “loaded images.” They are emblems of hate. (Read more from Burnaway.)

Does Mapplethorpe Still Matter?

The Perfect Medium, two concurrent retrospectives of the work of Robert Mapplethorpe hosted simultaneously at the Los Angeles County Museum of Art and the Getty Center, provides the richest narrative about the photographer to date. By centering on Mapplethorpe’s world—his network of affiliations—instead of resting on the artist’s brand of sexual bombast, the shows manage to lift Mapplethorpe out of the often facile discourse on pornography’s contentions with fine art. (Read more from Aperture.)

Estimating Square Foot Coverage for Products

When it is important to know how much paint will be needed to complete a painting, as in the case of a mural or large painting, or simply priming a large surface, there are a few ways to estimate how much your tube, bottle, or jar of paint will cover or how much you will need to buy to complete the project. (Read more from Just Paint.)

Integrate to Innovate: Using Standards to Push Content Forward

At least once a month my colleagues and I walk out of a meeting and someone says: “Remember when we used to be publishers?” It’s become the obvious joke when all we talk about is metadata, digital content distribution, ecommerce solutions, or content licensing issues. (Read more from the Scholarly Kitchen.)

The Slow Professor

While professors may be accustomed to nonacademics clinging to an outdated image of faculty life, the newest resistance to letting it go comes from within the academy. In a new book, two tenured professors propose applying the “slow movement”—which describes everything from food to parenting to science to sex—to academic work. (Read more from Inside Higher Ed.)

How Can the Disparity in Arts Funding along Racial Lines Be Fixed?

Nationally, only 6 percent of minority organizations receive comparable funding from individual donors to organizations serving mostly white patrons, according to Grantmakers in the Arts. At a time when foundations like Wallace are spending big bucks to maximize audience engagement, what root causes account for this discrepancy? (Read more from Inside Philanthropy.)



Filed under: CAA News

Thank you to all our CAA members and conference submitters for the hard work in pulling together sessions and papers for the 2017 Annual Conference in New York, February 15-18. We are happy to report that we received over 850 submissions! This is a record number for CAA and none of this would be possible without the support and interest of our members, scholars, and practitioners in the visual arts. We thank you also for submitting materials in the shorter submission timeframe that came along with the changes to the Annual Conference .

Now begins the unenviable task of reviewing and selecting sessions and papers, the timeline for which you will find below.

  • June 3 – Annual Conference Committee meets to select sessions and papers
  • June 20 – Notification sent regarding approved sessions and papers
  • July 1 – Call for Participation for approved sessions soliciting contributors announced
  • August 30 – Paper titles and abstracts due to chairs of sessions soliciting contributors

Here’s what attendees to the 2016 Annual Conference in Washington, DC said [Video].

Annual Conference participants and attendees must be current CAA members and must register for the conference. Save $75 on a membership and registration package with a Premium Level Membership over Basic Level Membership.

The 105th CAA Annual Conference will be held at the Hilton New York Midtown from Wednesday, February 15 through Saturday, February 18. Registration opens in early fall 2016. CAA’s Annual Conference consists of four days and hundreds of presentations, panel discussions, workshops, special events, and exhibitions exploring the study, practice, and history of art and visual culture. As the best-attended international forum in the visual arts, the Annual Conference offers an unparalleled opportunity to expand your professional network, meet with potential employers, and strengthen your skills in a professional-development workshop, mentoring  session, or portfolio review.



Filed under: Annual Conference

Fair Use Is Up to Date in Kansas City

posted by Janet Landay, Project Manager, Fair Use Initiative


“Do we have to seek copyright permission to post on our website a scholarly checklist of twentieth-century paintings?” “Our museum wants to put an image of a contemporary sculpture from its collection on an invitation for a fundraiser. Do we need copyright permission?” These are the kinds of questions a group of art-museum professionals discussed at a half-day workshop on copyright and fair use sponsored by CAA with funds provided by the Andrew W. Mellon Foundation and held at the Nelson-Atkins Museum of Art in Kansas City, Missouri, on April 8, 2016.

When Patricia McDonnell, director of the Wichita Art Museum, decided her museum could use input and guidance in applying the policies outlined in CAA’s Code of Best Practices in Fair Use for the Visual Arts, she organized a meeting for art museums in her region, believing that the support and information she needed was likely the same as her neighboring colleagues. As a member of CAA’s Task Force on Fair Use, McDonnell was familiar with the approach outlined in the Code, and her primary goal was to design an event that would generate immediate practical results. To that end, the “fair use summit” featured two elements that made it particularly effective. First, each of the eight participating museums was represented by its director, legal counsel, and staff member responsible for rights and reproduction. Second, each museum submitted a case study of a fair-use issue from their institution in advance, thereby providing practical examples for consideration during the workshop. As a result, the pragmatic discussions that took place exemplified the type of analysis necessary to determine on a case-by-case basis if the use of a copyrighted text or image is fair; the talks also unified the participating staffs in their understanding of this work.

 

The workshop was led by Peter Jaszi, a lead principal investigator on CAA’s fair-use project and a professor at American University’s Washington College of Law. After providing a brief history of fair use and how court opinion has evolved on this aspect of copyright law, Jaszi guided participants in analyzing each case study to determine if the use in that instance required copyright permission or if the museum could rely on fair use. Participants referred to CAA’s Code to understand the basic principles and limitations that applied in each case. In every situation, the key question was whether or not the use under consideration was “transformative.” Did it show the work of art in a new context, add to its meaning, or change our understanding of it? Was it an educational use? As the discussion continued, it became apparent that every user of copyrighted materials has to decide for him or herself if a use is fair. One museum might decide that the fair-use doctrine applies to a copyrighted image on the cover of a catalogue, for example, while another museum using the same image on the cover of a similar publication might decide to seek permission. It all depends on how each institution understands its own purpose.

The summit included the following museums: the Marianna Kistler Beach Museum of Art, Kansas State University; the Crystal Bridges Museum of American Art; the Kemper Museum of Contemporary Art; the Nelson-Atkins Museum of Art; the Nerman Museum of Contemporary Art, Johnson County Community College; the Spencer Museum of Art, University of Kansas; the Ulrich Museum of Art, Wichita State University; and the Wichita Art Museum. As a result of the meeting, the directors and staff of these institutions have decided to continue their work on fair use by sharing documents related to rights and reproductions―donation agreements, artist contracts, and the like. The goal is to develop additional best practices among their museums related to copyright and fair use.

Julian Zugazagoitia, director of the Nelson-Atkins, summarized the accomplishments of the meeting like this: “I think it brought immensely valuable information to all our participants and will allow us to use images in a more robust and self-assured way.” McDonnell also commented: “The CAA Code opens the door to a sea change in art-museum practice related to image use. Arriving at wise conclusions about interpretations of fair use with other art-museum colleagues provided grounded information and confidence about possible new practices.” What better results can one ask for?

Image: Shuttlecock (1994) by Claes Oldenburg and Coosje van Bruggen on the lawn of the Nelson-Atkins Museum of Art in Kansas City, Missouri



Filed under: Copyright, Intellectual Property

News from the Art and Academic Worlds

posted by Christopher Howard


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.

Professor Pay Up 3.4 Percent

Salaries for full-time continuing faculty increased by 3.4 percent this year and 2.7 percent adjusted for inflation, according to a new American Association of University Professors report. But while a continued upward salary trend is promising, the report argues that it doesn’t reflect a systemic threat to higher education: the decline of full-time and ranked faculty positions. (Read more from Inside Higher Ed.)

Why Failure Is Being Taught in Art Schools

Of course art schools want to propel students toward success, but should they also teach young artists how to fail? The answer is found sprinkled throughout the curriculum of Chicago’s top art schools, where students are routinely encouraged to consider what it means to fail, but also how to “fail better,” in the immortal words of playwright Samuel Beckett. (Read more from Chicago Magazine.)

What Is Object-Oriented Ontology?

Ask yourself: what does your toaster want? How about your dog? Or the bacteria in your gut? What about the pixels on the screen you’re reading now—how is their day going? In other words, do things, animals, and other nonhuman entities experience their existence in a way that lies outside our own species-centric definition of consciousness? It’s precisely these questions that the nascent philosophical movement known as Object-Oriented Ontology is attempting to answer. (Read more from Artspace Magazine.)

So Long at the Fair?

Love ’em or hate ’em, the art fair is the major marketing phenomenon of our times. The website Artsy lists sixty top fairs worldwide, with estimates for maintaining a booth at one ranging from $15,000 to more than $100,000 a week. Dealers complain of sixteen-hour days, collectors who “buy with their ears,” exhausting travel, and a back-breaking workload for gallery staff. (Read more from Vasari24.)

Seven Bricks to Lay the Foundation for Productive Difficult Dialogues

There are three basic ways that I hear faculty talk about difficult dialogues: in-class dialogues that were planned but did not go particularly well; in-class hot moments that were not anticipated and that the professor did not feel equipped to handle; and difficult dialogues that happen during office hours or outside class. In all three instances, faculty are challenged to use skills they may not have learned at any point in their disciplinary training. (Read more from Faculty Focus.)

A Multiplicity of University Publishing

If you already have a university press in place, why add library publishing to the mix? And why stop there? Why not allow the special affordances of digital media, such as low costs and dissemination at the speed of light, to enable publishing centers across any institution with the pluck to take on the effort? (Read more from the Scholarly Kitchen.)

Expanded Horizons: Looking beyond Building Projects

In the 1990s, museum expansions focused on spaces for larger and more dramatically displayed temporary exhibitions and, in the contemporary field, for the installation of larger works of art, in line with artistic practice. Then the focus was on circulation and event space and on revenue-generating activities, segueing into new spaces for educational activities. Today there is an interesting trend toward spaces for performance and music programming. (Read more from the Art Newspaper.)

Interviewing as Performance Art

Think about the last job talk or speaker seminar you attended. How did the speaker make you feel? Did he or she put you at ease with a fluid delivery and natural speaking style? Or did the speaker seem out of place and appear nervous or uncomfortable in the presence of an audience? (Read more from Inside Higher Ed.)



Filed under: CAA News

In March, the North Carolina legislature passed a bill that made it illegal for cities to enact laws that superseded or contradicted state law. The bill, known as the Public Facilities Privacy and Security Act, invalidated an ordinance established in the city of Charlotte that had extended rights to gay and transgender people. This month in Mississippi, the governor signed a bill, called the Protecting Freedom of Conscience from Government Discrimination Act, that came from the state legislature. This law may protect discrimination of LGBTQ people in schools, workplaces, and government locales.

Responding to the legislation in Mississippi and North Carolina, CAA’s Board of Directors approved its own statement, which reads:

The College Art Association denounces laws that sanction discrimination against LGBTQ people, including those recently enacted in North Carolina and Mississippi. The visual arts community has long stood for diversity and the inclusion of all peoples in the civic fabric of our country.  We support CAA members and others in the visual arts community who live or work in the affected states and their efforts to oppose these unjust laws.



CAA Salutes Fifty-Year Members

posted by Christopher Howard


CAA warmly thanks the many contributions of the following dedicated members who joined the organization in 1966 or earlier. This year, the annually published list welcomes fourteen artists, scholars, and educators—and one attorney—whose distinguished exhibitions, publications, teaching practices, and professional service have shaped the direction and history of art over the last fifty years.

1966: Madeline H. Caviness; Gilbert S. Edelson; Jonathan Fineberg; Ann Sutherland Harris; Sara Lynn Henry; Cecelia F. Klein; Henry F. Klein; Anne-Marie Logan; Peter V. Moak; Anne Morganstern; James Morganstern; Peter H. Schabacker; David M. Sokol; and Marcia H. Werner.

1965: Jean M. Borgatti; Norma Broude; Wanda M. Corn; Elaine K. Gazda; Diana Gisolfi; Dorothy F. Glass; Andree M. Hayum; Ellen V. Kosmer; Lillian D. MacBrayne; Jerry D. Meyer; Ann Lee Morgan; Myra N. Rosenfeld-Little; Ted E. Stebbins; Eugenia Summer; MaryJo Viola; Michele Vishny; and Wallace E. Weston.

1964: Richard J. Betts; Ruth Bowman; Vivian P. Cameron; Kathleen R. Cohen; Paula Gerson; Ronald W. Johnson; Jim M. Jordan; William M. Kloss; Rose-Carol Washton Long; Phyllis Anina Moriarty; Annie Shaver-Crandell; Judith B. Sobre; and Alan Wallach.

1963: Lilian Armstrong; Richard Brilliant; Eric G. Carlson; Vivian L. Ebersman; Françoise Forster-Hahn; Walter S. Gibson; Caroline M. Houser; Susan J. Koslow; E. Solomon; Lauren Soth; Richard E. Spear; Roxanna A. Sway; Athena Tacha; and Roger A. Welchans.

1962: Jo Anne Bernstein; Phyllis Braff; Jacquelyn C. Clinton; Shirley S. Crosman; Frances D. Fergusson; Gloria K. Fiero; Jaroslav Folda; Harlan H. Holladay; Seymour Howard; Alfonz Lengyel; David Merrill; John T. Paoletti; Aimee Brown Price; Lillian M. Randall; Nancy P. Sevcenko; Thomas L. Sloan; Elisabeth Stevens; Anne Betty J. Weinshenker; and William D. Wixom.

1961: Matthew Baigell; Margaret Diane David; Bowdoin Davis Jr.; David Farmer; J. D. Forbes; Isabelle Hyman; Clifton C. Olds; Marion E. Roberts; and Conrad H. Ross.

1960: Shirley N. Blum; Kathleen Weil-Garris Brandt; Dan F. Howard; Eugene Kleinbauer; Edward W. Navone; Linda Nochlin; and J. J. Pollitt.

1959: Geraldine Fowle; Carol H. Krinsky; James F. O’Gorman; and Ann K. Warren.

1958: Samuel Y. Edgerton Jr.; Carla Lord; Damie Stillman; Clare Vincent; and Barbara Ehrlich White.

1957: Bruce Glaser; Marcel M. Franciscono; Jane Campbell Hutchison; Susan R. McKillop; and Frances P. Taft.

1956: Svetlana L. Alpers; Norman W. Canedy; David C. Driskell; John Goelet; Joel Isaacson; John M. Schnorrenberg; and Jack J. Spector.

1955: Lola B. Gellman; Irving Lavin; and Suzanne Lewis.

1954: Franklin Hamilton Hazlehurst; Thomas J. McCormick; Jules D. Prown; Irving Sandler; Lucy Freeman Sandler; and Harold Edwin Spencer.

1953: Dorathea K. Beard; Margaret McCormick; and Jack Wasserman.

1951: Wen C. Fong.

1950: Alan M. Fern.

1949: Dario A. Covi and Ann-Sofi Lindsten.

1948: William S. Dale.

1947: Dericksen M. Brinkerhoff; David G. Carter; Ellen P. Conant; and Ilene H. Forsyth.

1945: James S. Ackerman.



Filed under: Membership, People in the News

As noted in CAA’s Affiliated Society News for March 2016, the Italian Art Society (IAS) is delighted to announce that Megan Holmes, a professor of art history at the University of Michigan in Ann Arbor, will deliver the seventh annual IAS/Kress Lecture in Florence at Villa I Tatti, the Harvard University Center for Italian Renaissance Studies, on June 1, 2016. Her lecture is titled “New Perspectives on the Reception of Florentine Panel Painting: Interpreting Scratch Marks.” Holmes was the recipient of CAA’s 2015 Charles Rufus Morey Book Award for her volume titled The Miraculous Image in Renaissance Florence (New Haven: Yale University Press, 2013). For more on the lecture, including the abstract, visit the Italian Art Society website.

The annual IAS/Kress Lecture Series in Italy, inaugurated in 2010 with the generous support of the Samuel H. Kress Foundation, encourages intellectual exchange between North American art historians and the international community of scholars based in Italy. The lectures offer IAS member-speakers the opportunity to engage in productive discussions about their research with a wider range of specialists in the field of Italian art historical studies than is available in the United States; they also create lasting relationships between the IAS and the Italian cultural institutions that host the talks. The lectures are held in late May or early June to accommodate travel to Italy by North American academics and may be given in English or Italian. The IAS provides an honorarium, along with funds to help offset travel expenses, and organizes a reception open to all attendees.

Former IAS/Kress Lecture speakers have reported the many benefits of what one lecturer called a “stimulating experience,” noting how “the lecture really seems to be the sort of international event that many benefit from and that represents what the Kress often endorses.” Another wrote: “Giving the Kress lecture … was a wonderful experience. The event brought together American and Italian scholars and students for a lively exchange. I enjoyed seeing old friends and meeting new colleagues, all in the city whose rich history is our shared passion.”

The IAS/Kress Lectures Series has drawn a wide range of experts from a variety of fields, as well as American graduate students studying in Italy, Italian university students, and many others who have attended and enjoyed the presentations and receptions afterward. Moreover, a number of attendees at these lectures have subsequently joined the IAS, helping to further our mission to promote the study of Italian art and architecture. In keeping with the mission of the Kress Foundation, our speakers have been selected from proposals on subjects ranging from antiquity to the early nineteenth century. Thus far, the IAS/Kress lectures have been on topics ranging from the medieval through early modern periods, and the organization hopes to host lectures on both earlier and later art and architecture in Italy.

If any CAA members or other interested parties are in Florence on June 1, 2016, the IAS encourages attendance at the Villa I Tatti for the seventh annual IAS/Kress Lecture by Megan Holmes! Please do not hesitate to contact the IAS president, Sheryl E. Reiss, with any questions.

Image: IAS/Kress Lecture 2013, Rome, Fondazione Marco Besso (photograph by Olga Posazhennikova)



News from the Art and Academic World

posted by Christopher Howard


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.

Wikimedia Art Database Breaks Copyright Law

Sweden’s highest court has found Wikimedia Sweden guilty of violating copyright laws by providing free access to its database of photographs of artworks without the artists’ consent. Wikimedia, part of the nonprofit foundation that oversees Wikipedia, among other online resources, has a database of royalty-free photographs that can be used by the public for educational purposes or the tourism industry. (Read more from Art Daily.)

How Creative Capital Replaced the NEA and Taught Artists to Be Ambitious

Creative Capital is such a big deal in the art world that it even affects the lives of artists who don’t receive its awards. This grant-making organization, based in New York but serving artists nationally, was created in 1999 to counter the economic loss to artists when the NEA killed the majority of its individual artist grants. (Read more from the Stranger.)

How Do I Handle a Backlash against My Art Review?

I wrote a negative review about a show on my blog and received a considerable backlash to it. I eventually took the post down and feel like my entire art scene has blacklisted me. How do I write negative criticism in a small, intimate art community without upsetting everyone? (Read more from Burnaway.)

When Your Art Bleeds You Dry

Art should be ennobling or give us pleasure or, in Picasso’s words, wash “the dust of daily life off our souls.” But sometimes art makes people nervous and worried. Not necessarily because of the content but because it needs to be protected, conserved, and insured—and all those things cost money. (Read more from the New York Observer.)

Art in the New Plutocracy

In 2010, a cadre of muckraking activists started a project called Artigarchy. Its aim was to investigate the relationship between rising inequality and rising art prices, not merely to identify key individuals but to expose institutional relationships, for example, between banks and museums. How do the institutions of the art world shape and actually harm society? (Read more from the Chronicle Review.)

Will the Monograph Experience a Transition to E-Only?

The scholarly literature incorporates a number of different material types. Reference publishing and collections have perhaps been transformed more than any other content type. Why should a database be issued in print format at all? (Read more from the Scholarly Kitchen.)

Does It Count for Tenure?

I am starting a new tenure-track job in the fall. I have a journal article from this past year and another one coming out this spring. Will they count toward my tenure case at the new job? (Read more from Vitae.)

An App That Pushes Aside the Art-World Curtain

The process of buying and selling art has a reputation for opacity, but a new mobile app that promises to instantly provide price data could help open the market. The free app, called Magnus, uses digital-recognition technology similar to that of Shazam, which “hears” music to provide song titles, and Vivino, which reads wine labels and reveals ratings and restaurant markups. (Read more from the New York Times.)



Filed under: CAA News

frieze keyline[3]frieze offers insightful criticism, beautiful design, and opinion pieces from around the world. Including reviews, interviews, city reports, and worldwide listings alongside features on emerging artists and trends as well as fresh perspectives on more established artists – frieze is essential reading for anyone interested in visual culture.

Subscribe now and take advantage of a 10% discount for subscribers to the CAA newsletter. Simply go to shopcc.frieze.com and enter the code CAA16 at checkout.

A year’s subscription (8 issues) includes free delivery to your door and unrestricted access to the current issue and archive on frieze.com – 25 years of frieze!

EXCLUSIVE to CAA members:
College Art Association members can receive a 15% discount on tickets to Frieze New York on Thursday, May 5 or Friday, May 6. To redeem, please log into your CAA account and find the promo code in the Member Benefits section. Tickets must be purchased afrieze.com.

Frieze New York
May 5-8, 2016, Randall’s Island Park
The fair brings together more than 200 of the world’s leading galleries to showcase emerging talents together with the most iconic names in contemporary art. Alongside innovative, curated sections, visitors can also enjoy a celebrated series of talks and site-specific artist commissions.



Filed under: Sponsored Content

Privacy Policy | Refund Policy

Copyright © 2016 College Art Association.

50 Broadway, 21st Floor, New York, NY 10004 | T: 212-691-1051 | F: 212-627-2381 | nyoffice@collegeart.org

The College Art Association: advancing the history, interpretation, and practice of the visual arts for over a century.