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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.

Modest Gains in Faculty Pay

First the good news: full-time faculty member salaries grew somewhat meaningfully year over year: 1.4 percent, adjusted for inflation, according to the American Association of University Professors’ Annual Report on the Economic Status of the Profession. Not adjusted for inflation, that’s about 2.2 percent across ranks and institution types, and 3.6 percent for continuing faculty members in particular. (Read more from Inside Higher Ed.)

For the Humanities, Some Good News Is Mixed with the Bad

In an otherwise grim picture of the field of humanities, there are still a few bright spots: financial support for academic research in the humanities, which is typically dwarfed by spending to support other fields, has increased in recent years, and there are signs of rising interest in the humanities at the high school and community-college levels. Those are some of the findings in a report released by the American Academy of Arts and Sciences. (Read more from the Chronicle of Higher Education.)

Facing Facts: Artists Have to Be Entrepreneurs

In order to be a successful—a word that I grapple with constantly—performing artist, you need to understand business fundamentals, and disseminating this information is crucial. How do you run a crowdfunding campaign that doesn’t make your friends block you on Facebook? How do you identify and brand (ugh … brand) your work? How do you really figure out who your audience is? (Read more from Howl Round.)

Mind the Gap: Art Museum Education, Academia, and the Future of Our Field

Dana Carlisle Kletchka of the Palmer Museum of Art delivered this keynote address at the National Art Education Association’s national convention last month after being honored by that organization as National Museum Education Art Educator of the Year. (Read more from Art Museum Teaching.)

Art Collectors Weigh Title Insurance

When you buy a piece of art, can you be sure it’s really yours? Many collectors don’t always feel certain on that score. They worry in some cases that after they make a purchase someone will show up, maybe years later, and claim the art was stolen at some point in the past—ultimately leaving the new owner empty handed, without the art or the money paid for it. That’s one reason many art advisers and lawyers recommend title insurance, which can at least partially protect a collector’s financial interests if a piece of art has to be surrendered. (Read more from the Wall Street Journal.)

Crystal, AIG Offer Conceptual Art Insurance for Private Clients

Crystal & Co., a strategic risk and insurance advisor, has partnered with AIG Private Client Group to create a new insurance product for private clients with collections of Conceptual art. A certificate is provided by the artist to authenticate an item and without this, the piece is considered worthless. Therefore, if the certificate was lost or damaged, the item may have lost most of its value, according to Crystal & Co. (Read more from the Insurance Journal.)

A Guide to Thesis Writing That Is a Guide to Life

How to Write a Thesis, by Umberto Eco, first appeared on Italian bookshelves in 1977. For Eco, the playful philosopher and novelist best known for his work on semiotics, there was a practical reason for writing it. Up until 1999, a thesis of original research was required of every student pursuing the Italian equivalent of a bachelor’s degree. Collecting his thoughts on the thesis process would save him the trouble of reciting the same advice to students each year. (Read more from the New Yorker.)

Your Teaching Headspace

After my job talk, I was focusing on people’s questions about my scholarship during the Q&A period—and deeply in my “research headspace”—when all of a sudden someone asked: “What is your approach to teaching and how do you teach X concept?” He wasn’t asking how my research informs my teaching. He was just asking about my teaching. Isn’t that a strange question in a job talk Q&A? (Read more from Vitae.)

Filed under: CAA News

Register now for the next webinar in CAA’s series on fair use in the visual arts meeting this Friday, April 10 at 1 PM EDT. Join the lead principal investigators of CAA’s new Code of Best Practices in Fair Use for the Visual Arts, Patricia Aufderheide, university professor in the School of Communication at American University and Peter Jaszi, professor of law in the Program on Information Justice and Intellectual Property at American University’s Washington College of Law, for an in-depth look at the Code’s section on fair use in analytic writing. Registration for the live event is free and open to the public thanks to a generous grant from the Andrew W. Mellon Foundation.

A video recording of the first webinar held on March 27th, “An Introduction to CAA’s Code of Best Practices in Fair Use for the Visual Arts,” is now available for CAA members. To access, log into your CAA account and click on the “Webinars” link in the left-hand navigation. Recordings of each webinar in the series will be made available to members the week following the event.

CAA will issue Certificates of Participation to those who attend all five webinars in the series. Registration secures you a spot in all four remaining webinars, however you may attend any number of the remaining webinars through this registration. The webinars will cover the following topics:

April 10, 2015, 1:00-2:00 PM (EDT): Fair Use in Scholarship
May 15, 2015, 1:00-2:00 PM (EDT): Fair Use in Teaching and Art Practice
May 29, 2015, 1:00-2:00 PM (EDT): Fair Use in Museums and Archives
June 5, 2015, 1:00-2:00 PM (EDT): Fair Use in the Visual Arts: A Review

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.

Almost One Third of Solo Shows in US Museums Go to Artists Represented by Just Five Galleries

Nearly one third of the major solo exhibitions held in American museums between 2007 and 2013 featured artists represented by just five galleries, according to new research. The Art Newspaper analyzed nearly 600 exhibitions submitted by 68 museums for its annual attendance-figures survey and found that 30 percent of prominent solo shows featured artists represented by Gagosian, Pace, Marian Goodman, David Zwirner, and Hauser and Wirth. (Read more from the Art Newspaper.)

How to Navigate the Art World

The art world can feel like that first time you walk into a high-end luxury store: everything is out of your reach, you’re not quite sure where to start, and there are a whole lot of venomous people judging your every move. Enter Roger White, author of the delicious new book The Contemporaries: Travels in the 21st Century Art World. Astute and conversational, White’s writing unveils the current state of the art academy, the studio, and the art market through the careers of the artists Dana Schutz, Mary Walling Blackburn, and Stephen Kaltenbach. (Read more from the Daily Beast.)

Artists, Not Judges, Should Decide Fair Use

This piece will focus on two implications of the Cariou and Sconnie Nation analyses: (1) the inherently factual nature of “fair use” analysis; and (2) fair use as an affirmative defense. “Fair use” started as a judge-made remedy to technically correct legal conclusions that led to absurd results, a practice commonly known as “equity.” Generally, and in the case of “fair use,” equity requires a court to make a significant factual investigation so as to demonstrate why the technical law should not apply. (Read more from the Center for Art Law.)

White Lies? Fibs? Tall Tales? Just Tell the Truth

Certainly, there are a lot of things that you might be reluctant to tell the truth about that don’t seem so terrible, such as one’s age. It may be embarrassing for some artists to be older and starting out, or to have not ever sold any work or to not have academic degrees in studio art or to not have any real exhibition history. (Read more from the Huffington Post.)

How the Tax Code Hurts Artists

With tax day looming, you can practically hear the cries of creative professionals across the country. That’s because the tax code hits many right where it hurts, by penalizing them for the distinctive way they make money. The biggest offender is still the alternative minimum tax, despite the American Taxpayer Relief Act of 2012, which brought long-overdue reform. (Read more from the New York Times.)

English-Only PhDs

What does it mean to be a doctor of philosophy in the sciences? What skills do we expect PhDs to possess? One thing you have to leave off that list: the ability to read or communicate in a language other than English. Nearly all US doctoral programs in the sciences have dropped their foreign-language requirement. (Read more from Vitae.)

An Illustrated Guide to Arthur Danto’s “The End of Art”

In an obituary for the New York Times, Ken Johnson described Arthur Danto as “one of the most widely read art critics of the Postmodern era.” Danto, both a critic and a professor of philosophy, is celebrated for his accessible and affable prose. Despite this, his best-known essay, “The End of Art,” continues to be cited more than it is understood. What was Danto’s argument? Is art really over? And if so, what are the implications for art history and art making? (Read more from Hyperallergic.)

AHTR Reports on AP Art History (Part II)

The second of two-part series on AP Art History, this post examines the revised curriculum for art history that will go into effect later this year, its intended outcomes, and its relevance to art historians at all educational levels. The post also identifies new resources developed specifically for the new curriculum, as well as others that are appropriate for both secondary and university-level instruction in art history. (Read more from Art History Teaching Resources.)

Filed under: CAA News

Update on CAA Task Forces

posted by Linda Downs

Task forces are established on occasion by the CAA Board of Directors to carry out research, address issues that are critical to the academic visual arts and art museums and require a limited commitment of time. There are currently seven task forces at CAA that have been established by the Board of Directors.

Task Force on Fair Use

Established in October 2012, this task force is cochaired by Jeffrey Cunard, CAA Counsel and Managing Partner of the Washington, DC, office of Debevoise & Plimpton LLP, and Gretchen Wagner, former General Counsel, ARTstor, and former member, Committee on Intellectual Property. Its twelve members have been overseeing a four-year fair use initiative supported by an initial grant from the Kress Foundation and a generous grant from the Andrew W. Mellon Foundation. Led by the efforts of Peter Jaszi and Patricia Aufderheide of American University, the first two years included interviews with 100 artists, art historians, curators, editors, librarians, publishers; a survey of 2,000 CAA members; and discussions with another 100 visual arts professionals. Based on the consensus developed through this process, the Code of Best Practices in Fair Use for the Visual Arts was published in February 2015 and presented to the CAA membership at the Annual Conference. Over the next two years the task force will assist in the dissemination of the Code through webinars, presentations at conferences, and in small meetings of professionals in the visual arts. The project will be completed in December 2016.

Download the Resolution to Form Task Force to Develop Fair Use Guidelines.

Task Force on Advocacy

Established by the Board in February 2015, this task force is chaired by Jacqueline Francis, Associate Professor, Visual and Critical Studies, California College of the Arts. The task force is charged with prioritizing CAA members’ critical advocacy issues.

Download the Resolution for a Task Force on Advocacy.

Task Force on the Annual Conference

Established by the Board in February 2015, this task force is chaired by Suzanne Preston Blier, CAA Vice President for the Annual Conference and Allen Whitehill Clowes Chair of Fine Arts and of African and African American Studies at Harvard University. The task force is charged with evaluating the structure, format, and technologies of the Annual Conference to facilitate information exchange, presentation of creative work, and professional support of members.

Download the Resolution for a Task Force on the Annual Conference.

Task Force on Committees

Established by the Board in October 2014, this task force is chaired by Charles A. Wright, CAA Vice President for Committees and Professor and Chair, Department of Art, Western Illinois University. The task force is charged with reviewing the nine Professional Interest Practices and Standards (PIPS) committees of CAA in order to ensure that the 2015–2020 Strategic Plan priorities, the structure of the committees, and the organization best meet the needs of CAA members.

Download the Resolution for a Task Force on Professional Interests, Practices and Standards Committees.

Task Force on Design

Originally established by the Board in May 2014 and recently reconfigured, the task force is chaired by Jim Hopfensperger, CAA Board Member and Professor of Art, Western Michigan University. The task force is charged with addressing and making recommendations on how to increase the sessions on design at the Annual Conference, engage designers as members, and address guidelines specific to designers.

Download the Resolution to Form a Task Force on Design.

Task Force to Develop Guidelines for Evaluating Digital Art and Architectural History for Promotion and Tenure

Established by the Board in October 2014 and supported by funds from the Andrew W. Mellon Foundation, this joint task force of CAA and the Society of Architectural Historians (SAH) is co-chaired by DeWitt Godfrey, President, CAA and Professor of Art and Art History, Colgate University; and Ken Breisch, SAH President and Assistant Professor, School of Architecture, University of Southern California. The Mellon grant supports a research assistant, Alice Lynn McMichael, Graduate Center Digital Fellow and Digital Dissertations Liaison, The Graduate Center, CUNY and Adjunct Assistant Professor, Hunter College; and a statistician, Raym Crow, Chain Bridge Group. The task force charge is to develop guidelines for digital art and architectural history for use in promotion and tenure.

Download the Resolution to Establish a Joint CAA and Society of Architectural Historians Task Force to Develop Guidelines for Evaluating Digital Art and Architectural History for Promotion and Tenure.

Task Force on Governance

Established by the Board in October 2014, this task force is chaired by DeWitt Godfrey, CAA President and Professor of Art and Art History, Colgate University. The charge is to review the structure and transparency of Board of Directors’ responsibilities to better serve and communicate with CAA members.

Download the Resolution for a Task Force on Governance.

Do you have a great thematic lesson plan you want to take some time to codify and share? Funded by a Samuel H. Kress Foundation grant for digital resources, Art History Teaching Resources (AHTR), a peer-populated platform for instructors and a collectively authored online repository of art-history teaching content, seeks contributors for specific thematic subject areas in the art-history survey. This is the third and final call for participation (the first two went out in 2014).

AHTR is particularly interested thematic content, for publication in fall 2015. The following areas are suggestions—ideas for other thematic lesson plans are welcomed and you can see examples of existing lesson plans that engage thematically with, for example, “Race and Identity” and “Globalism and Transnationalism.” Please propose a thematic plan germane to the survey-level class.

Possible themes include but are in no way limited to: Art and Labor, “High” vs. “Low,” Violence, Nature, Manufacture and Industrialization, Queer Art, Globalization, Beyond Europe, Death, Power, Materials, Age, Art Markets, Sex, the Gaze

For each content area, AHTR seeks lecture and lesson plans similar to those developed for its thematic section on Feminism and Art. Full template guidelines will be given for the sections to be included in each plan; writers will be expected to review and amend their plan (if necessary), once edited by AHTR. These plans, which will be posted to the AHTR website in fall 2015, are supported by $250 writing grants made possible by the Kress award.

AHTR is looking for contributors who:

  • Have strong experience teaching the art-history survey and strong interest in developing thoughtful, clear, and detailed lesson plans in particular thematic areas
  • Are committed to delivering lecture content (plan, PowerPoint, resources, activities) for one to two (a maximum of two) thematic content areas in a timely manner. Each content area will be supported by a $250 Kress writing grant
  • Are able to make a September deadline for submission and an early October deadline for any edits
  • Want to engage with a community of peers in conversations about issues in teaching the art-history survey

AHTR’s intention is to offer monetary support for the often-unrewarded task of developing thoughtful lesson plans, to make this work freely accessible (and thus scalable), and to encourage feedback on them so that the website’s content can constantly evolve in tandem with the innovations and best practices in the field. In this way, AHTR wants to encourage new collaborators to the site—both emerging and experienced instructors in art history—who will enhance and expand teaching content. The website also wishes to honor the production of pedagogical content at the university level by offering modest fellowships to support digital means of collaboration among art historians.

Please submit a short, teaching-centered CV and a brief statement of interest that describes which thematic subject area(s) you wish to tackle to by April 15, 2015. These initial texts should be delivered to AHTR in June or July 2015.

Filed under: Online Resources, Teaching

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.

Why Experts Are the Last People You Want to Include in Creative Brainstorming

In a team setting, certain kinds of experts often wield power over the rest of the group, setting an example for junior teammates to follow. Ironically, these same experts often lose their ability to think up and weigh the wildly creative solutions that can lead to team breakthroughs. Smart beginners resent them for that. (Read more from Fast Company.)

The Long, Twisted History of Glitch Art

Nick Briz, a Chicago-based artist, educator, and organizer, has defined “glitch” as “an unexpected moment in a system that calls attention to that system, and perhaps even leads us to notice aspects of that system that might otherwise go unnoticed. Glitch art, then, is anytime an artist intentionally leverages that moment, by either recontextualizing or provoking glitches.” The glitch draws back the curtain on our sleekest devices and virtual constructs to reveal raw pixels and code, a surreal landscape of unformed possibilities. (Read more from the Kernel.)

Am I an Activist?

A few months ago, I was on a conference panel about activism at the junior faculty level. Apparently when you ask people about activism in my field of religious studies, my name pops up, which baffles me. Am I an activist? I wouldn’t give myself that label. (Read more from Vitae.)

Just How Important Is Color?

When was the last time you thought about color? Save for the occasional breathtaking sunset, or “The Dress” phenomenon last month, how often do you consciously stop and think about the specific shades of the world around you? Unless you’re a fashion designer, painter, or an interior decorator, it’s probably something you take for granted. A recent video by Valspar Paint highlights just how awe-inspiring color really is. (Read more from Pacific Standard.)

Rights to Scholarly Work

For many years, Ohio State University had an understanding with its faculty: the institution might claim intellectual-property rights to innovations, inventions, and patentable research, but scholarly works belonged to professors alone. Now a new draft intellectual-property policy is threatening that agreement in the eyes of some faculty members. The ongoing debate has implications for defining scholarly work in the digital age and for just how much of an academic’s work—digital or not—his or her institution can claim to own. (Read more from Inside Higher Ed.)

Precious Art Analyzed without Damage Using New Laser Technique

Precious works of art in need of preservation or authentication could in future be studied using a new laser technique, developed by a collaboration of British and Italian scientists, that can analyze layers of paint without causing any damage to the object itself. This new technique will be of real benefit to curators of cultural heritage who need to preserve and authenticate precious works of art without harming them. (Read more from

O Adjunct! My Adjunct!

I spent half of my undergraduate career figuring out what I didn’t want to do. I started off in the journalism program, switched to literature, was undecided for a few panicked, free-floating months, and studied photography for a time. But the spring of my sophomore year, I enrolled in a fiction-writing workshop with an instructor named Harvey Grossinger. What I didn’t know at the time—and what I wouldn’t figure out for the better part of the next decade—was that Harvey was an adjunct. He didn’t tell us, and I didn’t know to ask. As an undergraduate, I never heard the term. (Read more from the New Yorker.)

Lip-Syncing to the Academic Conversation

From the moment they begin doing research, scholars are told to connect their work to “the conversation.” They should stay on top of scholarship in their field, responding to the critiques of their contemporaries as well as the dogma of their disciplines. But what happens when that conversation takes place behind a pay wall through which you cannot afford to pass? What happens when your work ignites a dialogue that you can no longer follow? (Read more from Vitae.)

Filed under: CAA News

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.

Median Salaries of Tenured and Tenure-Track Professors at Four-Year Colleges, 2014–15

The median base salaries of tenured and tenure-track professors at four-year colleges increased by 2 percent in 2014—a rate of salary growth that was down a tenth of a percent from the previous year, according to the results of an annual survey from the College and University Professional Association for Human Resources. (Read more from the Chronicle of Higher Education.)

Help Desk: Put the Artist First

In the role of writer and curator, I find myself playing bureaucratic middleman between artists and the public, or between artists and institutions. When I get an idea for an exhibition or written feature, the appropriate order of things often gets confusing for me. Should I first approach the artists with the idea, to make sure they are willing and able to participate, or should I discuss the project with the institution or publication, to be sure it gets green-lit? (Read more from Daily Serving.)

Museums Turn to Technology to Boost Attendance by Millennials

Art museum attendance dipped 5 percent from 2002 to 2012, according to the National Endowment for the Arts. Museumgoers 75 and older were the only age group to increase over that period. The guardians of posterity must be concerned about the future, no matter how long the lines may be. Curators worry most about millennials. How do static galleries of canvas and artifact engage a generation raised on the reactive pleasures of right swipes and hyperlinks? How do you sell Goya when Game of Thrones is a click away? (Read more from the New York Times.)

Taking Note: More Resources for Arts Data-Miners

The nation’s museums and libraries are taking prodigious steps to bring their most prized collections of artistic and cultural heritage online. But what about the data concerning those institutions? If we increasingly have the chance to view a painting, piece of sculpture, or rare manuscript from any location, then how easy is it to access basic stats about those items, to run them through analysis without cumbersome software, and to create visualizations that can be shared on multiple platforms? (Read more from the National Endowment for the Arts.)

Dimensions: Expanded Measures of Textiles

The contributions to this issue of Art Practical explore making and process in several ways—through elemental fibers, woven structures, and cloth’s capacity to hold color. Sonya Clark employs the most elemental of fibers—hair—in her essay, while Rebecca Gates’s exploratory text reveals how certain artists employ the warp and weft of a woven textile to create works that are simultaneously aural and visual experiences. (Read more from Art Practical.)

Museums Unite in Campaign to Save Massive Land Art Project

American museums—including the Los Angeles County Museum of Art, the Museum of Modern Art, the Institute of Contemporary Art in Boston, and the Walker Art Center—are campaigning for the conservation of Basin and Range, the stretch of the land surrounding Michael Heizer’s City. Michael Govan, director of LACMA, said, “The extraordinary Basin and Range landscape by itself is worth protecting. Michael Heizer’s art must be protected too. Together, the environment and the artwork comprise one of the nation’s greatest natural and artistic treasures.” (Read more from the Art Newspaper.)

A Report on AP Art History (Part I)

The College Board has released a significant revision of the curriculum for Advanced Placement (AP) Art History that goes into effect in 2015–16. This presents the opportunity to encourage greater exchange between secondary and university educators who have developed innovative teaching methods that can be effective at any level of art-historical study. (Read more from Art History Teaching Resources.)

How to Improve the Job Search Process, from the Perspective of a Candidate

Job openings are both a blessing and a curse. Search committees spend their time and energy reading through applications, selecting candidates, and making choices. But, no matter the stress that current faculty members are under, the applicants are under more. Each of us applicants is applying for dozens of jobs, possibly year after year. (Read more from Tenure, She Wrote.)

Filed under: CAA News

Patricia Rubin is Judy and Michael Steinhardt Director of the Institute of Fine Arts at New York University.

In 2010, thanks to a grant from the Andrew W. Mellon Foundation, the Institute of Fine Art at New York University inaugurated the Mellon Research Initiative. The initiative’s aim was to investigate trends in graduate education and advanced research in art history, archaeology, and conservation. That investigation took place at a time when those fields faced considerable challenges—financial, institutional, and conceptual. Cutbacks in funding from all sources and the concomitant or resulting instrumentalization of university education, which favors economic rationales for degree structures, department sizes, and disciplinary evaluation, presented explicit challenges to the humanistic as opposed to the “hard” sciences. They continue to do so.

The resulting publication, Pathways to the Future: Trends in Graduate Education, was introduced and discussed during three panels at CAA’s Annual Conference in February under the rubric of “Field/Work: Object and Site.” The Pathways report is the result of four years of consultation, undertaken through a series of workshops, conferences, and committees in which our fieldworkers—graduate students, professors, publishers, and university administrators, among others—were asked about the directions being taken in art history, archaeology, and conservation. These participants considered the resources those fields require to support graduate training and research; how those resources are most meaningfully allocated; and, crucially, how learning is best delivered in curriculum and training programs.

The public workshops and conferences (now available on the institute’s video archive) were accompanied by the work of three committees convened to pose relevant questions and investigate different aspects of our practices as researchers and educators. Unified in aim, the review committees largely operated independently. They shaped their work according to concerns and protocols specific to each field. The form of their reporting varies accordingly. All three committees considered both present conditions and future possibilities.

The examination of the state of our subjects found them to be generally robust. If anything they are stronger than ever before, existing as they do in today’s image-based environment and able to promote critical seeing along with critical thinking. They are inherently interdisciplinary and equally international or global in their inquiry and potential impact. They have direct relation to material understanding, in the recovery and safeguarding of our physical heritage, in interpreting its present condition, and in forecasting future manifestations.

Although based on wide consultation and meticulous deliberation, this report is intended to contribute to vital and ongoing conversations about the disciplines of art history, archaeology, and conservation, about their professional and intellectual situation, and about strengths, weaknesses, and strategies. Their thoughts on those matters are contained in this document, which is available on the institute’s website for downloading and circulating. The institute hopes this document generates discussion and stimulates further thoughts on the topics it raises and regarding training and research in art history, archaeology, and conservation.

The institute is profoundly grateful to the Mellon Foundation for its generous sponsorship, and to all those who participated in the initiative.

Serve on a CAA Award Jury

posted by Lauren Stark

CAA invites nominations and self-nominations for individuals to serve on eight of the twelve juries for the annual Awards for Distinction for three years (2015–18). Terms begin in May 2015; award years are 2016–18. CAA’s twelve awards honor artists, art historians, authors, curators, critics, and teachers whose accomplishments transcend their individual disciplines and contribute to the profession as a whole and to the world at large.

Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not be serving on another CAA committee or editorial board. CAA’s president and vice president for committees appoint jury members for service.

The following jury vacancies will be filled this spring:

Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and an abbreviated CV (no more than two pages). Please send all materials by email to Lauren Stark, CAA manager of programs; submissions must be sent as Microsoft Word attachments. Deadline: April 24, 2015.

Filed under: Awards, Service

Want to know more about fair use in the visual arts? Have questions about how you can use fair use in your work? Join the lead principal investigators of CAA’s new Code of Best Practices in Fair Use for the Visual Arts, Patricia Aufderheide, university professor in the School of Communication at American University and Peter Jaszi, professor of law in the Program on Information Justice and Intellectual Property at American University’s Washington College of Law, for a series of webinars offering in-depth tutorials on the Code. CAA will issue Certificates of Participation to those who complete the entire series of webinars. The series will include the following topics:

March 27, 2015, 1:00–2:00 PM (EDT): An Introduction to CAA’s Code of Best Practices in Fair Use for the Visual Arts

April 10, 2015, 1:00–2:00 PM (EDT): Fair Use in Scholarship

May 15, 2015, 1:00–2:00 PM (EDT): Fair Use in Teaching and Art Practice

May 29, 2015, 1:00–2:00 PM (EDT): Fair Use in Museums and Archives

June 5, 2015, 1:00–2:00 PM (EDT): Fair Use in the Visual Arts: A Review

You may register for the first webinar (March 27) here. Registration for the remaining four webinars is available as a series here. Regardless of the number of these sessions you wish to attend, please register for the entire series and participate in whichever sessions you would like.

Registration is free and open to the public thanks to a generous grant from the Andrew W. Mellon Foundation. The webinars will be available at a later date as archived videos for CAA members.

Questions? Email CAA at

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