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CAA News


jstor_logo_medium_0With more than 2,000 scholarly journals, JSTOR is one of the world’s leading academic databases.

As part of your CAA membership, save 50% on a yearly JPASS, your personal access to the JSTOR archive. This fee includes unlimited reading access and 120 PDF article downloads. JSTOR adds new titles every month so you’ll have a growing collection of the world’s leading peer-reviewed journals only a click away. Plans start at $19.50.

Don’t miss this exclusive offer:
http://jpass.jstor.org/?soc=CAA3&mc=mMvU69P2M3

The Arts journals available in JPASS may be of particular interest to CAA members. Highlights include:

Publications from the College Art Association
Artibus Asiae
Journal of the Society of Architectural Historians

And much more! The complete list is available here.

Thank you for your continued membership support.



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.

What Happens When a Museum Closes?

Four recently dissolved cultural institutions—the Museum of Biblical Art in New York, the Fresno Metropolitan Museum of Art and Science in California, the Corcoran Gallery of Art in Washington, DC, and the Higgins Armory Museum in Massachusetts—each offer a lesson in how to weather the complex process of closing a museum. (Read more from Artsy.)

Help Desk: Underrepresentation

I have been with my gallery for a long time and received press and write-ups, but no collectors. How do I motivate my dealer to show and sell my work? I’ve been hustling and struggling a long time, and I’m kind of over it. (Read more from Daily Serving.)

Oiling Out and the Cause of Dead Spots in Oil Paintings

It’s been a problem for a very long time: blotchiness, sinking in, dead spots. For oil painters these are well-known terms, conjuring up images of skin disease as much as painted surfaces, but whatever words are used the implication is clear—it’s an undesirable nuisance, a loathsome interloper in the creative process. (Read more from Just Paint.)

Getting beyond the Anecdote: Research and Art-History Pedagogy

Pedagogical innovations abound in art-history classrooms. National and regional conferences increasingly feature panels of inspirational examples and case studies. These sessions are well attended by instructors eager for new, proven ideas to improve their teaching. The speakers assure this audience of improved student engagement and efficacy at achieving learning outcomes with this or that innovation. But how can they prove it? (Read more from Art History Teaching Resources.)

An Editor’s View of Digital Publishing

The Getty was relatively quick to embrace digital publishing, but for our early ebooks, the editorial workflow remained much the same; only the end product was different. For our two new online collection catalogues, Ancient Terracottas from South Italy and Sicily and Roman Mosaics, however, we thought differently from the outset. (Read more from the Getty Iris.)

Diversity as a Tenure Requirement

Pomona College’s faculty has voted to change the criteria for tenure to specifically require candidates to be “attentive to diversity in the student body.” While many colleges and universities encourage faculty members to support diversity efforts, and a few have encouraged tenure candidates to reference such work, Pomona’s requirement may go further because it applies to all who come up for tenure. (Read more from Inside Higher Ed.)

What Obama’s Overtime Rule Could Mean for Colleges

The Obama administration has released a rule that will extend overtime pay to millions more American workers, including hundreds of thousands of lower-level salaried employees on college campuses. Much attention has focused on the impact on postdoctoral fellows, the overworked, underpaid backbone of the academic research enterprise. But it’s not just postdocs who will benefit from the rule. Many entry- and midlevel professionals will qualify, too. (Read more from the Chronicle of Higher Education.)

How Long Will Your Class Remain Yours?

Administrative interference with faculty prerogatives across many different kinds of technology has enabled an attack on workers’ control in academia. Universities willing to interfere with electronic communications, social media, and even the faculty’s control over standards for individual courses will likely seek to oversee the way that all courses are taught at their schools. (Read more from Digital Pedagogy Lab.)



Filed under: CAA News

Thank you for being a member of the College Art Association, the world’s leading professional association for the visual arts. As a dedicated member of CAA, you know firsthand about the important work that CAA does to serve and enhance the visual-arts community. We could not do this without your support.

Today, I ask that you join me in celebrating all that CAA does with a gift to the Annual Fund.

Beyond CAA’s ongoing advocacy efforts; vital professional documents like CAA’s Standards and Guidelines; critical projects like the Code of Best Practices in Fair Use for the Visual Arts; prestigious publishing grants for book manuscripts; career-development resources including the Online Career Center; Professional-Development Fellowships in support of promising artists, designers, craftspersons, historians, curators, and critics; important new writing and scholarship published in The Art Bulletin, Art Journal, and caa.reviews; and CAA’s central forum for exchange of creative work and scholarly research at the Annual Conference—CAA does a great deal more to support its members, the lifeblood of the association.

CAA subsidizes over half of its members through discounted membership and registration fees for students, retirees, part-time faculty, and independent artists and scholars. CAA has made part-time faculty issues a priority, recommending that tenured faculty and administrators in the visual arts implement its Guidelines for Part-Time Professional Employment and also providing a resources section on its website for part-time faculty. At the conference, CAA offers Professional-Development Workshops and mentoring opportunities for artists, art historians, designers, and students. CAA is also dedicated to strengthening its support of its international members. Recently CAA launched a section on its website devoted to international topics, the International Desk, which includes reports from around the world and listings of international grants, conferences, and residencies.

In fall 2016, CAA will also launch CAA Connect, the digital social community where CAA members can discuss the latest in visual arts news and practices and collaborate on projects. CAA Connect will boast a number of private and public communities, each with its own discussion threads and resource libraries for multimedia content. We see it as an important tool in bringing together our members and the wider visual arts and humanities fields. Look for CAA Connect to launch in the fall of 2016.

Voluntary support from CAA members is critical to our collective advancement and your contribution to the Annual Fund will enable CAA to continue providing invaluable resources to its members.

On behalf of CAA’s diverse community of artists, art historians, curators, critics, collectors, designers, educators, and other arts professionals, I thank you for your commitment to CAA. Please give generously!

Sincerely,

 

 

 

 

Doralynn Pines
Vice President for External Affairs



Filed under: Development, Membership

Support CAA’s Publications Fund

posted by CAA


CAA’s journals continue to deliver the world’s leading scholarship in the visual arts. This year, we welcome many new additions and changes to the publications while maintaining our commitment to bringing readers the most vital, intellectually compelling, and visually engaging scholarly journals in art and art history.

We encourage you to support our mission of advancing the highest standards of intellectual engagement in the arts with a gift to the Publications Fund today. As always, your contribution is tax-deductible, so please give generously!

Beginning July 1, 2016, CAA welcomes Nina Athanasoglou-Kallmyer, Professor Emerita at the University of Delaware, as The Art Bulletin’s next editor-in-chief. Rebecca Brown, Art Journal’s editor-in-chief and Associate Professor at Johns Hopkins University, published her first issue in Spring 2016. CAA’s exclusively online publication, caa.reviews recently launched a new website, and Art Journal Open, CAA’s accessible online venue for contemporary works, takes on appropriation as an artistic strategy in a three-part series.

Here are some recent highlights from CAA publications:

In The Art Bulletin:

  • Recent articles include Erik Inglis on revelations in the 1534 inventory of the St-Denis treasury; Paola Demattè on cross-cultural factors in eighteenth-century Parisian prints of Chinese subjects; Richard Taws on the imposter dauphins in the wake of the French Revolution and the issue of truth in nineteenth-century discourse; and the tensions between the individual and the collective in postwar German art groups, in an analysis by Jacopo Galimberti
  • In the “Whither Art History?” series, Youngna Kim explores the relation of Korean art history to global developments in the discipline; Shao Yiyang reflects on the state of art history in China
  • Reviews of books range from art in Byzantine diplomatic encounters to transcontinental and transoceanic image networks in early America, and from Chinoiserie in eighteenth-century Britain to the circulation of artworks in late Ottoman Istanbul

In Art Journal:

  • Artists’ projects by Jason Simon, Amy Adler, and Julia Oldham, the last an astrophysical exploration of loss, love, and canine connection
  • Essays by Emma Chubb, examining Isaac Julien’s images of traumatic crossings of the Mediterranean by present-day migrants; Natilee Harren on the means by which materials and fragments of the urban fabric found their way into the confounding commodities of Fluxus artists in the 1960s; Cynthia Chris and Jason Simon on the economic elements of video art as it nears the half-century mark; and Daniel Rosenberg on the presentation of complex data about war and disaster in large photographic works by the Dutch artist Gert Jan Kocken
  • A seven-author forum organized by Jordana Moore Saggese that sheds new light on diversity and difference from perspectives including queer failure, craft, diasporic studies, critical race history, and disability
  • Reviews of books artists on William Kentridge, Isa Genzken, and Antonin Artaud; on decolonization in postwar France; and on art emerging from postsocialist nations
  • In Art Journal Open, “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation” by Natilee Harren. Harren’s three-part essay examines appropriation as an artistic strategy that pressures both the legal and conceptual definitions of authorship through a case study of three specific episodes in artist Karl Haendel’s practice of circulating existing images. Nate Harrison responds, offering a critical reminder of the historical specificity of postmodernism and appropriation. Haendel’s contribution Oral Sadism & the Vegetarian Personality (Approximately) is an animated representation of the artist’s extensive archival collection of some ten thousand found images and photographs, used as source material for his drawings. Other recent pieces are a report on Art + Feminism’s Wikipedia Edit-a-thon at the Museum of Modern Art by Chelsea Spengemann, and a conversation between curator Mia Locks and artist Math Bass.

In caa.reviews (Now fully open access!):

  • caa.reviews continues to expand the number and type of reviews published each year. In 2015, the journal published 159 reviews on exhibitions and books in all areas of the visual arts. In 2016, an addition to the Re:Views series—an essay by Eddie Chambers, University of Texas Austin, on his role in commissioning reviews on African and African Diaspora art—discusses the division of subject categories within US academic communities and the lack of scholarship published on these topics. Forthcoming by caa.reviews Editor Designate, Juliet Bellow, is a multimedia project using the Scalar platform reviewing a two-day performance at the Tate Modern, If Tate Modern was Musée de la danse? by choreographer Boris Charmatz, which will be accompanied by an interactive floor plan and additional texts and images.

These highly regarded journals reach tens of thousands of readers around the world and serve as essential resources to those working in the visual arts—none of which would be possible without your support. Contributors who give at a level of $250 or higher are prominently acknowledged in the publication they support for four consecutive issues, as well as on the publication’s website for one year, through CAA News, and in the Annual Conference’s convocation booklet. On behalf of the scholars, critics, and artists who publish in the journals, we thank you for your continued commitment to maintaining a strong and spirited forum for the visual arts community.

With best regards,

 

 

 

 

Gail Feigenbaum
Vice President for Publications




The College Art Association (CAA) is pleased to announce Hunter O’Hanian as its next executive director. He will start at CAA on July 1, 2016. O’Hanian succeeds Linda Downs, who served as CAA executive director from 2006 to 2016. O’Hanian comes to CAA at a moment of expansion and opportunity in the organization. In January 2016, CAA announced comprehensive changes to its Annual Conference that will increase the number of sessions and chances for participation. In response to the changes, CAA received over 850 session proposals for its 2017 conference in New York, February 1518.

“I am very excited to welcome Hunter O’Hanian to CAA as executive director,” says Suzanne Preston Blier, president of CAA. “He brings not only unique administrative experience but also striking energy and vision at this key moment in the Association’s history.”

As executive director, O’Hanian is an employee of the CAA Board of Directors and serves as the Association’s chief executive officer. In this role, he will work with board members, committees, and task forces to develop the Association’s strategic plans. O’Hanian’s experience in fundraising, law, and the arts will greatly benefit the membership and the larger visual arts, design, education, and cultural communities with whom CAA works. O’Hanian will oversee a wide variety of initiatives, including the CAA Annual Conference, an advocacy program, member services activities, the career center, fellowships, grants and opportunities offered by CAA, and the publications program, which includes The Art Bulletin, Art Journal, Art Journal Open, and caa.reviews.

“I have long been an admirer of the work CAA has done. They have helped so many artists, art historians, and curators in the pursuit of their professional goals,” says O’Hanian. “I am pleased to be part of this exciting team and look forward to playing a role in growing its membership, bolstering the conferences, and helping the organization thrive on every level.”

O’Hanian is currently the director of the Leslie-Lohman Museum of Gay and Lesbian Art in New York’s Soho neighborhood. The Leslie-Lohman Museum is the only art museum devoted exclusively to artwork that speaks to the LGBTQ experience.

Prior to joining Leslie-Lohman, Hunter was the vice president of institutional advancement and executive director of the Foundation for Massachusetts College of Art and Design in Boston. Previous to that, he led two renowned artists’ residencies programs, having served as the president of Anderson Ranch Arts Center in Snowmass Village, outside of Aspen, Colorado, and executive director of the Fine Arts Work Center in Provincetown, Massachusetts, which is the largest residency program for emerging artists and writers in the United States. The Fine Arts Work Center recently permanently endowed a fellowship in his name.

O’Hanian has a long career of non-profit board and community involvement. He is the past board chair of the Alliance of Artists Communities, the national membership organization for artists’ residency programs. He studied painting at Boston College and received his bachelor of laws degree from Suffolk University in Boston. O’Hanian has an honorary doctorate of fine arts from the Art Institute of Boston.

Photo credit: Johnathan M. Lewis



Filed under: People in the 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.

How to Become a Curator

Start out as an artist instead. In school, you’re always saddled with organizing the group shows, buying the beer, placating fellow artists’ fears, making the invitations, composing the checklist, finding the funding, contacting the press, inviting the audience. Your entire art practice becomes a smudgy line between curating and art, and you grow to feel strange and unnecessary. (Read more from Momus.)

Journalism and Art: Complementary and Collaborative Storytelling

The Wisconsin Center for Investigative Journalism project is one example of how journalists are employing the arts to get important issues off the page and screen and into people’s lives. At the same time, artists are using reporting techniques, interviews, public records, documentary footage, and photo captions to create work addressing social, economic, and political topics that usually fall within the purview of journalism. (Read more from Nieman Storyboard.)

Google Launches Tilt Brush App for Virtual-Reality Sketching

Google’s virtual-reality painting app, Tilt Brush, could allow architects and designers to walk through their sketches in three dimensions as they draw them. Available on the HTC Vive headset device, Tilt Brush allows users to create 3D imagery using a simple controller that mimics the gestures of painting. (Read more from De Zeen.)

Diversity in Academe: Who Sets a College’s Diversity Agenda?

True diversity remains a struggle for many colleges. A special report from the Chronicle of Higher Education looks at who actually sets a college’s diversity agenda, and what makes that agenda flourish or flop. These questions have taken on a special urgency as race-related protests have erupted on many campuses and as the nation’s population grows more diverse. (Read more from the Chronicle of Higher Education.)

How Cities Can Revitalize Their Public Spaces

A city is much more than a collection of tall buildings on the skyline. What makes a city a great place to live and visit, says James Corner, are the shared spaces—sidewalks, plazas, parks, waterfronts. Corner is part of a new wave of muscular landscape architects who argue that their work is about more than planting trees and grass: it is about reshaping the identity of a place and how the people who live there see themselves. (Read more from the Wall Street Journal.)

We’re All Failures

Academics are wired to achieve, and their CVs are designed to showcase their every accomplishment. While rejection is a fact of academic life, most faculty don’t share the gory details. Every successful scholar has tanked job interviews; been turned down for fellowships, postdocs, and grants; and had publications that flopped. So it’s been inspiring to see scholars go public with “CVs of Failure” that list their numerous brushes with defeat in glorious detail. (Read more from Vitae.)

The Job-Search Buddy System

The academic enterprise values individual contributions, even though scholarly achievements require a communal effort. While metrics that weigh heavily on the number of papers, books, seminars, and discoveries that individuals produce are an essential part of scholarly training, the environment this creates may condition scholars to pursue all of their career goals without assistance from others. (Read more from Inside Higher Ed.)

Why Is Scholarly-Communication Reform So Hard to Talk About, and Where Are the Authors?

Readers of any number of professional listservs, magazines, and journals may have noticed that questions about scholarly-communication reform tend to be vexed and controversial. Having participated in these conversations for over twenty years, and having recently gotten home from a conference that dealt specifically with such questions, I’ve been thinking about why feelings run so high when we talk about them. (Read more from the Scholarly Kitchen.)



Filed under: CAA News

 

The College Art Association (CAA) and Terra Foundation for American Art invite applications for the 2017 Terra Foundation for American Art International Publication Grant. The grant provides financial support for the publication of book-length scholarly manuscripts on the history of American art from circa 1500 to 1980 in the current-day geographic United States. The deadline for applications is September 15, 2016.

“Now in its sixth year, this international grant program helps to ensure that the field of American art history includes a wide range of culturally and geographically diverse voices,” stated Terra Foundation Publication Program Director Francesca Rose. “For example, Angela Harutyunyan’s Armenian translation of Erika Doss’s book Twentieth-Century American Art increases awareness of the historical art of the United States by making important scholarship available to a broader audience and fostering international collaboration.”

Awards of up to $15,000 will be made in three distinct categories:

Grants to US publishers for manuscripts considering American art in an international context

Grants to non-US publishers for manuscripts on topics in American art

Grants for the translation of books on topics in American art to or from English.

“The generous support by the Terra Foundation for American Art to help finance book publications in the field of art history will benefit not only the recipients of the grant, but also teachers, students, and the art book reading public more generally,” says Suzanne Blier, president of CAA.

For more information on submission process, guidelines, and eligibility, please visit the CAA website.

The 2016 Terra Foundation for American Art International Publication Grant winners were announced in February after the CAA Annual Conference in Washington, DC.

2016 TERRA FOUNDATION FOR AMERICAN ART INTERNATIONAL PUBLICATION GRANT WINNERS

  • Jean-Pierre Criqui and Céline Flécheux, eds., Robert Smithson. Mémoire et entropie, Les presses du réel
  • Erika Doss, Twentieth-Century American Art, translated into Armenian by Angela Harutyunyan, Eiva Arts Foundation
  • Eva Ehninger and Antje Krause-Wahl, eds., In Terms of Painting, Revolver Publishing
  • Darcy Grimaldo Grigsby, Colossal: Engineering the Suez Canal, Statue of Liberty, Eiffel Tower, and Panama Canal, translated into French by Karine Douplitzky, Éditions des archives contemporaines
  • Rockwell Kent, Voyaging Southward from the Strait of Magellan, translated into Spanish and edited by Fielding D. Dupuy, Amarí Peliowski, and Catalina Valdés, Museo Nacional de Bellas Artes (Chile) and Ediciones Universidad Alberto Hurtado
  • Will Norman, Transatlantic Aliens: Modernism, Exile and Culture in Midcentury America, Johns Hopkins University Press
  • Annika Öhrner, ed., Art in Transfer—Curatorial Practices and Transnational Strategies in the Era of Pop, Södertörn University
  • Joshua Shannon, The Recording Machine: Art and the Culture of Fact, Yale University Press
  • Fred Turner, The Democratic Surround: Multimedia and American Liberalism from World War II to the Psychedelic Sixties, translated into French by Anne Lemoine, C & F Éditions

Two non-US authors of top-ranked books were also awarded travel funds and complimentary registration for CAA’s 2017 Annual Conference in New York from February 15 to 18; they also received one-year CAA memberships.

The two author awardees for 2016 are:

  • Will Norman
  • Annika Öhrner

Image caption: Winslow Homer, Three Boys on the Shore, 1873, gouache and watercolor on paper mounted on board, 8⅝ x 13⅝ in. (image); 14⅜ x 19½ in. (mat). Terra Foundation for American Art, Daniel J. Terra Collection, 1999.75 (artwork in the public domain)



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.

The Digital Age of Data Art

Many artists use raw data produced by our societies as material, seeking innovative means of display or transforming it into a work of art. By blurring boundaries between art and information, data art dispels the myth of the romantic artist while offering a fundamental artistic act in a critical commentary of the digital age in which we live. (Read more from TechCrunch.)

Help Desk: Getting Paid for Curatorial Work

I’m a professional curator with over a decade of experience, mostly as a salaried professional. I’d like to do more freelance work, but curators seem to get paid nothing, absurdly little, or astronomical sums. How can I actually get paid for the work I do? (Read more from Daily Serving.)

Creating Value around Women Artists

Helen Molesworth, chief curator of the Museum of Contemporary Art in Los Angeles, discusses why gender imbalance in museums persists, why we must expand our definition of “genius,” and what hard choices institutions must make in order to create a truly balanced program. (Read more from the Art Newspaper.)

Beyond Cool?

I once confessed to having volunteered on a political campaign. My friend reacted with surprise: “But, nobody actually does that, do they?” With that roundabout question, he accused me of two crimes: one political, the other aesthetic. (Read more from the Point.)

Van Gogh Museum Wants to Share Its Expertise, for a Price

The Van Gogh Museum in Amsterdam has started a program to offer its professional services to private collectors, corporations, and other institutions. It says the move could create a new revenue stream as a hedge against declining government financing and global events like terror attacks that could have an effect on visitor numbers. (Read more from the New York Times.)

This Art Historian Teaches FBI Agents and Surgeons How to See

Amy Herman teaches people how to see. Her tools of choice are famous artworks from major art institutions all over the world. Her typical pupils? Cops, FBI officers, medical students, and first responders. Herman teaches a class that helps people fine-tune their observational skills—which often prove critical in solving a crime or conducting open-heart surgery. (Read more from Fast Company.)

Technology Can Make Art-History Lessons Come to Life

It’s one thing to study the elegance, beauty, and sophistication of Michelangelo’s Sistine Chapel, but what if virtual reality or mobile technology could actually transport you there to experience the marvel itself, rather than just reading about it? A handful of organizations and technologies are tinkering in this space to make art education something that leaps out of the textbooks and engages students on a richer sensory level. (Read more from EdTech.)

Accessing Publisher Resources via a Mobile Device

Step 1: Google search on intermittent stem-cell cycling to look for article mentioned by a colleague. Step 2: Land on article at publisher website. Look at author list. Skim abstract. Yup, this is the one. (Read more from the Scholarly Kitchen.)



Filed under: CAA News

CAA Needs You to Serve on a Jury!

As we start preparing for the Annual Conference, CAA is seeking members to join its Awards for Distinction Juries. Jury members must be current CAA members.

We have extended the deadline to May 20, 2016. Those selected will be acknowledged on the CAA conference website and in the Annual Convocation program, and will receive a complimentary ticket to the 2017 Annual Conference Opening Reception.

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 (2016–19). Terms begin in May 2016; award years are 2017–19. 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 hold a position on a CAA committee or editorial board beyond May 31, 2016. CAA’s president and vice president for committees appoint jury members for service.

The following juries have vacancies:

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 Katie Apsey, CAA manager of programs; submissions must be sent as Microsoft Word or Adobe PDF attachments. For questions about jury service and responsibilities, contact Tiffany Dugan, CAA director of programs.

Extended Deadline: May 20, 2016.

Thank you.



Filed under: Awards, Service

NEA to Support ARTspace for 2017!

posted by CAA


National Endowment for the Arts Chairman Jane Chu has approved more than $82 million to fund local arts projects and partnerships in the NEA’s second major funding announcement for fiscal year 2016. Included in this announcement is an Art Works award of $15,000 to the College Art Association (CAA) for ARTspace, part of the CAA Annual Conference. This is the eighth consecutive year the NEA has supported ARTspace. The Art Works category supports the creation of work and presentation of both new and existing work, lifelong learning in the arts, and public engagement with the arts through 13 arts disciplines or fields.

“The arts are all around us, enhancing our lives in ways both subtle and obvious, expected and unexpected,” said NEA Chairman Jane Chu. “Supporting projects like the one from CAA offers more opportunities to engage in the arts every day.”

ARTspace is a conference within the conference tailored to the interests and needs of artists and open to all attendees. Organized by CAA’s Services to Artists Committee, it includes a large-audience session space and a media lounge. ARTspace is the site of the Annual Artists’ Interviews held on Friday afternoon. Each morning begins with coffee and tea. The 2016 Annual Conference Artists’ Interviews featured conversations between Rick Lowe and LaToya Ruby Frazier and Joyce Scott with George Ciscle.

Save the date for the 2017 Annual Conference, February 15-18 in New York City.

To join the Twitter conversation about this announcement, please use #NEASpring16. For more information on projects included in the NEA grant announcement, go to arts.gov




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