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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.

Dealing Direct: Do Artists Really Need Galleries?

When Haunch of Venison closed in 2013, the Portuguese artist Joana Vasconcelos was left without a gallery in London or New York—the two cities where Haunch, which was bought by Christie’s in 2007, had spaces. Since her gallery closed, Vasconcelos’s career has been on an upward trajectory: she has represented Portugal at the Venice Biennale, unveiled public sculptures in Porto and Lisbon, and produced several new works for a retrospective at the Manchester Art Gallery. (Read more from the Art Newspaper.)

Value/Labor/Arts: A Primer

“When is it okay to work for free? Is it acceptable as long as you’re working with—or for—another artist? What is an artistic service?” These are some of the questions raised by Shannon Jackson, director of the Arts Research Center at the University of California, Berkeley, in her introduction to Art Practical’s latest issue, Valuing Labor. (Read more from Daily Serving.)

The Best Prospective Law Students Read Homer (and Study Art History)

Several years ago, Michael Nieswiadomy released a paper on the LSAT scores of economics majors. I thought I’d make some inquiries with LSAC for some data on this subject to follow up. Applicants to law schools who have degrees in classics placed first, and art-history majors came fourth. (Read more from Excess of Democracy.)

Low Expectations, High Stakes

More than half the nation’s most vulnerable college students are in courses taught by part-time, adjunct faculty members who lack the job security, credentials, and experience of full-time professors—as well as the campus support their full-time peers receive. Community colleges rely on part-time, “contingent” instructors to teach 58 percent of their courses, according to a new report. (Read more from Inside Higher Ed.)

Team-Based Learning for Art Historians

Recently two professors participated in a workshop on team-based learning at Brooklyn College, a process in which students are divided into permanent teams for the semester and work during class on activities based on readings. Team-based learning was developed by professors working with business and marketing majors in large lecture classes. While claims that students reportedly read and engage more are attractive, can this model be applied to an art-history class? (Read more from Art History Teaching Resources.)

Precocious Professionalism: An Academic Epidemic?

The job crisis facing young American PhDs today has an analogue in one earlier historical period: the situation of newly minted lawyers and physicians in early-nineteenth-century France. After the French Revolution abolished the guilds, regulation of recruitment ceased in not only artisanal crafts and mercantile trades but also faculties of law and medicine. As the number of law and medical students soared, employment prospects correspondingly diminished. (Read more from Perspectives on History.)

Insurer Solicits Offers for DIA Artwork; Several Billion-Dollar Bids Received

A group of major Detroit creditors said four investors have made tentative billion-dollar bids for the Detroit Institute of Arts—or key portions of its collection—in a move aimed at undercutting the city’s competing proposal to give the museum to a nonprofit in exchange for $816 million in outside funding that would help reduce pension cuts. (Read more from the Detroit Free Press.)

How to Avoid a Digital Boom and Bust

The Microsoft Corporation donated more than $1.5 million worth of software to the Museum of Fine Arts, Boston, to upgrade its computer systems and help the museum put more of its collection online. Meanwhile, the Art Institute of Chicago will soon launch an app that transforms visitors’ smartphones into pocket-sized curators. Like many digital projects, the Art Institute’s app and the MFA Boston’s upgrades received a green light only because of external funding. But some experts worry about what will happen if and when grants for digital development diminish. (Read more from the Art Newspaper.)

Filed under: CAA News

Call for Peer Reviewers

posted by Linda Downs

2014 Arts in Education Model Development and Dissemination & Professional Development for Arts Educators


The U.S. Department of Education, Office of Innovation and Improvement (OII), is seeking individuals to review grant applications for the FY 2014 Arts in Education Model Development and Dissemination (AEMDD) and Professional Development for Arts Educators (PDAE) grant competitions. The AEMDD program supports research and evaluation, sustainability, documentation and dissemination of innovative models that demonstrate effectiveness for student improvement and performance in the elementary and middle school curricula. The PDAE program supports the implementation of a high-quality model for professional development of educators and instructional staff working with kindergarten through 12 grade students (K-12) in high-poverty schools. Integration of art disciplines for both programs includes: music, dance, drama, media arts, visual arts, and folk arts.

WHO: We are seeking peer reviewers from various backgrounds and professions including:

  • Arts or Arts Education,
  • Elementary through High School Education,
  • College and University Educators
  • Professional Development,
  • Special Populations,
  • Research and Evaluation,
  • Curriculum Development,
  • Model Development,
  • Educational Partnerships,
  • Non-Profit Organizations, and
  • School Administration.

Peer reviewers may have expertise in various geographies, including urban, suburban, rural, and tribal communities.

REQUIRED AREAS OF EXPERTISE: The selected peer reviewers should have expertise in at least one of the following areas: professional and/or curriculum development, applied research and evaluation, arts based program management and design. Selected reviewers may choose to review applications for the AEMDD competition, the PDAE competition or both.

  • Professional and Curriculum Development: Experience designing, evaluating, or implementing effective lesson plans and methods to learning for K-12, that focuses on teaching strategies and student engagement inside and outside of the classroom
  • Experience integrating the arts into other core academic subjects
  • Experience developing model in-service professional development programs for arts educators and other instructional staff
  • Experience transferring or adapting projects/organizations to new settings
  • Fluency in reviewing organizational assessment tools for project effectiveness

Applied Research and Evaluation:

  • Extensive knowledge about current research findings in the What Works Clearinghouse (WWC) and comprehensive school reform  models, with knowledge of how to apply those strategies in a variety of settings
  • Knowledge of arts in education data sources and measures of program implementation and outcomes
  • Knowledge and experience in developing logic models
  • Expertise with experimental and quasi-experimental art based research designs
  • Understanding of and experience with proven research methods successful in integrating effective practices

Arts Program Management and Design:

  • Knowledge and understanding of effective operational and organizational/management infrastructures (e.g. people, processes, accountability structures, technology systems, program and grant management)
  • Knowledge of or experience with building effective partnerships in a variety of sectors (education, legislative, private sectors, etc.) and successfully engaging diverse groups of stakeholders
  • Experience using one or more of the following arts disciplines in program design: music, dance, drama, media arts, visual arts, and/or folk arts
  • Experience building capacity and financial sustainability in organizations
  • Experience developing policy to support adaptation of organizational change
  • Expertise in recognizing and developing effective arts models in program implementation, particularly those for underserved students in high-poverty communities
  • Experience reviewing grant applications


Application Review: Selected peer reviewers will independently read, score, and provide written comments for approximately 10 grant applications submitted to the U.S. Department of Education under the AEMDD and/or the PDAE grant programs.

Availability: Peer reviewers must generally be available for a 4 week time period and will work remotely and via teleconference. The peer review will devote time reading, scoring, developing comments, and discussing assigned applications. In addition, all reviewers will be required to participate in an online orientation webinar prior to reviewing applications.

AEMDD will require peer reviewers from May 12 until June 20, 2014.

PDAE will require peer reviewers from June 24 until July 31, 2014.

*These dates are estimates and will be confirmed upon peer reviewer selection*

Tools: Each reviewer must have access to the Internet, a phone, a computer, a printer and have the ability to access and navigate the G5 web-based system.

Quality of review: Each reviewer must provide detailed, objective, constructive, and timely written reviews for each assigned application. These reviews will be used to recommend applications for funding. They will also be shared with each applicant and the comments regarding winning applicants will be made available to the general public following the reviews.

Completion of review: Reviewers will receive an honorarium for the satisfactory completion of the above requirements during the grant review schedule.  A satisfactory review requires that each application is read, scored, and discussed.  The final, high-quality comments and corresponding scores will be reviewed and approved by a panel moderator prior to their final submission in the G5 system.

IF INTERESTED: If you would like to be considered as a peer reviewer, please click here and complete the Peer Reviewer Application Form. Even if you applied to be a peer reviewer for either the AEMDD and/or the PDAE grant competitions in the years prior, you must complete the Peer Reviewer Application Form. Please only submit one Peer Reviewer Application Form via the link provided above. Please also send your resume to the email address provided below no later than April 25, 2014.

Please do not exceed the three-page limit for resumes.

If you have any questions about the peer review process, please contact us by email:


For more information about the AEMDD program, go to:

For more information about the PDAE program, go to:

Filed under: Education, Service

CAA Salutes Its Fifty-Year Members

posted by Christopher Howard

CAA warmly thanks the many contributions of the following dedicated members who joined CAA in 1964 or earlier. This year, the annually published list welcomes seventeen artists, scholars, and curators whose distinguished exhibitions, publications, and teaching practices have shaped the direction and history of art over the last fifty years.

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; Dean Carter; Vivian L. Ebersman; Francoise Forster-Hahn; Walter S. Gibson; Caroline M. Houser; Susan 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; Rosalind R. Grippi; Harlan H. Holladay; Seymour Howard; Alfonz Lengyel; Mary L. Maughelli; David Merrill; Francis V. O’Connor; John T. Paoletti; Nancy P. Sevcenko; Thomas L. Sloan; Elisabeth Stevens; Anne Betty J. Weinshenker; and William D. Wixom.

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

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

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

1958: Samuel Y. Edgerton Jr.; Damie Stillman; and Clare Vincent.

1957: Marcel M. Franciscono; Bruce Glaser; Jane Campbell Hutchison; and John F. Omelia.

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

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

1954: Franklin Hamilton Hazlehurst; Patricia C. Loud; Thomas J. McCormick; Jules D. Prown; Jane E. Rosenthal; Irving Sandler; Lucy Freeman Sandler; and Harold Edwin Spencer.

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

1951: Wen C. Fong.

1950: Marilyn J. Stokstad.

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

1948: William S. Dale.

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

1945: James S. Ackerman.

Filed under: Membership, 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.

Delaware Art Museum’s Deaccession Debacle: My Q&A with Its Former Director, Danielle Rice

While the Delaware Art Museum has been the target of considerable criticism among museum professionals for its decision to sell art to repay debts and enhance the endowment, no one has been more distressed by this development than the museum’s own former director, Danielle Rice, who left at the end of August to direct a program in museum leadership at Drexel University. In a candid, in-depth conversation, Rice expressed her strong disapproval of what the trustees did after she left, outlined what should have been done instead, and commented on what lies ahead for her former institution. (Read more from Culturegrrl.)

Detroit Creditors Demand a Full Reckoning of Museum’s Art

The Detroit Institute of Arts has hit an obstacle in its ongoing quest to safeguard its collection from the city’s creditors amid Detroit’s bankruptcy proceedings. Over the past week, two groups of creditors served the museum with wide-ranging subpoenas for records covering the past hundred years and documenting the ownership history of every work in its 60,000-piece collection. (Read more from the Art Newspaper.)

What I Learned from Organizing a Conference

Conferences are an integral part of developing oneself as an academic, especially for a graduate student. They provide the chance to practice public speaking, are a great way to get feedback on the progress of one’s work, and are one of the best ways to network with others in your field. But what if you want to be on the other side of the conference? What if you want to organize one? (Read more from GradHacker.)

Galleries Are Man’s World, and Micol Hebron Is Keeping Score

While browsing the glossy pages of Artforum, the artist Micol Hebron kept getting the feeling that male artists were disproportionately represented in the magazine’s advertising. “People assumed that there was an inequity there, but no one had any data,” she recalls. “So every time I got the physical magazine, I would count the ads—the full-page ads for single artists—since that tells you who the galleries are putting their weight behind.” Month after month, she says, the count was roughly the same, “Usually, about 70 percent men.” Sometimes it was worse. (Read more from KCET.)

I’m the Biggest Man on Campus

Overweight professors across academe describe similar battles to achieve self-acceptance, full inclusion in academic life, and genuine respect from students and colleagues. Some struggle daily to navigate campus spaces that don’t comfortably accommodate their size. Some stand in front of classrooms and wonder whether their bodies influence how students perceive their minds. Some say they have trouble adhering to exercise plans or healthy eating habits because their jobs come with lots of research and little structure. Yet larger professors often grapple with these concerns in isolation and silence. (Read more from Vitae.)

What Can You Do with a Humanities PhD, Anyway?

There is a widespread belief that humanities PhDs have limited job prospects, yet recent studies suggest that these tragedies do not tell the whole story. It is true that the plate tectonics of academia have been shifting since the 1970s, reducing the number of good jobs available in the field. What is less widely known is between a fifth and a quarter of them go on to work in well-paying jobs in media, corporate America, nonprofits, and government. (Read more from the Atlantic.)

Stuck in the Middle

Associate professors, in theory, should be hitting a stride in their academic careers. In the middle ranks of faculty, they have typically earned tenure and started to take on broader responsibilities in their departments, juggling more service and governance roles with their teaching and research. But the earning power of these professors is diminishing compared with their peers in ranks above and below them. (Read more from the Chronicle of Higher Education.)

Room to Grow

Flexibility stigma is a term scholars use to describe work places that punish those who don’t fit the “ideal worker” profile: solely devoted to one’s job, available twenty-four hours a day and traditionally male. Lots of studies suggest that in academe, such biases are particularly prevalent in the sciences, and that women with young children are the most frequent targets. But a new study argues that both men and women with small children report and resent inflexible department cultures. It also finds that even nonparents resent flexibility stigma, with negative consequences for the department over all. (Read more from Inside Higher Ed.)

Filed under: CAA News

Today CAA unveils a newly restructured membership program for individuals. The new membership categories are based on benefits rather than on income, making the various tiers more equitable and offering members more choices. CAA arrived at the new levels—which include, for the first time, a discounted membership for part-time faculty—after a thorough analysis of member feedback, benchmarking against other organizations, and conducting market research. You can watch a video about the new membership program and find a list of benefits associated with each new category at

All individual members will continue to receive an outstanding package of benefits, including print subscriptions to CAA’s acclaimed publications, access to the Online Career Center, discounted registration for the Annual Conference, and invaluable networking and mentoring opportunities. New benefits and options include:

  • Online access to The Art Bulletin and Art Journal
  • Additional online access to publications in the Taylor & Francis collection
  • Access to JPASS—JSTOR’s individual access plan with a catalogue of over 1,500 journals—at a 50 percent discount
  • A new, discounted membership category designed to meet the needs of part-time faculty

CAA members make up a vital network that supports the highest standards in scholarship, theory, criticism, education, and practice in the visual arts. Membership dues help CAA to fund important research, carry out advocacy initiatives, publish its scholarly journals, administrate professional-development programs, and host the world’s best-attended visual-arts conference.

New Membership Categories

The dues associated with each level of membership are:

  • Student: $60
  • Retired: $80
  • Part-Time Faculty: $90
  • Basic: $125
  • Premium: $195
  • Sustaining: $300
  • Patron: $600
  • Life: $5,000

CAA also offers two-year terms and an automatic renewal option for all levels of membership.

Frequently Asked Questions

Please read CAA’s comprehensive FAQs on the new categories and other helpful topics, such as how to join online, how to access publications online, what kind of documentation is needed for students and retired professionals, and how to managing your email subscriptions. You can find the FAQs at


If you have any questions, please contact CAA’s Member Services by telephone at 212-691-1051, ext. 1; by email at; and by fax at 212-627-238. Office hours are Monday–Friday, 9:00 AM–5:00 PM EST.


Filed under: Membership

Join the Wyeth Publication Grant Jury

posted by Alex Gershuny

CAA received a grant from the Wyeth Foundation for American Art to offer the Wyeth Foundation for American Art Publication Grant for three additional years. The funding will allow CAA to award $40,000 in grants to publishers each year from 2014 to 2017. Wyeth grants support the publication of books on the history of American art, visual studies, and related subjects that have been accepted by a publisher on their merits but cannot be published in the most desirable form without a subsidy. For this program, “American art” is defined as art created in the United States, Canada, and Mexico through 1970. The program has supported thirty-nine books since 2005.

CAA seeks nominations and self-nominations for two individuals with expertise in any branch of American art history, visual studies, or a related field to serve on the jury for the Wyeth Foundation for American Art Publication Grant for a three-year term, July 1, 2014–June 30, 2017. Candidates must be actively publishing scholars with demonstrated seniority and achievement; institutional affiliation is not required.

Members review manuscripts and grant applications once a year and meet in New York in the fall to select awardees. CAA reimburses jury members for travel and lodging expenses in accordance with its travel policy.

Candidates must be current CAA members and should not currently serve on another CAA editorial board or committee. Jury members may not themselves apply for a grant in this program during their term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a letter of interest describing your qualifications for appointment, a CV, and contact information to: Wyeth Foundation for American Art Publication Grant, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or send all materials as email attachments to Alex Gershuny, CAA editorial manager. Deadline: May 10, 2014.

Image: Yale University Press received a Wyeth grant in 2012 to help publish Katherine Bussard’s book Unfamiliar Streets (2014)

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 Most Expensive Colleges in the Country Are Art Schools, not Ivies

I recently stumbled across this handy tool from the Department of Education, which generates lists of colleges by cost. The schools that usually get dinged for high tuition (and as a result, scare off low-income applicants) are the elite colleges. But many of those schools are quite rich and distribute a lot of financial aid. (Read more from the Washington Post.)

Sure, I Do Creative Work, but I’m No Artist

Who, exactly, is an artist? Many claim the title, with little to back up their assertion. We’ve all met people who define themselves as artists but have yet to actually produce any actual art. A new study finds that, surprisingly, the reverse is also true. It identifies a large group of Americans who have every right to call themselves professional artists but for some reason avoid doing so. (Read more from Pacific Standard.)

You’re Sure of a Big Surprise

Museums across the United States are hiring staff under the “public engagement” rubric, often as part of their education departments. The Henry Art Gallery in Seattle is seeking “a director of education and public engagement,” and in January the Whitney Museum in New York hired a “director of public programs and public engagement.” Both are new positions. (Read more from the Art Newspaper.)

Without Tenure or a Home

In the classroom, Mary-Faith Cerasoli, an adjunct professor of Romance languages, usually tries to get her message across in lyrical Italian or Spanish. But during spring break, she used stencils and ink and abbreviated English to write her current message—“Homeless Prof.”—on a white ski vest she planned to wear on a solo trip to Albany two days later to protest working conditions for adjunct college professors. (Read more from the New York Times.)

Russian Oligarchs and Brazilian Millionaires Interested in DIA? Orr Was Speaking Metaphorically

OK, let’s clear up any misunderstanding: Russian oligarchs and Brazilian millionaires are not amassed in front of the Detroit Institute of Arts in the hopes of being first in line should the treasures inside go up for sale. But that doesn’t mean they, or someone like them, aren’t intensely interested. While giving a speech at the University of Michigan, Detroit emergency manager Kevyn Orr said that many Russian oligarchs—meaning super-wealthy Russian businessmen—and Brazilian millionaires were “calling and inquiring” about the art. However, Orr’s spokesman Bill Nowling clarified that the emergency manager spoke metaphorically. (Read more from the Detroit Free Press.)

United We Stand: How Galleries Are Working Together

From the Renaissance bottega to the art factories of Damien Hirst and Jeff Koons, artists have long recognized that they get by better with a little help from their friends. Institutions have been slower to catch on. As public funding dwindles, the scramble for sponsorship gets ever more rivalrous as museums vie to woo patrons with the glossiest gala dinner and most highbrow curatorial outing. (Read more from the Financial Times.)

Protesters Rain Down Thousands of Bills in Guggenheim Rotunda

At 6:45 PM on March 29, a handheld bell sounded in the rotunda of the Guggenheim Museum in New York, signaling the second protest action in as many months from the Global Ultra Luxury Faction (or GULF). The ringing was followed by the release of nine thousand “1%” bills of parodic currency, which fluttered downward as patrons rushed to the inner edge of Frank Lloyd Wright’s spiral ramp. (Read more from Hyperallergic.)

Vatican Library Goes Digital

The Vatican Apostolic Library has announced a €18 million deal with a Japanese IT company to digitize 3,000 ancient manuscripts over the next four years. In a press conference last week, the library’s prefect, Monsignor Cesare Pasini, said the partnership with NTT Data Corporation continues “a task we have been undertaking for years” to digitize the Vatican’s entire collection of 82,000 manuscripts, an estimated 40 million pages. (Read more from the Art Newspaper.)

Filed under: CAA News

After last month’s Annual Conference, recipients of CAA’s 2014 International Travel Grants were invited to contribute short articles reflecting on their experiences in Chicago. What follows is a personal reminiscence from Lilianne Lugo, an educator, administrator, and playwright based in Havana, Cuba. Lugo studies the relationship between the history of art and the history of theater, as well as the intersections of contemporary art practice and the performing arts. She is professor and vice dean of research and postgraduate studies at the Universidad de las Artes in Havana, Cuba.


The persistence of melancholy. The persistence of the friends I have released to oblivion. The persistence of the memories of other cities, other people that I miss. I walk in an unknown city. I can barely breathe, it’s so cold. My best friend wrote me an email. “What are you doing?” he asks. “I miss you….” But when I wrote him back I can only send him a picture of my foot on the snow … it’s my way of embracing the spirit of life, my way of saying that I am seizing and enjoying the opportunities that suddenly emerge in our lives and change it forever. Just a few moments in life can be counted like that, and this is one of them.

First time in the snow. From the plane I can see the frozen ground. Behind I have left the unbearable heat of Havana and the noise of its streets. First time in Chicago. First time in the United States. First time at CAA’s conference. So many impressions, so many new people. I can write only in first person singular. I can’t speak for the others. I can’t talk about what I haven’t seen before.

For a couple of days the Hilton Chicago is invaded by hordes of art historians, artists, professors, and recruiters. It’s a huge event, and the whole city seems to inhale a whirlwind of art. Exhibitions, talks, panels, and informal gatherings that interrupt the rhythm of daily routines and establish a different understanding of reality. In a world of white ground, how to conjure the fire of masterpieces? How can we understand and explain (if that’s possible) from a warm and carpeted hotel the always ungraspable world of art and art history?

For twenty people each year, the College Art Association and the Getty Foundation make it possible to attend this conference. That means twenty people in the world receive a gift to come to the States and share and learn what we know about the art in our countries with colleagues from all over the US. This time the group is composed of people from Egypt, Romania, Bulgaria, Russia, South Africa, Portugal, Poland, Cuba, Argentina, Chile, Brazil, Uganda, Ghana, Cameroon, Estonia, Pakistan, Malaysia, Bangladesh, Nigeria, and Croatia.

Some images of those days come to my mind: the day of the preconference, in which each of us presented a paper about our research, and the discussion afterward about so many different topics. Art Shay’s exhibition My Florence at the Museum of Contemporary Photography at Columbia College Chicago that we, as a group, visited together. In the library of the college we saw the photographs and the artist himself. It was the story of his life, the little moments he shared with his wife and family, and it was so impressive to see him, with the energy and look that only years can bring. Or the exhibition at the DePaul Art Museum, The Sochi Project: An Atlas of War and Tourism in the Caucasus, about the 2014 Winter Olympic Games in Sochi, Russia, and the environment of that particular area that, in the former days of Communism, was the recreational spot for Joseph Stalin. And then we walked with our graduate-student host to see the Lakeview neighborhood nearby. Or the meetings with so many bright and marvelous people….

Then, when the conference ended, another trip was waiting for us, to the Clark Art Institute in Massachusetts. From the plane’s window we could see Manhattan and the Statue of Liberty; at LaGuardia airport we said goodbye to our fellow travel-grant recipient Mahmuda Khnam, who was feeling sick and couldn’t travel to Williamstown. We talked on the drive north and shared our opinions, we talked about everything: Brazilian soap operas, LGBT rights, curatorial practices, communism, incomes, outcomes, food, and snow. Then, a warm welcome at the Clark, a very special place in a beautiful setting where studying takes place in real luxury. Outside it snowed all day long, but inside the Clark was joyful and cozy, as we were received in that sanctuary of knowledge like kings and queens.

Now, in the sun again, I remember with joy the city of Chicago, the museums, the extraordinary collection of the Art Institute, the people of CAA, my fellow grant recipients, and, of course, all that I have learned about not only specific issues related to my research, but also the methodologies and approaches that many colleagues are currently using. I learned, too, about how things work in the professional world of art and art history in the United States.

I began this essay talking about melancholy. It’s the feeling I get when I think about those moments during CAA’s conference. Portuguese had a beautiful word to describe it: saudade. And that would be the best word, because even in Spanish nostalgia or melancolía are not the same. I cherish those moments. While I am thinking about what lies ahead, I am eager to come back and share with my new colleagues the fruits of another year of work.

Filed under: Annual Conference, International

New Issue of Art Journal

posted by Joe Hannan

Sexing Sculpture: New Approaches to Theorizing the Object” is the forum topic in the latest issue of Art Journal, now in the mail to subscribers. The forum was organized by Jillian Hernandez and Susan Richmond and features essays by Rachel Middleman, Nicholas Hartigan and Joan Kee, and Gordon Hall; artist portfolios by Rachel Lachowicz and Lily Cox-Richard; and a conversation between Jennifer Doyle and David Getsy.

Jeanne Dunning’s “Tom Thumb, the New Oedipus,” this issue’s artist’s project, is the winner of the 2013 Art Journal Award. The jury that made the award wrote that the project “creatively and cleverly melds aspects of narrative storytelling, visual research, and textual analysis to cast new light on the enduring value of psychoanalytic models through a close reading of the folk-tale character Tom Thumb. It does so with humor and clarity, and is at once a pleasure to read and a careful prod to the imagination.”

Queer Formalisms: Jennifer Doyle and David Getsy in Conversation” is available as free content on Art Journal’s website. Also available in full online is Tina Rivers’s review of Are You Experienced? How Psychedelic Consciousness Transformed Modern Art by Ken Johnson and Psychedelic: Optical and Visionary Art since the 1960s, edited David S. Rubin.

Filed under: Art Journal, Publications

CAA seeks nominations and self-nominations from two individuals with specializations in medieval, Renaissance, or Baroque art to serve on the jury for the Millard Meiss Publication Fund for a four-year term, July 1, 2014–June 30, 2018. Candidates must be actively publishing scholars with demonstrated seniority and achievement; institutional affiliation is not required.

The Meiss jury awards grants twice a year to support the publication of book-length scholarly manuscripts in the history of art, visual studies, and related subjects that have been accepted by a publisher on their merits but cannot be published in the most desirable form without a subsidy. CAA reimburses jury members for travel and lodging expenses in accordance with its travel policy.

Candidates must be current CAA members and should not be serving on another CAA editorial board or committee. Jury members may not themselves apply for a grant in this program during their term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a letter describing your interest in and qualifications for appointment, a CV, and contact information to: Millard Meiss Publication Fund Jury, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or send all materials as email attachments to Alex Gershuny, CAA editorial manager. Deadline: May 10, 2014.

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