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Participate in ARTexchange

posted by Lauren Stark

The Services to Artists Committee invites artist members to participate in ARTexchange, the annual meet-up for artists and curators at CAA’s unique pop-up exhibition. This social event provides an opportunity for artists to share their work and build affinities with other artists, historians, curators, and cultural producers. ARTexchange will take place at the 103rd Annual Conference on Friday evening, February 13, 2015, from 5:30 to 7:30 PM. This event is free and open to the public.

Each artist is given the space on, above, and beneath a six-foot table to exhibit their works: prints, paintings, drawings, photographs, sculptures, and small installations; performance, process-based, interactive and participatory works are especially encouraged. Previous ARTexchange participants have found that this parameter sparked many creative display options. Depending on the number and type of submissions CAA receives, a schedule of performances may be created. Please note that artwork cannot be hung on walls, and it is not possible to run power cords from laptops or other electronic devices to outlets—bring fully charged batteries.

To participate, send an email to Lauren Stark, CAA manager of programs. Include your CAA member number and a brief description of what you plan to present. Please provide details regarding performance, sound, spoken word, or technology-based work, including laptop presentations. You will receive an email confirmation. Because ARTexchange is a popular venue and participation is based on available space, early applicants are given preference. Participants are responsible for their work; CAA is not liable for losses or damages. Sales of work are not permitted. Deadline: December 12, 2014.

Image: Hannah Skoonberg participated in ARTexchange at the 2014 Annual Conference in Chicago (photograph by Bradley Marks)

Filed under: Annual Conference, Artists

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.

Almanac of Higher Education 2014

The Chronicle’s twenty-seventh annual collection of data on colleges answers perennial questions like how much faculty make and which colleges are growing the fastest. This year’s almanac also gives you new ways to compare institutions. Which colleges have the most students enrolled in online courses? Which have the highest percentages of nonresident aliens? Browse the charts and tables in these sections to find out. (Read more from the Chronicle of Higher Education.)

Starting Over, Part 1

First, congratulations. You got a job, which isn’t easy to do these days. I know you’re probably very stressed out right now. I’ve felt that way four times. I have written elsewhere of my academic employment history, but suffice it to say, yes: four tenure-track jobs, four cross-country moves, four universities, four times I’ve started from scratch. So, here’s my hard-earned advice about adjusting to a new place, managing your expectations, and getting what you really want. (Read more from Inside Higher Ed.)

Starting Over, Part 2

In the first part of this essay on tips for professors on starting over at a new college, I offered advice on seeking mentors, changing your thinking from your grad school days, and “thinking like a lawyer.” Here’s my second batch of hard-earned advice (from my multiple job changes) about adjusting to a new place, managing your expectations, and getting what you really want. (Read more from Inside Higher Ed.)

How to Write an Honest but Collegial Book Review

I have agreed to write a book review, and I’m frankly not sure how to proceed. My advisor, who invited me to write it, is not a fan of this particular author and will expect a critical review. But the author, as someone who works in my area, is a possible contact/future colleague, and I don’t want to alienate him by writing a scathing review. Is there some formula to follow for writing book reviews? Do you have any tips for writing a critical review that doesn’t shred the book? (Read more from Vitae.)

Beyond the Relic Cult of Art

I am nostalgic for a time before the modern concept of art forgery had gelled, when it was possible to imagine many ways for artworks to exist out of their time. I love the culture of Renaissance art because it was not settled in its categories, and produced art out of that unsettlement. It knew forgery, but it wrinkled time in other ways as well. (Read more from the Brooklyn Rail.)

Digitizing Warhol’s Film Trove to Save It

Andy Warhol wrote lovingly of his ever-present tape recorder. But for almost a decade beginning in the 1960s, his real boon companions seemed to be his 16mm film cameras, which he used to record hundreds of reels, many of which are still little known even among scholars because of the fragility of the film and the scarcity of projectors to show them on. Now the Warhol Museum and the Museum of Modern Art, which holds the artist’s film archives, are beginning a project to digitize the materials. (Read more from the New York Times.)

Rethinking My Cell Phone/Computer Policy

My banning of cell phones and laptops, particularly the way I articulate it as a “ban” in my policies, suddenly seemed inconsistent with my own philosophies. And yet, I still don’t want students habitually using their phones or computers in class, unless we are in the midst of an activity—such as database research—that is obviously facilitated by their computers. (Read more from Inside Higher Ed.)

Camera Phones Stoke Fears That Technology Is Leaving Us Incapable of Deep Engagement with Anything

How long do you need to look at a painting to really appreciate it? There are many answers to this question. As long as you like, is one. Longer than you think, is another. The art historian James Elkins wrote that it took him about 100 hours, over three years, to learn to really see a Mondrian painting. He recounts meeting a woman who had spent an hour looking at the same Rembrandt work four times a week for at least two decades—or about 3,000 hours. (Read more from the Independent.)

Filed under: CAA News

The Exhibitor and Advertiser Prospectus for the 2015 Annual Conference in New York is now available for download. Featuring essential details for participation in the Book and Trade Fair, the booklet also contains options for sponsorship opportunities and advertisements in conference publications and on the conference website.

The Exhibitor and Advertiser Prospectus will help you reach a core audience of artists, art historians, educators, students, and administrators, who will converge in New York for CAA’s 103rd Annual Conference, taking place February 11–14, 2015. With three days of exhibit time, the Book and Trade Fair will be centrally located at the Hilton New York, where all programs sessions and special events take place. CAA offers several options for booths and tables that can help you to connect with conference attendees in person. The priority deadline for Book and Trade Fair applications is Friday, October 31, 2014; the final deadline for all applications and full payments is Monday, December 8, 2014.

In addition, sponsorship packages will allow you to maintain a high profile throughout the conference. Companies, organizations, and publishers may choose one of four visibility packages, sponsor specific areas and events such as the Student and Emerging Professionals Lounge, or work with CAA staff to design a custom package. Advertising possibilities include the Conference Program, distributed to over five thousand registrants in the conference tote bag, and the conference website, seen by thousands more. The Conference Information and Registration booklet is digital-only for the first time and a great opportunity to feature color ads that link directly to your website. Web ads are taken on a rolling basis, but the deadline for inclusion in the Conference Information and Registration booklet is Friday, August 29, 2014. The deadline for sponsorships and advertisements in the Conference Program is Friday, December 5, 2014.

Questions about the 2015 Book and Trade Fair? Please contact Paul Skiff, CAA assistant director for Annual Conference, at 212-392-4412. For sponsorship and advertising queries, speak to Hillary Bliss, CAA development and marketing manager, at 212-392-4436.

New Conference Travel Grant for Speakers

posted by Emmanuel Lemakis

CAA is pleased to announce a new travel grant for emerging women scholars presenting as speakers at the Annual Conference. Established by Mary D. Edwards with the help of others, the CAA Travel Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards will support the costs of roundtrip travel (plane, train, and ground transportation) and accommodation for the CAA Annual Conference and for conference registration fees to women who are emerging scholars at either an advanced stage of pursuing a doctoral degree (ABD) or who have received their PhD within the two years prior to the submission of the application. The applicants must be presenting research papers at an art-history session at the conference, with a strong preference for papers on any topic pertaining to the art of ancient Greece and Rome, medieval Europe from 400 to 1400, or Europe and North America from 1400 to 1950.

Conference session chairs will identify and nominate appropriate candidates and facilitate the submission of the applications to CAA.

Art History Teaching Resources Seeks Lesson Plans

posted by Christopher Howard

Do you have a great 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 subject areas in the art-history survey. This is the second call for participation (the first went out in early 2014).

AHTR is particularly interested the following sections in art and architecture for publication in early fall 2014:

  • Jewish and Early Christian Art and Architecture
  • Byzantine Art and Architecture
  • Islamic Art and Architecture
  • Chinese Art and Architecture (early/pre-1279)
  • Chinese Art and Architecture (after 1279)
  • Japanese Art and Architecture (early)
  • Japanese Art and Architecture (modern)
  • Korean Art (early)
  • Korean Art and Architecture (modern)
  • Art and Architecture of Africa
  • Early Medieval Art in Europe
  • Romanesque Art and Architecture
  • Gothic Art and Architecture
  • Art of Pacific Cultures
  • Eighteenth- and Early-Nineteenth-Century Art in Europe and North America
  • Eighteenth- and Nineteenth-Century Sculpture
  • Twentieth-Century Sculpture

AHTR is also interested in receiving proposals for thematic art-history survey lesson plans. The editors have already received plans that engage with, for example, “Race and Identity” and “Transnationalism and Citizenship.” Please propose a thematic plan germane to the survey-level class.

For each content area, AHTR seeks lecture and lesson plans similar to those developed for its sections on the Americas (pre-1300) and Feminist Art. (Please see a great example here.) 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 2014, 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 subject areas
  • Are committed to delivering lecture content (plan, PowerPoint, resources, activities) for one to two (a maximum of two) 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. It 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 subject area(s) you wish to tackle to These initial texts should be delivered to AHTR in September 2014. Collaboration on content for further subject areas will be solicited throughout 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.

Museum under Fire for Selling Its Art

If the Delaware Art Museum has a signature painting, surely it is Howard Pyle’s Marooned (1909), which shows a pirate near death, curled up on a sand bar, a tiny figure enveloped by a burning yellow sky. The painting refers to the old custom of punishing insubordinates by shoving them off a ship and onto an island. But these days, you can also view Marooned as a curiously precise description of the museum, which has been ostracized by its peers. (Read more from the New York Times.)

Writing the Book on Reinventing the Book

Over more than five centuries, books have evolved from collections of folded and gathered pages bound between covers to collections of screens connected to a digital cloud. Yet despite the rise in tablet and ebook usage, print persists. Advocates of hard copy continue to make physical books that fill what few bookstores remain. In other words, the state of books today is multifaceted. How can someone possibly make predictions about the future of books? (Read more from the Atlantic.)

Know the Vital Players in Your Career: You

In more than twenty years of working in academe, I have seen innumerable people sabotage their own careers through terrible mistakes. A bad outcome is sometimes due to chance or forces beyond your control, but the single most important factor determining whether you achieve your career goals, including tenure and promotion, is you. (Read more from the Chronicle of Higher Education.)

Giving Up the Good

Normally I’d be designing a syllabus right now. I’d be waiting to receive my finalized teaching schedule and telling interested students that they will learn which sections are mine as soon as I do. I’d be going over annotated texts to refresh my memory on topics for the first few weeks of class discussion. But none of that is happening this year. It’s not happening because I’m not teaching. Spring semester was my final term in the classroom as an adjunct. (Read more from Vitae.)

Tenure at Small Colleges

Advice on how to earn tenure usually focuses on what one would expect: teaching, scholarship, and service. Much of this advice is geared toward faculty who work at research-focused institutions. Generic advice columns about earning tenure and promotion offer some useful tips but often fail to capture the nature of faculty work and expectation so often found at small liberal-arts colleges, whose nature of faculty work is different from that at research-focused institutions. (Read more from Inside Higher Ed.)

Shared Shelf Commons Now Offers More Than 100,000 Free Files

The number of free images and video in Shared Shelf Commons, an open-access library of digital media, has now topped 100,000. The files come from institutions that subscribe to Shared Shelf, Artstor’s web-based service for cataloging and managing digital collections. (Read more from Artstor Blog.)

Socially Engaged Arts Undervalued, Say Practitioners

The majority of socially engaged arts practitioners feel their work is not valued by the sector as a whole and that there is not enough understanding of its benefits, a new survey has shown. The Paul Hamlyn Foundation’s ArtWorks Evaluation Survey of Artists also reveals that artists working in community, participatory, and socially engaged settings rely heavily on informal training, with codes of practice and standards neglected by employers, commissioners, and artists alike. (Read more from Arts Professional.)

Museums See Different Virtues in Virtual Worlds

This is an account about how two New York museums seized this dream—and how one of them clings to it still, while the other has found that the internet’s true value isn’t in being everywhere but in enhancing the here. They are the Metropolitan Museum of Art and the Brooklyn Museum, both ambitious cosmopolitan art institutions but with rather different reputations: the Met an isle in the global archipelago of leading museums, the Brooklyn Museum more rooted in local soil. Yet, for all their differences, they shared a world-conquering dream some years ago. (Read more from the New York Times.)

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.

Help Desk: Race and Voice

I am a writer and curator. I’m also a woman of color. How do I tell an editor that I’m entitled to my opinion—even if it brings up issues of race, gender, and identity—without being pegged as the “angry brown woman”? (Read more from Daily Serving.)

How to Avoid Being Published

I enjoyed Maureen Pirog’s recent piece “How to Get Published,” which is filled with common sense and good advice. Back in 2009, I too posted some publishing tips. I wish I could report that things have gotten better since then, but alas, from what I’ve observed with several journals, magazines, and newspapers with which I’m associated, writing in the humanities remains dire. Want to avoid being published? Here’s how. (Read more from Inside Higher Ed.)

Is Deskilling Killing Your Arts Education?

In 1974, when I was a freshman art student at a small liberal-arts college in Wisconsin, I wanted to learn to draw the human figure. One untenured professor took me under his wing and encouraged that process, but the department chair, an alcoholic abstract painter, stumbled into the studio late one evening while I was studying a plaster head that showed the muscles of the face. He slowly looked at me, then at the head. “This is not art!” he screamed, lifting the cast high and smashing it on the cement at his feet. (Read more from the Huffington Post.)

The Copyright Office’s Recent Fee Changes

For the first time since 2009, the US Copyright Office instituted a number of fee changes that took effect on May 1, 2014. For a standard registration, the Copyright Office increased the online application fee from $35 to $55 and raised the paper application fee from $65 to $85. The office stated that these increases will allow it to recover a larger percentage of its costs. (Read more from the Center for Art Law.)

Tate Will Put Women Artists First and Foremost

Women artists come to the fore next year at Tate with shows devoted to Sonia Delaunay, Agnes Martin, Barbara Hepworth, and Marlene Dumas. The first retrospective in the United Kingdom dedicated to the French avant-garde artist Delaunay is due to open in spring 2015 at Tate Modern. Delaunay, who produced several large-scale mural paintings for the 1937 Paris International Exhibition with her husband Robert, is known for her vividly colored textiles emblazoned with striking geometrics. (Read more from the Art Newspaper.)

Why Advertise Research Jobs If You’ve Already Picked Your Winner?

Coming to the end of yet another fixed-term research contract, it was time to start applying for my next one. I was lucky this time: my senior colleagues had just won a large grant, and one of the research assistant jobs was perfect for me. I applied and was offered the position. Great! But it’s not really that great, because the principal investigator had all but offered me the job in advance. The other fifty-plus applicants didn’t really stand a chance. (Read more from the Guardian.)

The Peer-Review Jerk Survival Guide

My academic friends, unless you’re part of a peer-review fraud syndicate, you will almost certainly have to deal with a jerky reader’s report. It might make you cry. It might make you get into a car accident. It might launch into a perplexing and irrelevant tirade about how using the digitized version of a Library of Congress source (rather than, presumably, traveling to the District of Columbia with all of your spare money) is a signifier of “scholarly sloth.” It may make you want to punch through a wall. (Read more from Vitae.)

How to be Supportive of an Artist

My sister is an artist. She’s really talented and I try to help and support her as much as possible by creating a peaceful and quiet environment for her to work in and by letting her know about gallery and museum exhibits or networking opportunities. It seem like whatever I do annoys her. What am I doing wrong? (Read more from KCET.)

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.

Postdoctoral Fellowships in the Humanities at Universities and Research Institutes in the US and Germany

The Volkswagen Foundation aims to strengthen transatlantic academic relations, especially in the field of the humanities, via a funding initiative called Postdoctoral Fellowships in the Humanities at Universities and Research Institutes in Germany and the USA. For this project, Volkswagen will work closely with the New York–based Andrew W. Mellon Foundation. (Read more from Volkswagen Stiftung.)

Report for Detroit Creditor Nearly Doubles Value of DIA Collection at $8.5 Billion

A new report analyzing the collection at the Detroit Institute of Arts almost doubles the previous estimates of what the works are worth, putting their value at $8.5 billion. The new fifty-page assessment, a copy of which was obtained by the Detroit News, was prepared in just two weeks by the appraiser Victor Wiener of New York’s Victor Wiener Associates. (Read more from the Detroit News.)

Fame, Fortune, and the Female Artist

I have collected art, and been involved with artists and the art world, for almost fifty years. Through all that time, I have wondered why female artists have less success, fewer exhibitions, and less attention than male artists. I own works by women artists; it is hard for me to see, literally to see, how women and men differ in the quality of their work. Why are women artists less known and less admired? (Read more from the Huffington Post.)

Vernacular Criticism

Yelp does a lot of things, including a number of things that make people hate it. But one thing it does is provide a platform for vernacular art criticism, a different kind of writing about art and the public spaces where it is seen. Vernacular criticism can reject the guidelines set by cultivated artistic tastes, or it can guilelessly speak in ignorance of them, or in its naïve fascination with them can inadvertently expose their falseness. (Read more from the New Inquiry.)

Are MFAs Ruining Art?

This summer has seen another bumper year of MA and MFA students. As ever, the work coming from international art schools is good, bad, and everywhere in between. There is also an increasing professionalization of the artists coming from the academic system. Degree-show presentations can resemble solo booths at art fairs. Often the work presented is ready to slip immediately into the gallery system. The question remains: Is this a good thing? (Read more from Artsy.)

Spotting a Bad Adviser—and How to Pick a Good One

Universities have a lot of names for the professor who works with a graduate student on a thesis or dissertation and later signs off on it. The main titles are “adviser,” “director,” and, more rarely, “sponsor.” Some universities, including my own, call a professor in this position a “mentor.” I like “adviser” because I think that’s the best description of the job when it’s being done well. (Read more from the Chronicle of Higher Education.)

Low Pay, Monotonous Work: Are Artist Assistant Positions Worth the Trouble?

In the course of a normal workday, Sharela Bonfield may order supplies, supervise interns, clean, answer the telephone, arrange meetings, create PowerPoint displays, handle paperwork, administer archives, and do “whatever else needs to be done.” It is difficult to say exactly what Bonfield’s job actually is, because she has so many responsibilities, but her title is clear enough: artist’s assistant. (Read more from Gallerist.)

I Didn’t Get the Job. Can I Ask Why?

If you made it to the campus-visit stage, then yes, in my opinion, you can contact the search-committee chair or department chair and ask for some feedback on your candidacy. But there’s a caveat: you have to stick to general, nondesperate sorts of questions. Questions like: “I would like to ask if you can provide any feedback on my materials or visit that would provide insight as I move forward in my job search.” (Read more from Vitae.)

Filed under: CAA News

Recent Deaths in the Arts

posted by Christopher Howard

In its periodic list of obituaries, CAA recognizes the lives and achievements of the following artists, historians, teachers, curators, dealers, philanthropists, and others whose work has significantly influenced the visual arts. Of special note is a text on a distinguished scholar of nineteenth- and early-twentieth-century Russian art, Grigorii Iurevich Sternin.

  • Roger Ackling, a British sculptor who was a contemporary of Richard Long, Hamish Fulton, and other artists who graduated from Saint Martins School of Art in the 1960s, died on June 5, 2014. He was 66 years old
  • Jack Agüeros, a writer, activist, and the former director of El Museo del Barrio in New York, died on May 4, 2014. He was 79
  • Eppie Archuleta, a New Mexican weaver who worked in fiber and fabric, passed away on April 11, 2014, age 92. In 1985 she received a National Heritage Fellowship from the National Endowment for the Arts, the nation’s highest honor in the folk and traditional arts
  • Gordon Bennett, a pioneering Australian artist whose work challenged race, power, history, and social conventions, died on June 3, 2014. He was 58 years old
  • Tito Enrique Canepa Jiménez, a Dominican painter who lived and worked in New York after immigrating there in the 1930s, died on February 11, 2014. He was 97
  • Lynne Cohen, an award-winning Canadian photographer who had taught at the University of Ottawa from 1974 to 2005, passed away on May 12, 2014. She was 69
  • Deborah Deery, an art educator and academic administrator at Moore College of Art and Design, died on August 19, 2013. She was 49 years old
  • Joseph Doyle, an artist and teacher based in Houston, Texas, died on July 9, 2014, at age 54
  • Lee MacCormick Edwards, a philanthropist as well as a lecturer in art history, a photographer, and an author, passed away on April 19, 2014. She was 76
  • John Clovis Fontaine, chairman emeritus for both the Samuel H. Kress Foundation and the National Gallery of Art in Washington, DC, died on September 23, 2013. He was 81 years old
  • Edythe Goodridge, a curator and the former director of visual arts for the Canada Council, died on June 4, 2014. She was 77
  • Cornelius Gurlitt, the son of a Nazi art dealer who secretly hoarded millions of dollars’ worth of modern art for decades, died on May 6, 2014. He was 81
  • Anne Hollander, a celebrated author and a historian of fashion and costume, died on July 6, 2014. She was 83 years old
  • Hans Hollein, an Austrian architect and educator who won the Pritzker Prize in 1985, passed away on April 24, 2014. He was 80
  • On Kawara, a Conceptual artist and painter whose work addressed the passage of time, died in late June 2014. He was 81 years old
  • Maria Lassnig, an Austrian figurative painter whose retrospective is on view at MoMA PS1, died on May 6, 2014, age 94
  • Stanley Marsh, an eccentric Texan millionare who commissioned the Cadillac Ranch outside Amarillo, died on June 17, 2014. He was 76
  • Cynthia Mills, the executive editor of the Smithsonian Institution’s journal American Art, died on May 1, 2014. She was 67 years old
  • Robert Olsen, a Los Angeles–based painter of outdoor urban scenes, died on April 14, 2014. He was 44.
  • Jennifer Wynne Reeves, an abstract painter based in New York, passed away on June 22, 2014. She was 51
  • Nan Rosenthal, a curator for the National Gallery of Art and the Metropolitan Museum of Art, died on April 27, 2014, at the age of 76
  • Jerry Rothman, a Los Angeles–based sculptor who was a member of a ceramics movement called Otis Clay, died on June 5, 2014, at age 80
  • Frederic Schwartz, an architect, city planner, and the designer of several memorials for September 11, died on April 28, 2014. He was 63
  • Claude Simard, a cofounder and director of Jack Shainman Gallery in New York, died on June 24, 2014, at the age of 57. Simard was also an artist and performer
  • Grigorii Iurevich Sternin, a distinguished scholar of nineteenth- and early-twentieth-century Russian art, died on November 23, 2013, age 86. CAA has published a special text on Sternin
  • Massimi Vignelli, an Italian-born graphic designer who created the 1970s map for New York’s subway system, died on May 27, 2014. He was 83
  • Ultra Violet, an artist, actor, author, and Andy Warhol superstar, passed away on June 14, 2014. She was 78
  • Melvin J. Wachowiak Jr., a senior conservator for the Smithsonian Institution’s Museum Conservation Institute, died on May 28, 2014. He was 56
  • Khin Maung Yin, an influential modernist Burmese artist who painted colorful portraits, passed away on June 10, 2014, age 76

Read all past obituaries in the arts in CAA News, which include special texts written for CAA. Please send links to published obituaries, or your completed texts, to Christopher Howard, CAA managing editor, for the next list.

Filed under: Obituaries, 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.

Artist Resale Rights Gain Support in US Congress

A bill that would bring droit de suite, also known as artist resale royalty rights, to the United States is gaining momentum in Congress. The bill has gained six cosponsors in the past three weeks, including Representatives Sam Farr of California and Janice Schakowsky of Illinois. (Read more from the Art Newspaper.)

Arts Companies Must Adapt to Changes at Facebook, Report Reveals

For some time now, marketers in the arts and culture sector have been worrying that updates to Facebook have resulted in their messages reaching fewer and fewer people. A new report released by the digital consultancy firm One Further reveals that these fears are justified and that a new approach to Facebook page management may be necessary. However, it’s not all doom and gloom: opportunities still exist, and arts marketers are adapting accordingly. (Read more from the Guardian.)

Revise and Resubmit!

I’m sure you’ve heard the adage “publish or perish.” In order to get tenure—or, as the abysmal job market begets hyperprofessionalization, to be considered for a job at all—a scholar must have a certain amount of articles appear in “peer-reviewed” academic journals. These journals—Obscure Subfield Quarterly, One-Word Pretentious Greek Thing, etc.—usually have a circulation of about three hundred, and those articles upon which careers depend are usually read by exactly three people. (Read more from Slate.)

How Abstract Art Can Change the Way You See Waste and Consumption in America

Abstract artwork is sometimes misinterpreted as being flatly indiscernible, when in fact it’s often simply enchanting and destabilizing, requiring a moment of contemplation from the viewer. This exhibition seeks not only to demystify abstract art but also consumption, a term that, despite its looming unwieldy aura, can be combatted in the comforts of your home, and in the confines of your humble garbage bin. (Read more from Huffington Post.)

How Much Are Curators Really Paid?

Many in the art world were staggered by recent reports that the Italian curator Germano Celant is being paid €750,000 to organize a pavilion for the Milan Expo 2015. Celant’s fee—and the incredulity it provoked—raises questions about how much curators are typically paid for organizing biennials and large-scale international exhibitions. (Read more from the Art Newspaper.)

The Digital Art Historian’s Toolkit

Lists of tools like this one invariably age poorly. For an always-up-to-date, much more comprehensive list of useful digital tools, see the excellent DiRT Directory. However, we felt it might be useful to our participants to have a snapshot of tools that could be useful to art historians specifically. We’ve focused here on free, off-the-shelf tools that don’t require programming knowledge and might be particularly interesting to people who work with a lot of images. (Read more from Beyond the Digital Slide Library.)

Blaming the Victim: Ladder Faculty and the Lack of Adjunct Activism

The adjunct labor movement has necessarily prioritized the working conditions of part-time faculty, many of whom are living below the poverty line. But adjuncts need not be card-carrying union members to benefit from these victories, which have transformed academia’s once-invisible underclass into its most vocal majority. The inequalities in academic employment may still be firmly in place, but thanks to these unionization efforts, contingent faculty are now active participants in the national conversation about the future of higher education. (Read more from Vitae.)

A Banker, a Scholar, and the Invention of Art History: The Story of the Warburg Brothers

Emily J. Levine’s new book details the contradictions and confusions of Jewish life in Hamburg, with ancient religious traditions vying with modern currents of thought, and ancient caution competing with tentative hopes when Jews at last began to breach the barriers of anti-Semitism in German society. Focusing on Aby Warburg’s library and two of its most illustrious users, the philosopher Ernst Cassirer and the art historian Erwin Panofsky, she reveals the ways in which the distinctive qualities of a single place conditioned the development of ideas in a larger sense to create a “Hamburg School” of thought, a school intimately connected with Jewish experience in Imperial and Weimar Germany. (Read more from the New Republic.)

Filed under: CAA News

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