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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.

Introduction to 2012–13 Humanities Departmental Survey

The American Academy of Arts and Sciences initiated the Humanities Departmental Survey, first administered in 2008, to fill critical gaps in knowledge about the state of the humanities in higher education—specifically, about the number of faculty and students in the field and the role of humanities departments in their institutions and society. Apart from trends in the number of students receiving degrees in humanities disciplines, data sources about the state of the humanities at the national level have fallen away over the past fifteen years, leaving decision-makers without key guideposts during a time of change in higher education. (Read more from Humanities Indicators.)

On Trigger Warnings

A current threat to academic freedom in the classroom comes from a demand that teachers provide warnings in advance if assigned material contains anything that might trigger difficult emotional responses for students. This follows from earlier calls not to offend students’ sensibilities by introducing material that challenges their values and beliefs. The specific call for “trigger warnings” began in the blogosphere as a caution about graphic descriptions of rape on feminist sites, and has now migrated to university campuses in the form of requirements or proposals that students be alerted to all manner of topics that some believe may deeply offend and even set off a PTSD response in some individuals. (Read more from the American Association of University Professors.)

Creative Schools: The Artists Taking Art Education into Their Own Hands

Several artists and arts professionals, spotting the same or similar failures in the UK’s official education programs at both schools and universities, have taken matters into their own hands. If the government’s curriculum changes, funding cuts, and fees are barring the way to education for many aspiring artists, independent initiatives might offer alternative routes into the creative industry. Who’s leading the way? (Read more from Apollo.)

Getting a Reference When You’re New

I just graduated with my PhD and am beginning my job as a one-year visiting assistant professor this fall. My first applications for this year’s job market are due about two weeks after the semester starts; most applications will be due by midterm. Will hiring committees be expecting a recommendation from my new colleagues? I don’t think they would be able to write a strong letter after knowing me for a month, but I also don’t want the lack of letters to throw up any red flags. (Read more from Vitae.)

Peer Review and Careers

I have no doubt that the humanities disciplines are, on the whole, the worst offenders when it comes to how long it takes to generate reader reports, and to move an article from an initial submission to a finished, published product. If it can take two years to publish humanities research in some traditional, print-based journals—and I’m talking articles here, not books—that lag makes it harder than ever to defend the project of humanities disciplines. (Read more from Inside Higher Ed.)

Hidden Monuments under Stonehenge Revealed by High-Tech Mapping

An astonishing complex of ancient monuments, buildings, and barrows has lain hidden and unsuspected beneath the Stonehenge area for thousands of years. Scientists discovered the site using sophisticated techniques to see underground, announcing the finds last week. Among the discoveries are seventeen ritual monuments, including the remains of a massive “house of the dead,” hundreds of burial mounds, and evidence of a possible processional route around Stonehenge itself. (Read more from National Geographic.)

How Okwui Enwezor Changed the Art World

Since his 1996 breakthrough as a curator of In/Sight: African Photographers, 1940 to Present, an exhibition of thirty African photographers at the Guggenheim Museum, Okwui Enwezor has alternated between ambitious international exhibitions that seek to define their moment—biennials in Johannesburg, Gwangju, and beyond, along with the Paris Triennale in 2012—and historically driven, encyclopedic museum shows centered on topics such as African liberation movements in the twentieth century, the arc of apartheid, and the use of archive material in contemporary art. (Read more from the Wall Street Journal.)

Apply Now for Sustaining Digital Resources: A Course for Digital Project Leaders

Ithaka S+R will again offer its highly successful course, “Sustaining Digital Resources: A Course for Digital Project Leaders,” in 2015. If you are responsible for the future vitality and impact of a digital initiative, Ithaka S+R encourages you to apply. The application deadline is October 15, 2014. (Read more from Ithaka S+R.)

Filed under: CAA News

Mock Interviewers Needed for the 2015 Conference

posted by Lauren Stark

For the 2015 Annual Conference in New York, the Student and Emerging Professionals Committee seeks established professionals to volunteer as practice interviewers for the Mock Interview Sessions. Participating as an interviewer is an excellent way to serve the field and to assist with the professional development of the next generation of artists and scholars.

In these sessions, interviewers pose as a prospective employer, speaking with individuals in a scenario similar to the Interview Hall at the conference. Each session is composed of approximately 10–15 minutes of interview questions and a quick review of the application packet, followed by 5–10 minutes of candid feedback. Whenever possible, the committee matches interviewers and interviewees based on medium or discipline.

Interested candidates must be current CAA members and prepared to give six successive twenty-minute interviews with feedback in a two-hour period on one or both of these days: Thursday, February 12, 11:00 AM–1:00 PM and 3:00–5:00 PM; and Friday, February 13, 9:00–11:00 AM and 1:00–3:00 PM. Conference registration, while encouraged, is not required to be a mock interviewer. Desired for the sessions are art historians, art educators, designers, museum-studies professionals, critics, curators, and studio artists with tenure and/or experience on a search committee. You may volunteer for one, two, three, or all four Mock Interview Sessions.

Please send your name, affiliation, position, contact information, and the days and times that you are available to Megan Koza Young, chair of the Student and Emerging Professionals Committee. Deadline: January 31, 2015.

The Mock Interview Sessions are not intended as a screening process by institutions seeking new hires.

Image: A Mock Interview at the 2012 Annual Conference (photograph by Bradley Marks)

Practice Your Techniques in a Mock Interview

posted by Lauren Stark

Students and emerging professionals have the opportunity to sign up for a twenty-minute practice interview at the 2015 Annual Conference in New York. Organized by the Student and Emerging Professionals Committee, Mock Interview Sessions give participants the chance to practice their interview skills one on one with a seasoned professional, improve their effectiveness during interviews, and hone their elevator speech. Interviewers also provide candid feedback on application packets.

Mock Interview Sessions are offered free of charge; you must be a CAA member to participate. Sessions are filled by appointment only and scheduled for Thursday, February 12, 11:00 AM–1:00 PM and 3:00–5:00 PM; and Friday, February 13, 9:00–11:00 AM and 1:00–3:00 PM. Conference registration, while encouraged, is not necessary to participate.

To apply, download, complete, and send the 2015 Mock Interview Sessions Enrollment Form to Megan Koza Young, chair of the Student and Emerging Professionals Committee, by email to or by mail to: 706 Webster Street, New Orleans, LA 70118. You may enroll in one twenty-minute session. Deadline: February 5, 2015.

You will be notified of your appointment day and time by email. Please bring your application packet, including cover letter, CV, and other materials related to jobs in your field. The Student and Emerging Professionals Committee will make every effort to accommodate all applicants; however, space is limited.

Onsite enrollment will be limited and first-come, first-served. Sign up in the Student and Emerging Professionals Lounge starting on Wednesday, February 11, at 4:00 PM.

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.

Tenure-Track Wisdom, Part One

Here is the first in a series of interviews with faculty who recently finished their first year on the tenure track. By reading about their experiences, new faculty members starting out this fall may get a better sense of what to expect. Today we hear from Sam Redman, who just finished his first year as an assistant professor of history at the University of Massachusetts in Amherst, where he is also a faculty affiliate with the university’s Center for Heritage and Society. (Read more from Vitae.)

What Twitter Changes Might Mean for Academics

Time-based organization works really well for many popular academic uses of Twitter—particularly conferences, where it’s easy to find an interesting panel or meet-up in the moment, while the rest of the timeline becomes one historical record of the conference interactions. However, it’s precisely the timeline that may be at risk. (Read more from ProfHacker.)

Who and What Is Arts Education For?

We may consider art as a way of thinking, acquiring, and ordering knowledge with a boundless use of our imagination, as a way to make connections, and as a tool for subverting conventions in order to refresh and shape culture and improve society. “Art thinking” can be viewed as speculation based on wonder, free of dogma, not discarding anything except the overly obvious and trivial. Even chaos is part of this totality: nonlogical, nonlinear connections may be used as much as logical ones, and everything is available when seeking to construct new systems of order. (Read more from Colección Patricia Phelps de Cisneros.)

UK Art Dealers Are Dodging Artist Resale Rights

The Artist Resale Right (ARR) might have been introduced in 2006, but many dealers in the United Kingdom are still choosing to treat this legal obligation as optional. “It’s still a big problem,” said Leonora Gummer, a senior manager at the Artist Collecting Society, one of two nonprofits dedicated to collecting ARR. “I still meet dealers, quite often, who say: ‘I’m not going to [pay].’” Gummer spoke alongside the lawyer Simon Stokes at a recent panel chaired by the Antiques Trade Gazette editor Ivan Macquisten at London’s inaugural Art Business Conference. (Read more from Artnet News.)

The Law against Artists: Public Art Often Loses Out in Court

When artists faced the destruction of New York’s graffiti mecca, Long Island City’s 5 Pointz, last year, they sued the property owner under something called the Visual Artists Rights Act. They lost. In part, they lost because a judge ruled that while the artists had been permitted to decorate the space, they “knew that the buildings were coming down.” They therefore couldn’t have expected that their work would be permanent. (Read more from the New York Observer.)

Creativity Creep

Every culture elects some central virtues, and creativity is one of ours. In fact, right now, we’re living through a creativity boom. Few qualities are more sought after, few skills more envied. Everyone wants to be more creative—how else, we think, can we become fully realized people? Creativity is now a literary genre unto itself: every year, more and more creativity books promise to teach creativity to the uncreative. A tower of them has risen on my desk—Ed Catmull and Amy Wallace’s Creativity, Inc.; Philip Petit’s Creativity: The Perfect Crime—each aiming to “unleash,” “unblock,” or “start the flow” of creativity at home, in the arts, or at work. (Read more from the New Yorker.)

Face It: Your Decks Will Never Be Cleared

One of the most widespread myths in academic writing is that you can, and should, try to “clear the decks”—that is, finish all of your other obligations before you can focus on your scholarship. The reality is: things never clear up. They don’t even reliably settle down. Your inbox is always full. The decks are always crowded. There is always more going on than you want or expect. Nonetheless, you can find ways to put your writing first and make sure that it gets done. Otherwise, everything but your writing will get done. (Read more from Vitae.)

To Help Emerging Artists, Let Collectors Resell Their Work

The art market is hot again, even for emerging artists—the typically hard-to-price, who-knows-where-this-is-headed group of young, living creators. At Phillips’s last Under the Influence auction, almost all of the work sold, much of it for double the estimated price or higher. This and other sales have generated reports of overheating, irrational exuberance due for a correction. Like some of the art market itself, such reports may be victims of their own hype. (Read more from Bloomberg Businessweek.)

Filed under: CAA News

2016 Conference Session Proposals Due by September 12

posted by Emmanuel Lemakis

The CAA 104th Annual Conference will take place February 3–6, 2016, in Washington, DC. The Annual Conference Committee invites session proposals that cover the breadth of current thought and research in art, art and architectural history, theory and criticism, pedagogical issues, museum and curatorial practice, conservation, and developments in technology. Deadline: Friday, September 12, 2014.

In order to submit a proposal, you must be a current CAA member. For full details on the submission process for the conference, please review the information published below.

Open Formats

This category encourages experimental and alternative formats that transcend the traditional panel, with presentations whose content extends to serve the areas of contemporary issues, studio art, historical studies, and educational and professional practices. Proposals may experiment with session hierarchies, length, technology, and modes of participation. Open Formats are the only sessions that may be preformed, with participants chosen in advance by session chairs. These sessions require advance planning by the chair.

Historical Studies

This category broadly embraces all art-historical proposals up to the third quarter of the twentieth century. Historical Studies session proposals may not be submitted as preformed panels with a list of speakers.

Contemporary Issues/Studio Art

This category is intended for studio-art proposals, as well as those concerned with contemporary art and theory, criticism, and visual culture. Contemporary Issues/Studio Art session proposals may not be submitted as preformed panels with a list of speakers.

Educational and Professional Practices

This category pertains to session proposals that develop along more practical lines and address the educational and professional concerns of CAA members as teachers, practicing artists and critics, or museum curators. Educational and Professional Practices session proposals may not be submitted as preformed panels with a list of speakers.

Affiliated Societies

Each CAA affiliated society may submit one proposal that follows the guidelines outlined b elow. A letter of support from the society or committee must accompany the submission. The Annual Conference Committee considers it, along with the other submissions, on the basis of merit.


Each CAA committee may submit one proposal that follows the guidelines outlined below. A letter of support from the society or committee must accompany the submission. The Annual Conference Committee considers it, along with the other submissions, on the basis of merit.

Proposal Submission Guidelines

All session proposals are completed and submitted online; paper forms and postal mailings are not required. Prospective chairs must include the following in their proposal:

  • The Annual Conference Committee considers proposals from individual CAA members only. Once selected, session chairs must remain current members through 2016. No one may chair a session more than once in a three-year period. (That is, individuals who chaired sessions in 2014 or 2015 may not chair a session in 2016.) The committee seeks topics that have not been addressed in recent conferences or areas that have traditionally been underrepresented as well as formats that explore new modes of dialogue
  • A completed session proposal made through an online database
  • If you have prior approval from a CAA affiliated society or committee to submit an application for a sponsored session, an official letter of support from the society or committee uploaded as a PDF or Word file. If you are not submitting an application for a sponsored session, please skip this step
  • Your CV and, if applicable, the CV of your cochair; no more than two pages in length each, uploaded as a PDF or Word file (both CVs in one document)

The committee makes its selection solely on the basis of merit. Where proposals overlap, CAA reserves the right to select the most considered version or, in some cases, to suggest a fusion of two or more versions from among the proposals submitted. The submission process must be completed online. Deadline: Friday, September 12, 2014.

General Proposal Information

The process of fashioning the conference is a delicate balancing act. The 2016 program is shaped by four broad submission categories: Open Formats, Historical Studies, Contemporary Issues/Studio Art, and Educational and Professional Practices. Also included in the mix are sessions by CAA’s affiliated societies and committees.

The Annual Conference Committee welcomes session proposals from established artists and scholars, along with those from younger scholars, emerging and midcareer artists, and graduate students. Particularly welcome are proposals that highlight interdisciplinary work. Artists are especially encouraged to propose sessions appropriate to dialogue and information exchange relevant to artists.

Sessions selected by the Annual Conference Committee for the 2016 conference are considered regular program sessions; that is, they are 2½-hours long, are scheduled during the eight regular program time slots during the four days of the conference, and require a conference badge for admission. With the exception of the Open Formats category, CAA session proposals may not be submitted as preformed panels with a list of speakers. Proposals for papers for the 2016 conference are solicited through the 2016 Call for Participation, to be published in March 2015.


For more information about session proposals for the 2016 Annual Conference in Washington, DC, please contact Lauren Stark, CAA manager of programs, at 212-392-4405.

Filed under: Annual Conference

The following message was sent as an attachment to an email from Adam D. Blistein, executive director of the Society for Classical Studies, on Friday, September 5, 2014.

Letter about Our New Name

Dear Colleague:

I am writing to let you know that the American Philological Association, founded in 1869 and the principal learned society for Classics scholars in North America, has changed its name to the Society for Classical Studies (SCS). We have also unveiled the new logo that appears on this letterhead and will soon launch a new web site. These changes culminate a decade-long process of re-examining the role of the Society in the 21st century, with the goal of better promoting and serving a growing interest in Classical antiquity on the part of students and teachers at all levels as well as the general public.

For centuries the cultures of ancient Greece and Rome have inspired creativity, contemplation, scholarship, and teaching both inside and outside of the academy. While we continue to serve our original academic mission, we also want to take advantage of new technologies which make it easier to share the insights and pleasures of studying Classical antiquity with the widest possible audience. A new name is critical to this expanded mission. A philological focus is at the core of much scholarship on Greek and Latin texts, and we will continue to take an active role in projects like the Digital Latin Library that represent excellent philology in the 21st Century. However, we recognize that the term is no longer widely understood and therefore can be a barrier to communication with a broader public. Especially now, when it is so important for us to advocate for the study of Classics and, indeed, of all the humanities, we must strive for clarity in the transmission of our message.

We recently completed a successful capital campaign which raised an unprecedented $3.2 million to provide essential resources for Classics teachers and scholars and to share our appreciation for Classical antiquity as broadly as possible. The name of the Campaign (From Gatekeeper to Gateway: The Campaign for Classics in the 21st Century) reflected this ambition. Donors from both inside and outside of our membership supported this effort because they shared our belief that knowledge of Classics is a valuable component of education, attracts broad interest, and has much to contribute to contemporary society. Our new web site is the next step in responding to this interest. It will add features targeted to a variety of audiences, improve its accessibility to different types of users, and facilitate communications that support the Society’s goal to be the public face of Classics in North America.

It is a special privilege to be guiding the Society as we take this significant step and establish a new level of leadership in Classical Studies. The SCS looks forward to continuing to work with you to encourage the study of Classics and of all humanistic disciplines.

Very truly yours,

Kathryn Gutzwiller

Filed under: Organizations

Get involved in an issue that you care about! CAA invites members to apply for service on one of its nine Professional Interests, Practices, and Standards Committees. These committees address critical issues in the visual arts in an attempt to deal with, and respond to, the pressing concerns of CAA’s members.

Communicating via listserv throughout the year, each committee takes on the objectives it has set for itself, which include: programming ARTspace at the Annual Conference; establishing best practices, standards, and guidelines; sharing and examining pedagogical practices; examining new and developing technologies; addressing issues critical to emerging professionals as well as concerns of diversity and gender; extending the reach of CAA internationally; and clarifying and debating matters of fair use, copyright, and open access. This vigorous exchange of information reveals common goals and leads to solutions that will help CAA members to weather their changing professional landscape.

Committees are active at the Annual Conference in February, where each presents one or two sessions on a subject of its choosing. These sessions, sometimes collaborations between committees and sometimes dealing with workforce issues, are meant to be of immediate value to CAA members. Also at the conference, the committees hold face-to-face business meetings and discuss the past year’s accomplishments while targeting ideas for future projects. Participation on a committee is an excellent and fruitful way to network with other CAA members; for some individuals it is a stepping-stone to service on the organization’s Board of Directors.

The public face of several CAA committees appears most visibly at the conference. The Services to Artists Committee, for example, conceives nearly all content and programming for ARTspace, ARTexchange, and the Media Lounge, while the Student and Emerging Professionals Committee organizes events on professional-development issues that take place in the Student and Emerging Professionals Lounge during the conference.

Online, the Committee on Women in the Arts publishes the monthly CWA Picks of exhibitions and events related to feminist art and scholarship, among other activities. CAA’s Museum Committee is currently reviewing several of CAA’s Standards and Guidelines as they relate to museums. This committee also organizes conference sessions on museum leadership and exhibition history and works to provide resources for professionals in academic art museums.

The International Committee warmly welcomed twenty travel-grant recipients from around the world at the 2014 Annual Conference in Chicago and will host fifteen travel-grant recipients at the 2015 conference in New York.

The Professional Practices Committee continues to study, develop, and revise CAA’s Standards and Guidelines, so that these documents, once approved by the CAA board, become authoritative, comprehensive documents for art-related disciplines. The Committee on Diversity Practices’ current projects include organizing a 2015 conference session called “Diversity and Pedagogy: The Global Factor,” overseeing the Resource Directory for Diversity Practices, and expanding CAA mentoring programs.

The Committee on Intellectual Property updated the Image Resources page on CAA’s website and continues to monitor the tricky terrain of copyright and fair use, which dramatically affects the work lives of artists and scholars. The Education Committee is currently launching new initiatives concerning curriculum, pedagogy, and the scholarship of teaching and learning. This committee especially seeks new members from studio art, design and/or museums.

Committee members serve three-year terms (2014–17), with at least one new member rotating onto a committee each year. Candidates must be current CAA members and possess expertise appropriate to the committee’s work. Members of all committees volunteer their services without compensation. Committee work is not for the faint of heart; it is expected that once appointed to a committee, a member will involve himself or herself in an active and serious way.

The following vacancies are open for terms beginning in February 2015:

CAA’s president, vice president for committees, and executive director review all candidates in early November and make appointments in December, prior to the Annual Conference. New members are introduced to their committees during their respective business meetings at the conference.

Nominations and self-nominations should include a brief statement (no more than 150 words) describing your qualifications and experience and an abbreviated CV (no more than 2–3 pages). Please send all materials to Vanessa Jalet, CAA executive liaison. Deadline: October 17, 2014.

Filed under: Committees, Governance, Service

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.

Who’s Getting Tenure-Track Jobs? It’s Time to Find Out

As the academic labor market turns grimmer and tenure-track professorships become scarcer, it’s hard not to wonder: Who’s getting hired to the desperately coveted positions that remain? It’s a question with serious implications, both for the academy and for the hordes of job-seeking scholars. Yet it’s been over a decade since anyone made much of an effort to come up with an answer—to find the names of the fortunate and talented few, across disciplines, and put them all in one place. (Read more from Vitae.)

What They Never Told You about Consigning Your Art

Art consignment agreements are deceptively simple. This essay goes behind that simplicity to raise issues for art owners that are not fully addressed—or only imperfectly so—by the text of the usual agreement. Rescission by the auction house (undoing the sale long after the auction) is one of these issues. There are others. (Read more from Spencer’s Art Law Journal.)

Court Sides with University of Missouri in Fight over Teacher-Prep Syllabi

A state appeals court has ruled that the University of Missouri system does not have to release course syllabi, as they are the intellectual property of the faculty and therefore exempt from the state’s open-records law, the Columbia Daily Tribune reports. The decision, handed down last week, is the latest chapter in a bid by the National Council on Teacher Quality to rank teacher-preparation programs by obtaining course syllabi and other materials from institutions nationwide. (Read more from the Chronicle of Higher Education.)

The Upside of Art School

Art school is an easy and enjoyable target for satire and jokes. Most everyone I know has had some of the kind of experiences that fall into the way art school is usually portrayed—I’ve even brought a list of those bad stories to Daniel Clowes, and a couple from my wife Linda were in the movie Art School Confidential. But I also had a many good experiences in art school, some with caring teachers who shared insights that have made a lasting impact on me. (Read more from the Huffington Post.)

Fate of Detroit’s Art Hangs in the Balance as Bankruptcy Trial Begins

This week a bankruptcy trial to determine the future of the city of Detroit began after more than a year of negotiations—and the fate of the Detroit Institute of Arts hangs in the balance. The resolution of the largest municipal bankruptcy in US history is likely to set precedents for other struggling cities. At the center of the conflict is whether a bankrupt city can avoid selling any valuable asset, including its art collection. (Read more from the Art Newspaper.)

Academics and Archaeologists Fight to Save Syria’s Artifacts

The upheavals and conflicts sweeping the Middle East in recent years have caused untold human suffering and have resulted in deep losses to the heritage of the region. Scholars can do little to stop the fighting and looting, but they have created blogs, websites, Facebook pages, and Twitter accounts to monitor the destruction and raise awareness about it. By sharing excavation records, scholars outside the Middle East have helped their counterparts in the Arab world to compile online lists of missing or stolen objects. (Read more from the New York Times.)

The Elusiveness of Stolen Art

Earlier this month thieves made off with a giant Renaissance masterpiece: a 10 x 6 feet piece painted by Guercino in 1639 and worth over $8 million. Whoever took the painting didn’t have to do much; the security alarm on the church wasn’t working, and according to the Telegraph the church that housed the painting didn’t have the money to get it fixed. Once a work of art leaves a museum or church, the chances of getting it back are extraordinarily slim. (Read more from the Atlantic.)

Should I Explain Why I’m Leaving?

I just finished my second year in my position as an assistant professor, and I’m going back on the market next year. My university is broke, and I have been very productive and outperformed my current position. Do I mention that in my cover letter? I like my colleagues and get along well with everyone, so I don’t want people reading my letter to think I’m leaving because I am hard to work with. So do I explain why I want to leave? (Read more from Vitae.)

Filed under: CAA News

New Publication Grants for Manuscripts on American Art

posted by Betty Leigh Hutcheson

The Terra Foundation for American Art has awarded CAA a major, three-year grant to administer an annual grant program to support book-length scholarly manuscripts in the history of American art. The Terra Foundation for American Art International Publication Grant will award funds of up to $15,000 for books that examine American art in an international context, increase awareness of American art internationally through publication outside the United States, allow wider audiences to access important texts through translation, and/or result from international collaboration. The program is designed to offset image acquisition and translation costs, however other editing and production expenses will be considered.

The publication grants will support publications that make significant contributions to the field in three award categories: grants to US publishers for manuscripts that consider American art in an international context, grants to non-US publishers for books on topics in American art, and grants for the translation of books on topics in American art to or from English. In addition to the publication grants, the program will support the creation of an international network of American art scholars by providing two non-US authors whose books are funded through the grant program with travel stipends and complimentary registration to attend CAA’s Annual Conference.

Grant guidelines, detailed eligibility requirements, and application instructions are available on the CAA website. For this grant program, “American art” is defined as art (circa 1500–1980) of what is now the geographic United States. Letters of inquiry should be submitted to CAA no later than October 15, 2014. Applicants whose projects fall within the guidelines and successfully fulfill the mission of the grant program will be invited to submit full applications, due December 15, 2014. The first round of award winners will be announced in April 2015.

About CAA

CAA is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, website, and other programs, services, and events. CAA focuses on a wide range of advocacy issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching.

About the Terra Foundation

The Terra Foundation for American Art is dedicated to fostering exploration, understanding, and enjoyment of the visual arts of the United States for national and international audiences. Recognizing the importance of experiencing original works of art, the foundation provides opportunities for interaction and study, beginning with the presentation and growth of its own art collection in Chicago. To further cross-cultural dialogue on American art, the foundation supports and collaborates on innovative exhibitions, research, and educational programs. Implicit in such activities is the belief that art has the potential both to distinguish cultures and to unite them.


For more information please contact Hillary Bliss, CAA development and marketing manager, at or 212-392-4436. For more information on applying to the Terra Foundation for American Art International Publication Grant, please contact Betty Leigh Hutcheson, CAA director of publications, at or 212-392-4417.

Image: Asher B. Durand, Kindred Spirits, 1849, oil on canvas, 44 x 36 in. (artwork in the public domain)

Provenance Research in American Institutions

posted by Linda Downs

Rowman & Littlefield is pleased to announce the release of Volume 10, Number 3 of Collections: A Journal for Museum and Archives Professionals, a focused issue dedicated to the subject of provenance research in American institutions. Guest-Edited by Jane C. Milosch, Lynn H. Nicholas, and Megan M. Fontanella, the issue draws attention to current research in the field by highlighting key resources and initiatives, case studies from collections throughout the United States, and perspectives on unprovenanced cultural property and Nazi-era claims.

\Bringing together the expertise of independent scholars and professionals who are affiliated with American institutions, this issue aims to foster dialogue among museums, archives, and research centers and to broaden the accessibility of information. The collection of articles opens with a Foreword by Megan M. Fontanella and an introduction by Lynn H. Nicholas. A closer look at resources and initiatives is offered in the following articles: “Provenance: Not the Problem (The Solution): Smithsonian Provenance Research Initiative” by Jane C. Milosch; “Princes, Dukes, and Counts: Pedigrees and Problems in the Kress Collection” by Nancy H. Yeide; “The ‘German Sales 1930–1945’ Database Project” by Christian Huemer; and Laurie A. Stein’s “’Everyone Brings a Piece to the Puzzle’: Conversations with Elaine Rosenberg and Reflections on Provenance Research among The Paul Rosenberg Archives.” Case studies include: “Navigating the Gray Area: Pechstein’s Girl Combing Her Hair, the Littmann Collection, and the Limits of Evidence” by Catherine Herbert; “Researching the Wertheim Collection at the Harvard Art Museums” by Elizabeth M. Rudy; “One Painting Concealed Behind Another: Picasso’s La Douleur (1903) and Guitar, Gas-Jet, and Bottle (1913)” by Christel Hollevoet-Force; “The Eugene Garbáty Collection of European Art” by Victoria Reed; and Dorota Chudzicka’s “’In Love at First Sight Completely, Hopelessly, and Forever with Chinese Art’: The Eugene and Agnes Meyer Collection of Chinese Art at the Freer Gallery of Art.” Perspectives on legal claims include Gary Vikan’s “Provenance Research and Unprovenanced Cultural Property” and Stephen W. Clark’s “Nazi-Era Claims and Art Museums: The American Perspective”.

This impressive group of articles is valuable to art historians, curators, and myriad others whose work addresses provenance. The collection showcases thoughtful, methodical and meticulous research related to individual owners and to individual works and collections of art. It serves as a touchstone for provenance research in American Institutions. Journal Editor Juilee Decker stated, “It is particularly exciting to see this issue of Collections appear in print. This focused issue takes the lead in proactive press regarding the continuous efforts of provenance research at American institutions. Building on the recent interest surrounding ‘The Monuments Men,’ this journal forms part of the epilogue to an unfinished story of provenance that both pre- and post-dates the Second World War, providing insight into the challenging, exciting and ongoing work of provenance researchers that continues to be integral to museums worldwide.”

“The value of this focused issue on provenance research in American institutions,” remarks guest editor and Director of the Smithsonian Provenance Research Initiative Jane C. Milosch, is that it “brings together scholars and researchers to share their incredible work and to initiate important discussions for the future. While the greatest focus and challenge of provenance research remains sifting through immense amounts of paper and digital archival materials, communication and collaboration are essential to effective provenance research and to sharing with and educating others on how specialized and time-consuming provenance research is with its often inconclusive results and on-going nature.”

Published by AltaMira Press (an imprint of Roman & Littlefield), Collections: A Journal for Museum and Archives Professionals is a multidisciplinary journal for all aspects of handling, preserving, researching, interpreting, and organizing collections. To purchase Volume 10, Number 3 (Summer 2014) focusing on “Provenance Research in American Institutions” call 1.800.273.2223 or send an email to: with “Issue 10.03” in the subject line. Further information about the journal may be obtained online:

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