The Star Tribune in Minneapolis–St. Paul recently reported that Darsie Alexander has been named chief curator at the Walker Art Center in Minnesota. Alexander, senior curator of contemporary art at the Baltimore Museum of Art in Maryland, starts her new position on November 10, replacing Philippe Vergne, who served as both the Walker’s deputy director and chief curator before he leaving last month to direct the Dia Art Foundation in New York.
Alexander’s recent exhibitions in Baltimore include SlideShow (2005) and Robert Motherwell: Meanings of Abstraction (2006). Two additional shows, Franz West, To Build a House You Start with the Roof: Work, 1972–2008, a retrospective of the Austrian sculptor’s work, and Front Room: Dieter Roth and Rachel Harrison, open next month.
Photograph by Mitro Hood and provided by the Walker Art Center.
In October 1998, CAA launched its first online journal, caa.reviews. Founded by Larry Silver of the University of Pennsylvania and Robert Nelson of Yale University, the journal has since reviewed more than 1,100 books, exhibitions, and more.
Ten years ago, art and scholarly publishers were struggling. Few magazines or newspapers were giving serious attention to reviewing art books. The Art Bulletin and Art Journal were nearly alone, and they could review at most about several dozen books per year each. Meanwhile in academia, art scholarship was flourishing, but new publications couldn’t get the peer assessment they needed. CAA’s print journals are quarterlies; as a website that could regularly publish texts as they are written and edited, caa.reviews could be a means of reviewing new books more quickly.
In the early 1990s, Larry Silver, who was then CAA president, conceived of a reviews journal. He recalled, “I hoped that CAA could sponsor an inexpensive bimonthly reviews journal, on the model of the German Kunstchronik, to fill this gap.” A few years later, Robert Nelson had the idea to go from a print to online publication. At that time, he and Silver regularly read two scholarly reviews distributed electronically. Founded in 1993, the Medieval Review sent its reviews via an email listserv. The second review, the Bryn Mawr Classical Review also published its reviews via a listserv. Perhaps, they thought, CAA could do something similar.
In the mid-1990s, CAA had limited IT—no full-time staff, no website—so it was a steep learning curve all around. “In some ways caa.reviews was the tail that wagged the dog,” Silver said, “and got CAA to think about electronic communications, a homepage, and related services.” And as it turned out, CAA was ahead of most other scholarly societies in the arts and humanities in making this investment in electronic publishing. It had been common in the sciences for several years, but not in our world. Leila Kinney of the Massachusetts Institute of Technology joined Silver and Nelson to advocate for not only a reviews journal but also a homepage for the organization.
The board was enthusiastic, but CAA didn’t have the money to simply launch an entirely new publication. Funding was sought, and the Andrew W. Mellon Foundation awarded CAA a $79,000 grant to get the project started. The grant terms required that the journal eventually become financially self-sustaining, which was attractive to the board. CAA was able to offer the journal freely on the internet, with open access, for several years to non-CAA members, which built a readership and in turn helped to attract more reviewers. But in 2003 caa.reviews became a benefit of CAA membership, like The Art Bulletin and Art Journal are, and is now also available to institutions through a subscriber agreement.
Work began on both building the journal’s website and commissioning reviews. Nelson, Silver, and Kinney enlisted the library and computer expertise of Katherine Haskins, then at the University of Chicago libraries, for technical issues and assembled a small editorial board for leadership; Nelson served as editor-in-chief for the first year. Together they collected a group of about ten to fifteen field editors to commission reviews. This is still the working structure of the journal: editors specializing in one area of art or art history, and located anywhere in the world, commission reviews within that field or specialty.
The first handful of texts, posted in October 1998, reflected the diversity of scholarship in art history: reviewed were books on old masters such as Hans Holbein, Nicolas Poussin, and Édouard Manet, as well as on subjects like Byzantine ivories, women artists in the Renaissance, Islamic inscriptions, the art of late imperial and early modern China, aesthetic theory, and much more.
Silver, who took the editorial reins from Nelson in 1999 and served until 2005, said, “It didn’t take long for readers to find us and to send compliments on the quality of the reviews. I particularly remember getting a response to a review on a book on Dutch art from the author in Holland, who was delighted to have his book reviewed well and quickly, while there was still a chance to discuss ideas freshly.”
The New Medium
At first caa.reviews felt resistance about scholarly writing on the internet. Online publication was certainly seen as less prestigious at the beginning, so the editorial board had to work hard to make it clear that the standards for reviewing were the same as those at The Art Bulletin and Art Journal. Sheryl Reiss, currently teaching art history at the University of Southern California, was field editor for early modern Italian art from 1998 to 2003: “I generally didn’t have problems finding reviewers in a field rich in publications. Initially, though, some younger scholars were justifiably concerned whether an electronic book review would carry the same weight in tenure decisions as a print review.” More and more readers and academics, however, came to embrace the new publishing medium.
“I wonder how early readers felt about the change from handwritten manuscripts to the printed page,” said Frederick Asher, who joined as field editor of South Asian art in 1999 and then served as editor-in-chief from 2005 to 2008. “Did they resist that new access to knowledge? With caa.reviews and other carefully refereed and edited journals, we are only speaking of the mode of presentation, not the content, which is impeccable, no different from any other CAA publication.”
The resistance in some fields was problematic but understandable: both contemporary art and cinema were fields in which reviewers are accustomed to being paid and making a living as critics, and caa.reviews had difficulty for a while finding those who could write reviews for free. Contemporary art remains an underdeveloped area of coverage for this reason. Theory is a difficult field to encompass as well, though caa.reviews has always been sensitive to that topic and active in reviewing new works of importance since the journal began.
Despite these issues, the journal has flourished. “I think that the greatest strength of caa.reviews is its breadth of coverage,” said Silver, “particularly outside the traditional European strengths of the discipline. caa.reviews has vastly expanded the attention given to East Asian, Islamic, and other fields in art history, and the journal has striven to give more attention to exhibitions of importance in all fields. Certain publishers, such as the University of Hawai‘i Press, a leader in East Asian art books, have been particularly gratified to get coverage of their publications in caa.reviews.”
The art-publishing world took notice of the journal, and in the ensuing years blurbs from caa.reviews began appearing in print advertisements and on publishers’ websites, alongside quotes from reviews in more established publications. “I am pleased to see that our reviews are being cited by scholars and quoted by publishers just as much as print reviews,” Silver said. “After a decade of activity, we certainly do seem to be taken seriously and regarded as a peer institution of other academic journals.”
Reviews of exhibitions, while published regularly since the journal began, became a priority in 2004. A half-dozen field editors, representing geographic areas in the United States and internationally, began commissioning evaluations of shows in museums and university galleries. Lucy Oakley, the incoming editor-in-chief who is head of education and programs at the Grey Art Gallery at New York University, said, “caa.reviews aims to cover exhibitions at a wide spectrum of art institutions, from prominent museums such as the Metropolitan, National Gallery, Art Institute, and Getty to small university art galleries and alternative spaces. Indeed, it’s at university art museums where the quality of scholarship counts more than the admissions gate, where some of the most interesting, creative, and intellectually ambitious exhibitions are being presented. Typically such shows receive little notice in the commercial art and book review press. Here caa.reviews is poised to make a major contribution in helping to evaluate and spread the word about such exhibitions and their catalogues.”
With the new group of field editors in place, reviews of contemporary artists such as Robert Smithson, Rachel Harrison, and Louise Bourgeois soon appeared alongside considerations of monographic shows on Duccio, Peter Paul Rubens, and Georges Seurat; surveys on Minimal, Turkish, and American Indian art were also reviewed. Because of its immediacy, caa.reviews strives to publish an evaluation quickly, sometimes while an exhibition is still on the walls.
The author of many exhibition reviews himself, Silver said, “The crowds who attend museum exhibitions obviously love and care about art and are interested in how it’s shown. They deserve proper, thoughtful, informed reviews from people who know the material. So do the curators who put their scholarly efforts into a show. After all, these are the means by which generations of people learn about art. And I should think that living artists would particularly benefit from having shows reviewed by scholars, who are less interested in market issues than, perhaps, newspaper and magazine staff reviewers. That is one reason why I reviewed exhibitions in my hometown of Philadelphia for caa.reviews in the early days of the journal. American newspapers are afraid that scholars will write in obscurantist prose and speak only to their specialist peers. So caa.reviews has a wide-open field.”
Essays, Conferences, and More
Essays are still not a major part of the journal, nor are conference reviews, as originally envisioned, but these areas are growing and include many notable highlights. In celebration of the one hundredth anniversary of Meyer Schapiro’s birth in 2003, caa.reviews published a trio of essays on the renowned scholar’s writings, with authors looking at Schapiro’s books on nineteenth- and twentieth-century art, his approaches to methodologies on the study of medieval art, and his ideas on style and semiotics. Review essays on such topics as the 2006 Rembrandt Year, contemporary Asian art in biennials and triennials, the reopening of the Museum of Modern Art in New York, and the Walker Art Center expansion have appeared over the years.
Other projects soon developed. In 2006 caa.reviews published extensive reviews of general art-history survey textbooks—the first in CAA publications since the 1990s—and of survey books specific to nineteenth-century art and visual culture. And just last year, caa.reviews began realizing one of its original goals, reviewing academic conferences and symposia. Silver noted, “The dreams of the first year still provide a signpost for future editors of the journal to strive for.”
In a redesign and relaunch in 2007, caa.reviews added a new feature, Recent Books in the Arts. Replacing the traditional Books Received list, which accumulated only the titles of review copies of art publications sent to the CAA office, the new section collects titles published by university and commercial presses worldwide and divides them into disciplinary categories (e.g., Architectural History/Historic Preservation, Oceanic/Australian Art, and Critical Theory/Gender Studies/Visual Studies). Recent Books in the Arts is not only useful to the reviews editors of CAA’s three journals, but it’s also a great way to gauge the state of publishing in the arts.
Early concerns about the ephemeral nature of digital publishing and broader access to non-CAA readers will be met when the journal becomes available on JSTOR. The journal will initially be archived through Portico, an archiving service for scholarly electronic journals, and then be presented through the JSTOR platform, probably by early 2009. Broader access to caa.reviews is also available through institutional subscriptions, which authenticate users seamlessly through an institution’s website. And all reviews published since 1998 can still be accessed on the caa.reviews website by individual members using their CAA user ID and password.
A Digital Future
Many daily and weekly newspapers are cutting art and culture staff and decreasing column inches devoted to book reviews and arts features. The New York Times seldom reviews art books at all, even in its Christmas gift issue, and the Los Angeles Times Book Review just ceased publication. Though publications like caa.reviews, the Art Book, Bookforum, and the reviews section of Nineteenth-Century Art Worldwide, another born-digital journal, continue to carry the torch, this alarming shift indicates something about our current larger intellectual culture. The importance of the book and exhibition review is just as crucial in 2008 as it was in 1998.
Silver said: “When even the New York Times continues to call its Sunday section ‘Arts and Leisure,’ we know where review of exhibitions stand in terms of priority. And I have always lamented the absence of feuilleton sections, where scholars could communicate about exhibitions or books of wider interest to a larger public through serious newspapers, as they do in Germany, France, and the Netherlands. And why is it that museum reviews are done by John Updike in the New York Review of Books? Perhaps art scholars should review novels in exchange.”
“caa.reviews is much more than a review journal for art books,” Asher noted. “As we approach CAA’s centenary, all of us will be thinking about how the art disciplines have developed and matured. We can think historiographically by looking at the published work produced over the past century. And by ‘published’ I mean published in any venue, print or internet.”
At the time, Larry Silver was at Northwestern University and Robert Nelson was at the University of Chicago.
Katherine Haskins, now project development officer for Yale University’s library system, remains the journal’s technical advisor.
posted by Christopher Howard — September 10, 2008
The Metropolitan Museum of Art announced today that Thomas P. Campbell—an accomplished curator with a specialty in European tapestry who has worked at the museum since 1995—has been elected its next director and chief executive officer, succeeding Philippe de Montebello, who announced in January his intention to retire from the Metropolitan Museum at the end of this year.
Campbell organized the groundbreaking and widely acclaimed exhibitions Tapestry in the Renaissance: Art and Magnificence (2002), whose catalogue won CAA’s Alfred H. Barr, Jr., Award in 2003, and Tapestry in the Baroque: Threads of Splendor (2007). Currently curator in the Department of European Sculpture and Decorative Arts as well as supervising curator of the museum’s Antonio Ratti Textile Center, Campbell was elected at yesterday’s meeting of the board of trustees and will assume the directorship of the Metropolitan Museum on January 1, 2009.
Image: Thomas P. Campbell (left) and Philippe de Montebello (photograph by Don Pollard and provided by the Metropolitan Museum of Art)
CAA awards grants to publishers to support the publications of books in art history, visual studies, and related subjects. Millard Meiss Publications Grants are given twice annually, and Wyeth Foundation for American Art Publication Grants are awarded in the fall.
Millard Meiss Publication Grants
CAA awards Millard Meiss Publication Grants to support book-length scholarly manuscripts in the history of art 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 complete guidelines, application forms, and grant description, please visit www.collegeart.org/meiss or write to firstname.lastname@example.org. Deadline: October 1, 2008.
Wyeth Foundation for American Art Publication Grant
Thanks to a second generous three-year grant from the Wyeth Foundation for American Art, CAA awards a publication grant to support book-length scholarly manuscripts in the history of American art and related subjects. Books eligible for the Wyeth Grant have been accepted by a publisher on their merits but cannot be published in the most desirable form without a subsidy. For complete guidelines, application forms, and grant description, please visit www.collegeart.org/wyeth or write to email@example.com. Deadline: October 1, 2008.
The Education and Labor Subcommittee on Healthy Families and Communities in the US House of Representatives is scheduled to hold an informational hearing on museums and libraries at 9:30 AM EST on Thursday, September 11, 2008. The subcommittee will be examining how museums and libraries help to strengthen communities and will specifically focus on programs where museums partner with local government entities to solve community problems. One such program expected to be highlighted is a children’s museum that uses an IMLS grant to support a collaborative initiative between the museum, the county’s child welfare agency, and the family court system.
“Museums and libraries are playing such a vital role in communities around the nation,” said Ford W. Bell, president of the American Association of Museums (AAM). “I commend Chairwoman Carolyn McCarthy (D-NY) and Ranking Member Todd Platts (R-PA) for calling this hearing to explore the exceptional work that museums and libraries are doing to strengthen communities.” He added, “I hope the museum field will be able to listen in on the Committee proceedings.”
The witness list for the hearing includes: Anne-Imelda M. Radice, director of the Institute of Museum and Library Services in Washington, DC; Suzanne LeBlanc, executive director of the Long Island Children’s Museum in New York; Mary Clare Zales, deputy secretary of education and commissioner for libraries in Harrisburg, Pennsylvania; Anna Nunez, executive director of the Arizona Health Science Library at the University of Arizona in Tucson; and Eric Jolly, president of the Science Museum of Minnesota in St. Paul, Minnesota.
For additional information about museum advocacy, visit AAM’s Museum Advocacy Action Center, Speak Up for Museums, or email AAM’s grassroots manager, Ember Farber. Please keep in mind that all Congressional action is subject to change, and the committee website will usually reflect any changes.
Inside Higher Ed reports that a new study from the Council of Graduate Schools reveals that significant gaps exist—by demographic groups and academic disciplines—in who finishes PhD programs. Generally, foreign, male, and white students are more likely to earn their doctorates after ten years than are their counterparts who are American, female, or minority. The study is part of the council’s PhD Completion Project, a seven-year, grant-funded initiative that addresses the issues surrounding PhD completion and attrition.
The report, PhD Completion and Attrition: Analysis of Baseline Demographic Data from the PhD Completion Project, is the second in a series of monographs from the council. It focuses on ten-year and seven-year completion rates by demographic characteristics (gender, citizenship, and race/ethnicity) based on data, submitted by twenty-four institutions, on students who entered their PhD programs in academic years 1992–93 through 2003–4. The report presents cumulative and annual completion rates from various perspectives: overall, by field, by institution type, and by time of entry into the PhD program. Completion between years seven and ten is also discussed.
Policymakers have underestimated the critical role of arts learning in supporting a vibrant nonprofit cultural sector, according to a RAND Corporation report just published. The study, written by Laura Zakaras and Julia F. Lowell and entitled Cultivating Demand for the Arts: Arts Learning, Arts Engagement, and State Arts Policy, was commissioned by the Wallace Foundation and conducted by RAND.
Despite decades of effort to make high-quality works of art available to Americans, demand for the arts has failed to keep pace with supply. Audiences for classical music, jazz, opera, theater, and the visual arts have declined as a percentage of the population, and the percentage of these audiences age thirty and younger has fallen even more.
“For decades, public funding of the arts has focused on building supply and expanding access to the arts, but it has neglected the cultivation of audiences capable of appreciating the arts,” said the coauthor Laura Zakaras, an arts researcher at RAND. “If we are not teaching the young how to engage with works of art, they are not likely to become involved in the arts as adults.”
Calling on evidence that experiencing and studying the arts in childhood increase the likelihood of arts participation later in life, the study recommends policymakers in both the arts and education to devote greater attention to cultivating demand for the arts by supporting more and better arts education.
At the public school level, researchers note, arts content standards have been almost universally mandated by the states and are broadening teaching practices, but state, local, and district policies are not providing the resources or time in the school day to implement these standards. In fact, there is evidence that high-stakes standardized testing has led to reduced class time for the arts and humanities in the past five years, according to the study. Arts organizations and colleges have been helpful in complementing school-based arts education, but it is not enough to fill the void.
Analyzing grant-making data, researchers show that state arts agencies, which have historically focused on providing grants to arts organizations, have directed less than 10 percent of their grants over the last twenty years toward activities that target arts learning. In most states, grants are not part of a comprehensive strategy to promote youth or adult arts learning.
However, some state arts agencies are bucking this trend. Rhode Island and New Jersey, for example, have forged relationships with their state departments of education, other state agencies, and members of the arts community to develop comprehensive statewide plans for improving arts education in public schools.
In New Jersey, the state’s arts agency helped develop a survey of arts education that has raised awareness of the inadequacy of its provision in the schools. Concerned residents are now pushing for the adoption of a number of new policies, including inclusion of per-pupil arts spending in New Jersey’s Comparative Spending Guide for public schools. In Rhode Island, the state arts agency was instrumental in successful efforts to adopt a standards-based high school graduation requirement in the arts.
Based on these findings, the authors recommend that state arts agencies and policymakers gauge how well their states are doing by conducting surveys of arts education; developing specific high school graduation requirements in the arts; recognizing and publicizing arts learning programs considered exceptional by experts in the field; and advocating for changes in state policy that increase the amount and breadth of arts learning opportunities. According to the authors, a healthy demand for the arts is critical to a vibrant nonprofit arts sector. Policies that focus on supporting the supply of the arts and broadening access to the arts are not sufficient for building that demand.
Stuart Cary Welch Jr., curator emeritus of Islamic and later Indian art at the Harvard Art Museum and former special consultant in charge in the Department of Islamic Art at the Metropolitan Museum of Art, died on August 13, 2008, while traveling in Hokkaido, Japan. He was 80 and a resident of New Hampshire.
Welch, a legendary scholar, collector, and connoisseur, studied and taught at Harvard University, where he was instrumental in transforming the Department of Islamic Art, establishing a curriculum of study of the arts of the Middle East and South Asia, and developing one of the finest collections of Islamic and later Indian art in this country. His lifelong association with Harvard culminated in his role over the past two decades as one of the most generous donors to the Harvard Art Museum.
Welch developed an appreciation of art early in his childhood. Aside from being a collector of drawings at a very young age, Welch himself was an accomplished draftsman, a skill that carried through to his enrollment at Harvard and beyond. He was a graduate of the St. Paul’s School in Concord, New Hampshire, in 1946. That same year he began his undergraduate studies in fine arts at Harvard, where he continued his graduate work in Classical art from 1952 to 1954. During that time, Welch intensified his study and collecting of Islamic and Indian art. He also published some of his more entertaining and lighthearted drawings in Harvard’s literary and humor magazines, including his series of Popular Professions Illustrated that appeared in the Harvard Lampoon and the Harvard Advocate.
While Welch concentrated in the study of fine arts at Harvard, at the time there were no classes or formal instruction available in the subject of Islamic or Indian art. Ever resourceful, Welch took the initiative to devise his own “course of study” by traveling extensively throughout the Middle East and South Asia to absorb regional traditions and culture and to witness firsthand the lands that captivated him, his interest driven by the drawings that he had already begun to acquire. At the same time, Eric Schroeder, then honorary keeper of Islamic Art at the Fogg Museum, became his mentor at Harvard.
In 1956, Schroeder invited Welch to become honorary assistant keeper of Islamic Art at the Fogg, and thus began an era that saw Welch use his infinite enthusiasm to transform the fledgling Department of Islamic Art. At the same time, as part of the vanguard of Islamic art scholars at Harvard, he spearheaded the effort to establish one of the first American university curriculums in the study of the arts of the Islamic world. In 1960, he taught the first class at Harvard in Near Eastern Art. An instructor for twenty-five years at Harvard, Welch arranged for works of art to be made available for study by students and scholars. Welch was a teacher and mentor to many distinguished museum leaders and scholars, including Lentz; Glenn Lowry, director of the Museum of Modern Art; and Michael Brand, director of the J. Paul Getty Museum. Over four decades at Harvard, Welch served as honorary keeper, curator (retiring in 1995), and finally curator emeritus. He worked brilliantly with such esteemed donors as John Goelet, Edwin Binney III, and John Kenneth Galbraith, and during his tenure he vastly enriched Harvard’s holdings of Islamic and Indian art.
Concurrent with his work at Harvard, Welch served as special consultant in charge in the Department of Islamic Art at the Metropolitan Museum of Art from 1979 to 1987. He was instrumental in making many important acquisitions that greatly enhanced the Metropolitan Museum’s collection and, in 1985, organized the groundbreaking exhibition India: Art and Culture, 1300–1900, a comprehensive presentation of over three hundred works including masterpieces of the sacred and court traditions that ranks among his greatest achievements as a curator.
Welch’s scholarship, particularly in the fields of Persian and Indian painting and drawing, served as the foundation for many important exhibitions and accompanying publications, including The Art of Mughal India, Paintings and Precious Objects (1964), the first important American exhibition devoted to Mughal art; Gods, Thrones, and Peacocks: Northern Indian Painting from Two Traditions, Fifteenth to Nineteenth Centuries (1965); Room for Wonder: Indian Painting during the British Period, 1760–1880 (1978); Wonders of the Age: Masterpieces of Early Safavid Painting, 1501–1576 (1979); Gods, Kings, and Tigers: The Art of Kotah (1997); and From Mind, Heart, and Hand: Persian, Turkish, and Indian Drawings from the Stuart Cary Welch Collection (2004), an exhibition of drawings from Welch’s landmark gift to Harvard in 1999 of over three hundred works.
Welch produced countless exhibitions over the forty years that he spent at Harvard, many of which may have been small in size, but which always tended toward the visual and poetic. His last exhibition is the first in a series entitled Perspectives that is part of the long-term exhibition Re-View at the Harvard Art Museum/Arthur M. Sackler Museum. The small installation, titled Tree of Life: Five Indian Variations on a Theme, includes just five works of art but is characteristic of Welch’s vision and approach. It opened in April 2008, just a few days after Welch’s eightieth birthday.
Considered his greatest scholarly achievement was the immense, two-volume study of The Houghton Shahnameh, coauthored with Martin B. Dickson of Princeton University, which focused on the great early Safavid dynasty copy of the Persian national epic executed for the Safavid ruler and patron of the arts Shah Tahmasp (r. 1524–1576). Welch’s insights fundamentally changed the way scholars thought about the development of early Safavid painting, demonstrating that it was, in fact, a brilliant synthesis of the earlier Timurid and Turkman styles of painting.
Welch’s numerous exhibitions, publications, public lectures, and years of teaching propelled the study and appreciation of Islamic and Indian art to new heights, educating and enlightening generations of students, scholars, and museum visitors.
Participating as a mentor in CAA’s two Career Services mentoring programs—the Artists’ Portfolio Review and Career Development Mentoring—is an excellent way to serve the field while assisting the professional growth of the next generation of artists and scholars.
Artists’ Portfolio Review
CAA seeks curators and critics to participate in the Artists’ Portfolio Review during the 2009 Annual Conference in Los Angeles. This program provides an opportunity for artists to have slides, VHS videos, digital images, or DVDs of their work critiqued by professionals; member artists are paired with a critic, curator, or educator for twenty-minute appointments. Whenever possible, artists are matched with mentors based on medium or discipline. Volunteer mentors provide an important service to artists, enabling them to receive professional criticism of their work. Art historians and studio artists must be tenured; critics, museum educators, and curators must have five years’ experience. Curators and educators must have current employment with a museum or university gallery.
Interested candidates must be current CAA members, register for the conference, and be willing to provide at least five successive twenty-minute critiques in a two-hour period on one of the two days of the review: Thursday, February 26, and Friday, February 27, 8:00 AM–NOON and 1:00–5:00 PM each day.
Send your CV and a brief letter of interest to: Lauren Stark, Artists’ Portfolio Review, CAA, 275 Seventh Ave., 18th Floor, New York, NY 10001; or email them to firstname.lastname@example.org. Deadline: December 12, 2008.
Career Development Mentoring
CAA seeks mentors from all areas of art history, studio art, art education, film and video, graphic design, the museum professions, and other related fields to serve in CAA’s Career Development Mentoring. Mentors give valuable advice to emerging and midcareer professionals, reviewing cover letters, CVs, slides, and other pertinent job-search materials in twenty-minute sessions.
Interested candidates must be current CAA members, register for the conference, and be prepared to give five successive twenty-minute critiques in a two-hour period on one of the two days of the session: Thursday, February 26, and Friday, February 27, 8:00 AM–NOON and 1:00–5:00 PM each day. Art historians and studio artists must be tenured; critics, museum educators, and curators must have five years’ experience. Curators and educators must have current employment with a museum or university gallery.
This mentoring session is not intended as a screening process by institutions seeking new hires. Applications are not accepted from individuals whose departments are conducting a faculty search in the field in which they are mentoring. Mentors should not attend as candidates for positions in the same field in which workshop candidates may be applying.
Please send your CV and a brief letter of interest to: Lauren Stark, Career Development Mentoring, CAA, 275 Seventh Ave., 18th Floor, New York, NY 10001; or email them to email@example.com. Deadline: December 12, 2008.
The American Association of Museums (AAM) has established new standards for the museum acquisition of archaeological material and ancient art that emphasize proper provenance of such objects and complete transparency on the part of the acquiring institutions. The product of two years of concerted research and vetting from the museum field, the Standards Regarding Archaeological Material and Ancient Art provide clear ethical guidance on collecting such material to discourage illicit excavation of archaeological sites and monuments. The standards also require museums to create a publicly available collections policy that sets institutional standards for provenance when acquiring archaeological material and ancient art.
CAA has also established Standards and Guidelines on similar topics, including the Resolution Concerning the Acquisition of Cultural Properties Originating in Foreign Countries (1973) and the Statement on the Importance of Documenting the Historical Context of Objects and Sites (2004).