College Art Association

CAA News Today

Barbara Nesin, the department chair of art foundations at the Art Institute of Atlanta, has been elected president of CAA’s Board of Directors for a two-year term, beginning May 2010. A member of the board since 2006, Nesin has served as secretary for the past two years. She will succeed Paul B. Jaskot, professor of art history at DePaul University in Chicago, who has served as president since May 2008.

An artist and educator, Nesin says, “The work of those who make, interpret, and preserve images in our global culture has never been more important than it is now. As a visual artist who has participated in the formulation of our association’s Strategic Plan for the next five years, I am particularly excited about this opportunity to tangibly demonstrate CAA’s special commitment to expanding services to our artist members. In addition, I view the work of art historians, museum professionals, and teachers as integral and inseparable from the work of artists and designers, and will advocate on their behalf. I am also excited about CAA’s renewed focus on developing partnerships with a variety of institutions, including our own affiliated societies, in order to further CAA’s goals.”

Previous to her appointment at the Art Institute of Atlanta earlier this year, Nesin was associate professor at Spelman College in Atlanta, where she chaired the Department of Art from 2002 to 2005. Before that, she taught art at Front Range Community College in Fort Collins, Colorado—the largest community college in the state—while directing its Visual Art Program.

After receiving a BFA in 1975 from Pratt Institute in Brooklyn, Nesin earned an MBA in 1984 at Long Island University in New York. She worked in the financial industry for twelve years—as a registered representative of the New York Stock Exchange and a vice president and department head of pension trust administration—before attending graduate school, earning her MFA in drawing and mixed media at Indiana State University in Terre Haute in 1996.

An overarching theme in Nesin’s art is a visual bridging of cultural differences by making connections to all aspects of her mixed-diaspora heritage. While her work is clearly about cultural narratives, it is difficult to place it neatly in existing categories. Nesin comments, “Narrow definitions of identity seem outdated in this age of globalization, which follows centuries of migration, exchange, acculturation, and syncretism. We seem to have plenty of new media for deeply entrenched paradigms, and not enough truly independent thinking.” Her mixed-media paintings and drawings often include photo transfers, retablos, and installations in which she employs a strategy of métissage—“mixing” in the political sense articulated by Françoise Lionnet as a practice of cultural survival—to navigate the layered terrain of humanity.

Her work has been shown internationally, most recently in the 2009 Havana Biennial in Cuba and in Cryptablos: Creole, Black & Jewish, a solo exhibition at the Dillard University Art Gallery in New Orleans. She has also presented work in solo shows in Atlanta, New York, Chicago, and Accra, Ghana, among others, and in juried and invitational group exhibitions across the United States. She maintains her studio at the Arts Exchange in Atlanta.

Nesin has traveled to Africa, Europe, the Middle East, and the Caribbean, including numerous trips to Haiti. Her research, which informs her creative work, has been published in Anales del Caribe, Higher Education Exchange, and the Journal of Haitian Studies. Current projects include two books in progress and a creative collaboration with English faculty from Birmingham Southern University in Alabama, funded by a grant from Associated Colleges of the South.

At CAA, Nesin was chair of the Committee on Diversity Practices (2006–9) and cochair of the Governance Task Force (2007–9), which researched and drafted the proposed changes to the CAA By-laws. She also served on the Steering Committee, which wrote the recently approved 2010–2015 Strategic Plan. As secretary of the board, Nesin served on the Executive, Finance and Budget, and Audit Committees. She was also a board member of the Haitian Studies Association from 2005 to 2009 and was the president of Foundations in Art: Theory and Education (FATE), a CAA affiliate, for two years, following eight years of board service.

The CAA board chooses its next president from among the elected directors in the fall of the current president’s final year of service, providing a period in which the next president can learn the responsibilities of the office and prepare for his or her term. For more information on CAA and the Board of Directors, please contact Vanessa Jalet, CAA executive assistant.

Artwork: Barbara Nesin, Sefarad, from the series Art in a Time of War, 2005, mixed media, 36 x 24 in. (artwork © Barbara Nesin; photograph provided by the artist)

The December 2009 issue of The Art Bulletin, the leading publication of art-historical scholarship, has just been published. It will be mailed to those CAA members who elect to receive it, and to all institutional members.

For the first time, a work of twenty-first-century art graces the cover of the esteemed journal—Kehinde Wiley’s Portrait of Andries Stilte (2005). The painting accompanies an essay by Krista Thompson exploring how contemporary artists such as Wiley and Luis Gispert combine the visual language of hip-hop with late Renaissance and Baroque painting techniques.

Four essays precede Thompson’s. Leading off is Michael Schreffler, who analyzes how sixteenth- and seventeenth-century Spaniards described the practice of Aztec painting by looking through the lens of European art theory. Next, Emma Barker contends that Jean-Baptiste Greuze evokes both the innocence and vulnerability of children in his A Child Playing with a Dog, while implicating the viewer in the child’s fate.

Matthew Rampley’s essay expresses an opposing view of the Vienna school of art history, not as progressive and aesthetically liberal, but as a proponent of an imperialist outlook, related to the cultural politics of Austria-Hungary in the early-twentieth-century. The next contributor is Roberta Wue, who investigates the ways late-nineteenth-century Chinese artists positioned themselves in the marketplace through the classifieds in the Shanghai newspaper Shenbao. She also examines the changing relationship between artists and urban audiences in the late Qing era.

The December issue of The Art Bulletin also contains six reviews of books about tapestries at the Tudor court, engravings of Native American Indians, the gardens of Versailles and panoramic landscape painting, Buckminster Fuller, Tony Conrad, and issues on museum ownership of antiquities. Please read the full table of contents for more details.

Filed under: Art Bulletin, Publications

December Obituaries in the Arts

posted by December 14, 2009

CAA recognizes the lives and achievements of the following artists, architects, scholars, teachers, collectors, and other important figures in the visual arts. Of note is John Carey’s text on the artist and author Robert Kaupelis, written especially for CAA.

  • Samuel Bookatz, an artist who worked in many styles and media, including oil and tempera paintings and ranging from realist to abstract, died on November 16, 2009, at the age of 90
  • John Craxton, a painter who also created scenery and costume designs for opera and ballet productions, died on November 17, 2009, at the age of 87
  • Jeanne-Claude Denat de Guillebon, who collaborated with her husband Christo Javacheff on many environmental art projects, died on November 18, 2009. She was 74
  • Luciano Emmer, a distinguished Italian cinema director best known for his many art documentaries, including a film about Pablo Picasso, died on September 16, 2009, at the age of 91
  • Rachel Evans-Milne, an artist of the original YBA generation, a teacher, and a counselor of children and young adults, died in November 2009 at the age of 44
  • Peter Forakis, a California-based artist known for his geometric abstract sculptures, died on November 26, 2009, at age 82. Forakis was also a founder of the Park Place Gallery in New York in the early 1960s
  • Walter Grallert, an architect, architectural conservator, poet, and environmentalist, died on November 27, 2009, at the age of 79
  • Claude Harrison, a painter and the author of A Portrait Painter’s Handbook, died on September 13, 2009. He was 87
  • Ikuo Hirayama, a painter whose subjects involved imagery of Buddhism and the Silk Road, died on December 2, 2009, at the age of 79
  • Thomas Hoving, a former director of the Metropolitan Museum of Art, died on December 10, 2009. He was 78
  • Alfred Hrdlicka, an Austrian artist whose controversial works, often containing religious themes, were done in metal, paint, and pencil, died on December 5, 2009. He was 81
  • Robert Kaupelis, an artist, art teacher, and author of Learning to Draw, died on June 12, 2009, at the age of 81. John Carey contributes a special text on Kaupelis for CAA.
  • Michael Kidner, an English abstract painter and sculptor whose precise and hard-edged images were often at odds with the style of the New York School, died on November 29, 2009. He was 92
  • Harry C. McCray, Jr., the chairman of the board of trustees at the Nelson-Atkins Museum of Art, died on November 28, 2009, at the age of 76
  • Jan Mitchell, a collector of pre-Columbian gold pieces, which he donated to the Metropolitan Museum of Art, and a founding member of the Israel Museum in Jerusalem, died on November 28, 2009. He was 96
  • Daniel Rowen, a modernist architect who designed houses, apartments, and commercial spaces, died on November 17, 2009, at the age of 56
  • Larry Sultan, a photographer and CalArts professor who used found images from industrial and government archives for his and Mike Mandel’s book Evidence, died on December 13, 2009. He was 63
  • Anna McCullough Tyler, an art historian, teacher, and artist of abstract monoprints, died on November 29, 2009, at the age of 79
  • Eddy Walker, an architect who improved housing conditions and designed and renovated community buildings in Leeds, died in November 2009. He was 59
  • Harry Weinberger, a painter and collector of masks, which inspired him and appear throughout his oeuvre, died on September 10, 2009. He was 85
  • Malcolm Wells, an architect, writer, and teacher whose unconventional approach included designs for earth-friendly structures, died on November 27, 2009. He was 83.
  • Charis Wilson, a model and the inspiration for many of Edward Weston’s photographs, died on November 20, 2009. She was 95

Read all past obituaries in the arts on the CAA website.

Filed under: Obituaries, People in the News

Robert Kaupelis: In Memoriam

posted by December 14, 2009

John Carey, an artist and art teacher, is the editorial cartoonist for Greater Media Newspapers in central New Jersey.

First there was Kimon Nicolaïdes’s Natural Way to Draw (1941), then there was Robert Beverly Hale’s Drawing Lessons from the Great Masters (1964). Then in 1966 came Robert Kaupelis’s Learning to Draw. It was a book smart enough and egalitarian enough to employ old and modern masters’ examples along with students’ work; the point was the dynamics of application, not only the procedures of attempting realism. I discovered that book in 1972 in my high school library in Richmond, Kentucky. The book offered me and my generation what we knew but didn’t quite trust yet—the processes of mark-making, be it gentle, violent, nuanced, or bold. We had seen those applications in artworks we admired—old and new—but we hadn’t had it broken down in a philosophy with lessons before. When I saw that the author of Learning to Draw taught at New York Univeristy I knew where I wanted to go to college. Three years later I was in Kaupelis’s classroom.

Describing a great teacher is a bit like explaining a great performance. There is context, delivery, insight, and presence; there is also something else: the mark left. That mark is often as elusive as an actor’s impact, but as in theater, there are now and then a few mentors that remain definitive for us in their transformative and indelible effects. In this regard Kaupelis was a star. His energy and intelligence demanded attention, and in turn one realized that a reciprocity of that demand was expected in the presentation of one’s artwork and in the articulation of one’s efforts. It was also understood that respect came only from very hard, serious work. And it was great fun. “Change!” was something often heard in the art studio (along with Frank Sinatra, Ray Charles, and Beethoven LPs); Kaupelis would shout “Change!” to models he kept busy, finding one quick pose after another as our young tentative arms began to loosen up with quick contour and gesture drawings in our search for some beauty with our own mark-making. After a few of these energized classes a Kaupelis student never looked at art in the same way again. The lessons of Learning to Draw had met the energy of the man behind it. Change had happened.

Kaupelis, who died on June 12, 2009, began teaching at NYU in 1956. He was born in Amsterdam, New York, in 1928 and educated in Buffalo and at Columbia University. In 1975 he was the subject of a chapter in a Herbert Livesey book surveying higher education called The Professors, where he was cited as one of the nation’s outstanding art educators. In 1980 Kaupelis wrote his second Watson-Guptill drawing book, Experimental Drawing, which reinforced his exuberant amalgam of stressing the fundamentals of art along with encouraging innovative and, at times, refreshingly quirky approaches: fifty nonstop drawings in three hours, drawing from out-of-focus slides, drawing the model with eyes shut. This newer book was almost as significant as Learning to Draw because at the time it was published drawing had become a very undervalued curriculum in university programs; it was a time when drawing was considered by many as old-fashioned and nearly irrelevant.

As an artist Kaupelis emerged as the New York School rose to prominence, and when nonobjective American art found its place on the world stage. His own work reflected that influence in its vibrancy and spontaneity. He was, as the critic John Canaday wrote, a seductive colorist. Eventually geometry and sharp, taped edges also merged and interacted with the wetter, looser applications. While the paintings of Kaupelis represented some of his philosophies about aesthetics, I never felt they fully matched his ability to illuminate and celebrate the art of others—the art in galleries and museums and the work of his students. He wrote and spoke of art the way Martin Scorsese speaks of movies—with a compulsive, obsessive, comprehensive insight. He thought and taught art like a man intoxicated with the anticipation of romance—that ineffable state of mind where joy and passion merge with love.

Kaupelis asked a lot from his readers and students. His main demand was: “LOOK!”—look at this: at this sepia wash Constable landscape; this Sheeler charcoal still life; this De Kooning gouache; this pen-and-ink Manet portrait; this Rauschenberg collage; this Pontormo red-chalk figure dancing off the page with a gesture line of astonishing confidence, speed, and grace! Look at this form, this line, this shade, this figure, this edge, this space! Look at your assimilation of them all! How many future artists, curators, art historians, cartoonists, animators, illustrators and teachers were asked to LOOK by Kaupelis during his thirty years at NYU and in his two important drawing books, Learning to Draw and Experimental Drawing? Thousands.

Kaupelis said drawing was anything intended as art which left a mark. He left his.

Filed under: Obituaries

Joan Shigekawa, senior deputy chairman of the National Endowment for the Arts (NEA), convened a roundtable discussion yesterday with national arts service organizations, regional arts organizations, and NEA staff to discuss the NEA’s 2008 Survey of Public Participation in the Arts, the nation’s largest and most representative study of adults’ arts participation habits.

Representatives from forty organizations participated, including Linda Downs, CAA executive director, as well as leaders from the Association of Art Museum Directors, Dance/USA, the Future of Music Coalition, the National Association of Latino Art and Culture, the National Center for Creativity in Aging, the National Network for Folk Arts in Education, and the New England Foundation for the Arts.

The convening began with a greeting from NEA chairman Rocco Landesman, followed by a summary presentation of the survey’s findings from Sunil Iyengar, NEA director of research. Representatives from three organizations offered formal responses—Helen De Michiel from the National Alliance for Media Arts and Culture, Carlton Turner from Alternate ROOTS, and Jesse Rosen from the League of American Orchestras—following which Shigekawa led a frank, freewheeling conversation about how these findings should inform the arts community’s work going forward, as well as how the survey should be expanded and refined in the future.

“It is important that the National Endowment for the Arts have regular conversation with the arts community about how the public participates in the arts, and what we can do to connect more Americans with more art, more often,” said Shigekawa. “Our research shows a strong connection between arts participation and civic participation, but art only works when the public participates. Today was a chance for the NEA staff to hear and learn from the service organizations that work with our country’s arts organizations, and we look forward to many more such opportunities.”

The 2008 Survey of Public Participation in the Arts, which was conducted in partnership with the US Census Bureau, asked more than 18,000 people 18 years of age and older about their frequency of arts engagement. CAA reported on the findings of the survey, which has been conducted five times since 1982, in June. Here are a few more statistics about American participation in the arts:

  • Generation Y reports taking fewer arts classes and lessons. When people ages 18 to 24 were asked if they had taken an art class or lesson at some point in their lives, they reported lower rates of participation than previous generations for all art forms compared in this study (by 6 to 23 percentage points, depending on the art form, from 1982 to 2008)
  • Arts participation correlates with higher civic participation. People who participate in the arts are two to three times as likely to engage in positive civic and individual activities—such as volunteering, attending sporting events, and participating in outdoor activities—than nonarts participants
  • New England and Pacific region residents had some of the highest rates of attendance (42 percent of adults in each region) for the arts activities traditionally measured in the survey. In addition, the Plains states of Kansas and Nebraska have some of the highest participation rates for personal performance or creation of art nationwide. Twenty percent of adults in Kansas said they played a musical instrument. In Nebraska, that rate was nearly 18 percent. (Nationwide, 13 percent—or 29 million Americans—reported playing a musical instrument.)

A related research note on arts participation measured in regions and states will be released soon. The NEA will release additional topic-specific reports on the roles of age, race and ethnicity, arts learning, media use, and arts creation and performance. The survey, geographic research note, questionnaire, raw data, and user’s guide are available on the NEA website.

Joan Shigekawa, senior deputy chairman of the National Endowment for the Arts (NEA), convened a roundtable discussion yesterday with national arts service organizations, regional arts organizations, and NEA staff to discuss the NEA’s 2008 Survey of Public Participation in the Arts, the nation’s largest and most representative study of adults’ arts participation habits.

Representatives from forty organizations participated, including Linda Downs, CAA executive director, as well as leaders from the Association of Art Museum Directors, Dance/USA, the Future of Music Coalition, the National Association of Latino Art and Culture, the National Center for Creativity in Aging, the National Network for Folk Arts in Education, and the New England Foundation for the Arts.

The convening began with a greeting from NEA chairman Rocco Landesman, followed by a summary presentation of the survey’s findings from Sunil Iyengar, NEA director of research. Representatives from three organizations offered formal responses—Helen De Michiel from the National Alliance for Media Arts and Culture, Carlton Turner from Alternate ROOTS, and Jesse Rosen from the League of American Orchestras—following which Shigekawa led a frank, freewheeling conversation about how these findings should inform the arts community’s work going forward, as well as how the survey should be expanded and refined in the future.

“It is important that the National Endowment for the Arts have regular conversation with the arts community about how the public participates in the arts, and what we can do to connect more Americans with more art, more often,” said Shigekawa. “Our research shows a strong connection between arts participation and civic participation, but art only works when the public participates. Today was a chance for the NEA staff to hear and learn from the service organizations that work with our country’s arts organizations, and we look forward to many more such opportunities.”

The 2008 Survey of Public Participation in the Arts, which was conducted in partnership with the US Census Bureau, asked more than 18,000 people 18 years of age and older about their frequency of arts engagement. CAA reported on the findings of the survey, which has been conducted five times since 1982, in June. Here are a few more statistics about American participation in the arts:

  • Generation Y reports taking fewer arts classes and lessons. When people ages 18 to 24 were asked if they had taken an art class or lesson at some point in their lives, they reported lower rates of participation than previous generations for all art forms compared in this study (by 6 to 23 percentage points, depending on the art form, from 1982 to 2008)
  • Arts participation correlates with higher civic participation. People who participate in the arts are two to three times as likely to engage in positive civic and individual activities—such as volunteering, attending sporting events, and participating in outdoor activities—than nonarts participants
  • New England and Pacific region residents had some of the highest rates of attendance (42 percent of adults in each region) for the arts activities traditionally measured in the survey. In addition, the Plains states of Kansas and Nebraska have some of the highest participation rates for personal performance or creation of art nationwide. Twenty percent of adults in Kansas said they played a musical instrument. In Nebraska, that rate was nearly 18 percent. (Nationwide, 13 percent—or 29 million Americans—reported playing a musical instrument.)

A related research note on arts participation measured in regions and states will be released soon. The NEA will release additional topic-specific reports on the roles of age, race and ethnicity, arts learning, media use, and arts creation and performance. The survey, geographic research note, questionnaire, raw data, and user’s guide are available on the NEA website.

The executive summary for CAA’s Strategic Plan 2010–2015 is now available for download from the CAA website. During the strategic-planning process, a task force comprising members of the Board of Directors, CAA staff and committees, and more reviewed the mission, needs, and long-term goals of CAA. The 2010–2015 plan contains new mission, vision, and values statements and identifies seven important goals of the organization that are intended to meet the needs of all members in the visual arts.

The seven goals outlined in the plan focus on promoting the visual arts and meeting the needs of CAA’s membership, while expanding the programs, publications, and finances in order to do so. Some important strategies for accomplishing these goals include strengthening CAA’s ability to represent the visual arts, improving communication with national and international members, and establishing and identifying new sources of earned revenue. In his letter prefacing the summary, Paul B. Jaskot, CAA president, states, “With the plan in place, CAA will be able to advocate for the visual arts nationally and internationally and create new opportunities for dialogue among our members.”

For more details, see Jaskot’s letter, download the executive summary, and read the new mission, vision, and values statements.

CAA is pleased to announce the finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr, Jr., Award for 2010. The winners of both prizes, along with the recipients of other Awards for Distinction, will be announced in early January and presented in February during Convocation at the 2010 Annual Conference in Chicago.

The Charles Rufus Morey Book Award honors an especially distinguished book in the history of art, published in any language between September 1, 2008, and August 31, 2009. The four finalists are:

  • Matthew Biro, The Dada Cyborg: Visions of the New Human in Weimar Berlin (Minneapolis: University of Minnesota Press, 2009)
  • Cammy Brothers, Michelangelo, Drawing, and the Invention of Architecture (New Haven: Yale University Press, 2008)
  • Carrie Lambert-Beatty, Being Watched: Yvonne Rainer and the 1960s (Cambridge, MA: MIT Press, 2008)
  • Shelley Perlove and Larry Silver, Rembrandt’s Faith: Church and Temple in the Dutch Golden Age (University Park: Pennsylvania State University Press, 2009)

The Alfred H. Barr, Jr., Award for museum scholarship is presented to the author(s) of an especially distinguished catalogue in the history of art, published between September 1, 2008, and August 31, 2009, under the auspices of a museum, library, or collection. The three finalists are:

  • Andrea Bayer, ed., Art and Love in Renaissance Italy (New York: Metropolitan Museum of Art, in association with Yale University Press, 2008)
  • Debra Diamond, Catherine Glynn, and Karni Singh Jasol, Garden and Cosmos: The Royal Paintings of Jodhpur (Washington, DC: Arthur M. Sackler Gallery, Smithsonian Institution, 2008)
  • Sarah Greenough, Looking In: Robert Frank’s “The Americans” (Washington, DC: National Gallery of Art, 2009)

Convocation at the 2010 Annual Conference, which includes the awards ceremony, takes place on Wednesday evening, February 10, 5:30–7:00 PM, in Grand EF, East Tower, Gold Level, Hyatt Regency Chicago. The event is free and open to the public.

For more information about CAA’s Awards for Distinction, please contact Lauren Stark, CAA manager of programs, at 212-691-1051, ext. 248.

Filed under: Annual Conference, Awards, Books

Mary-Ann Milford-Lutzker is CAA’s vice president for committees. She is also professor of Asian art history, Carver Chair in East Asian Studies, and provost and dean of the faculty at Mills College in Oakland, California.

In line with CAA’s practice to update regularly its Standards and Guidelines for professional practices in the fields of art and art history, the Board of Directors approved three revised guidelines for art historians and a new one for academic art administrators at its meeting on October 25, 2009. This work was carried out by four task forces, established by CAA’s president Paul B. Jaskot and executive director Linda Downs, that were overseen by the Professional Practices Committee.

Professional Practices for Art Historians

Authentications and Attributions (2009): The task force appointed by President Jaskot established the need for a stand-alone and separate document for art historians regarding authentications and attributions of works of art. It was determined that no other issue is more urgent for, and its consequences so specific to, the welfare of the profession than dealing with inauthenticity and false attributions. Not only is the integrity of artists and collections at stake, but the economic well-being of art historians who engage in trying to separate the false from the true is also endangered.

Information about authentications and attributions formerly appeared in A Code of Ethics for Art Historians and Guidelines for the Professional Practice of Art History.

Guidelines for Curatorial-Studies Programs (2009): A growing number of colleges and universities across the country have instituted programs in curatorial studies. The revisions for the document, first published in 2004, are intended to help art departments and administrators organizing curricula and to aid faculty advisors and students determining which curatorial-studies programs are appropriate for an individual’s specific interests, abilities, and career goals.

Standards for Retention and Tenure of Art Historians (2009): This guideline, last revised in 2005, has been amended to embrace community and two-year colleges. Inclusion of community colleges into these standards will make this document relevant for art-history faculty who attempt to achieve the highest stands of professional practices in such institutions. It will also help to validate the objectives of professionals who have few peers to support them in their efforts to improve the practice of art history at their institutions.

Professional Practices for Academic Art Administrators

Standards and Guidelines for Academic Art Administrators (2009): This document will serve as a resource for emerging, new, and current academic art administrators, as well as benefiting other CAA members seeking guidance regarding the role of academic art administrators operating in a visual-arts context. The task force was made up of administrators from diverse geographical regions and varied professional experiences that included program directors, chairs and division heads, directors of schools of art, associate deans, deans, and vice presidents.

Acknowledgments

I want to thank all the members of the four task forces (listed respectively on the webpages of their Standards and Guidelines), who worked together to revise and create these Standards and Guidelines. In particular I want to acknowledge the work of Maxine Payne, chair of the Professional Practices Committee, who so diligently worked on all this material and encouraged each task force along the way.

New CAA Member Benefit: Humanities E-Book

posted by December 04, 2009

Humanities E-Book, a project of the American Council of Learned Societies (ACLS), offers unlimited access to its collection of nearly three thousand cross-searchable, full-text titles across the humanities and related social sciences. Titles, which include fifty-six CAA Monographs on the Fine Arts, have been selected and peer reviewed by ACLS constituent learned societies for their continued importance and value in teaching and researching. The collection, which grows by about five hundred books a year, includes both in- and out-of-print titles published from the 1880s to the present. Humanities E-Book titles also link to publishers’ websites and to online reviews in JSTOR, Project MUSE, and other sites.

Individual Subscriptions

As a special benefit of CAA membership, individual members can acquire a twelve-month, renewable subscription to Humanities E-Book for $35, which helps sustain the resource for the entire scholarly community.

Individual subscriptions are an attractive option for those whose institutions do not already subscribe to Humanities E-Book, or for CAA members who might not be affiliated with a subscribing institution. Please check this list to see if your institution subscribes.

When completing the Humanities E-Book’s online purchase module, choose the College Art Association from the Society Affiliation pull-down menu and enter your CAA member number. Be sure to review the terms of service before subscribing. For inquiries, please write to subscriptions@hebook.org or call 212-697-1505.

Institutional Subscriptions

Humanities E-Book offers a special 10 percent discount on subscriptions to institutional CAA members. Subscriptions range from $450 to $3,125, depending on the size of your institution.

Institutional subscription information, including pricing, is available on the Humanities E-Book website. For a free trial, a subscription for your school, museum, or organization, or further information, please write to info@hebook.org and mention that you are an institutional CAA member.