College Art Association
rss Twitter Facebook You Tube flickr instagram

CAA News

Recent Deaths in the Arts

posted by Christopher Howard

In its monthly roundup of obituaries, CAA recognizes the lives and achievements of the following artists, scholars, architects, photographers, and others whose work has significantly influenced the visual arts. The end of 2012 was marked by the loss of the painter Will Barnet, the architect Oscar Niemeyer, and the museum director Gudmund Vigtel.

  • Evelyn Ackerman, a Californian artist and designer who worked in mosaics, tapestries, and wood carving, died on November 28, 2012, at age 88. She often collaborated with her husband, the artist Jerome Ackerman; their work was recognized in a retrospective exhibition, Masters of Mid-Century California Modernism, at the Mingei International Museum in San Diego
  • Gae Aulenti, the Italian architect and designer who transformed a Paris train station into the Musée d’Orsay, died on October 31, 2012. She was 84. Aulenti also worked on renovations to museums in Barcelona, Istanbul, San Francisco, and Venice
  • Takashi Azumaya, an independent Japanese curator, died on October 16, 2012, at the age of 44. After working at the Setagaya Art Museum and the Mori Art Museum, he became the first non-Korean director of the Busan Biennale, which he organized in 2010
  • Will Barnet, a painter and printmaker who lived and worked in New York for many decades, passed away on November 13, 2012. He was 101 years old. Barnet, who won CAA’s 2007 Distinguished Artist Award for Lifetime Achievement, had taught at the Art Students League and the Cooper Union for the Advancement of Science and Art, among other schools
  • Marshall J. Bouldin III, a portraitist based in Mississippi who painted Richard Nixon’s daughters, died on November 12, 2012. He was 89 years old
  • David C. Copley, the former owner and publisher of the San Diego Union-Tribune and a philanthropist of the arts, died on November 20, 2012, at age 60. Copley was a member of board of directors for the Museum of Contemporary Art San Diego
  • Johanna Liesbeth de Kooning, the only daughter of the artist Willem de Kooning and the cofounder of his estate and trust, passed away on November 23, 2012. She was 56 years old
  • Robert W. Duemling, the former director of the National Building Museum in Washington, DC, and a board member of the Society of Architectural Historians, died on July 13, 2012, at age 83. Duemling had spent four years in naval intelligence and thirty years in the US Foreign Service after earning his master’s degree in the history of art and architecture from Yale University in 1953
  • Jacques Dupin, a French poet and art critic, died on October 27, 2012, at the age of 85. A longtime director of Galerie Maeght in Paris, Dupin wrote the official biography of Joan Miró as well as ten monographs on the artist’s work
  • Georgia Fee, the cofounder, chief executive officer, and editor-in-chief of Art Slant, died on December 8, 2012. Born in 1951, Fee developed Art Slant from a Los Angeles–based events calendar and online art magazine into a website with an international scope
  • Gray Foy, a New York artist and socialite, passed away on November 23, 2012, at the age of 90. Foy received acclaim for his drawing and illustrations in the mid-twentieth century but became better known as a tastemaker and salonnier, hosting parties and events that boasted attendees as diverse as Leonard Bernstein, Cary Grant, and Susan Sontag
  • Krisanne Frost, an artist based in San Antonio, Texas, and gallery liaison for the Blue Star Contemporary Art Center, died on December 6, 2012. She was 61 years old
  • Wendell Garrett, a historian and an appraiser on the television show Antiques Roadshow, died on November 14, 2012. He was 83. Among Garrett’s books are Victorian America: Classical Romanticism to Gilded Opulence (1993) and American Colonial: Puritan Simplicity to Georgian Grace (1995)
  • Richard Gordon, a photographer and a maker of handmade books, died on October 6, 2012, at age 67. Gordon’s most recent collection of images are American Surveillance (2009) and Notes from the Field (2012)
  • Rosalie B. Green, director of the Index of Christian Art at Princeton University from 1951 to 1981, passed away on February 24, 2012. She was 94 years old
  • Evelyn B. Harrison, a historian of Greek and Roman art and a professor in the Institute of Fine Arts at New York University from 1974 to 2006, died on November 3, 2012, at the age of 92. She had previously taught at the University of Cincinnati, Columbia University, and Princeton University
  • Alfred Kumalo, a South African photographer who document life under apartheid and the rise of Nelson Mandela, died on October 21, 2012. He was 82 years old
  • Glenys Lloyd-Morgan, a Canadian-born archaeologist of ancient Rome, passed away on September 21, 2012, at the age of 67. Raised and educated in England, she worked at the Grosvenor Museum in Chester and as a finds consultant
  • Arnaud Maggs, a Canadian photographer who shot portraits of Anne Murray and Leonard Cohen, died on November 17, 2012. He was 86 years old. Magg’s honors include a 2006 Governor General’s Award in Visual and Media Arts and a 2012 Scotiabank Photography Award
  • Margaret M. Martin, a watercolorist based in Allentown, New York, died on November 29, 2012, at the age of 72. Her love of gardening inspired many of her still lifes of flowers
  • Menno Meewis, director of the Middelheimmuseum in Antwerp, Belgium, died on October 17, 2012, at age 58. He is credited with rejuvenating the museum and overseeing its expansion
  • Patricia Meilman, a scholar of Venetian Renaissance art, died on October 13, 2012. She was 65 years old. Her books include Titian and the Altarpiece in Renaissance Venice and The Cambridge Companion to Titian
  • Oscar Niemeyer, the renowned Brazilian architect, died on December 5, 2012, at the age of 104. He is best known for designing the Niterói Contemporary Art Museum and many government, commercial, and residential buildings for Brasília, his country’s new capital
  • Catherine Burchfield Parker, an artist who spent thirty years of her career in Buffalo, New York, died on November 6, 2012, at age 85. She was the daughter of the painter Charles Burchfield
  • Spain Rodriguez, an influential underground cartoonist based in San Francisco, California, died on November 28, 2012, at age 72. Rodriguez’s work was published by Zap Comics and in the East Village Other
  • William Turnbull, a modernist sculptor from Scotland, died on November 15, 2012. He was 90. Turnbull’s career, which spanned seven decades, included forays in figurative, organic semiabstract, and hard-edged geometric styles, as well as painting
  • Gudmund Vigtel, director of the High Museum of Art in Atlanta, Georgia, from 1963 to 1991, died on October 20, 2012. He was 87. Under his leadership the museum’s collection tripled in size and moved into a Richard Meier–designed building
  • Albert Wadle, an art dealer and philanthropist based in Santa Fe, New Mexico, died on November 12, 2012. He was 84 years old
  • Shizuko Watari, the founder and director of Watari-um, the Watati Museum of Contemporary Art, in Japan, died on December 1, 2012, at age 80. She was also a curator and the director of Galerie Watari in Tokyo
  • Larry Welden, an artist and educator based in Sacramento, California, died on October 25, 2012, at age 90. He taught art at Sacramento City College from 1960 to 1985, and his watercolors focused on the landscapes of Northern California
  • Evelyn Williams, an English artist whose reliefs, drawings, and paintings were hard to categorize, died on November 14, 2012. She was 83 years old
  • Lebbeus Woods, an unconventional architect who built only one permanent structure, died on October 30, 2012. He was 72 years old. Woods was a professor at the Cooper Union for the Advancement of Science and Art in New York.

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

Filed under: Obituaries, People in the News

News from the Art and Academic Worlds

posted by Christopher Howard

Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.

Project to Put UK’s Publicly Owned Artworks Online Catalogues 200,000 Paintings

The Public Catalogue Foundation collaborated with more than three thousand venues across the United Kingdom to archive 211,861 paintings, many of which have never been photographed before. Every oil painting in public ownership is available online at the Your Paintings website—most of which are not currently on public display. Andrew Ellis, the foundation’s director, said: “No country has ever embarked on such a monumental project to showcase its entire oil painting collection online.” (Read more from the Telegraph.)

Freelance Professors

“Self-employed professor” could soon be an actual job title, thanks to two companies that are helping a small group of college professors market their own online courses, set prices for them, and share the tuition revenue. In January, StraighterLine will launch fifteen professor-taught courses. This is new territory for the company, which currently offers forty-two low-cost and self-paced online courses. (Read more from Inside Higher Ed.)

Help Desk: Internship Woes

I wrote the blog for a gallery for over six months without having my name attached. The blog did very well and was picked up on by a local magazine that asked the gallery owner to contribute a regular guest column for their publication. I proceeded to plan and outline the next six months of art-related subject matter with the pretext that I would be getting paid as my internship was completed. After the internship had ended, I wrote three posts for the gallery’s blog before the owner told me it was no longer in his budget. I was never paid for those entries, and my ideas continue to be used thereafter. Where do we draw the line on our unpaid time and efforts while aspiring to get recognition for the work that we do? (Read more from Daily Serving.)

Harvard’s 3D-Printing Archaeologists Fix Ancient Artifacts

Indiana Jones practiced archaeology with a bullwhip and fedora. Joseph Greene and Adam Aja are using another unlikely tool: a 3D printer. Greene and Aja work at Harvard University’s Semitic Museum, using 3D printers and 3D scanning software to re-create a ceramic lion that was smashed three thousand years ago when Assyrians attacked the ancient Mesopotamian city of Nuzi, located in modern-day Iraq. (Read more from Wired.)

Are Curators a Vanishing Breed?

Strong support for California’s ambitious program to limit greenhouse gas emissions that cause global warming was reconfirmed in a recent USC Dornsife/Los Angeles Times poll, showing once more the state’s celebrated environmental consciousness. So perhaps it’s time at least to ring a warning bell about a puzzling situation in Los Angeles’ cultural environment, rather than its natural one. At area art museums, the job of chief curator appears to be edging toward the endangered species list. Three notable chief curators have left their museum jobs in the past year. Successors are nowhere in sight. (Read more from the Los Angeles Times.)

Friends and Rivals: Copley, West, Peale, Trumbull, and Stuart

The podcast of a lecture by Jules David Prown, recorded on October 15, 2003, presents the inaugural online offering of the Wyeth Lecture in American Art, a biennial event hosted by the Center for Advanced Study in the Visual Arts and supported by the Wyeth Foundation for American Art. (Read more from the Center for the Advanced Study of the Visual Arts.)

In the Thick of It

I remember September. I recall staring at the postings on H-Net and bemoaning the absence of jobs. Now it’s November, and oh, how I long for September. My friends who went on the market last year complained about applying to sixty or more jobs, but by late August I could count only fifteen or so that I could reasonably convince myself were suitable—not because the others were too far away, or the teaching load was too heavy, but because I couldn’t conceive of any way to assert that I was a good candidate. Where, I wondered, would those many additional job ads come from? (Read more from the Chronicle of Higher Education.)

When Nasty Reviews Strike: What’s the Role of the Reviewer?

The question of the value of nasty reviews of cultural products has been in the news a lot lately, but it’s an issue that has been debated for as long as I can remember. I remember publishing in the Globe and Mail in about 1990 an article discouraging the writing of negative reviews of books from tiny local presses. I can’t remember exactly what my argument was, and it seems like a silly idea now. (Read more from the Globe and Mail.)

Filed under: CAA News

Cassone Subscriptions for Student Members

posted by Christopher Howard

Cassone: The International Online Magazine of Art and Art Books is offering a free one-year subscription to all first-year students at any level (BA, MA, BSc, diploma, PhD, etc.) and in any subject. But time is running out—this offer is running only until December 31, 2012. Please pass the information below to your friends, colleagues, and students.

To obtain your free Cassone subscription, please go to Enter your email address in the box on the left and click the “Begin registration” button immediately underneath it. On the next page, type in your personal details. By the time you get to the page’s footer, a validation code email should have turned up in your email inbox (if not, check your junk folder). Copy and paste the code into the box marked with this phrase: “Please copy and paste the validation code just emailed to you into the box below.” Tick the two boxes under that (legal requirement) and the third box (optional) if you wish and click “Complete registration.” Then follow the onscreen instructions. On the page titled “Step 2: Activate your subscription,” you will see a box headed “Got a gift voucher or discount code?”
 In that box, copy and paste the code: STUDent12. Then click on “Apply voucher.” Your yearlong subscription has begun.

If you have any questions, please contact Cassone at For students beyond their first year, a subscription is only £5 per year and for nonstudents £10.

Filed under: Membership, Students

December 2012 Issue of The Art Bulletin

posted by Christopher Howard

The December 2012 issue of The Art Bulletin, the leading publication of international art-historical scholarship, presents the fourth installment of a feature series that will continue through at least 2013. In Regarding Art and Art History, Rebecca Zorach reflects on politics and teaching. The subject of this issue’s Notes from the Field is detail, with twelve texts by artists, scholars, professors, conservators, and archaeologists: Susan Hiller, Spike Bucklow, Johannes Endres, Carlo Ginzburg, Joan Kee, Spyros Papapetros, Adrian Rifkin, Joanna Roche, Nina Rowe, Alain Schnapp, Blake Stimson, and Robert Williams. The Interview presents the German art historian Horst Bredekamp in conversation with the American scholar Christopher Wood. An installation view of Hiller’s Witness (2002), as seen as Tate London, appears on the cover.

The opening three long-form essays address the art of Italy. The first, by J. Keith Doherty, offers a new interpretation of the Judgment of Paris myth as it is depicted in Roman wall paintings. Robert Glass’s contribution, “Filarete’s Hilaritas: Claiming Authorship and Status on the Doors of St. Peter’s,” is a close reading of the Italian Renaissance sculptor’s bronze relief on the doors of St. Peter’s Basilica in the Vatican. David M. Stone’s article, “Signature Killer: Caravaggio and the Poetics of Blood,” considers the artist’s signature in his Beheading of Saint John the Baptist from 1608. Luisa Elena Alcalá’s “‘A Call to Action’: Visual Persuasion in a Spanish American Painting” analyzes a Central American painting from the mid-1680s sent to Madrid from Mexico as a tactic to lobby for continued royal support. Finally, Philip Cottrell explores the unpublished papers of the nineteenth-century English connoisseur George Scharf, who organized the celebrated exhibition Art Treasures of the United Kingdom in Manchester in 1857.

The Reviews section leads off with David J. Roxburgh’s take on the new galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia at the Metropolitan Museum of Art in New York. Next, Elizabeth Hill Boone considers Carolyn Dean’s A Culture of Stone: Inka Perspectives on Rock, and Jesús Escobar looks at Gauvin Alexander Bailey’s The Andean Hybrid Baroque: Convergent Cultures in the Churches of Colonial Peru. Nicola Suthor’s book Bravura: Virtuosität und Mutwilligkeit in der Malerei der Frühen Neuzeit is appraised by Andreas Beyer, and Molly Emma Aitken’s study The Intelligence of Tradition in Rajput Court Painting, is evaluated by Pika Ghosh. The section concludes with Michael Leja’s assessment of the Crystal Bridges Museum of American Art in Bentonville, Arkansas.

CAA sends The Art Bulletin to all institutional members and to those individuals who choose to receive the journal as a benefit of their membership. The next issue of the quarterly publication, to appear in March 2013, will feature essays on the strategic use of microarchitecture in Christian ivory carvings of the thirteenth century, perspectival “distortions” in Paul Cézanne’s paintings and the political implications of his repudiation of perspective, and appellations of photography that circulated in China between 1840 and 1911, which trace the emergence of a new understanding of visual truth in Chinese art.

Filed under: Art Bulletin, Publications

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.

Openness, Value, and Scholarly Societies: The MLA Model

In 2011, the Modern Language Association established a new office of scholarly communication and began a series of experiments in ways of supporting the open exchange of scholarly work among its members. While the office and its platforms are new, the motivating force behind the office is not. From the beginning, scholarly societies were designed to play a crucial role in facilitating communication between scholars working on common subjects. (Read more from College and Research Libraries News.)

Ten Essential Apps for the Mobile Artist

Michelangelo, Raphael, and the rest of the old masters drew everything they saw, everywhere they went. The new masters of the twenty-first century can still adhere to that artistic custom, with powerful apps designed for a mobile and creative world. GeekSugar has rounded up apps with specific media in mind, such as ink, charcoal, and watercolor, and more general-purpose digital drawing tools, too. When inspiration unexpectedly strikes, modern-day artists will be grateful they had these ten essential iOS drawing apps in their mobile toolkit. (Read more from GeekSugar.)

Monday Musings: The Price of a Free Membership

I’ve been following with interest the news that the Dallas Museum of Art is abolishing admission for the permanent exhibits and offering free memberships to all. I hear with increasing frequency from colleagues in cultural nonprofits that people don’t want to make long-term commitments such as season passes or memberships anymore and want their experiences a la carte; and that people want real and meaningful engagement with organizations—they don’t want to be anonymous, interchangeable customers. Making memberships free in response to these drivers of change seems like a reasonable experiment. But how does the math work out? (Read more from the Center for the Future of Museums.)

Museum Policies and Art Images: Conflicting Objectives and Copyright Overreaching

Museums face steady demand for images of artworks from their collections, and they typically provide a service of making and delivering high-resolution images of art. The images are often intellectually essential for scholarly study and teaching, and they are sometimes economically valuable for production of the coffee mugs and note cards sold in museum shops and elsewhere. Though the law is unclear regarding copyright protection afforded to such images, many museum policies and licenses encumber the use of art images with contractual terms and license restrictions often aimed at raising revenue or protecting the integrity of the art. (Read more from the Fordham Intellectual Property, Media, and Entertainment Law Journal.)

A New (Kind of) Scholarly Press

The FAQ to go with the announcement that Amherst College is launching a new scholarly press ends with the question “Isn’t this endeavor wildly idealistic?” The answer is yes. But Amherst thinks that there may be long-term gains—both for scholarship and the economics of academic publishing—by publishing books that are subject to traditional peer review, edited with rigor, and then published in digital form only, completely free. (Read more from Inside Higher Ed.)

The Moment of Digital Art History?

Two thousand and twelve has proven to be a significant year as art history continues its transition into the sphere of the digital humanities. The following post aims to provide a summary of discussions around “digital art history,” which at present describes a mode of practice without a fully articulated definition. This summary will also extend beyond the institutional considerations primarily expressed in recent reports and consider the implications for digital art history on public engagement, including the involvement of new-media practitioners, such as bloggers and users of social-media platforms. (Read more from 3 Pipe Problem.)

If He Did It

In trying to figure out the why—no seriously, WHY?—of Bob Dylan’s second painting exhibition at Gagosian, Gallerist NY’s Michael Miller was left with the same Only Possible Explanation that’s been dogging me since the musician’s first baffling Gagosian gig in October 2011: “All I could come up with was a conspiracy theory cooked up by a friend, that both of Mr. Dylan’s shows at Gagosian are actually the work of Richard Prince using ‘Bob Dylan’ as a pseudonym, making the ultimate statement on art and artifice, and proving once and for all that Bob Dylan is whoever you want him to be.” (Read more from

USC and MOCA Are in Talks about “A Possible Partnership”

Los Angeles’ Museum of Contemporary Art and the University of Southern California are in talks about a possible partnership that would link the ambitious private university with the fiscally struggling downtown museum. Responding to Los Angeles Times inquiries, USC’s provost Elizabeth Garrett said that discussions are underway “about a possible partnership that would enhance the missions of both institutions.” Talks “are very preliminary at this time,” she added, providing no further details. (Read more from the Los Angeles Times.)

Filed under: CAA News

Recipients of CAA’s Meiss and Wyeth Publishing Grants

posted by Christopher Howard

CAA has awarded grants to the publishers of eighteen books in art history and visual culture through two programs: the Millard Meiss Publication Fund and the Wyeth Foundation for American Art Publication Grant.

Wyeth Grant Recipients

CAA is pleased to announce seven recipients of the annual Wyeth Foundation for American Art Publication Grant, established in 2005. Thanks to a generous grant from the Wyeth Foundation, these awards are given annually to publishers to support the publication of one or more book-length scholarly manuscripts in the history of American art, visual studies, and related subjects. For this grant program, “American art” is defined as art created in the United States, Canada, and Mexico through 1970.

Receiving 2012 grants are:

  • Katherine A. Bussard, Unfamiliar Streets: Photographs by Richard Avedon, Charles Moore, Martha Rosler, and Philip-Lorca DiCorcia, Yale University Press
  • Melissa Dabakis, The American Corinnes: Women Sculptors and the Eternal City, 1850–1876, Pennsylvania State University Press
  • Michael Lobel, Becoming an Artist: John Sloan, the Ashcan School, and Popular Illustration, Yale University Press
  • Amy F. Ogata, Designing the Creative Child: Playthings and Places in Midcentury America, University of Minnesota Press
  • John Ott, Manufacturing the Modern Patron in Victorian California: Cultural Philanthropy, Industrial Capital, and Social Authority, Ashgate
  • Rachel Sailor, Meaningful Places: Local Landscape Photography in the Nineteenth-Century American West and Its Legacy, University of New Mexico Press
  • George E. Thomas, Frank Furness and the Poetry of the Present: Architecture in the Age of the Great Machines, University of Pennsylvania Press

Eligible for the grant are book-length scholarly manuscripts in the history of American art, visual studies, and related subjects that have been accepted by a publisher on their merits but cannot be published in the most desirable form without a subsidy. Authors must be current CAA members. Please review the application guidelines for more information.

Meiss Grant Winners

This fall, CAA awarded grants to the publishers of eleven books in art history and visual culture through the Millard Meiss Publication Fund. Thanks to the generous bequest of the late Prof. Millard Meiss, CAA gives these grants to support the publication of scholarly books in art history and related fields.

The grantees for fall 2012 are:

  • Paroma Chatterjee, The Living Icon in Medieval Art, Cambridge University Press
  • Anthony Colantuono and Steven F. Ostrow, eds., Critical Perspectives on Early Modern Roman Sculpture, Pennsylvania State University Press
  • T. J. Demos, Migrations: The Politics of Documentary during Global Crisis, Duke University Press
  • Jennifer Doyle, Hold It against Me: Difficulty and Emotion in Contemporary Art, Duke University Press
  • Dorita Hannah, Event Space: Theatre Architecture and the Historical Avant-Garde, Routledge
  • Cara Krmpotich and Laura Peers, This Is Our Life: Haida People, Collections, and International Museums, University of British Columbia Press
  • Asa Simon Mittman and Susan M. Kim, Inconceivable Beasts: The Wonders of the East in the Beowulf Manuscript, Arizona Center for Medieval and Renaissance Studies
  • Bibiana Obler, Intimate Collaborations: Gender, Craft, and the Emergence of Abstraction, Yale University Press
  • Dorothy C. Rowe, After Dada: Marta Hegemann and the Cologne Avant-Garde, Manchester University Press
  • Linda Safran, Art and Identity in the Medieval Salento, University of Pennsylvania Press
  • Robert Slifkin, Out of Time: Philip Guston and the Refiguration of Postwar American Art, University of California Press

Books eligible for Meiss grants must already be under contract with a publisher and on a subject in the visual arts or art history. Authors must be current CAA members. Please review the application guidelines for more information.

Image: The Pennsylvania Academy of the Fine Arts building, built by the American architects Frank Furness and George Hewitt, opened in 1876 (photograph by the Detroit Publishing Company, 1900)

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.

NEH Solicits Comments on Digital Projects for the Public Grant Program Guidelines

The National Endowment for the Humanities will launch a new Digital Projects for the Public grant program in fiscal year 2014 and seeks public comment on its proposed guidelines. The new program will fund humanities projects using digital formats such as websites, mobile applications, games, social media, and virtual environments to reach the public and foster lifelong learning. (Read more from the National Endowment for the Humanities.)

“Can I Use This?” How Museum and Library Image Policies Undermine Education

Although eight years have passed since Eastman Kodak announced that it would stop manufacturing slide projectors, we have built only a fragmented system for distributing high-quality digital images—one that is failing our students, our discipline, and the public. More has changed than the technology we use to illustrate our lectures. (Read more from E-Literate.)

Who Owns Captured Lectures?

Lecture-capture technology has advanced to a point where implementing a solution can be disarmingly simple. But it’s important for faculty and administrators not to be lulled into a false sense of security—recording faculty and guest lectures still comes with its share of legal issues covering copyright, intellectual-property rights, distribution, and permissions. While some lecture-capture technology provides assistance even in these areas, colleges and universities need to develop clearly defined guidelines on how recorded lectures can be used. (Read more from Campus Technology.)

The Genomics of Art, Education, and Commerce

Recently I blogged about, a service built on the Art Genome Project that enables users to discover, learn about, and collect art that is suggested to them via a mathematical algorithm. That post provoked so much interesting discussion that I followed up with Christine Kuan, chief curator and director of strategic partnerships at, to relay some of the questions raised by commentators related to’s educational goals, its for-profit business model, and its relationship to the art world. (Read more from the Center for the Future of Museums.)

Bucking Conventional Wisdom: Arts Graduates Gauge Success Differently

A new report by the Strategic National Arts Alumni Project offers important new insights into the value of an arts school education, countering prevailing views about salary levels and job prospects as the most important indicators of alumni satisfaction and career success. Called Painting with Broader Strokes: Reassessing the Value of an Arts Degree, the report offers insights into the careers and perspectives of 13,851 arts graduates from 154 institutions surveyed in 2010, shedding new light on educational training and experiences, employment paths, involvement in the arts outside work, and overall job satisfaction and income. (Read more from the Strategic National Arts Alumni Project.)

A Different Kind of Application Fee

A tenure-track job is surely a valuable commodity, but would you pay for a shot at one? A listing for a faculty painting position at Colorado State University attracted some heat on Twitter when several academics noticed the $15 fee attached to the position. The job ad states simply: “In lieu of postage and duplication costs you will be charged a fee of $15.” (Read more from Inside Higher Ed.)

Ten No-Nonsense Tips for Landing a Career in the Art World

Congratulations, you’ve got your shiny degree in curating, art history, or critical theory. Now, how will you make your way in the notoriously cutthroat art world? Sophie Macpherson is the right person to ask. Her company, Sophie Macpherson Ltd, is the leading art recruitment agency, with a London office and representatives in Paris, New York, and soon, East Asia. (Read more from Blouin Artinfo.)

What’s Hot, What’s Not

Frieze shares what terms are hot, not, and holding steady in the world of artist’s statement. What’s hot? An art practice that “is transversal,” “inhabits a transgendered space,” “is post-/para-fictional,” and “references both my height and the height of my bedroom ceiling when I was a teenager.” (Read more from Frieze.)

Filed under: CAA News

Support CAA’s Journals through the Publications Fund

posted by Anne Collins Goodyear

As 2012 comes to a close and CAA looks toward the year to come, it is time for us to consider the future of our publications. CAA’s long-standing, highly regarded print journals, The Art Bulletin and Art Journal, deliver much of the world’s leading scholarship in art history and visual studies. CAA member support of the Publications Fund helps maintain each publication’s preeminent position. I encourage you to join our growing list of donors this year.

The Art Bulletin, which covers the full range of art history in essays by some of the world’s most acclaimed art scholars, marks its centennial in 2013, celebrating one hundred years of exemplary scholarship and leadership in the field. Art Journal, in print since 1929, is an ever-evolving forum for topics in modern and contemporary art. Next spring will see the first issue of its new editor-in-chief, Lane Relyea. The youngest CAA publication, the born-digital, annually presents hundreds of reviews of books, exhibitions, publications, projects, conferences, and symposia as the sole art journal devoted exclusively to reviews. Founded in 1998, it celebrates its fifteenth anniversary this year with an Annual Conference panel discussion about its origin, evolution, and future. Together, these three journals promote new scholarship and practices in the visual arts to an international audience.

At a time when academic publishing offers fewer venues for discussion and debate, the visibility and vitality of The Art Bulletin, Art Journal, and continue to broaden. The journals reach tens of thousands of readers annually and remain essential resources—none of which would be possible without the support of donors.

Contributors who give at a level of $250 or higher are prominently acknowledged in the publication they support for four consecutive issues, as well as on the publication’s website for one year. On behalf of the artists, scholars, writers, and reviewers who publish in the journals, I hope CAA can count on your support this year.

Thank you for your consideration of this request. Your ongoing commitment is essential to our success—and very much appreciated.

With best regards,



Anne Collins Goodyear
CAA Board President

Make a Year-End Donation to CAA’s Annual Fund

posted by Patricia McDonnell

As 2012 comes to a close, the College Art Association extends thanks for your ongoing membership and support. Members, like you and me, are the engine and purpose for CAA, and it is through our help that CAA provides the myriad programs and services that so many artists, art historians, and other professionals in the visual arts depend upon. This fall, please consider making a generous contribution to CAA’s Annual Fund.

The Annual Fund is integral to CAA’s mission, providing flexible funding to supplement the project-specific support that comprises the majority of charitable gifts to the organization. CAA is dedicated to continuing prized resources that members have come to expect, including:

  • The orchestration of the world’s preeminent conference for artists, art historians, critics, conservators, curators, students, and other professionals in the visual arts
  • The production of its highly regarded publications: The Art Bulletin, Art Journal, and
  • An abundance of online resources, including the Online Career Center for job listings, Standards and Guidelines for professional practices, and CAA News to keep you informed of developments in the field
  • Essential advocacy work to promote federal support of the visual art
  • Fellowships to graduate students and publishing grants for books in art history
  • Travel grants to students and international professionals to attend the Annual Conference
  • The production of yearly directories of graduate programs in the arts, which provide detailed information on higher-education programs in studio art and design, art and architectural history, curatorial studies, and more

CAA is dedicated to remaining a progressive voice and indispensible resource in the visual arts, but can only do so with the help and participation of its membership. Your contribution to the Annual Fund will allow CAA to make its active, essential voice in the art world a vital one into the future.

My great thanks for your ongoing support of CAA and contribution to this year’s appeal.




Patricia McDonnell
CAA Vice President for External Affairs

P.S. Contributions to CAA’s Annual Fund are 100 percent tax deductible.

Filed under: Acknowledgments, Membership

Join the 2013–14 Nominating Committee

posted by Vanessa Jalet

CAA invites you to help shape the future of the organization by serving on the 2013–14 Nominating Committee. Each year, this committee nominates and interviews potential candidates for the CAA Board of Directors and selects the final slate for the membership’s vote. The candidates for the 2013–17 board election were announced last month.

The current Nominating Committee will choose the new members of its own committee at its business meeting, to be held at the 2013 Annual Conference in New York in February. Once selected, all committee members must propose, in the spring, a minimum of five and a maximum of ten people for the board. Service on the committee also involves conducting telephone interviews with candidates during the summer and meeting in fall 2013 to select the final board slate. Finally, all Nominating Committee members attend their business meeting, at the Chicago conference in 2014, to select the next committee.

Nominations and self-nominations should include a brief statement of interest and a two-page CV. Please email a statement and your CV as Word attachments to the attention of DeWitt Godfrey, CAA vice president for committees, care of Vanessa Jalet. Deadline: January 4, 2013.


Privacy Policy | Refund Policy

Copyright © 2017 College Art Association.

50 Broadway, 21st Floor, New York, NY 10004 | T: 212-691-1051 | F: 212-627-2381 |

The College Art Association: advancing the history, interpretation, and practice of the visual arts for over a century.