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 Greg.org.)
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.)
posted by Christopher Howard — December 11, 2012
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)
posted by CAA — December 10, 2012
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
December 2012–January 2013
Mickalene Thomas: How to Organize a Room around a Striking Piece of Art
Lehman Maupin Gallery
540 West 26th Street, New York, NY 10001; and 201 Chrystie Street, New York, NY 10002
November 14, 2012–January 5, 2013
The two-part Mickalene Thomas: How to Organize a Room around a Striking Piece of Art is a the artist’s third solo exhibition at Lehmann Maupin Gallery. The Lower East Side space will present new large-scale paintings depicting landscapes and interior scenes and a series of short films created during her recent travels in Europe. In Chelsea, Thomas’s first documentary film, Happy Birthday to a Beautiful Woman, will be shown alongside photographs of her mother and long-time muse, Sandra Bush. The film is an emotionally raw and loving portrait of Bush as she reflects on her life experiences, including her personal struggles and battle with chronic illness. Thomas will also re-create one of her tableau environments in the gallery, allowing viewers to fully immerse themselves in the artist’s world while watching the film.
Deborah Kass: Before and Happily Ever After
Andy Warhol Museum
117 Sandusky Street, Pittsburgh, PA 15212
October 27, 2012–January 6, 2012
Before and Happily Ever After is the first midcareer retrospective of Deborah Kass at the temple of the artist who unleashed her potent turn to pop culture in order to explore first her “absence” and then her “presence” in it as a lesbian Jewish woman, as she has recently said. Consisting of seventy-five works, the exhibition unites the abstraction of her early and most recent work, unravels the development of Kass’s audiovisual mining of art history and pop culture through breakthrough painting series (such as The Warhol Project, The Jewish Jackie, and her latest, feel good paintings for feel bad times), and offers an incredible opportunity to be marveled by the variety of politics—and pleasures—that underpin her affective yet multilayered dialogue with pop culture and the exploration of (her) identity through it. As Kass sheds her own light on Andy Warhol through her work, and as her work continues to defend the potent ways in which women artists have engaged pop culture, the show promises to pave the way for other dialogues between women (neo-Pop or Pop) artists with (American) Pop or Warhol at his museum.
Ann Hamilton: the event of a thread
Park Avenue Armory
643 Park Avenue, New York, NY 10065
December 5, 2012–January 6, 2013
Ann Hamilton’s enchanting installation, the event of a thread, conducts a powerful, affective weaving of sounds, words, textures, and motions that shrouds the visitors with the intimacy of touch—the hand of cloth as the artist puts it—while translating the bodily intimacy of the “lap” and the daydream-like state of mind of “being read” into architectural scale and public experience. A multisensorial site-specific piece that is titled after a line from a definition of weaving by Anni Albers, the event of a thread is reminiscent of the artist’s childhood memories of daydreaming while being read in her grandma’s lap. Comprised of a field of swings, the installation is divided by an enormous silk glacial curtain whose motion is determined by the move of the swings and bracketed by a textile metaphorically being woven by the sonic threads of reading, writing, and live and recorded song. At the front of the installation two actors, covered with textured capes, read to caged birds, improvising combinations of Aristotelian excerpts that further elaborate on the role of touch in our self-awareness, weaving a tapestry of whispers that reach the visitors through separate speakers packaged in paper bags throughout the installation space. At the other end, rotating authors respond to the world outside and behind, weaving words into letters addressed to Far, to Near, to Time, to Sadness, and so on. In effect, the event of a thread reinstills belief in the viability and power of “relational” art as art literalizing its political claim to restoring the social bond by creating proximities through a strikingly intimate and poetic manner.
Caroline Burton: Prey
Accola Griefen Gallery
547 West 27th Street, No. 634, New York, NY 10001
December 7, 2012–January 12, 2013
In her first solo exhibition at Accola Griefen Gallery, Caroline Burton is exhibiting sculpture, painting, and drawing inspired by objects left behind or discarded. Her sculptural pillows in neutral tones allude to rest but render that impossible by the Hydrocal, wire, and canvas forms. Two rabbit’s feet cast in bronze hang on one wall and refer to the exhibition title. The exhibition also includes oil paintings on canvas, which depict discarded papers and rags.
Doing What You Want: Marie-Louise Ekman Accompanied by Sister Corita Kent, Mladen Stilinovic, and Martha Wilson
Taxingegränd 10, Box 4001, 163 04 Spånga, Stockholm, Sweden
October 18, 2012–January 13, 2013
Maria Lind, director of Tensta Konsthall, has interestingly used the work of a variety of artists, including Corita Kent and Martha Wilson, to flesh out the rebellious politics and feminist strategies of the work of Marie Louise Ekman, a fascinating and at times controversial figure of the Swedish art scene since the 1960s. Though a prominent artist who has worked in various media, celebrated in her home country mostly for her films, Ekman has not yet received the attention she deserves for her multifarious work that bridges Pop art and feminism from an idiosyncratic and often absurdist “girlie” point of view, radically exploring feminine identity and attacking bourgeois conventions. The exhibition focuses on her work from the 1960s to the 1980s, bringing together her transgressive objects that range from environments of Disney dolls and doll-occupied canvases, sewn silk, and pink fur objects to paintings on silk that straddle a variety of themes with her characteristic childish cartoony style.
To Be a Lady: Forty-Five Women in the Arts
1285 Avenue of the Americas Art Gallery
1285 Avenue of the Americas, New York, NY 10019
September 24, 2012–January 18, 2013
Curated by Jason Andrew and organized by Norte Maar, this cross-disciplinary, cross-generational exhibition includes work by forty-five artists born over the last century “who happen to be women.” Those included are: Alma Thomas, Charmion von Wiegand, Louise Nevelson, Alice Neel, Barbara Morgan, Irene Rice Pereira, Janice Biala, May Wilson, Lenore Tawney, Louise Bourgeois, Edith Schloss, Grace Hartigan, Ruth Asawa, Betye Saar, Pat Passlof, Jay DeFeo, Susan Weil, Lee Bontecou, Viola Frey, Judy Dolnick, Kathleen Fraser, Hermine Ford, Mimi Gross, Nancy Grossman, Elizabeth Murray, Judy Pfaff, Genesis Breyer P-Orridge, Mira Schor, Mary Judge, Nancy Bowen, Lindsay Walt, Michelle Jaffé, Elisabeth Condon, Tamara Gonzales, Jessica Stockholder, Brece Honeycutt, Ellie Murphy, Julia K. Gleich, Austin Thomas, Ellen Letcher, Rachel Beach, Vanessa German, Kirsten Jensen, Brooke Moyse, and Nathlie Provosty.
Rosemarie Trockel: A Cosmos
New Museum of Contemporary Art
235 Bowery, New York, NY 10002
October 24, 2012–January 20, 2013
Curated by Lynne Cooke, A Cosmos is a truly remarkable exhibition, both as a survey of Rosemarie Trockel’s work and as a combination of different curatorial and museum-display models that pertinently structure, interweave, and contextualize the artist’s signature themes and media, illuminating her multifarious work in a productive and enchanting way.
Kate Davis: Not Just the Perfect Moments
Tannery Arts, 12 Rich Estate, Crimscott Street, London SE1 5TE, United Kingdom
December 4, 2012–February 2, 2013
Kate Davis, a New Zealand–born artist based in Glasgow, has produced a new body of commissioned work for her solo exhibition at Drawing Room. Questioning how to bear witness to the complexities of the past, her artwork is an attempt to reconsider, reclaim, and reinvent what certain histories could look, sound, and feel like. This has often involved responding to the aesthetic and political ambiguities of historical artworks and their reception. Working across a range of media, Davis has kept drawing at the critical core of her visual vocabulary, and this exhibition is the first time she addresses her relationship to the medium, its activity, and its history so directly. Focusing on ideologies perpetuated through certain approaches to the teaching of drawing, Not Just the Perfect Moments will attempt to stand alongside the late artist, Jo Spence, to reexamine and unpick some of the ways in which a representational practice, such as drawing, has constructed perceptions of the individual. Spence’s groundbreaking photographic works often asked who owns images—especially images of the body. In this exhibition, as with much of Davis’s practice, photography and drawing are brought into close relation and questioned as techniques for challenging, and caring for, a past and future.
The Female Gaze: Women Artists Making Their World
Pennsylvania Academy of the Fine Arts Museum
118–128 North Broad Street, Philadelphia, PA 19102
November 17, 2012–April 7, 2013
With great treasures and many surprises, The Female Gaze: Women Artists Making Their World consists of works from the museum’s recently acquired Linda Lee Adler Collection of Art by Women, which boasts close to five hundred works of art (including paintings, photographs, drawings, watercolors, pastels, collage, prints, fabric pieces, ceramics, bronze, wood, and sculpture in other media) by over 150 artists. The gift includes works by artists not previously represented in the museum, such as Louise Bourgeois, Joan Brown, Viola Frey, Ana Mendieta, Christina Ramberg, Kiki Smith, and Beatrice Wood, as well as complementary works by artists already in the collection, including Gertrude Abercrombie, Edna Andrade, Diane Burko, Sue Coe, Janet Fish, Sarah McEneaney, Alice Neel, Louise Nevelson, Gladys Nilsson, Elizabeth Osborne, Betye Saar, and Nancy Spero. A fully illustrated catalogue, with contributions from Glenn Adamson, Anna C. Chave, Robert Cozzolino, Joanna Gardner-Huggett, Melanie Herzog, Janine Mileaf, Mey-Yen Moriuchi, Jodi Throckmorton, and Michele Wallace, is something to covet.
A temporary facility to provide volunteer assistance and work space to museums, libraries, archives, historic sites, galleries, collectors, and artists will open in Brooklyn, New York, during the week of December 10, 2012.
The Center for Cultural Recovery will be operated by the Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC), in cooperation with a consortium of the following organizations: the Alliance for Response New York City; the American Museum of Natural History; Heritage Preservation; Materials for the Arts; the New York City Department of Cultural Affairs; the New York Regional Association for Conservation; Industry City at Bush Terminal; and the Smithsonian Institution.
Funding for the center has been provided by a leadership gift to FAIC from Sotheby’s. The Smithsonian Institution and a grant to Heritage Preservation from the New York Community Trust, as well as support from TALAS, have enabled the purchase of supplies. The center has also been outfitted with supplies donated by Materials for the Arts, a program of the New York City Department of Cultural Affairs. Additional donations to FAIC have come from PINTA, the Modern and Contemporary Latin American Art Show; Tru Vue; members of the American Institute for Conservation; and others.
FAIC and its partners have been offering crucial disaster response assistance to cultural organizations and artists in need in the wake of Superstorm Sandy. In the first ten days after the storm struck, FAIC’s Collection Emergency Response Team’s (AIC-CERT) twenty-four-hour hotline (202-661-8068) fielded over fifty-five calls from collectors, artists, and museums. AIC-CERT and New York area volunteers are working with approximately 120 small collections, galleries, and artists in New York and New Jersey to recover collections. In addition, AIC member conservators in private practices throughout the New York region are helping owners preserve their collections.
Access to some collections, including those of individual artists, is only now becoming possible. Even artwork that has been dried still may need rinsing and cleaning to remove residues and mold spores. The Cultural Recovery Center will offer space and expertise to help owners stabilize their collections.
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 Art.sy, 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 Art.sy, to relay some of the questions raised by commentators related to Art.sy’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.)
posted by CAA — December 05, 2012
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 caa.reviews, 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 caa.reviews 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
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 caa.reviews
- 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.
CAA Vice President for External Affairs
P.S. Contributions to CAA’s Annual Fund are 100 percent tax deductible.
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.
CAA’s Services to Artists Committee invites artist members to participate in ARTexchange, an open forum for sharing work at the 2013 Annual Conference. Free and open to the public, ARTexchange will be held on Friday, February 15, 5:30–7:30 PM, in a central location at the Hilton New York. A cash bar will be available.
ARTexchange is an annual event showcasing the art of CAA members, who can exhibit their paintings, drawings, prints, photographs, sculptures, and digital works using the space on, above, and beneath a six-foot folding table. Artists may also construct temporary mini-installations and conduct performance, sound, and spoken-word pieces in their space. In the past, many ARTexchange participants found the event to be their favorite part of the conference, with the table parameter sparking creative displays.
To be considered for ARTexchange in New York, please send your full name, your CAA member number, a brief description of the work you want to exhibit (no more than 150 words), and a link to your website to Lauren Stark, CAA manager of programs. Artists presenting performance or sound art, spoken word, or technology-based work, including laptop presentations, must add a few sentences about their plans. Accepted participants will receive an email confirmation. Because ARTexchange is a popular venue with limited space, early applicants will be given preference. Deadline: December 14, 2012.
Participants are responsible for their work; CAA is not liable for losses or damages. Sale of work is not permitted. Participants may not hang artworks on walls or run power cords from laptops or other electronic devices to outlets—bring fully charged batteries.
Image: the artists Jeff Schmuki and Wendy DesChene, founders of PlantBot Genetics, demonstrate their products during ARTexchange at the 2012 Annual Conference in Los Angeles (photograph by Bradley Marks)