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.
Erwin Panofsky’s Newly Discovered Thesis on Michelangelo and Raphael Will Be Published
Next year De Gruyter will publish a previously unknown thesis by the influential art historian Erwin Panofsky, titled “The Creative Principles of Michelangelo, particularly in relation to those of Raphael.” The document was discovered in the archives of Munich’s Central Institute for Art History last June. (Read more at Blouin Artinfo).
Hundreds of Lost William Blake Etchings Discovered at a Manchester Library
Researchers at the University of Manchester’s John Rylands Library have stumbled upon a treasure trove of works by the poet and artist William Blake. After two years of work, a group students, overseen by the art historian Colin Trodd, found about 350 engraved plates designed by Blake in the collection. (Read more at the Independent).
How Art Can Bridge the Digital “Divide”
Like writers embracing digital platforms, musicians embracing digital music, or photographers embracing digital photography, art based on new media often just did—and still does—old things in new ways. The art critic Claire Bishop also made this observation on the “digital divide” in art, further noting that: “While many artists use digital technology, how many really confront the question of what it means to think, see, and filter affect through the digital? (Read more at Wired).
Brooklyn Museum Finds Some Problematic Gifts Can’t Be Returned
The Brooklyn Museum seemed to have garnered a bonanza in 1932 when it received a large bequest from the estate of Col. Michael Friedsam, president of the elegant retail emporium B. Altman. But eight decades later that cache of Dutch and Renaissance paintings, Chinese porcelains, jewelry, and furniture has become something of a burden. A quarter of the 926 works have turned out to be fakes, misattributions, or of poor quality, and the museum potentially faces a hefty bill to store the 229 pieces it no longer wants. (Read more at the New York Times).
From Palate to Palette: Can Food Be Art?
Last night, I cooked broccoli rabe with caramelized onions and vegan fennel sausage, along with a creamy parmesan polenta and a crusty whole wheat rosemary bread made from the Camaldoli sourdough culture that I feed flour to each day. Like many artists I know, I love to cook and often spend between one and two hours making dinner each night. I once felt guilty about this—worried that my time would be better spent in my studio drawing or printing or otherwise making art—but then I came to see that making food—combining textures, flavors, scents, and colors—is also creative. (Read more at Createquity).
Social Media Play Fresh Role in the Arts
The profound effect of social-media use on the arts community is becoming clear, with a recent study providing a first view of how arts organizations large and small are using online platforms. In the Sacramento region, some small organizations, such as the fledgling Classical Revolution, rely completely on social-media sites, while larger presenters, like the Mondavi Center, are using them as a tool to attract new and younger audiences. (Read more at the Sacramento Bee).
Copyright Suit Pits Fair Use against Unlicensed Distribution
Digital civil-rights groups asked a federal court in New York to reject what they call an attempt by the Associated Press to restrict fair use of content on the internet. “If adopted by this or any other court, this view would sharply curtail the essential role fair use plays in facilitating online innovation and expression, restricting the use and development of services that allow users to find, organize, and share public information, services that depend on making intermediate copies, and even personal consumer uses such as time-shifting,” argues an amicus brief filed by the Electronic Frontier Foundation, Public Knowledge, and the Stanford Law School Center for Internet and Society. (Read more at PC World).
The rapid expansion of massive open online courses (MOOCs) has left many in international higher education asking how they can compete. With elite American universities dominating the emerging market, will foreign institutions be left behind? (Read more at Inside Higher Ed).
posted by Christopher Howard — January 22, 2013
CAA is selling advance tickets to the opening reception of the 101st Annual Conference through Wednesday, January 23, 2013, at 5:00 PM EST. Admission to the event—which will take place at the Solomon R. Guggenheim Museum on Wednesday evening, February 13, 7:00–9:00 PM—is $40 for CAA members and $55 for nonmembers.
Please contact CAA’s Member Services at email@example.com or 212-691-1051, ext. 1, to purchase your ticket today. In New York, tickets will be sold at Registration at the Hilton New York but not at the museum. Avoid the rush for tickets at the Hilton by purchasing yours in advance.
At the museum, attendees may preview Gutai: Splendid Playground, the first North American exhibition devoted to Gutai, the influential artistic collective in postwar Japan and one of the most important avant-garde movements of the 1950s and 1960s.
The Guggenheim is located at 1071 Fifth Avenue in Manhattan. To get there from the conference hotels, take the 4, 5, or 6 train to 86th Street. Walk west on 86th Street, turn right at Fifth Avenue, and proceed north to 88th Street. To reach the museum by bus, take the uptown M1, M2, M3, or M4 bus on Madison Avenue.
Image: Murakami Saburō, Passing Through, 1956, performance view at the 2nd Gutai Art Exhibition, Ohara Kaikan, Tokyo, ca. October 11–17, 1956 (photograph © Makiko Murakami and the former members of the Gutai Art Association and provided by the Museum of Osaka University)
CAA encourages you to register and take part in three upcoming events this winter and spring in Washington, DC: Arts Advocacy Day, Humanities Advocacy Day, and Museums Advocacy Day. At each, participants meet their senators and representatives in person to advocate increased federal support of the National Endowment for the Arts, the National Endowment for the Humanities, and the Institute for Museum and Library Services.
Previous lobbying experience isn’t necessary. Training sessions and practice talks take place the day before the main events—that’s why, for example, Arts Advocacy Day is actually two days, not one. Participants are also prepped on the critical issues and the range of funding requested of Congress to support these federal agencies. It is at these training sessions where you meet—and network with—other advocates from your states. The main sponsoring organization for each event makes congressional appointments for you.
You may have mailed a letter or sent a prewritten email to your congressperson or senator before, but legislators have an algorithm of interest for pressing issues, in which a personal visit tops all other forms of communication. As citizen lobbyists, it’s also important to have a few specific examples about how arts funding has affected you: don’t be afraid to name-drop major cultural institutions—such as your city’s best-known museum or nonprofit art center—in your examples of why the visual arts matter in your state.
If you cannot attend the three advocacy days in person, please send an email or fax to your representatives expressing your concern about continued and increased funding for the visual arts. If you don’t know your representative or senators, you can look them up at www.congress.org.
Museums Advocacy Day
Join fellow advocates in Washington, DC, for Museums Advocacy Day, taking place February 25–26, 2013, and help make the case that museums are essential—as education providers and economic drivers—in every community. If museums are not at the table, they could be on the table. Registration is open through January 25.
Humanities Advocacy Day
Registration for the annual meeting of the National Humanities Alliance (March 18) and Humanities Advocacy Day (March 19) will help you to connect with a growing network of humanities leaders, to communicate the value of the humanities to members of Congress, and to become a year-round advocate for the humanities. The advance deadline for registration is January 31, 2013.
Arts Advocacy Day
The 2012 election made a dramatic impact on Congress, with more than eighty new members taking office this month. The House and Senate will renew the focus on reducing the federal deficit and creating jobs, and it is imperative that arts advocates work together to craft a policy agenda that supports the nonprofit arts sector and arts education. CAA encourages you to register for Arts Advocacy Day, which takes place April 8–9, 2013, in Washington, DC, to help the cause. Register by the advance deadline to participate: March 25, 2013.
posted by Michael Fahlund — January 17, 2013
CAA has added four new podcasts to its growing series of audio recordings devoted to professional-development topics for artists.
In “Artistic Budgeting,” Elaine Grogan Luttrull, a certified public accountant and the founding owner of Minerva Financial Arts, outlines five basics steps to help individual artists with managing their finances. She also provides a PDF of an example budget for reference as you listen to the podcast.
“The Artist as Administrator,” presented by Thomas Berding, associate professor of studio art at Michigan State University, explores various issues artists may consider when pondering and operating within administrative roles, including how administrative assignments can both borrow from and complement one’s studio activity.
Edwin Torres, associate director for the Rockefeller Foundation’s New York City Opportunities Fund, talks about “Innovations in Fundraising,” sharing fresh models that artists have developed to create new works.
Finally, the artist and professor Amy Broderick presents “The Importance of Mentorship and Advocacy,” a podcast on how mentoring and advocacy can enhance the career of professionals in the visual arts.
Evolving from the National Professional-Development Workshops and now produced in tandem with them, the podcast series is ongoing, with new audio added on a regular basis. While the initial focus is on artists, CAA hopes to develop podcasts for art historians, curators, nonprofit art professionals, and other constituencies in the future.
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.
Digital Art History Symposium at the Institute of Fine Arts
Under the heading “Mellon Research Initiative: Digital Art History,” the Institute of Fine Arts at New York University has posted video recordings from its recent conference on digital art history, which took place November 30–December 1, 2012. (Read more at THATCamp CAA.)
Help Desk: Ready for Representation?
When is an artist ready to approach galleries? I’ve been exhibiting my art for about five years, with a couple decent solo shows and a few big sales. It’s not an extensive track record, but I’m dedicated and need to increase sales if I want to keep making art. I keep thinking I’m “almost” ready and don’t want to waste my time or the gallerist’s—or risk making a poor first impression with him or her by jumping the gun. I’ve read different advice in books but still feel unsure about this important step. (Read more at Daily Serving.)
As the Battle for the Online Art World Sharpens, How the Players Are Adapting
Over the last five years, investors have funneled tens of millions of dollars into fledgling websites that help users buy, sell, borrow, and learn about art online. Backers range from flush art-world figures like Dasha Zhukova to successful venture capitalists such as Jack Dorsey, a founder of Twitter, and Peter Thiel, a former PayPal executive. But can a cultural sector that typically relies on exclusivity, personal contact, and (often) opacity make an effective transition to the web? (Read more at Art and Auction.
Labor Mural Gets a New Home in Augusta
The controversial labor mural that once hung in the lobby of the Maine Department of Labor in Augusta—and became the subject of a lawsuit when Governor Paul LePage ordered it removed—has found a new home. The mural will reside for at least the next three years in the Cultural Building atrium that serves as the entryway to the Maine State Museum in Augusta. (Read more at the Morning Sentinel.)
Adjunct Project Reveals Wide Range in Pay
Over the past year, adjuncts across the nation have been turning to the Adjunct Project, a crowdsourcing effort that started last February when Joshua A. Boldt, a writing instructor in Georgia, put online a publicly editable spreadsheet. Nearly two thousand entries have already been made on adjuncts’ pay and working conditions, and a clearer national picture is emerging. Now, to increase participation and collect ever-more-comprehensive information, Boldt and the Chronicle are expanding the project. (Read more at the Chronicle of Higher Education.)
Making the Case for Adjuncts
By now, it’s hard to imagine that many people in academe haven’t heard about how most adjuncts work for years at low pay and under conditions that hinder their efforts to help students. So why hasn’t the issue received more attention on a wider scale, and what will it take to achieve real change? Adjunct advocates and higher-education experts are counting on a new, targeted focus on students and educational value, and gathering of more data about their employment, to force reform. (Read more at Inside Higher Ed.)
Opportunity Costs: The True Price of Internships
Every summer, thousands of interns descend on New York City in order to work for nothing. They flow into empty dorm rooms or onto friends’ sofas to sleep, burrow unnoticed into illegal sublets, and surf couches longterm. At work, they occupy desks and offices recently vacated by laid-offs. They file papers, get coffee, and try to make themselves noticed, but not too much so. No one knows how many of these interns there are, partly because much of their unsalaried work is illegal and therefore covert. (Read more at Dissent.)
Court Decision Shows Why Copyright Assignments Should Be Precisely Worded
The parties in a recent case engaged in expensive litigation they could have avoided if the language governing transfer of copyright had been more precise. The decision serves to remind how good drafting in development agreements—whether for software, content, or, as in this case, t-shirt designs—can enhance business efficiencies. (Read more at Information Law Group.)
CAA has partnered with Tutku Tours to provide an exclusive offer for its members to spend thirteen days exploring the ancient and contemporary sides of Turkey, from April 26 to May 10, 2013. Highlights of the Art of Turkey trip include stops in Istanbul, Izmir, Cappadocia, Troy, Ephesus, and Pamukkale. The tour begins with three full days in Istanbul—the “city located on two continents”—where travelers will visit the major attractions, including the Blue Mosque and Hagia Sophia, and also get to know the city’s vibrant street life and local art scene.
Next, the tour will visit the ancient city of Troy and the Pergamum acropolis, and also the less-trodden destination of Ayvalık, a small town on the northwestern Aegean coast of Turkey. After several days of immersion in the ancient world, the group will pay a visit to the second International Izmir Art Biennial, one of the largest international art events in the country that will include more than three hundred artists; Seba Uğurtan, the biennial’s founder, will give tour participants an exclusive overview of the exhibition.
The Art of Turkey Tour will also provide CAA members with time for rest and relaxation. It will stop at the port city of Ephesus to visit a carpet school, along with an overnight stay at a spa hotel at the Pamukkale hot springs. The trip will conclude with a full day in Cappadocia, where travelers will explore the Goreme Open Air Museum, a vast collection of painted cave-churches dating from 1000 AD.
Getting There: Turkish Airlines provides nonstop, direct flights from the United States and Canada, leaving from New York, Los Angeles, Chicago, Washington, DC, and Toronto.
Land and Air Rates: $3,990 per person for a double room; $4,780 per person for a single room.
The Art of Turkey Tour features include:
- International flight from New York, Los Angeles, Chicago, Washington, DC, or Toronto
- Thirteen nights in superior hotels
- Meals (thirteen dinners, four lunches, daily breakfasts)
- All entry fees to museums and sites, including the Izmir Art Biennial
- Transportation and tour guide
- Hot-air balloon flight and a whirling-dervishes ceremony in Cappadocia
For a detailed, day-by-day tour itinerary, please download and review the Art of Turkey brochure. Tutku Tours will host demonstrations and lectures on art in Turkey at its exhibit booth (#100) in the Book and Trade Fair at CAA’s 2013 Annual Conference in New York.
posted by Christopher Howard — January 15, 2013
The American Institute for Conservation of Historic and Artistic Works (AIC) will present a session, called “Facing the Unthinkable: Preparing for the Next Sandy,” at CAA’s 101st Annual Conference in New York on Saturday, February 16, 2013. It will take place from 1:00 to 3:30 PM at the Hilton New York, Concourse C, Concourse Level. This session—which is free and open to the public—is aimed particularly at artists and small-gallery managers and will focus on concrete steps they can take to mitigate the impact of emergencies through planning and preparing for forecasted events, such as storms, and on first steps to take following an emergency. In addition, important health and safety procedures will be outlined, and lists of resources and contact information for assistance will be distributed.
When Superstorm Sandy struck the Northeast at the end of October 2012, individual artists and small galleries were especially vulnerable—especially those concentrated in low-lying areas that were eventually inundated with floodwaters. Many prepared as they had for Hurricane Irene a year previously, but the height and power of the water was far beyond what Irene had brought. Lessons learned from this disaster will be covered in the workshop, including the experiences of AIC’s Collections Emergency Response Team (AIC-CERT) and the current work at the Cultural Recovery Center in Brooklyn.
Speakers will include members of AIC-CERT and volunteers from the Cultural Recovery Center: Cynthia M. Albertson, Assistant Conservator, Museum of Modern Art; Lisa Elkin, Chief Registrar and Director of Conservation, American Museum of Natural History; David Goist, Conservator in Private Practice, Raleigh, North Carolina; and Caitlin O’Grady, Department of Art Conservation, University of Delaware.
AIC, which advances the practice and promotes the importance of preservation of cultural property through publications, research, and the exchange of knowledge, is a CAA affiliated society.
Updated on January 28, 2013.
The Andrew W. Mellon Foundation has awarded the College Art Association (CAA) a major grant of $630,000 to develop, publish, and disseminate a code of best practices for fair use in the creation and curation of artworks and scholarly publishing in the visual arts. The initiative will examine the intersection of copyright understandings and creative practices of the visual arts community in art production, art scholarship, museum curation, and editing of work on art. The project will be completed over four years, from January 2013 through December 2016. During this period, CAA will produce an issues report documenting the effects of copyright understandings on creative choices and write a code of best practices in fair use for the communities of practice represented by its members.
In noting the importance of this work, Anne Collins Goodyear, CAA board president, observed: “The challenges and uncertainties faced by artists and art historians today in securing rights to reproduce works of art in hardcopy and electronically—and the difficulties in knowing when the law might require securing such rights—have serious adverse consequences for creative practice. Both scholarly and artistic projects are often compromised or even abandoned because of the arduous and expensive process of clearing permissions. An improved understanding of the scope of fair use and a field-wide agreement on its application will be invaluable to all practitioners in the visual arts.”
By undertaking this critical and timely project, CAA aims to provide much-needed clarification of best practices in the use of third-party copyrighted material, and establish a practicable code of conduct for members of the visual-arts community. In order to create a code that functions across all areas of the visual arts, CAA’s fair use project will involve participants from the fields of art history, studio art, print and online publishing, art museums, and related areas.
Linda Downs, executive director and CEO of the College Art Association emphasized the association’s capacity to lead this effort: “As the premier association in the visual arts, CAA is uniquely positioned to address these challenges. CAA’s membership represents a broad range of stakeholders—including artists, art historians, photographers, curators, writers, and educators, as well as museums, editors, and colleges and universities—who will benefit from the issues report and code of best practices. The organization has a strong record of advocacy on a variety of issues involving intellectual property. Moreover, as a scholarly publisher in the visual arts, CAA is familiar with the challenges associated with the uncertainty surrounding the application of fair use.”
The efforts funded by the Mellon grant will be overseen by a Task Force on Fair Use established by the CAA board in May of last year. The cochairs of the task force are: Jeffrey P. Cunard, long-standing CAA counsel and a managing partner in the law firm Debevoise & Plimpton LLP; and Gretchen Wagner, a member of CAA’s Committee on Intellectual Property and general counsel of ARTstor. In addition to the cochairs, task force members include: Anne Collins Goodyear, CAA board president and associate curator of prints and drawings at the National Portrait Gallery, Smithsonian Institution; Linda Downs, CAA executive director and chief executive officer; Randall C. Griffin, CAA vice president for publications and a professor in the department of art history at Southern Methodist University; and other CAA members with professional experience in studio art, art history, curatorial work, and copyright law.
CAA has engaged two principal investigators to lead the four-year project: Patricia Aufderheide, university professor in the School of Communication and co-director of its Center for Social Media; and Peter Jaszi, professor of law and faculty director of the Washington College of Law’s Glushko-Samuelson Intellectual Property Clinic. Aufderheide and Jaszi, who have significant expertise in successfully developing fair use codes for documentary filmmakers, dance archivists, research librarians, and journalists, will be responsible for conducting the investigatory work that will inform the report and code. Aufderheide and Jaszi will also work with a Community Practices Advisory Committee to review the report and a Legal Advisory Committee to review the code. Two project advisors—Virginia Rutledge, an art advisor, art historian, and lawyer who practices in the areas of both copyright and art law, and Maureen Whalen, associate general counsel for the J. Paul Getty Trust—will contribute expertise during all phases of the project. The task force cochairs, Cunard and Wagner, together with Goodyear, Downs, Aufderheide, and Jaszi will also serve as principal investigators.
CAA approaches this project with an established history of engagement on the issues of copyright and fair use, and gratefully acknowledges the work done in this area by allied scholarly societies including the Visual Resources Association, the Association of Research Libraries, and the New York City Bar Association Art Law Committee (ALC). With the assistance of a start-up grant from the Samuel H. Kress Foundation, awarded in September 2012, CAA recently completed a preparatory phase of the fair use project that will inform the activities now funded by the Mellon Foundation. During this preparatory phase, the task force met with Aufderheide, Jaszi, and CAA’s board of directors to discuss the research methodology and select thought leaders to be interviewed about copyright and fair use practices. Additionally, Aufderheide and Jaszi conducted twenty-five exploratory interviews with some of these thought leaders to help identify the key topics that the issues report and code should address. With this work completed, the task force and principal investigators are in a strong position to move forward with the formal investigative phase of the project.
For more information about the fair use project, please contact Janet Landay, project manager, at firstname.lastname@example.org (212-392-4420) or Virginia Reinhart, CAA marketing and communications associate, at email@example.com (212-392-4426).
posted by CAA — January 14, 2013
CAA is accepting applications for spring 2013 grants through the Millard Meiss Publication Fund. Thanks to a generous bequest by the late art historian Millard Meiss, the twice-yearly program supports book-length scholarly manuscripts in any period of the history of art and related subjects that have been accepted by a publisher but require further subsidy to be published in the fullest form.
The publisher, rather than the author, must submit the application to CAA. Awards are made at the discretion of the jury and vary according to merit, need, and number of applications. Awardees are announced six to eight weeks after the deadline. For the complete guidelines, application forms, and a fuller grant description, please visit the Meiss section of the CAA website or write to firstname.lastname@example.org. Deadline: March 15, 2013.
Image: The University of Oklahoma Press received a Meiss grant in fall 2010 to help publish Megan E. O’Neil’s book, Engaging Ancient Maya Sculpture at Piedras Negras, Guatemala (2012).
Association of Academic Museums and Galleries
Join the Association of Academic Museums and Galleries (AAMG) for its 2013 annual conference, to be held in Gilman Hall at Johns Hopkins University in Baltimore, Maryland, on May 18, 2013. This year’s conference theme examines exemplary foundation relationships and successful partnerships in other areas of museum and gallery activities. Successful relationships are based upon achieving mutually beneficial goals. Has your museum or gallery engaged in new, unusual, or model partnerships or collaborations with other nonprofit or for-profit organizations that have expanded your reach and influence? What was involved in making your project successful, and what did you and your partners learn from this outreach? This year’s conference will also include résumé workshops, poster presentations, and 20 x 20 presentations to increase participation options for student members. For more information, contact Barbara Rothermel or Sherry Maurer.
The Association of Art Historians (AAH) thirty-ninth annual conference and book fair will take place April 11–13, 2013, at the University of Reading in Berkshire, England. AAH2013 will represent the interests of an expansive art-historical community by covering all branches of its discipline(s) and the range of its visual cultures. Academic sessions will reflect a broad chronological and geographical range. Presentations will address topics of methodological, historiographical, and interdisciplinary interest as well as ones that open debates about the future of the discipline(s). AAH2013 will include visits to local sites of cultural interest and rare access to the university’s collections and archive. Keynote speakers will include Adrian Forty, professor of architectural history, The Bartlett, University College London, “in conversation” with Maarten Delbeke, associate professor of architecture and urban planning, Ghent University, and lecturer in art history, Leiden University. This event has been sponsored by Laurence King Publishing; and Okwui Enwezor, curator and director of Haus der Kunst, Munich. This event has been sponsored by Wiley-Blackwell. Booking for delegates is now open. AAH hopes to see you there!
The Historians of Islamic Art Association’s third biennial symposium, “Looking Widely, Looking Closely,” hosted by the Metropolitan Museum of Art in New York on October 18–20, 2012, was a great success, bringing together a group of nearly two hundred to share and discuss important topics and issues in the field. The association is grateful to the symposium organizers and host staff for their outstanding work.
HIAA has announce the election of five new members to the executive board: Yasser Tabbaa, Melanie Michailides, Margaret Graves, and Oya Pancaroglu will succeed Glaire Anderson, Olga Bush, Stephennie Mulder, and Bernard O’Kane in the roles of treasurer, news editor, H-Islamart editor, and international representative, respectively. Jennifer Pruitt will serve as webmaster, having acted as interim webmaster since mid-2012. HIAA will officially welcome these new officers and acknowledge the invaluable service of the outgoing board members at its annual business meeting, scheduled for February 15, 2013, 12:30–2:00 PM in conjunction with CAA’s Annual Conference.
Each year the International Sculpture Center presents Outstanding Student Achievement in Contemporary Sculpture Awards to its member colleges and universities as a means of supporting, encouraging, and recognizing the work of young sculptors and their supporting schools’ faculty and art program. The winners participate in an exhibition at Grounds for Sculpture, as well as in a traveling exhibition hosted by arts organizations across the country. Winners’ work is also featured in Sculpture magazine. Each awardee receives a one-year ISC membership and is eligible to apply for a full sponsored residency to study in Switzerland. To nominate students for this competition, the nominee’s university must first be an ISC university-level member. University membership, which includes a number of benefits, costs $200 for schools in the United States, Canada, and Mexico, and $220 for international universities. Students who are interested should talk to their professors about getting involved. To find out more about the program, please visit the website or write to email@example.com. The time line for 2013 is as follows: (1) nominations open on January 1; (2) university membership forms due on March 18; online student nomination form due on March 25; and online student submission forms due on April 15.
The 2013 International Sculpture Symposium will take place in Auckland, New Zealand, from February 11 to 15, 2013. The opening party will be hosted by Auckland Art Gallery with a traditional Powhiri welcome. Programming will include keynote addresses by world-renowned sculptors and panel discussions with art professionals. Optional activities and tours will include trips to Connell’s Bay Sculpture Park on Waiheke Island; a private tour of Alan Gibbs’s The Farm; an afternoon at Sculpture on the Gulf; Brick Bay Sculpture Trail and Vineyard; and Zealandia, the Pah Homestead private home collections. This event is sponsored in part by Brick Bay Sculpture Trail, Alan Gibbs and the Farm, John and Jo Gow and Connell’s Bay Sculpture Park, Trevor and Jan Farmer, and the Auckland Art Gallery. For more information and updates and to registration, visit the website for updates and join the mailing list for this event. Contact firstname.lastname@example.org or call 609-689-1051, ext. 302, with any questions about this or other ISC events.
The Italian Art Society (IAS) will hold a morning business meeting at the CAA Annual Conference on February 15, 2013, 7:30–9:00 AM in Gramercy B, Second Floor of the Hilton New York. We welcome those interested in Italian art and architecture from the prehistoric period to the present to attend. IAS is accepting contributions to its winter newsletter: exhibition reviews, short articles, and announcements related to Italian art and architecture should be sent to the newsletter editor by January 15, 2013. For additional information on IAS, please visit the website or “like” the organization on Facebook.
Mid America College Art Association
On October 3–6, 2012, the Mid America College Art Association (MACAA) hosted a very successful conference in Detroit, Michigan. The conference included fifty session panels, three roundtables, three workshops, and four hundred participants. Fritz Haeg, Lilly Wei, and Donald Lipski were the keynote speakers. The conference also included a MACAA membership exhibition and a Wayne State University alumni exhibition. Future MACAA conferences are now in the planning stage. Please check the organization’s website for updates.
Register now for “Drawing Community Connections,” the next National Art Education Association (NAEA) national convention, to be held March 7–10, 2013, in Fort Worth, Texas. NAEA invites you to join colleagues representing all teaching levels and backgrounds for this dynamic professional gathering exploring the arts and how they bolster human development. Choose from more than one thousand sessions, workshops, tours, and events focusing on theory, practice, assessment, museum education, interdisciplinary arts education, and more. Register for the convention, book your accommodations, and find program details online.
Spend four art-filled days in Washington, DC, exploring permanent collections, current exhibitions, and the museum itself as a work of art! Summer Vision DC, now in its fourth year, is a professional learning community for art and nonart educators, offered by NAEA in partnership with area art museums. The aim is to showcase best practices in critical response to art while enhancing creativity through visual journaling. Choose from two sessions: July 9–12, 2013, or July 23–26, 2013. Develop new leadership, pedagogical, and artistic skills for the classroom and beyond through this outstanding professional development opportunity. Registration is limited to twenty-five participants per session. Register and find details online.
The fortieth annual meeting of the National Council of Arts Administrators (NCAA), titled “Granting Permission,” convened November 7–9, 2012, in Columbus. Ohio. The organization owes a debt of gratitude to Sergio Soave of the Ohio State University, who served as conference chair, and to Columbus College of Art and Design for organizing a first-rate affair.
NCAA also wishes to thank outgoing board members John Kissick of the University of Guelph and Sally McRorie of Florida State University. Two new board members were elected: Steve Bliss of Savannah College of Art and Design and Cora Lynn Deibler from the University of Connecticut (secretary). The returning directors are: Andrea Eis, Oakland University, treasurer; Amy Hauft, University of Texas at Austin; Jim Hopfensperger, Western Michigan University, president; Kim Russo, California Institute of the Arts; Sergio Soave, Ohio State University; Lydia Thompson, Mississippi State University; and Mel Ziegler, Vanderbilt University.
Activities at CAA’s 2013 Annual Conference in New York include the annual NCAA reception, which will be a lively and spirited forum for networking on issues related to arts leadership and management (February 14, 5:00–8:00 PM), and an NCAA–CAA affiliate session, “Hot Problems/Cool Solutions in Arts Leadership,” a fast-paced series of five-minute presentations on problem solving and leadership (February 13, 12:30–2:00 PM). NCAA enthusiastically welcomes new members, current members, and any/all interested parties to these events.
Public Art Dialogue (PAD) will host its third annual Public Art Portfolio Reviews on February 15, 2013, from 10:00 AM to 4:00 PM in New York. The reviews, free for PAD members, are an excellent opportunity for artists of any level, including students who are seeking to work in public art, to receive feedback on their portfolios by experts in the field. Each artist will have a twenty-minute meeting with an experienced public art consultant, administrator, artist, or curator. The deadline to register is January 11, 2013, at 8:00 PM EST. To join PAD and schedule a review, please write to email@example.com.
Join PAD as it honors Penny Balkin Bach as the 2013 recipient of the PAD award for achievement in the field of public art. The award ceremony is open to all and will take place at the upcoming CAA Annual Conference, on February 15, 2013, at 5:30 PM at the Hilton New York, Sutton Parlor North, Second Floor.
The Radical Art Caucus (RAC) is pleased to announce the election of three new copresidents: Travis Nygard, Kaylee Spencer, and Linnea Wren. As RAC prepares for CAA in New York, it welcomes suggestions for programming and events in addition to two already planned sessions. Benj Gerdes and Nate Harrison are cochairing the 2½-hour session, “Video Art as Mass Medium,” and Travis Nygard is organizing the 1½-hour panel, “Environmental Sustainability in Art History, Theory, and Practice.” For the call for papers, please see RAC’s website or contact Joanna Gardner-Huggett, RAC secretary.
Registration is open for the Society for Photographic Education (SPE) fiftieth annual national conference, “Conferring Significance: Celebrating Photography’s Continuum,” which will take place March 7–10, 2013, in Chicago, Illinois. Join 1,500 artists, educators, and photographic professionals for programming and dialogue that will fuel your creativity—presentations, industry seminars, and critiques to stimulate and engage you. Explore an exhibit fair featuring over seventy participants showing the latest equipment, processes, publications, and schools with photo-related programs. Participate in one-on-one portfolio critiques and informal portfolio sharing and take advantage of student volunteer opportunities for reduced admission. Other conference highlights include a print raffle, silent auction, film screenings, exhibitions, tours, receptions, and a dance party. The keynote speakers will be Richard Misrach, Martin Parr, and Zwelethu Mthethwa. Preview the conference schedule and register online.
Society of North American Goldsmiths
The Society of North American Goldsmiths (SNAG) will hold its forty-second annual conference May 15–18, 2013, in Toronto, Ontario, at the downtown historic Fairmont Royal York Hotel. Titled “Meta-Mosaic,” the event will celebrate the multiple industries within jewelry and metalsmithing in the twenty-first century. Toronto is a mosaic of peoples and cultures as well as the center of Canada’s jewelry industry. This conference will examine a fluid identity within art, craft, and design and inspire attendees to embrace our collective mosaic. Join SNAG for presentations and panels featuring industry luminaries from across the globe, rapid-fire presentations by international designers and artists, over twenty exhibitions, the Third Annual Member Trunk Show Sale, social events, and so much more! Registration opened on January 16. Receive low early-bird rates by registering before March 13 and make your hotel reservations by February 15 for a special rate on top of our already reduced room block rates. Visit the SNAG website for all the details.
Visual Resources Association
Online registration for the thirty-first Visual Resources Association annual conference began on November 27, 2012. The event continues the tradition of offering exceptional professional-development experiences and opportunities that feature inspiring programs, speakers, and special events. The conference will be held April 3–6, 2013, in Providence, Rhode Island. Because of Providence’s reputation as the “Creative Capital,” the theme of this year’s conference will be “Capitalizing on Creativity.” Plenary speakers include the art historian, author, and critic James Elkins and the accomplished aerial photographer Alex MacLean. The conference includes relevant and thought-provoking sessions and case studies on subjects covering archaeological and public-art resources, teaching with new technologies, digital asset management, collaborative ventures, facilities design, visual literacy, documenting indigenous art, archival digitization, the digital humanities, and data visualization. The conference hotel is the historic Providence Biltmore, located in the heart of downtown. To learn more about the conference, please visit the VRA website, where you can find information on the host city, the conference program, registration, accommodations, and special events.