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CAA 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.

The Inclusion in Governance of Faculty Members Holding Contingent Appointments

The report that follows was prepared by a joint subcommittee of the American Association of University Professors’ Committee on Contingency and the Profession and the Committee on College and University Governance. Approved by both parent committees, the report was adopted as policy by the AAUP Council at its November 2012 meeting. (Read more from the American Association of University Professors.)

Cooper-Hewitt Announces Publication of White Paper on Socially Responsible Design

The Cooper-Hewitt, National Design Museum has announced the publication of a white paper, Design and Social Impact: A Cross-Sectoral Agenda for Design Education, Research, and Practice, along with a panel discussion on the paper’s findings and proposals. The paper is an outgrowth of the 2012 Social Impact Design Summit at the Rockefeller Foundation, which was hosted by Cooper-Hewitt and other groups to discuss strategies and actions to advance the field of socially responsible design—one term that refers to the practice of design for the public good, especially in disadvantaged communities. (Read more from the Cooper Hewitt, National Design Museum.)

The Art of Technology

John Maeda, president of the Rhode Island School of Design, remembers the night his Japanese-born father attended a parent–teacher conference in Seattle. The teacher gushed, “John excels at both art and math.” Later, he overheard his father proudly tell a customer at his tofu store, “John—he’s good at math.” Four decades later—at a time when economists, corporate executives, and politicians talk about the need for national excellence in science and engineering—Maeda is still trying to ensure that the arts aren’t forgotten. (Read more in the National Journal.)

3D-Printing Pen Turns Doodles into Sculptures

Free yourself from the tyranny of paper and boring 2D. With a $75 pen you can draw in thin air. The 3Doodle pen, developed by start-up company WobbleWorks, works much like a handheld 3D printer. It contains a mains-powered heater that melts the plastic beads used in such printers. (Read more in the New Scientist.)

Art School Panels Highlight Issues in Contemporary Art

On Saturday, the Yale School of Art hosted its first series of panels featuring students, curators, and professional artists discussing issues in contemporary art. The day of panels—which covered everything from the role of the internet in art making to how the camera phone has changed photography—was meant to foster discussion in a public setting about ideas that students had been dealing with in their mandatory first-semester “Critical Practice” class. (Read more in the Yale Daily News.)

The Geography of America’s Freelance Economy

Writing in the Atlantic back in 2011, Sara Horowitz, the founder of Freelancers Union, dubbed the “freelance surge” the “Industrial Revolution of our time”—as significant a shift in employment patterns as has been seen since the transition from agriculture to industry in the 1800s. A recent report estimates that there are about 17 million full-employed freelancers, or independent workers, a number than swells to more than 40 million, roughly a third of the workforce, when you include temps, part-timers, contractors, contingent workers, and those who are underemployed or work without employer-sponsored health insurance, 401Ks, or FLEX accounts. (Read more in the Atlantic.)

What Happened to Arts Students When the Fees Went Up?

When tuition fees tripled last year, with many universities setting their rates at the highest possible amount of £9,000, arts professionals in the country held their breath. Would the introduction of higher fees create a “dearth of training for people who don’t have independent wealth or rich parents,” as actor Clare Higgins put it? The truth is, it’s still hard to pinpoint the impact of last year’s fee rises. (Read more in the Guardian.)

Art Gallery Sued Again over Sale of Paintings

The once esteemed gallery Knoedler & Company has been sued five times since late 2011 by former clients who said it sold them forged paintings procured from a little-known Long Island dealer. Now the shuttered gallery is being sued by an investor who says paintings from the same dealer are genuine and that Knoedler did not do enough to sell them. (Read more in the New York Times.)

Filed under: CAA News

2013 Annual Conference Report

posted by Nia Page

CAA hosted its 101st Annual Conference from February 13 to 16, 2013, at the Hilton New York in midtown Manhattan. This year’s program included four days of presentations and panel discussions on art history and visual culture, Career Services for professionals at all stages of their professional lives, a Book and Trade Fair, and a host of special events throughout the region. Preceding the Annual Conference was CAA’s first THATCamp, an “unconference” on digital art history that took place at Macaulay Honors College, City University of New York.


Close to six thousand people from throughout the United States and abroad—including artists, art historians, students, educators, curators, critics, collectors, and museum staff—attended the conference.


Conference sessions featured presentations by artists, scholars, graduate students, and curators who addressed a range of topics in art history and the visual arts. In total, the conference offered over two hundred sessions, developed by CAA members, affiliated societies, and committees.

Career Services

Career Services included four days of mentoring and portfolio-review sessions, career-development workshops, and job interviews with colleges, universities, and other art institutions. Approximately 230 interviewees and forty mentors participated in Career Services.

Book and Trade Fair

This year’s Book and Trade Fair presented 110 exhibitors—including participants from the United States, the United Kingdom, Turkey, Belgium, Mexico, Hong Kong, Germany, Poland, Ukraine, and Canada—that displayed new publications, materials for artists, digital resources, and other innovative products of interest to artists and scholars. The Book and Trade Fair also featured book signings, lectures, and demonstrations, as well as three exhibitor-sponsored program sessions on art materials and publishing.

ARTspace and ARTexchange

ARTspace, a “conference within the conference” tailored to the needs and interests of practicing artists, presented programming free and open to the public, including this year’s Annual Artists’ Interviews with Mira Schor and Janine Antoni. Over three hundred people attended this extraordinary event.

ARTspace also featured four days of panel discussions devoted to visual-arts practice, opportunities for professional development, and screenings of video work curated and produced by graduate students from the New York region. Programmed by CAA’s Services to Artists Committee, ARTspace was made possible in part by a generous grant from the National Endowment for the Arts.

ARTexchange, an open-portfolio event in which CAA artist members displayed drawings, prints, photographs, small paintings, and works on laptop computers, took place on Friday, February 15. Nearly fifty artists participated in ARTexchange this year.

Convocation and Awards

More than five hundred people attended CAA’s Convocation and presentation of the annual Awards for Distinction, which honor the outstanding achievements and accomplishments of individual artists, art historians, authors, conservators, curators, and critics whose efforts transcend their individual disciplines and contribute to the profession as a whole and to the world at large. The recipients of the 2013 awards are:

  • Ellsworth Kelly, Distinguished Artist Award for Lifetime Achievement
  • Elaine Sturtevant, Artist Award for Distinguished Body of Work
  • T. J. Clark, Distinguished Lifetime Achievement Award for Writing on Art
  • Hal Foster and Claire Bishop, Frank Jewett Mather Award
  • Harmony Hammond and Martha Rosler, Distinguished Feminist Award
  • Mary K. Coffey, Charles Rufus Morey Book Award
  • Philipp Kaiser and Miwon Kwon, Alfred H. Barr Jr. Award
  • Joanne Pillsbury, Miriam Doutriaux, Reiko Ishihara-Brito, and Alexandre Tokovinine, Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
  • Buzz Spector, Distinguished Teaching of Art Award
  • June Hargrove, Distinguished Teaching of Art History Award
  • Lance Mayer and Gay Myers, CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
  • Yukio Lippit, Arthur Kingsley Porter Prize
  • Julia Bryan-Wilson, Art Journal Award

Robert Storr of Yale University delivered the keynote address. His provocative address will be posted on CAA’s website in the coming weeks.

Special Events

Following Convocation, the Solomon R. Guggenheim Museum hosted CAA’s Opening Reception on Wednesday evening, February 13. Hundreds of attendees gathered to celebrate the conference while enjoying a preview of the exhibition Gutai: Splendid Playground.

CAA celebrated the one hundredth anniversary of The Art Bulletin and the fifteenth anniversary of after the Annual Members’ Business Meeting on Friday, February 15.

Thank You

Members of CAA’s Board of Directors and staff would like to extend their gratitude to all conference funders and sponsors, attendees, volunteers, and participants; the organization’s committees and award juries; the Hilton New York staff; NYC and Company; the museums and galleries that opened their doors to conference attendees free of charge; and everyone involved in helping to make the 101st Annual Conference such a tremendous success!

Save the Date

CAA’s 102nd Annual Conference will be held in Chicago, Illinois, February 12–15, 2014.

About CAA

The College Art Association is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, websites, and other events. CAA focuses on a wide range of issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching.

Filed under: Annual Conference

CAA wishes to thank the artists, scholars, curators, critics, educators, and other professionals in the visual arts who generously served as mentors for the Artists’ Portfolio Review, Career Development Mentoring, Mock Interview Sessions, and Professional Development Roundtable Discussions. The organization also appreciates the work of the leaders of the Professional-Development Workshops and the speakers at Orientation.


Michael Aurbach, Vanderbilt University; and David M. Sokol, University of Illinois, Chicago (emeritus).

Artists’ Portfolio Review

Michael Bzdak, Johnson & Johnson; Susan Canning, College of New Rochelle; Sandra Dupret, Fleming College; Diane Edison, University of Georgia; Peter Kaniaris, Anderson University; Jason Lahr, University of Notre Dame; Suzanne F. W. Lemakis, Center for Culture: Department of Fine Art, Citibank; Sharon Lippman, Art Without Walls; Craig Lloyd, College of Mount St. Joseph; George Lorio, Delaware State University; Lenore Malen, Parsons the New School for Design; Sarah Mizer, Virginia Commonwealth University; Marilyn Murphy, Vanderbilt University; Judith Pratt, Judith Pratt Studio; John Silvis, New York Center for Art and Media Studies; and Steve Teczar, Maryville University of St. Louis.

Career Development Workshop

Edward Aiken, Syracuse University; Susan Altman, Middlesex County College; Karen Atkinson, California Institute of the Arts; Michael Aurbach, Vanderbilt University; Roann Barris, Radford University; Brian Bishop, Framingham State University; Kevin Concannon, Virginia Tech; Jeffery Cote de Luna, Dominican University; James Farmer, Virginia Commonwealth University; Reni Gower, Virginia Commonwealth University; Richard Heipp, University of Florida; Jim Hopfensperger, Western Michigan University; Dennis Ichiyama, Purdue University; Mitch Kern, Alberta College of Art and Design; Carol Krinsky, New York University; Craig Lloyd, College of Mount St. Joseph; Sharon Louden, independent artist; Heather McPherson, University of Alabama, Birmingham; Jo-Ann Morgan, Western Illinois University; Mark O’Grady, Pratt Institute; Morgan Paine, Florida Gulf Coast University; Doralynn Pines, Metropolitan Museum of Art (retired); Judith Pratt, Judith Pratt Studio; David Raizman, Drexel University; Paul Ryan, Mary Baldwin College; Dinah Ryan, Principia; Greg Shelnutt, Clemson University; Gerald Silk, Tyler School of Art, Temple University; John Silvis, New York Center for Art and Media Studies; Joe Thomas, Kennesaw State University; Larry Thompson, Samford University; Ann Tsubota, Raritan Valley Community College; Charles Wright, Western Illinois University; Barbara Yontz, St. Thomas Aquinas College; and Annie Storr, Corcoran Gallery of Art.

Professional-Development Roundtable Discussions

Michael Aurbach, Vanderbilt University; Diane Edison, University of Georgia; Peter Kaniaris, Anderson University; and Leo Morrissey, Winston-Salem State University.

Mock Interview Sessions

Lynne Allen, Boston University; Anne Bertrand-Dewsnap, Marist College; Steven Bleicher, Coastal Carolina University; Karen Blough, State University of New York, Plattsburgh; Susan Bowman, Rowan University; Maria Ann Conellu, Brooklyn College, City University of New York; Sara Dismukes, Troy University; Carole Garmon, University of Mary Washington; Randall C. Griffin, Southern Methodist University; Bertha Gutman, Delaware County Community College; Kim Hartswick, Brooklyn College, City University of New York; Richard Heipp, University of Florida; Carolyn Henne, Florida State University; Janet Hethorn, University of Delaware; Dennis Y. Ichiyama, Purdue University; Matt King, Virginia Commonwealth University; Andrea Kirsh, Independent Scholar and Rutgers University; Cory Knedler, University of South Dakota; Sandy Lane, Metropolitan State University of Denver; David LaPalombara, Ohio University; David Chapman Lindsay, Texas Tech University; Tom Loeser, University of Wisconsin, Madison; Greg Martino, Pennsylvania Academy of Fine Arts; Donna M. Meeks, Lamar University; Rebecca Nolan, Savannah College of Art and Design; Charlotte A. Norman, Columbus College of Art and Design; Ravi S. Rajan, Purchase College, State University of New York; Kirstin Ringelberg, Elon University; Katherine Sullivan, Hope College; Karen Wirth, Minneapolis College of Art and Design; David Yager, University of California, Santa Cruz.

Brown-Bag Lunches and Sessions

Hazel Antaramian-Hofman, California State University, Fresno; Steven Bleicher, Coastal Carolina University; Amanda Hawley Hellman, Emory University; David Chapman Lindsay, Texas Tech University; Laurel Peterson, Yale University; and Amelia Winger-Bearskin, Vanderbilt University.

Professional-Development Workshops

Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University; Barbara Bernstein, Rhode Island School of Design and Virginia Center for the Creative Arts; Steven Bleicher, Coastal Carolina University; Micha Cárdenas, University of Southern California; Barbara Chin, ITHAKA; Mika Cho, California State University, Los Angeles; Stacy Miller, Parsons the New School for Design; Gigi Rosenberg; David M. Sokol, University of Illinois, Chicago (emeritus); Blaise Tobia, Drexel University; and Angie Wojak, School of Visual Arts.

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.

Move Over Galleries: Artists Sign with Agents

The British artist Stuart Semple has signed a contract for worldwide representation with the fashion agency Next Management, a move that highlights again how the traditional artist–gallery relationship is changing. Several artists, including Damien Hirst and Keith Tyson, have agents or managers who provide financial advice and handle their business dealings with galleries, but Semple says his collaboration will more closely resemble relationships in the music industry, where managers act as a buffer between their acts and the outside world, helping to promote their work and negotiate their projects. (Read more in the Art Newspaper.)

Help Desk: Art Consultant

I was just approached by an art consultant who asked me “how I normally work with art consultants.” I think what the person wanted to know is how I want to divide sales, like a percentage ratio, and I just don’t know what is normal. I tried to find online standards for art consultant–artist relationships that develop without a gallery being involved, but everything was all over the place and contradictory. (Read more at Daily Serving.)

The Humanities, Unraveled

Let me start with the bad news. It is not even news anymore; it is simply bad. Graduate education in the humanities is in crisis. Every aspect, from the most specific details of the curriculum to the broadest questions about its purpose, is in crisis. It is a seamless garment of crisis: if you pull on any one thread, the entire thing unravels. Read more in the Chronicle of Higher Education.)

Four Common Misconceptions on Creative Thinking in Research

Research is a creative activity. In essence, to solve your research question, you will need to take a step outside the boundaries of current knowledge. If you are expected to develop a new theory as part of your research, you certainly need to get your creative juices flowing. When we read the work of great scientists, it sometimes seems as if they possess of some extraordinary tweak in their brain that makes them capable of taking a visionary leap and pushing their field to new advances. In reality, however, all creative solutions are simply the result of a long process of trying, researching, and chewing at the end of pencils. Read more at Inside Higher Ed.)

Fire at Pratt Institute Destroys Studios and Artwork of Students

Maria De Los Angeles, a twenty-four-year-old student at Pratt Institute, has an admissions interview at Yale University’s graduate art school next month and was planning to show the officers there some of her one hundred paintings and three hundred prints. But in last Friday’s early hours, a fast-moving fire ravaged the top two floors of the historic main building at the private art, design, and architecture college in Brooklyn, destroying dozens of art studios and the precious works they contained. (Read more in the New York Times.)

Will You Lose Your Museum Job to a Robot?

OK, maybe not to a robot, but to increasingly sophisticated automation. This question is prompted by a report released last month by the Associated Press forecasting the effect of technology on the economy and employment. The thesis of the authors is that the world is experiencing the first real “jobless recovery” in history, as we bounce back from the great recession of 2008. They argue that the millions of jobs that went away in the past few years not only are not coming back, even more jobs will be lost as automation takes over more work. (Read more at the Center for the Future of Museums.)

A Critic’s Take on Arts and Entrepreneurship

“Arts entrepreneurship” certainly isn’t an oxymoron, unless your definition of art is so narrow that any business success disqualifies it—the attitude of the stereotypical rock snob for whom the little-heard indie debut is always better than the major-label follow-up. On the other hand, the conflict between art and commerce is age old, and there’s no question pandering to an audience can undermine artistic quality. But there’s no magic formula for striking the balance. (Read more in Audience Wanted.)

Sotheby’s Sued over Caravaggio Attribution

Sotheby’s is being sued for damages over a work it attributed to a “follower” of Caravaggio that sold at auction in London to the late collector and scholar Denis Mahon in 2006, for a hammer price of £42,000. Mahon subsequently identified the painting as a work “by the hand of Caravaggio” and obtained an export license for it that gave an estimated selling price of £10 million, according to a claim filed at London’s High Court of Justice. (Read more in the Art Newspaper.)

Filed under: CAA News

CAA Seeks Nominations for 2014–18 Board Service

posted by Vanessa Jalet

CAA seeks nominations and self-nominations from individuals interested in shaping the future of the organization by serving on the Board of Directors for the 2014–18 term. The board is responsible for all financial and policy matters related to the organization. It promotes excellence in scholarship and teaching in the history and criticism of the visual arts, and it encourages creativity and technical skill in the teaching and practice of art. CAA’s board is also charged with representing the membership on issues affecting the visual arts and the humanities.

Candidates must be current CAA members. Nominations and self-nominations should include the following information: the nominee’s name, affiliation, address, email address, and telephone number, as well as the name, affiliation, and email address of the nominator, if different from the nominee. Please send all information by mail or email to: Vanessa Jalet, Executive Liaison, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004. Deadline: April 1, 2013.

The CAA Board of Directors welcomes four newly elected members, who will serve from 2013 to 2017:

  • Constance Cortez, Associate Professor of Art History, Texas Tech University
  • Jennifer Milam, Professor of Art History, University of Sydney
  • Sheila Pepe, Artist and Acting Assistant Dean for Academic Affairs, School of Art and Design, Pratt Institute
  • John Richardson, Professor and Chair of the Department of Art and Art History, Wayne State University

Anne Collins Goodyear, CAA board president, announced the election results during the Annual Members’ Business Meeting, held on Friday, February 15, at the 101st Annual Conference in New York.

The Board of Directors is charged with CAA’s long-term financial stability and strategic direction; it is also the association’s governing body. The board sets policy regarding all aspects of CAA’s activities, including publishing, the Annual Conference, awards and fellowships, advocacy, and committee procedures.

For the annual board election, CAA members vote for no more than four candidates; they also cast votes for write-in candidates (who must be CAA members). The four candidates receiving the most votes are elected to the board.

“Publishing The Art Bulletin” Launches

posted by Christopher Howard

This year marks the one hundredth anniversary of the first issue of The Art Bulletin, CAA’s flagship journal of art-historical scholarship. “Publishing The Art Bulletin: Past, Present, and Future,” an ambitious online project, has just launched to celebrate the occasion. The project employs a deep exploration of the journal’s hundred-year archive to stimulate thinking about the forms that a future Art Bulletin might take.

Three outstanding essays—by Ananda K. Coomaraswamy (1939), Mehmet Aga-Oglu (1945), and Suzanne Preston Blier (1993)—stand at the heart of the project, which also features an array of features possible only in a digital format. Thelma K. Thomas, an associate professor in the Institute of Fine Arts at New York University and chair of the Art Bulletin Editorial Board, created the website in collaboration with the Scalar project of the Alliance for the Networking of Visual Culture and the University of Southern California, which helped fund the project.

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.

Interview with NEA Chief of Staff Jamie Bennett

With Rocco Landesman’s announcement to step down from the chairmanship of the NEA, can you reflect on the major accomplishments of his and your tenure and assess the impact—current and future—on the field? What do you see as unfinished business at the agency? (Read more at Barry’s Blog.)

Artists in Egypt Work in a Tense Atmosphere

The Muslim women in Marwa Adel’s photographs are shadows, repressed by custom, religion, marriage, and regret. While nude, the figures are obscured by sepia scrims, scrawled upon with stifling words—as if their true selves may never be known. Like their creator, a single mother edging at the bounds of artistic freedom in a patriarchal society, the images are at once vulnerable and defiant. (Read more in the Los Angeles Times.)

Decompressing Salaries

It’s a dilemma many universities face: how to attract new, top faculty with competitive salaries without being unfair to senior professors, whose salaries often are tied to a pay scale or plan that hasn’t kept up with the outside market. Weighing recruiting needs against a desire to alleviate the morale-busting effect of salary compression on faculty, one Midwest university has launched a series of initiatives to address it. (Read more at Inside Higher Ed.)

In Search of a Good Critique

From the hiring side of the table, we’ve all seen job candidates who seem to be doing well only to fall flat in one venue: they ace the teaching demo and the dinner meeting but stumble during the research talk. Perhaps the candidate was disorganized, too strident, or just long winded and boring. Whatever the cause, the outcome is a strong negative ding when it comes time to vote on the hire. (Read more in the Chronicle of Higher Education.)

Less Is More: The Rise of the Very Limited Edition

Good design used to be a simple matter. Was the object easy to use? Simple in appearance? Made from high-quality materials? Value for money? Those were the important questions. But today design is significantly more complex. Before a product ever gets to a consumer, it has usually been subjected to investment analysis, prototype development, focus-group discussion, and advertising campaigns. (Read more in the Art Newspaper.)

Why It’s Time for Galleries to Dump the Jargon

Do you like nature, and art? If so, you might like something called On Vanishing Land, produced by the British “sound artists and theorists” Mark Fisher and Justin Barton. What they’ve produced, which will be in an art gallery called the Showroom, is “a new form of sonic fiction from the dreamings, gleamings, and prefigurations that pervade the Suffolk coast.” Themes “of incursion” by “unnameable forces, geological sentience, or temporary anomaly” will, apparently, “recur throughout.” (Read more in the Independent.)

Help Desk: A Uniform Presentation

My question concerns the issue of a “signature style” and the importance of projecting an image of consistency, particularly on one’s personal website. I’ve done a lot of different things and tend to work in the medium that I feel best expresses what I am trying to communicate. As a result, I’ve got a real mix of things: photos, text-based pieces, assemblages/sculptures, some video work. While I can personally see the threads of consistency running through the work, I’ve been cautioned that I need to “grow up, pick one thing, and get known for it.” (Read more at Daily Serving.)

The Price of a Bad Review

Librarian questions quality of a publishing house. Librarian publicly criticizes said press on his personal blog. Two years later, librarian and current employer get sued for libel and damages in excess of $4 million. That’s been the progression of events for Dale Askey, associate university librarian at McMaster University in Ontario, where he’s been working since 2011. (Read more at Inside Higher Ed.)

Filed under: CAA News

Board of Directors Election Ends on Friday

posted by Vanessa Jalet

The annual CAA Board of Directors election will end at 5:00 PM (EST) on Friday, February 15, 2013. To participate, all you need is your CAA member ID number and password. Visit the board-election page or click the candidates’ names below to read their statements, biographies, and endorsements—and to watch their video presentations—before casting your vote.

  • Elizabeth Conner, Artist and Instructor, University of Washington Tacoma
  • Constance Cortez, Associate Professor of Art History, Texas Tech University
  • Jennifer Milam, Professor of Art History, University of Sydney
  • Debra Riley Parr, Chair of the Fashion Studies Department, Columbia College Chicago
  • Sheila Pepe, Artist and Acting Assistant Dean for Academic Affairs, School of Art and Design, Pratt Institute
  • John Richardson, Professor and Chair of the Department of Art and Art History, Wayne State University

How to Vote

Log into your CAA account with your CAA User ID# and password. Then click the Vote Now image at the center of your screen to begin the process. If you are already logged in, click the Home link at left, and then the Vote Now link.

You may vote for up to four candidates, including one write-in candidate if you wish. Ballots that indicate more than four candidates will be voided. The election ends at 5:00 PM (EST) on Friday, February 15, 2013.

Send your Proxy

CAA encourages you to attend the Annual Members’ Business Meeting at the 2013 Annual Conference in New York. If you cannot attend, please check the box appointing a proxy. By doing so, you appoint the CAA board officers named thereon—Anne Collins Goodyear, Patricia McDonnell, DeWitt Godfrey, Jacqueline Francis, Randall C. Griffin, and Maria Ann Conelli—to vote, in their discretion, on such matters as may properly come before such a meeting.

A quorum of one hundred members is needed to hold the meeting; therefore CAA kindly requests your proxy to ensure the meeting can take place. Please send your proxy by 5:00 PM EST on Friday, February 15, 2013. Thank you.

CAA Celebrates Its Fifty-Year Members

posted by Christopher Howard

CAA warmly thanks the many contributions of the following dedicated members who joined CAA in 1963 or earlier. This year, the annually published list welcomes seventeen artists, scholars, and curators whose distinguished exhibitions, publications, and teaching practices have shaped the direction and history of art over the last fifty years.

1963: Lilian Armstrong; Richard Brilliant; Eric G. Carlson; Dean Carter; Vivian L. Ebersman; Lois M. Fink; Françoise Forster-Hahn; Walter S. Gibson; Caroline M. Houser; Susan Koslow; Osmund Overby; E. Solomon; Lauren Soth; Richard E. Spear; Virginia Stotz; Roxanna A. Sway; and Roger A. Welchans.

1962: Jo Anne Bernstein; Phyllis Braff; Jacquelyn C. Clinton; Shirley S. Crosman; Frances D. Fergusson; Gloria K. Fiero; Jaroslav Folda; Ben F. Freedman; Rosalind R. Grippi; Harlan H. Holladay; Seymour Howard; Alfonz Lengyel; Mary L. Maughelli; David Merrill; Francis V. O’Connor; John T. Paoletti; Thomas L. Sloan; Allen Staley; Elisabeth Stevens; Anne Betty J. Weinshenker; and William D. Wixom.

1961: Matthew Baigell; Margaret Diane David; W. Bowdoin Davis Jr.; David Farmer; J. D. Forbes; Isabelle Hyman; Henry A. Millon; Clifton C. Olds; Marion E. Roberts; David Rosand; and Conrad H. Ross.

1960: Shirley N. Blum; Kathleen Weil-Garris Brandt; Mojmir S. Frinta; Dan F. Howard; W. Eugene Kleinbauer; Edward W. Navone; Linda Nochlin; J. J. Pollitt; and Claire Sherman.

1959: Adele M. Ernstrom; Geraldine Fowle; Carol H. Krinsky; James F. O’Gorman; Charles S. Rhyne; and Ann K. Warren.

1958: William D. Badgett; Samuel Y. Edgerton Jr.; Naomi Miller; Damie Stillman; and Clare Vincent.

1957: Marcel M. Franciscono; Bruce Glaser; E. Haverkamp-Begemann; and John F. Omelia.

1956: Svetlana L. Alpers; Norman W. Canedy; John Goelet; Joel Isaacson; John M. Schnorrenberg; and Jack J. Spector.

1955: Lola B. Gellman; Irving Lavin; Marilyn A. Lavin; and Suzanne Lewis.

1954: Franklin Hamilton Hazlehurst; Patricia C. Loud; Thomas J. McCormick; Jules D. Prown; Jane E. Rosenthal; Irving Sandler; Lucy Freeman Sandler; Harold Edwin Spencer; and A. Richard Turner.

1953: Dorathea K. Beard; Margaret McCormick; Seymour Slive; and Jack Wasserman.

1951: Wen C. Fong; and Carl N. Schmalz Jr.

1950: Alan M. Fern; and Marilyn J. Stokstad.

1949: Dario A. Covi; and Ann-Sofi Lindsten.

1948: William S. Dale; and Peter H. Selz.

1947: Dericksen M. Brinkerhoff; David G. Carter; Ellen P. Conant; Ilene H. Forsyth; and J. Edward Kidder Jr.

1945: James Ackerman.

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