College Art Association
rss Twitter Facebook You Tube flickr instagram

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.

Outside the Citadel, Social Practice Art Is Intended to Nurture

In Detroit a contemporary-art museum is completing a monument to an influential artist that will not feature his work but will instead provide food, haircuts, education programs, and other social services to the general public. In New York an art organization that commissions public installations has been dispatching a journalist to politically precarious places around the world where she enlists artists and activists—often one and the same—to write for a website that can read more like a policy journal than an art portal. And in St. Louis an art institution known primarily for its monumental Richard Serra sculpture is turning itself into a hub of social activism. If none of these projects sounds much like art, that is precisely the point. (Read more in the New York Times.)

The Troubling Dean-to-Professor Ratio

J. Paul Robinson, chairman of the Purdue University faculty senate, walks the halls of a ten-story tower, pointing out a row of offices for administrators. “I have no idea what these people do,” says the biomedical engineering professor. Purdue has a $313,000-a-year acting provost and six vice and associate vice provosts, including a $198,000-a-year chief diversity officer. Among its sixteen deans and eleven vice presidents are a $253,000 marketing officer and a $433,000 business school chief. The average full professor at the public university in West Lafayette, Indiana, makes $125,000. The number of Purdue administrators has jumped 54 percent in the past decade—almost eight times the growth rate of tenured and tenure-track faculty. (Read more in Business Week.)

Let’s Do Lunch

In master’s programs, and especially at the doctoral level, graduate students depend on their advisers more than on anyone else in their careers. Students do more work for their adviser’s eyes than for anyone else’s, and the adviser’s approval is the key to the door that leads to the next place, whether full-time employment or more school. So an adviser’s criticism of a graduate student’s work can pierce deeper than the tiny hooks on a burr. And the adviser may not know it. (Read more in the Chronicle of Higher Education.)

The Gallery’s Glass Ceiling: Sexism Persists in the German Art World

The art world is typically seen as open and progressive, even radical. But artists and curators in Germany say that, despite slow progress, the art scene is still plagued by widespread sexism and a conservative, macho culture. (Read more in Spiegel Online.)

The Chapman Brothers on Life as Artists’ Assistants

“It was hard labor by any measure,” says Jake Chapman, recalling his and brother Dinos’s apprenticeship as assistants to Gilbert and George. “There was absolutely no creative input at all. They were very polite and it was interesting to hear them talking—as we did our daily penance.” What did the work involve? “Coloring in their prints. We colored in Gilbert and George’s penises for eight hours a day.” (Read more in the Guardian.)

Protect Rights of Artists in New Copyright Law

The head of the US Copyright Office has suggested that it may be time to start considering “the next great Copyright Act.” The last general revision to US copyright law passed in 1976 at the end of a process that took over twenty years. Since then, incredible technological advances have brought new opportunities and challenges to which copyright law has not been immune. In fact, with the advent of digital platforms and the internet, the centuries-old legal doctrine of copyright has perhaps faced more challenges than any other area of the law. (Read more in the Hill.)

Can Unions Save the Creative Class?

They’re just for hard hats. They peaked around the time Elvis was getting big. They killed Detroit. They’ve got nothing to do with you or me. They’re a special interest—and they hate our freedom. That’s the kind of noise you pick up in twenty-first-century America—in politics and popular culture alike—when you tune your station to the issue of trade unions. (Read more in Salon.)

Tackling Concerns of Independent Workers

Soon after landing a job at a Manhattan law firm nearly twenty years ago, Sara Horowitz was shocked to discover that it planned to treat her not as an employee, but as an independent contractor. Her status meant no health coverage, no pension plan, no paid vacation—nothing but a paycheck. She realized that she was part of a trend in which American employers relied increasingly on independent contractors, temporary workers, contract employees, and freelancers to cut costs. (Read more in the New York Times.)

Filed under: CAA News

The 2014 Call for Participation for the 102nd Annual Conference, taking place February 12–15, 2014, in Chicago, describes many of next year’s programs sessions. CAA and the session chairs invite your participation: please follow the instructions in the booklet to submit a proposal for a paper or presentation. This publication also includes a call for Poster Session proposals and describes the seven Open Forms sessions.

Listing more than 120 panels, the 2014 Call for Participation will soon mail to all individual and institutional members; you can also download a PDF of the twenty-seven-page document from the CAA website immediately.

The deadline for proposals of papers and presentations for the Chicago conference has been extended to Monday, May 13, 2013.

In addition to dozens of wide-ranging panels on art history, studio art, contemporary issues, and professional and educational practices, CAA conference attendees can expect participation from many area schools, museums, galleries, and other institutions. The Hilton Chicago on South Michigan Avenue (in the Loop) is the conference headquarters, holding most sessions, Career Services, the Book and Trade Fair, ARTspace, special events, and more. Deadline extended: May 13, 2013.


For more information about proposals of papers and presentations for the 2014 Annual Conference, please contact Lauren Stark, CAA manager of programs, at 212-392-4405.

Early last year, in my role as president of the South African Visual Arts Historians (SAVAH), I was asked by Professor Federico Freschi (at the University of Johannesburg) to send out a call for participants to apply for a travel grant to attend the CAA Annual Conference in New York in February 2013. After mailing the request to SAVAH members, I read through the requirements and found that it was an extraordinarily generous grant for which one only needed to be a full-time practicing art historian residing in a country not well represented in CAA membership. The grant, which was funded by the Getty Foundation, was aimed at encouraging dialogue between art historians from around the globe and included a year’s membership to CAA.

As a lucky recipient I was one of twenty people heading for the icy snow-laden New York in February and arrived on the first morning that JFK airport was opened again after being closed for two days due to blizzards. My first activity in New York was to head for Central Park and enjoy the novelty of walking in the deep snow.

The day before the CAA conference, travel-grant recipients had a preconference gathering where we met the other grantees and gave five-minute presentations to introduce ourselves. This allowed us to get to know each other and identify like minds and areas of collaboration, so from the first meeting there was already a networking frenzy taking place. The grantees reminded me of the League of Nations, with people from various African countries, South American countries, India, Pakistan, China, Haiti, Korea, Iceland, and several Eastern European countries (and I have probably missed a few). There was a lot of lively discussion every time we met, and we got on very well with each other as a group. It was wonderful to meet so many diverse people who shared a passion for the development and teaching of art history.

The CAA conference was huge and frenetic with many parallel sessions, so one had to choose the papers very carefully. I heard some wonderful presentations by Amelia Jones, Griselda Pollock, and Whitney Chadwick (among others) in a feminist session that was packed to the hilt, with people sitting on the floor and lining the walls. As part of conference attendance, everyone had free access to many galleries and museums in New York for the duration of the conference, so there was much rushing to see exhibitions between listening to papers.

I was also lucky enough to be invited (with the other African delegates) to the opening of El Anatsui’s glorious exhibition, Gravity and Grace, at the Brooklyn Museum, where the artist made an appearance as well. For this and other wonderful visits (such as a private tour of the African collection at the Metropolitan Museum) I must thank Jean Borgatti, who was assigned as host to two of the African delegates but was kind enough to include all the visitors from Africa in her plans. At the end of the conference, we had a final “debriefing” session where we could state what worked and what didn’t. From my point of view, the entire event was splendidly arranged and I cannot fault anything, although on a purely personal note I would have enjoyed more time with the group as a whole.

After the conference we were invited by the Sterling and Francine Clark Art Institute to visit their museum and research center in Williamstown, Massachusetts. Most of the group were able to extend their visit for the extra three days required for this trip, and we were bussed off to Williamstown, where we stayed at the delightful Williams Inn. At the Clark we were given a tour of the library, the print archives, and the museum, and joined in discussions of possible future projects for the Clark’s Research and Academic Programs to pursue. We were also taken to one of the biggest art spaces I have ever seen: the Massachusetts Museum of Contemporary Art (or MASS MoCA), which had a room large enough (one football field long) to display Xu Bing’s enormous flying Phoenix.

After returning to New York, most travel-grant recipients returned to their countries, while I and a few others were able to stay another few days (in my case until the weekend—two more days) to make the most of the city. I spent this time literally running from one gallery to another to try and fit them all in before leaving. New York is amazingly rich in terms of what it has to offer culturally, and I feel this trip was altogether an enriching experience—from the intellectual stimulation and visual excitement to the wonderful people I met. This affords great networking opportunities such as reciprocal arrangements between institutions (student or staff exchanges) and invitations to conferences or ongoing discussions about the state of art history on a global scale (via email, of course). As a direct result of this trip I have already been invited to speak at a global conference in Slovakia this September, and am making arrangements for exchange programs with other institutions.

First image: Me (the “Michelin Man”) in Central Park.

Second image: The “African Contingent” admiring El Anatsui at the Met.

Third image: Our group at the final “debriefing” in New York.

CAA Seeks Award Jury Members

posted by Lauren Stark

CAA invites nominations and self-nominations for individuals to serve on nine of the twelve juries for the annual Awards for Distinction for three years (2013–16). Terms begin in May 2013; award years are 2014–16. CAA’s twelve awards honor artists, art historians, authors, curators, critics, and teachers whose accomplishments transcend their individual disciplines and contribute to the profession as a whole and to the world at large.

Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not be serving on another CAA committee or editorial board. CAA’s president and vice president for committees appoint jury members for service.

The following jury vacancies will be filled this spring:

Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and an abbreviated CV (no more than two pages). Please send all materials by email to Lauren Stark, CAA manager of programs; submissions must be sent as Microsoft Word attachments. Deadline: April 26, 2013.

Filed under: Awards, Service

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.

Biotechnology as Art Form

It’s natural that some artists spend as much time in the lab as they do in the studio. Over the last three decades, in fact, artists have cultivated human tissue, bred frogs, assembled DNA profiles, and used modified bacteria as electrical transmitters. Bio-art—as this type of work is called—has also begun to surface in museums and avant-garde art festivals, from the Museum of Modern Art in New York to the Biennale of Electronic Arts Perth in Australia. (Read more in ARTnews.)

What Do University Presses Do?

A book published by the University of Minnesota Press, begun as the author’s dissertation, had been discussed in the New Yorker. This journey, from dissertation to published book and beyond, provides a counter narrative to the rhetoric about scholarly publishers these days, rhetoric which paints us as parasites sucking profit and capital out of the work of scholars, structured around a “conflict” between publishers, libraries, and scholars often oversimplified into a binary. Publishers are interested in profit. Libraries and scholars are not. (Read more in the University of Minnesota Press Blog.)

What Do Cats Have to Do with It? Welcome to LACMA’s New Collections Website

Two years ago, we launched an experiment: an online image library where we made 2,000 high-resolution images of artworks that the museum deemed to be in the public domain available for download without any restrictions. This week, we’ve exceeded ourselves with the launch of our new collections website, giving away ten times the number of images we offered in the initial image library. Nearly 20,000 high-quality images of art from our collection are available to download and use as you see fit (that’s about a quarter of all the art represented on the site). (Read more in Unframed.)

What to Do with Artist’s Work after Death Can Be Vexing

Since the Oakland artist Thomas “Glen” Whittaker died last month, his longtime companion, Marcy Pitts, has faced the daunting task of deciding what to do with about thirty-five paintings and other works he left behind. More specifically, she has wrestled with how to catalog, value, transport, store, and market the works, some of which are several feet wide. At the forefront of Pitts’s mind is a desire to earn Whittaker, who was 62, recognition for his work. (Read more in the Pittsburgh Post-Gazette.)

Pre-Tenure Leadership

As the dean of a college whose faculty includes many assistant professors, I am frequently asked for advice on how much service they should undertake. The twin horns of their dilemma? They know that service counts for less than teaching or research in annual and promotion evaluations … but they also know that demonstrating leadership potential through community engagement is important. (Read more in Inside Higher Ed.)

Things I Didn’t Learn in Graduate School

For more than thirty years now, I have benefited in my professional practice in student affairs from having attended some terrific graduate programs. It’s important to say that explicitly, upfront, as I’m about to focus on the things I didn’t learn in graduate school. (Read more in the Chronicle of Higher Education.)

Help Desk: Lazy Art Critic

An art critic who writes for local newspaper recently approached me to review a recent show I installed at a local gallery. He is essentially asking me to provide him with my thoughts on my work and, after reading several of his articles, it seems as if he will just quote me at length rather than provide an actual review of my work. Should I indulge him in my eagerness to gain press attention or decline in hopes of a future proposal from a more attentive critic? (Read more in Daily Serving.)

Art without Market, Art without Education: Political Economy of Art

Since the early days of modernism, artists have faced a peculiar dilemma with regard to the economy surrounding their work. By breaking from older artistic formations such as medieval artisan guilds, bohemian artists of the nineteenth century distanced themselves from the vulgar sphere of day-to-day commerce in favor of an idealized conception of art and authorship. While on the one hand this allowed for a certain rejection of normative bourgeois life, it also required that artists entrust their livelihoods to middlemen—to private agents or state organizations. While a concern with labor and fair compensation in the arts, exemplified by such recent initiatives as W.A.G.E. or earlier efforts such as the Art Workers Coalition, has been an important part of artistic discourse, so far it has focused primarily on public critique as a means to shame and reform institutions into developing a more fair system of compensation for “content providers.” It seems to me that we need to move beyond the critique of art institutions if we want to improve the relationship between artists and the economy surrounding their work. (Read more in e-flux Journal.)

Filed under: CAA News

Recent Deaths in the Arts

posted by Christopher Howard

In its regular roundup of obituaries, CAA recognizes the lives and achievements of the following artists, scholars, architects, photographers, and others whose work has significantly influenced the visual arts. The beginning of 2013 was marked by the loss of the artist Richard Artschwager and the critics Ada Louise Huxtable and Thomas McEvilley. Two longtime CAA members, Paul B. Arnold and Carl N. Schmalz Jr., also died recently.

  • Paul B. Arnold, emeritus professor of fine arts at Oberlin College, died on July 2, 2012, at the age of 93. A CAA member since 1945 and president of the Board of Directors from 1986 to 1988, Arnold was an artist who began his career working in watercolor but later focused on printmaking
  • Richard Artschwager, an American painter and sculptor who emerged during the Pop era but whose work embraced diverse media, passed away on February 9, 2013. He was 89 years old
  • Bonni Benrubi, a photography dealer based in New York, died on November 29, 2012, at the age of 59. She was among the first gallery owners to specialize exclusively in modern and contemporary photography
  • Daniel Blue, a Chicago-based sculptor who worked in metal, was found dead on January 2, 2013. He was 55 years old
  • Simon Cerigo, an art dealer, curator, collector, and avid attendee of gallery openings in New York, died on January 20, 2013, at age 60. He operated an eponymous gallery in the East Village from 1985 to 1987
  • Chinwe Chukwuogo-Roy, a Nigerian painter and illustrator based in the United Kingdom, passed away on December 17, 2012. She was 60 years old
  • Thomas Cornell, an artist and longtime professor at Bowdoin College in Maine, died on December 7, 2012, at the age of 75. He helped to establish the Visual Arts Department at his school in 1962
  • Burhan Doğançay, a Turkish artist who had lived in New York since the 1960s, died on January 16, 2013, at age 83. The Istanbul Modern Art Museum held a large survey of his abstract works of urban walls last year
  • Tejas Englesmith, a former assistant director for Whitechapel Gallery in London during the 1960s who later settled in Houston, died on February 7, 2013. He was 71. Englesmith also served as a curator for the Jewish Museum and director of the Leo Castelli Gallery
  • Leonard Flomenhaft, a lawyer and stockbroker who opened Flomenhaft Gallery in New York with his wife Eleanor, passed away on February 8, 2013. He was 90 years old
  • Antonio Frasconi, a master woodcut artist from Uruguay who settled in Norwalk, Connecticut, died on January 8, 2013, at age 93
  • Clarke Henderson Garnsey, professor emeritus of art history and former chair of the Department of Art at the University of Texas at El Paso, died on March 10, 2012. He was 98
  • Raukura “Ralph” Hotere, a leading abstract artist from New Zealand who showed his work internationally, died on February 24, 2013, at the age of 81
  • Ada Louise Huxtable, a celebrated architectural critic for the New York Times and the Wall Street Journal, died on January 7, 2013, at age 91. She won a Pulitzer Prize in 1970 for her writing
  • George Kokines, an abstract artist based in Chicago, died on November 26, 2012. He was 82. Kokines had taught at several schools, including Northwestern University
  • Balthazar Korab, a leading architectural photographer who captured buildings by Eero Saarinen on film, died on January 15, 2013. He was 86 years old
  • Udo Kultermann, an internationally recognized scholar who taught for nearly thirty years at Washington University in Saint Louis, passed away on February 9, 2013. He was 85. CAA has published a special obituary on Kultermann
  • Farideh Lashai, an Iranian artist known for her lyrical abstract painting and multimedia installations, died on February 24, 2013, at age 68. She helped found and was a member of the Neda Group, a collective of twelve female Iranian artists, in the late 1990s
  • Alden Mason, a painter who lived and worked in Seattle and the Pacific Northwest, died on February 6, 2013. He was 93 years old
  • Thomas McEvilley, a poet, scholar, and art critic based in New York, died on March 2, 2013. He was 73. Among his numerous books are Art and Otherness: Crisis in Cultural Identity (1992), Sculpture in the Age of Doubt (1999), and The Shape of Ancient Thought: Comparative Studies in Greek and Indian Philosophies (2002)
  • Melanie Michailidis, a postdoctoral fellow in art history and archaeology at Washington University in Saint Louis, died on February 1, 2013. She was 46 years old
  • Carl N. Schmalz Jr., an artist and art historian who taught for decades at Bowdoin College and Amherst College, died on February 22, 2013, at age 86. CAA has published a special obituary on Schmalz, who had been a CAA member since 1951
  • William F. Stern, a Houston architect who was a principal at Stern and Bucek Architects, died on March 1, 2013, at the age of 66. He also served as an adjunct associate professor of architectural history at the University of Houston
  • Michelle Walker, a former dancer and a Californian arts administrator, was found dead on January 29, 2013, at age 53. She had served as director of the Sacramento Metropolitan Arts Commission from 1992 to 2006
  • Casey Williams, a Houston photographer known for his “found abstractions,” passed away on January 1, 2013. He was 65
  • Bernard A. Zuckerman, an Atlanta businessman and philanthropist, died on February 22, 2013, at age 91. Kennesaw State University is scheduled to open the Bernard A. Zuckerman Museum of Art in September of this year

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

Filed under: Obituaries, People in the News

News from the Art and Academic Worlds

posted by Christopher Howard

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

NHA Annual Meeting and Humanities Advocacy Day

The National Humanities Alliance will hold its 2013 annual meeting on Monday, March 18, and Humanities Advocacy Day on Tuesday, March 19, both in Washington, DC. Premeeting sessions are tentatively scheduled to begin on Sunday afternoon, March 17. Events will take place on the George Washington University campus and Capitol Hill. (Read more from the National Humanities Alliance.)

Average Pay Increases for Professors on Tenure-Track Matched Inflation This Year

The median base salary for tenured and tenure-track faculty members increased this academic year by an average of 2.1 percent, matching the rate of inflation. That year-to-year increase was slightly higher than the growth last year, when the average increase was 1.9 percent, according to an annual report released by the College and University Professional Association for Human Resources. (Read more in the Chronicle of Higher Education.)

LACMA Moves to Take Over MOCA

The Los Angeles County Museum of Art has made a formal proposal to acquire the Museum of Contemporary Art in Los Angeles, which has been struggling with financial troubles and staff and board defections. LACMA Director Michael Govan and the two cochairs of his board made the offer in a February 24 letter to the MOCA board cochairs, laying out the rationale for an acquisition. (Read more in the Los Angeles Times.)

Art Emerges from DNA Left Behind

They are the faces of real people, portraitlike sculptures etched from an almost powdery substance. The eye colors are distinct, the facial contours sharp, even though the artist, Heather Dewey-Hagborg, has never met or seen her subjects. Instead of using photographs or an art model for her work, she scoops detritus from New York City’s streets—cigarette butts, hair follicles, gum wrappers—and analyzes the genetic material people leave behind. Dewey-Hagborg, a PhD student in electronic arts, makes the faces after studying clues found in DNA. (Read more in the Wall Street Journal.)

Can We Please Stop Drawing Trees on Top of Skyscrapers?

Just a couple of years ago, if you wanted to make something look trendier, you put a bird on it. Birds were everywhere. I’m not sure if Twitter was what started all the flutter, but it got so bad that Portlandia performed a skit named, you guessed it, “Put a Bird on It.” It turns out architects have been doing the same thing, just with trees. Want to make a skyscraper look trendy and sustainable? Put a tree on it. Or better yet, dozens. (Read more in Slate.)

Anthony Van Dyck Painting “Found Online”

A previously unknown painting by the seventeenth-century master Anthony Van Dyck has been identified after being spotted online. The portrait was previously thought to have been a copy and was in storage at the Bowes Museum in County Durham. But it was photographed for a project to put all of the United Kingdom’s oil paintings on the BBC Your Paintings website, where it was seen by an art historian. (Read more at BBC News.)

Can Art Forgers Be Artists Too?

Art forgeries are often decried for crime, but could they be considered art? Many young artists learn to copy the old masters before refining their own work, and contemporary artists often play with ideas of authorship. So can an art forger be considered a legitimate artist? Do they want to make a statement? What motivates art forgers to commit forgery? We spoke with Jonathon Keats, author of Forged: Why Fakes Are the Great Art of Our Age. (Read more in the Oxford University Press Blog.)

The End of the Creative Classes in Sight

To put it bluntly, it seems that high-skill occupations can be mechanized and outsourced in much the same way as car manufacturing and personal finance. In recent decades, we have become accustomed to the notion that manual labor has been rendered obsolete, uncompetitive, or poorly paid. But are we now prepared for the same thing to happen to skilled labor, to white-collar workers, to the creative classes? (Read more in the Guardian.)

Filed under: CAA News

Twenty recipients of CAA International Travel Grants, funded by the Getty Foundation, attended the Annual Conference in New York in February. For the second year, CAA’s International Committee, chaired by Ann Albritton, worked with Janet Landay, organizer of this project for CAA, to host a diverse group of art historians—scholars, teachers, and curators from nineteen countries around the world—in CAA’s endeavor to become more connected in our increasingly global art world.

CAA Executive Director, Linda Downs, explains the project in this way:

We developed the concept for a program that would:

  1. introduce individuals who have not had the means to participate in the annual conference to provide travel, hotel and stipends to attend;
  2. attempt to interest individuals who are teaching in relatively small or new art and art history departments to provide access to an international network of people in the visual arts;
  3. to do a good job of hosting them and connecting them to other members of similar sub disciplines and interests (be they US or international members) in order to provide the beginnings of networks that they can build on;
  4. to give them instruction on what is sought by the Annual Conference Committee for vetted session proposals so that they might propose sessions in the future in order to present their perspectives, critical concerns and resent research; and
  5. to start a dialogue with US art historians and artists on their methodology, research, networks and interests.

Each grantee was hosted by a colleague from CAA—members of the International Committee, Board members, or representatives of the National Committee on the History of Art (NCHA)—who introduced them to the conference and scholars in their fields, and also arranged meetings, museum visits and informal gatherings. This year, we were very grateful for a grant from NCHA to support the hosts’ activities.

On February 12, the day before the Annual Conference began, the grant recipients and their hosts met for a half-day preconference about issues in global art history. Beginning with short presentations by the grantees about their research and experiences, the afternoon included a panel discussion on global art history, moderated by Marc Gotlieb, the president of NCHA and professor of art history at Williams College, with representatives from the Getty Foundation (Joan Weinstein), the Getty Research Institute (Gail Feigenbaum), the Clark Research and Academic Program (Michael Ann Holly), and the Center for Advanced Study in the Visual Arts (Elizabeth Cropper). Exciting exchanges prompted by the panel discussion as well as the research projects of the grant recipients produced energy that enlivened our discussions for the remainder of the conference. Here’s how one grantee summarized it:

The pre-conference was probably the most useful aspect of this visit as it allowed each of us to get to know each other and to immediately identify people with whom we could network and set up reciprocal projects or research exchanges between our institutions. I have made some wonderful contacts and we are already busy with plans for invitations to speak at conferences and plans to arrange student/staff visits to linked institutions.
—Karen von Veh, South Africa

On Thursday, during a luncheon for the grantees and hosts, James Elkins, E.C. Chadbourne Chair of art history, theory, and criticism at the School of the Art Institute of Chicago, had lunch with the group and shared with them ideas and stories from his international study of the field. This, again, was a highlight for many. In fact, Elkins plans to visit some of them in the near future as he travels around the world.

A whole new range and scope of possibilities have entered my horizon. I think it will open up many opportunities for my students and colleagues as well. But on a personal and human level the conference was a great gathering for creating global understanding.
—Musarrat Hasan, Pakistan

Jean Borgatti, specialist in African Art, commented on her hosting activities for several of the grant recipients from African countries: Joseph Adande from Benin; Peju Layiwola of Lagos, Nigeria; Venny Nakazibwe of Uganda; Ohioma Pogoson of Nigeria, and Karen von Veh of South Africa (and also, at times, Marly Desir of Haiti). A week after the CAA conference, Jean flew to Africa for several months of study and wrote this:

I’m looking forward to actually visiting three of my five grantees in Lagos, Ibadan, and what I refer to as ‘the other’ Benin, since I am currently in Benin City, heart of the old kingdom. During CAA, we had three great outings together: on Monday, Yaelle Biro at the Metropolitan Museum graciously provided a tour of her exhibit on the reception of African art in New York in the 1930s, and then left us with the Met’s archivist who gave us an overview of the various media encompassed by the archive. On Wednesday, we were invited to a private reception for El Anatsui’s exhibition at the Brooklyn Museum and were stunned by the beauty of the objects and thrilled to meet with the artist himself. On Thursday, Susan Vogel, founding director of the Center for African Art, invited the group to her Soho loft for dinner, a nice way to unwind and extend our conversations about ongoing and upcoming projects. A good time was had by all.

In addition to the events Borgatti described, these recipients also attended several CAA sessions, exchanged ideas with other recipients, and met many other CAA members.

The International Committee is delighted with CAA’s travel grant program, not only for bringing international scholars to the Annual Conference, but for the opportunity for us to interact with them: to learn about each other’s research and discuss mutual interests and concerns. We are indeed grateful to the Getty Foundation and NCHA for making this program possible and hope the friends we made this year will come to future conferences to continue our conversations. As one of the grantees put it:

I will be an ambassador for the CAA henceforth and will advise art historians in my country and elsewhere to endeavor to attend their annual meetings.
—Ohioma Pogoson, Nigeria

First image: Parul Mukherji (India) and Ding Ning (China), two of this year’s recipients of CAA’s International Travel Grants.

Second image: Gail Feigenbaum, Elizabeth Cropper, Marc Gotlieb, Michael Ann Holly, and Joan Weinstein participated in a panel discussion on issues in global art history during the February 12 pre-conference for the International Travel Grant program.

Third image: James Elkins, professor at the School of the Art Institute of Chicago, met with the CAA International Travel Grant recipients during the conference. Pictured are Peju Layiwola, Ann Albritton, James Elkins, and Elaine O’Brien.

Fourth image: Jean Borgatti took five recipients of this year’s CAA International Travel Grant to the Metropolitan Museum of Art, where they received a tour from curator Yaelle Biro. Front row: Jean Borgatti, Venny Nakazibwe (Uganda) Back row: Ohioma Pogoson (Nigeria), Karen von Veh (South Africa), Yaelle Biro, Joseph Adande (Benin), Peju Layiwola (Nigeria).

The CAA Committee on Intellectual Property sponsored a well-attended session at the 2013 Annual Conference,  “Developing a Fair Use Code for the Visual Arts,” in support of CAA’s recently inaugurated fair-use project funded by the Andrew W. Mellon Foundation with additional funding from the Samuel H. Kress Foundation.  Chaired by Christine Sundt (also the Committee’s chair), this panel included the two principal investigators engaged by CAA to research, write, and disseminate a code of best practices in the use of third-party copyrighted material by practitioners across the arts. Peter Jaszi, Professor of Law and Faculty Director of the Glushko-Samuelson Intellectual Property Clinic at the American University Washington College of Law, and Patricia Aufderheide, university professor in the School of Communication and co-director of its Center for Social Media, American University, were joined on the panel by Jeffrey Cunard, CAA Counsel and Partner, Debevoise & Plimpton LLP.

The discussion among panel members focused on the history of fair use and the background and schedule of CAA’s fair use project. The forthcoming code of best practices will assist individual scholars, artists, teachers, museum professionals, and other creators in analyzing what constitutes fair use of copyrighted works that they wish to employ. Answers to questions from the audience further delineated the scope of the project, which will address two types of users: scholars and museum professionals and those who use third party material in the making of art. The completed code will not constitute legal guidelines, but will document practice as it exists and will help the arts community understand the law regarding fair use. The code will provide a definition of a work of art as far-reaching and as including time-based and other multimedia forms.

Panelists for the session are also members of a Task Force on Fair Use, which oversees the project and is co-chaired by Cunard with Gretchen Wagner, former general counsel of ARTstor. Advisors on this project include Virginia Rutledge, art historian, and lawyer, and Maureen Whalen, associate general counsel for the J. Paul Getty Trust. The Committee on Intellectual Property will continue to support the project by hosting a session at the 2014 CAA Annual Conference on Jaszi and Aufderheide’s Issues Report, developed through interviews and focus groups, and a session to discuss the completed code at the 2015 Annual Conference in New York.

Additional work by the Committee on Intellectual Property included a restructuring of the Intellectual Property section of the CAA website, and presentation to and endorsement by the CAA Board of Directors of fair use guidelines written by the Association of Research Libraries and by the Visual Resources Association.

Take the 2013 Annual Conference Survey

posted by Nia Page

In an effort to improve our services, we encourage you to complete the following survey about your experiences at the 101st Annual Conference in New York last month. This survey should take only a few minutes to complete. We appreciate your feedback and your support and hope to see you at the 102nd Annual Conference in Chicago, to be held February 12–15, 2014.

Survey link:

Please complete the survey by Friday, March 22, 2013. Thank you.

Filed under: Annual Conference, Surveys

Privacy Policy | Refund Policy

Copyright © 2017 College Art Association.

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

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