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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.

DIA’s Art Collection Could Face Sell-Off to Satisfy Detroit’s Creditors

The once unthinkable is suddenly thinkable. Detroit emergency manager Kevyn Orr is considering whether the multibillion-dollar collection at the Detroit Institute of Arts should be considered city assets that potentially could be sold to cover about $15 billion in debt. How much is the art at the DIA worth? Nobody knows exactly, but several billion dollars might well be a low estimate. (Read more in the Detroit Free Press.)

AAMD Statement on Detroit Institute of Arts Collection

A museum’s collection is held in public trust for current and future generations. This is a bedrock principle of the Association of Art Museum Directors and of the museum field as a whole. Art collections are vitally important cultural and educational resources that should never be treated as disposable assets to be liquidated, even in times of economic distress. (Read more from the Association of Art Museum Directors.)

Painting via “Power of Thought” May Hold Some Promise

An Austrian-based company called G-Tech Medical Engineering has developed software that allows people to “paint” on a computer through the “power of thought,” reports the Telegraph science correspondent Richard Gray. As Gray notes, the tool—which researchers are hoping to develop to the point that it can be a chip implanted in the brain—can help patients with progressive brain diseases. But there’s an aspect to art making that may be lost in translation. (Read more in the Houston Chronicle.)

Your Thievin’ Art? At Play in the Field of Fair Use

Julie Saul recently opened a show of work by Arne Svenson, an artist with a telephoto lens, a formalist’s eye, and a somewhat unsettling obsession with his neighbors in the glass-walled apartment building across the street. You can meet them, too, in the color pictures in The Neighbors. Assuming that they really are neighbors—and not conjured in the studio or on the computer—the work falls into one of those gray areas of fair use, the legal doctrine that allows artists to use images of or by others under certain circumstances. (Read more in ARTnews.)

Masterworks for One and All

Many museums post their collections online, but the Rijksmuseum has taken the unusual step of offering downloads of high-resolution images at no cost, encouraging the public to copy and transform its artworks into stationery, t-shirts, tattoos, plates, or even toilet paper. The museum, whose collection includes masterpieces by Rembrandt, Vermeer, Mondrian, and van Gogh, has already made images of 125,000 of its works available through Rijksstudio, an interactive section of its website. The goal is to add 40,000 images a year until the entire collection of one million artworks spanning eight centuries is available. (Read more in the New York Times.)

Thousands of Cave Paintings Have Been Discovered in Mexico

Archaeologists have uncovered nearly five thousand cave paintings at eleven different sites in Mexico, the likely product of early hunter-gatherers. What’s even more remarkable is that the area was previously thought to be uninhabited. The discovery was made in the northeastern region of Burgos in the San Carlos mountain range of Tamaulipas. The archaeologist Martha García Sánchez, who works at the Mexican National Institute of Anthropology and History, recently presented these findings at the Historic Archaeology meeting held in Mexico’s National History Museum. (Read more from io9 and BBC News).

Help Desk: Death and Taxes (Mostly Taxes)

I have recently been the lucky recipient of an unprecedented amount of small, but not insubstantial, payments. Some are for arts writing and editing, others are one-time grants, art sales, and various art-world-related odd jobs. All earnings have been issued through W-9s and will show up as 1099-MISC income. None of it has been taxed. I understand that I should set aside a portion of these funds for the state and feds, but where do I start? (Read more in Daily Serving.)

Rejection and Its Discontents

The probability that a researcher will have a grant proposal rejected nowadays is about 1. In the current climate, in which grant agencies and foundations are receiving more proposals than ever before even as their budgets stagnate or shrink, the last few remaining decimal places of uncertainty are rapidly disappearing. It is natural to feel disappointed, angry, hurt, and frustrated when a rejection notice arrives, and it’s OK to give in to those feelings—in private, anyway. (Read more in the Chronicle of Higher Education.)



Filed under: CAA News

Spring 2013 Meiss Winners

posted by Christopher Howard


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

The grantees for spring 2013 are:

  • Claudia Brown, Great Qing: Painting in China, 1644–1911, University of Washington Press
  • James M. Cordova, The Art of Professing in Bourbon Mexico: Crowned-Nun Portraits and Reform in the Convents, University of Texas Press
  • Elina Gertsman, Fragments, Ruptures, Imprints, Play: The Shrine Madonna in the Late Middle Ages, Pennsylvania State University Press
  • Jeanette F. Peterson, Visualizing Guadalupe: From the Black Madonna to the Queen of the Americas, University of Texas Press
  • Victoria L. Rovine, African Fashion, Global Style, Indiana University Press
  • Karl Whittington, Body-Worlds: Opicinus de Canistris and the Medieval Cartographic Imagination, Pontifical Institute of Mediaeval Studies

Books eligible for Meiss grants must already be under contract with a publisher and on a subject in the visual arts or art history. Authors must be current CAA members. Please review the application guidelines for more information. Deadline for fall applications: September 15, 2013.



Updated Directory of Affiliated Societies

posted by Lauren Stark


The Directory of Affiliated Societies, a comprehensive list of all seventy-six groups that have joined CAA as affiliate members, has just been updated. Please visit the directory to view a single webpage that includes the following information for each group: name, date of founding, size of membership, and annual dues; a brief statement on the society’s nature or purpose; and the names of officers and/or contacts for you to get more details about the groups or to join them. In addition, CAA links directly to each affiliated society’s homepage.



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.

What’s the Point of Art School?

As changes to the school curriculum and university funding undermine the arts education system, industry experts gathered at Central Saint Martin’s art school to discuss what the future holds for the field. Are you studying creative arts or design? Share an image or video that captures why you love art school. (Read more in the Guardian.)

It’s Time to Rethink and Expand Art History for the Digital Age

Continuing a conversation on Getty Voices about rethinking art history, the art historian Nuria Rodríguez Ortega, a recent participant in the Digital Art History Lab, argues that we must reestablish digital art history on a new ground, both adapting the field to the new web landscape and broadening its scope to include the full spectrum of human attempts to make meaning of art. (Read more in the Getty Iris.)

To Profit or Not? How Art Galleries Make Money in Chicago, and Why Some Choose Not To

More than once I have heard a Chicago art dealer joke that their commercial gallery is really a not-for-profit because, well, their business makes no profit. Despite that appraisal, nonprofit fundraising techniques are finding their way into the business models of some for-profit startups. Traditionally, commercial galleries have been run as shops that sell products with negotiable price tags. Now, some are experimenting with fundraising and sponsorships as strategies for growth. Oppositely, a couple of nonprofit art organizations are incorporating commercial aspects into their practices, such as selling art and organizing an art fair. (Read more in the New City.)

Andy Warhol and His Foundation: The Questions

After Andy Warhol died in 1987, his will directed that a foundation should be set up in his name, funded with proceeds from the sale of some 95,000 pictures, prints, sculptures, drawings, and photographs left in his estate. As well as creating and endowing the Andy Warhol Museum in Pittsburgh, the Andy Warhol Foundation for the Visual Arts provides financial support to artists and scholars, galleries, publications, and educational projects. Warhol’s bequest made no provision for the authentication of his artwork. But in 1994 the foundation initiated work on a multivolume catalogue raisonné of Warhol’s art, in part because the project would “contribute to the stabilization of the market for Warhol works over time, thus having a direct benefit to the Foundation’s longterm goal of converting its Warhol works to cash at favorable prices.” (Read more in the New York Review of Books.)

The New Rules of Engagement

Predictably, the recession uncovered fundamental operational and structural weaknesses in American higher education. Few institutions managed to be as nimble as they should have been in responding to the depressed economy. Even fewer presidents had the courage to call on their boards of trustees to think strategically, make bold plans, innovate, and invest. The harsh truth is that the culture into which “change” presidents are placed commonly accepts limited programmatic innovation, except when it emerges from the faculty, and is intolerant of structural innovation. The culprits are not usually the faculty. (Read more in Academe.)

The Neoliberal Assault on Academia

Lost amid the fetishization of information technology and the pathos of the struggle over proper working conditions for adjunct faculty is the deeper crisis of the academic profession occasioned by neoliberalism. This crisis is connected to the economics of higher education but it is not primarily about that. The neoliberal sacking of the universities runs much deeper than tuition fee hikes and budget cuts. (Read more in Al Jazeera.)

Career Services Must Die

Well, not die, exactly. Transform. “The term ‘career services’ has been a phrase that has been used for several decades to describe what colleges have been doing,” says Andy Chan, vice president for personal and career development at Wake Forest University. “It’s not working.” Chan coedited the new report, A Roadmap for Transforming the College-to-Career Experience. (Read more at Inside Higher Ed.)

The Library’s Future Is Not an Open Book

Talk about imposing: the ceremonial stone stair leading to bronze gates and carved doors; the frieze of inspiring names; and the vaulted hall that seems the very definition of hallowed. And the books, bound portals opening to anywhere imaginable, available to all comers. In cities across the United States, the central public library came into being when the country was young and striving to impress. Architecturally grand, the central library was both beacon and monumental tribute to learning and civic pride; a people’s palace with knowledge freely available to all. But, really, when was the last time you spent any time there? (Read more in the Wall Street Journal.)



Filed under: CAA News

Members of the 2013–14 Nominating Committee

posted by Vanessa Jalet


CAA is pleased to announce the members of the 2013–14 Nominating Committee, which is charged with identifying and interviewing potential candidates for the Board of Directors and selecting the final slate of candidates for the membership’s vote. The committee members, their institutional affiliations, and their positions are:

  • DeWitt Godfrey, Colgate University, Vice President for Committees and Chair
  • Dina Bangdel, Virginia Commonwealth University in Qatar and Member at Large
  • Leslie Bellavance, Alfred University and CAA Board Liaison
  • Kevin Hamilton, University of Illinois, Urbana-Champaign, and Member at Large
  • Beauvais Lyons, University of Tennessee, Knoxville, and Member at Large
  • Denise Mullen, Oregon College of Art and Craft and CAA Board Liaison
  • Sabina Ott, Columbia College Chicago and CAA Board Liaison
  • Melissa Potter, Columbia College Chicago and Member at Large
  • Linda Downs, CAA Executive Director and Chief Executive Officer (ex officio)

The 2012–13 Nominating Committee chose the new members of the committee at its recent business meeting, held during the 2013 Annual Conference in New York in February. The Board of Directors also appointed three liaisons. CAA publishes a call for nominations and self-nominations for Nominating Committee service on the website in late fall of every year and publicizes it in CAA News. Please direct all queries regarding the committee to Vanessa Jalet, CAA executive liaison.




Jacki Apple and Mat Rappaport, the producers of a 2014 ARTspace session, seek your participation for “Designing a Better Future: A Participatory Platform for Exchange,” taking place at the 102nd CAA Annual Conference in Chicago on Saturday, February 15, 10:00 AM–2:00 PM. Deadline for proposals: June 1, 2013; notification of selection: June 20, 2013.

Designing a Better Future: A Participatory Platform for Exchange

Artists and designers operating as thinkers and communicators, visualizers and producers, can be leaders in changing how we think, live, and act in order to make a better world. Are we ready to discuss cultural production and the arts as viable and meaningful practices beyond the established system of commodity trading? What potential models of an effective creative practice can we envision and develop?

Artists, designers, media producers, photographers, filmmakers, architects, writers, theorists, educators, and cultural historians are invited to submit proposals for presentation and discussion that will inspire others to join them in imagining, inventing, and actualizing a more sustainable and enlightened possible future, whether it be local or global.

What would you do to effect change? What would that look like? Do aesthetics matter?

We seek provocative and challenging theoretical concepts and/or models for practical application. Encouraged are visionary, daring, and unconventional ideas and collaborations across fields in the arts, sciences, and humanities that conceive different ways to address social, economic, and environmental realities.

General topics and themes to consider may include:

  1. Climate change, the environment, and sustainable living: consumption, energy, waste, food, water, air, and economic and social consequences
  2. The culture of violence: all its social, political, cultural, and economic manifestations
  3. Technology and human rights: biological, political, intellectual, and spiritual

Presentation Format

The format for presentation will be an interactive forum of exchange between speakers and audience. There will be no podium. Speakers will be placed within the audience. Presentations may include visuals such as images, texts, charts, etc.

Each speaker will be given seven minutes to present his or her proposal. The audience will then have equal time—seven minutes—to respond and discuss. Time may be slightly less or more depending on the number of outstanding proposals selected.

Submission Instructions

Please send a description of your topic and the theoretical concepts and/or model that you intend to propose in approximately three hundred words, plus a brief biography or CV of no more than two pages. The written proposal must include a title, name(s) of author(s), address, email, and phone number. Please submit all proposal files as PDF documents to studio@meme01.com. Deadline for proposals: June 1, 2013; notification of selection: June 20, 2013.



Filed under: Annual Conference, ARTspace

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.

Cultivating Partnerships in the Digital Humanities

As academics we can be too snug in our institutional silos. We sometimes think of one another as competitors for students, and as a result we duplicate scarce resources in mutually damaging ways. Without more coordinated programs, will we go on teaching the way we have since the Industrial Revolution? Will our students, knowing it doesn’t have to be that way and worried about their future, lose patience with us? The digital humanities provide a context for facing those questions head-on. (Read more in the Chronicle of Higher Education.)

What We’re Not Arguing About

The solutions to the crisis in higher education are still a subject of fierce debate, and I’m happy to see people from a variety of perspectives and backgrounds adding their voices to the conversation. At the same time, I think it’s important to clarify what academics and former academics are and aren’t arguing about. (Read more at Adventures in (Post) Gradland.)

How Long Is the Average Dissertation?

The best part about writing a dissertation is finding clever ways to procrastinate. The motivation for this blog comes from one of the more creative ways I’ve found to keep myself from writing. I’ve posted about data mining in the past, and this post follows up on those ideas using a topic that is relevant to anyone that has ever considered getting, or has successfully completed, their PhD. (Read more at R Is My Friend.)

To Raze or Not? MoMA Rethinks Plan

After impassioned protests from prominent architects, preservationists, and design critics, the Museum of Modern Art said that it would reconsider its decision to demolish its next-door neighbor, the former home of the American Folk Art Museum, to make room for an expansion. In a recent board meeting, the directors were told that a board committee had selected the design firm Diller Scofidio & Renfro to handle the expansion and to help determine whether to keep any of the existing structure. (Read more in the New York Times.)

Help Desk: Ideal Representation

I’ve been meeting with a commercial gallery in my city for some time, and they’ve extended me an offer to come aboard. I’m excited about the idea of professional representation, having a platform to promote myself to a larger audience and further opportunity for sale of work. Some of the work the gallery represents is totally not my style, which is to say, artwork that favors more commercially viable subject matter or style at the cost of exercising any real dynamic or conceptual verve. How much should this influence my decision to join the gallery? (Read more in Daily Serving.)

Thinking about Accreditation in a Rapidly Changing World

Enormous change is under way in higher education, driven by a perfect storm of crisis (around cost, access, quality, and funding), technological innovation and what that innovation makes possible, the growing presence and influence of for-profit providers, abuses (of various kinds), opportunity, and workforce-development needs in a global and technological context. Any one of those challenges might fill an agenda for a commissioners’ retreat or a small conference, but accreditors now wrestle with all of these various forces across a broad landscape of change and urgency. (Read more in Educause Review.)

Counting, Not Curtailing, Adjuncts’ Work

Nowhere does the Law of Unintended Consequences run more rampant than in the field of taxation. That was clearly demonstrated at the Internal Revenue Service’s rule-making hearing on April 23, in the agency’s attempts to craft regulations to impose a steep tax on employers who fail to provide employee health-care coverage required by the Patient Protection and Affordable Care Act. While most of the twenty-five other witnesses at the hearing represented various employers or organizations, I testified in my personal capacity as an interested citizen who happens to be an adjunct faculty member and former IRS lawyer. (Read more in the Chronicle of Higher Education.)

How Prevalent Is Money Laundering in the Art World?

Recent federal charges against the New York dealer Helly Nahmad included that he worked “to launder tens of millions of dollars on behalf of the illegal gambling business.” While Nahmad has pleaded not guilty to all the charges in the indictment, the accusation raises the questions of whether (and if so why) art would be used in this way. Art lends itself to money laundering because the market’s lack of transparency means art can become what Judge Fausto Martin De Sanctiscalls an “invisible asset.” Values can be manipulated, and complex ownership schemes, with an emphasis on secrecy, are commonplace. (Read more in the Art Newspaper.)



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, filmmakers, publishers, and others whose work has significantly influenced the visual arts.

  • Les Blank, a documentary filmmaker whose Burden of Dreams (1982) chronicled the making of Werner Herzog’s Fitzcarraldo, died on April 7, 2013. He was 77 years old. Blank also directed films on the musicians Lightning Hopkins, Dizzy Gillespie, and Clifton Chenier
  • Ellen Cantor, an artist and filmmaker known for her ongoing work Pinochet Porn, passed away on April 21, 2013. She was 51 years old
  • Bernard Cheese, a British painter, printmaker, and educator, died on March 15, 2013, at the age of 88. Cheese taught at Saint Martins School of Art (1950–68), Goldsmiths College (1970–78), and Central School of Art and Design, London (1980–89)
  • Les Coleman, a London-based artist, writer of aphorisms, and “all-around rare bird,” died on January 17, 2013. He was 67
  • Edward de Grazia, an American lawyer who fought censorship of Tropic of Cancer, Lysistrata, and The Naked Lunch, died on April 11, 2013, at age 86. De Grazia taught at Yeshiva University’s Benjamin N. Cardozo School of Law in New York for thirty years and was the author of Girls Lean Back Everywhere: The Law of Obscenity and the Assault on Genius (1991)
  • Dominic Elliott, the personal assistant of the artist David Hockney, died on March 17, 2013. He was 23 years old
  • Nigel Glendinning, a scholar of Spanish art who was an expert on Francisco de Goya, passed away on February 23, 2013. He was 83 years old. Glendinning held various professorships and fellowships across the United Kingdom and Ireland
  • Sidney Goodman, a figurative painter and emeritus professor of the Pennsylvania Academy of the Fine Arts in Philadelphia, passed away on April 11, 2013. He was 77
  • Regina Granne, an artist based in New York whose drawings demonstrated creative interpretations of feminism, war, and politics, died on January 26, 2013. She was teaching most recently at Parsons the New School for Design
  • Jene Highstein, a Postminimalist sculptor whose work was shown internationally, passed away on April 27, 2013, at the age of 70. Highstein was involved in the fabled exhibition space 112 Greene Street in the 1970s
  • Jack Jaeger, a Dutch artist and curator known for coediting eight issues of ZAAP, a quarterly VHS video-art magazine, from 1994 to 1996, died on March 15, 2013. Born in 1937, he also worked as a cameraman, producer, director, and editor of television commercials and films
  • L. Brent Kington, a professor of metalsmithing at Southern Illinois University Carbondale from 1961 to 1997 and former chairperson of its School of Art and Design, died on February 7, 2013, at age 78. A retrospective of his career, L. Brent Kington, Mythic Metalsmith, toured the United States from 2007 to 2011
  • Martyl Langsdorf, the artist who created the Doomsday Clock image that symbolized the dangers of nuclear power during the Cold War, died on March 26, 2013. She was 96 years old
  • Bert Long, a former chef who left the kitchen to become an artist, passed away on February 1, 2013, at age 72. The Houston-based Long, considered an outsider artist by some, won an NEA grant in 1987 and the Prix de Rome in 1990
  • Vladislav Mamyshev-Monroe, a Russian artist and gay-rights icon, died in March 2013 at the age of 43. Known for his impersonations of Marilyn Monroe, Mamyshev-Monroe emerged as a performing and video artist in Saint Petersburg in the late 1980s
  • Rick Mather, an American architect based in London who designed extensions to the Virginia Museum of Fine Arts, Dulwich Picture Gallery, and Ashmolean Museum of Art and Archaeology, among other institutions, died on April 20, 2013, at age 75
  • Walter Pierce, an American architect who designed the modernist houses of Peacock Farm, a subdivision in Lexington, Massachusetts, passed away on February 27, 2013. He was 93 years old
  • Joe N. Prince, director of education for the National Endowment for the Arts from 1977 to 1985, died on February 23, 2013, at age 75. He also served as special assistant to the agency’s chairman for two years
  • Ganesh Pyne, an Indian artist who was called the “painter of darkness” for his fantastical imagery in watercolor, gouache, and tempera, died on March 12, 2013, at age 76. Among his his influences ranged from the Bengal school of art (a forerunner to Indian modernism) to his personal experience as a child witnessing the Kolkata riots
  • Daniel Reich, an unconventional art dealer based in New York, died on December 25, 2012. He was 39 years old
  • Martin Rogers, a British printer, sculptor, and publisher who founded the Small Publishers Fair in London, has died. He was 61 years old
  • Dorothy Sanders, a philanthropist who founded the Milwaukee Art Museum’s African-American Art Acquisition Committee, passed away on February 13, 2013. She was 96
  • James Schell, an Atlanta artist and illustrator whose works were published in the Atlanta Journal-Constitution’s Sunday magazine, died on January 6, 2013, at age 94. He was the art director for Kirkland White and Schell Advertising, which he helped establish
  • Shozo Shimamoto, a Japanese artist who was a member of the Gutai group, died on January 25, 2013, at the age of 85
  • Merton D. Simpson, a painter, collector, and dealer in African art, died on March 9, 2013, at the age of 84. Simpson founded his gallery of African and tribal art in 1954, and his artwork became politicized in the early 1960s after joining the Spiral group, which counted Romare Bearden and Hale Woodruff among its members
  • Paolo Soleri, the innovative architect of an ecologically minded city in the Arizona desert called Arcosanti, passed away on April 9, 2013. He was 93
  • Jack Stokes, the animation director of the Beatles’ film Yellow Submarine, died on March 20, 2013. He was 92. Stokes also worked on titles and inserts for Magical Mystery Tour
  • Clinton Darlington Swingle, who oversaw the purchase, preservation, and restoration of the Fabric Workshop and Museum’s building in Philadelphia, died on January 27, 2013. He was 84
  • Pedro Ramírez Vázquez, a Mexican architect who combined modern and Precolumbian forms, died on April 16, 2013, at age 94. His best-known buildings are the Basilica of Guadalupe, National Museum of Anthropology, and Azteca Stadium
  • William Wilson, a former critic for the Los Angeles Times, died on April 20, 2013, at the age of 78. He began writing for the paper in 1965, contributing exhibition reviews through 2001
  • Zao Wou-Ki, a Chinese artist whose work combined the traditional landscape painting of his country with European abstraction, died on April 9, 2013, age 92. He had lived and worked in Paris from 1948 to 2011

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.

Long Hidden, Vatican Painting Linked to Native Americans

For close to four hundred years, the painting was closed off to the world. For the past 124 years, millions of visitors walked by without noticing an intriguing scene covered with centuries of grime. Only now, the Vatican says a detail in a newly cleaned fifteenth-century fresco shows what may be one of the first European depictions of Native Americans. The fresco, The Resurrection, was painted by the Renaissance master Pinturicchio in 1494—just two years after Christopher Columbus first set foot in what came to be called the New World. (Read more from National Public Radio.)

Ten Tips to Earn Tenure

I had complained to my colleague that after the intellectually, emotionally, and physically grueling experience of completing graduate school while teaching full-time, I would really look forward to “just” being a professor. She replied, “I hate to tell you this, but you’ll still be working sixty- and seventy-hour weeks to earn tenure and promotion because you’ll have all kinds of other responsibilities besides teaching that you don’t have now.” Over twelve years, three moves, and two blood pressure medicines later, I see how right she was that day. Here are my ten tips for earning tenure and promotion without becoming the nutty professor. (Read more at Inside Higher Ed.)

As Works Flood In, Nation’s Library Treads Water

The Sea Creatures, who recently sent their recording Naked in the Rain to the Library of Congress, probably did not ponder the impact of sequestration on their music’s journey from dream to copyright. Just as military contractors, air-traffic controllers, and federal workers are coping with the grim results of a partisan impasse over the federal deficit, the Library of Congress, whose services range from copyrighting written works to the collection, preservation, and digitalization of millions of books, photographs, maps, and other materials, faces deep cuts that threaten its historic mission. (Read more in the New York Times.)

Q&A with Denise Scott Brown

Denise Scott Brown, the cofounder of Venturi, Scott Brown and Associates (now VSBA), talks to Architect about a petition to put her name on the 1991 Pritzer Architecture Prize, about her career in design. and about the ways she has been treated as a woman architect in a profession that she has described as a “nineteenth-century upper-middle-class men’s club.” (Read more in Architect.)

Smithsonian Sequestration Closures Could Get Worse

The Smithsonian Institution has announced that parts of three museums—the Hirshhorn Museum and Sculpture Garden, the National Museum of African Art, and the Smithsonian Castle—will close through September 30 because of mandatory budget cuts, but the true effect of sequestration on the museum group is far wider. A Smithsonian spokeswoman says that in addition to these closures, sections of other museums will go dark this year as exhibitions come to their scheduled ends. (Read more in the DCist.)

English Teachers Reject Use of Robots to Grade Student Writing

Critics of standardized tests argue that the written portion of those assessments can short-circuit the process of developing ideas in writing. Using machines to grade those tests further magnifies their negative effects, according to a statement adopted last month by the National Council of Teachers of English. As high-school students prepare for college, the statement reads, they “are ill served when their writing experience has been dictated by tests that ignore the evermore complex and varied types and uses of writing found in higher education.” (Read more in the Chronicle of Higher Education.)



Filed under: CAA News

Each month, CAA’s Committee on Women in the Arts produces a curated list, called CWA Picks, of recommended exhibitions and events related to feminist art and scholarship in North America and around the world.

The CWA Picks for May 2013 include solo exhibitions of work by Hung Liu at the Oakland Museum of California, Kara Walker at the Art Institute of Chicago, Gillian Wearing at the Museum Brandhorst in Munich, Latoya Ruby Frazier at the Brooklyn Museum, and Wangechi Mutu at the Nasher Museum of Art in Durham, North Carolina. Of special note is a two-person show at the Contemporary Arts Museum Houston, called Parallel Practices, that features the first major presentation in the United States of work by the French body artist Gina Pane (1939–1990) alongside her contemporary, the American Joan Jonas.

Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.

Image: Gina Pane, Azione Sentimentale, 1973, seven color photographs on wood panel, 48¼ x 40⅛ in. (artwork © Gina Pane; photograph by Francoise Masson and provided by ADAGP, Anne Marchand, and Kamel Mennour, Paris)



Filed under: Committees, Exhibitions

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