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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 October 2013 consist of several excellent exhibitions of women artists in the United States: Chiharu Shiota at the Mattress Factory in Pittsburgh, Eleanor Antin at Columbia University in New York, and Nalini Malani at Galerie Lelong in New York. Also included are two important group shows: She Who Tells a Story, an exhibition of female photographers from the Arab world at the Museum of Fine Arts, Boston; and The Beginning Is Always Today, the first major museum survey of Scandinavian feminist art in twenty years.

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 Caption

Chiharu Shiota, IN SILENCE at Centre PasquArt, Biel/Bienne, 2008, black wool, burnt grand piano, and burnt chairs (artwork © Chiharu Shiota; photograph by Sunhi Mang and provided by VG Bild Kunst).



Filed under: Committees, Exhibitions

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.

Curators Offer Show of Support for Detroit Institute of Arts in Light of Bankruptcy Case

The Association of Art Museum Curators plans to hold its 2014 Annual Conference in Detroit as a show of support for the Detroit Institute of Arts, which is having some items in its collection assessed following the city’s bankruptcy filing this summer. The May 4–6 conference is expected bring together about three hundred museum curators from around the world, the association said. At least one day of conference programming is to be devoted to the DIA and the importance of its collection.  (Read more in Detroit News.)

An Adjunct’s Death Becomes a Rallying Cry for Many in Academe

An op-ed column about the death of a former longtime adjunct faculty member at Duquesne University has drawn new attention to the working conditions of instructors off the tenure track. The column, published in the Pittsburgh Post-Gazette, says that Margaret Mary Vojtko was underpaid and underappreciated during her twenty-five years of teaching French at the Roman Catholic university, and that she was nearly destitute when she died, on September 1, at the age of 83. (Read more in the Chronicle of Higher Education.)

Open to All?

Does free admission guarantee accessibility to art? It’s now nearly twelve years since it became mandatory for publicly funded museums and galleries in the United Kingdom to offer free admission. While visitor numbers have rocketed, studies have shown that the demographics of visitors have barely shifted. In essence, those from low-income backgrounds are still massively underrepresented. (Read more in Frieze Blog.)

Refuting the Myths about the Armory Show

One hundred years ago, some 87,000 New Yorkers packed into the 69th Regiment Armory over the course of a month to see nearly 1,400 works of modern art by more than three hundred international artists. Research for exhibitions commemorating the centennial of the notorious Armory Show, however, reveals that it included more American, historical, and even female artists than many accounts include. (Read more in ARTnews.)

Using Classroom Assessment Techniques: A Proactive Approach for Online Learning

There are two main forms of assessment often used within the online classroom. Both formative and summative assessments evaluate student learning and assist instructors in guiding instructional planning and delivery. While the purpose of a summative assessment is to check for mastery following the instruction, formative assessment focuses on informing teachers in ways to improve student learning during lesson delivery. Each type of assessment has a specific place and role within education, both traditional and online. (Read more in Faculty Focus.)

Tracking Stolen Art, for Profit, and Blurring a Few Lines

Early in the morning of May 11, 1987, someone smashed through the glass doors of the Museum of Modern Art in Stockholm, removed a Matisse from a wall, and fled. All it took was daring and a sledgehammer. The whereabouts of the painting, Le Jardin, remained a mystery until the work was found last year and made a celebratory trip home in January. But law enforcement played no role. The return was facilitated by the Art Loss Register, a London-based company that over the last two decades has evolved into a little-noticed but increasingly integral part of art investigation around the world. (Read more in the New York Times.)

Getty Lab Cleans Jackson Pollock’s 1943 Mural—What a Difference!

When does a Jackson Pollock painting look more like a Jackson Pollock painting? Simple: When it’s clean. That’s the not-altogether surprising thought that came to mind when I dropped by the J. Paul Getty Museum’s conservation lab the other day to check out progress on Pollock’s monumental 1943 Mural. Star of the collection at the University of Iowa Museum of Art, the epic painting had arrived in Los Angeles a year ago for extensive treatment. (Read more in the Los Angeles Times.)

The New Economy of Letters

Every day, more scholars are writing more words for less money than ever before: they are self-publishing and tweeting and blogging and MOOC-ing. Much of this is all to the good, especially insofar as it disseminates knowledge. The new economy of letters, however, hasn’t made academic writing better, but it has made it harder for certain kinds of intellectuals to be heard. All the noise has silenced the modest, the untenured, and the politically moderate. (Read more in the Chronicle Review.)



Filed under: CAA News

New Faces for CAA Journals

posted by Christopher Howard


The president of the CAA Board of Directors, Anne Collins Goodyear, has confirmed new appointments to the editorial boards of CAA’s three scholarly journals and to the Publications Committee, in consultation with the vice president for publications, Suzanne Preston Blier. The appointments took effect on July 1 and in late August 2013.

The Art Bulletin

The three new members of the Art Bulletin Editorial Board are: Sarah Betzer, assistant professor of eighteenth- and nineteenth-century art and director of the undergraduate program in art history at the University of Virginia in Charlottesville; Rita Freed, a historian of Egyptian art and chair of the Department of Art of the Ancient World at the Museum of Fine Arts, Boston, in Massachusetts; and Glenn Peers, a professor of medieval art at the University of Texas at Austin. They will serve four-year terms, through June 30, 2017. In addition, Goodyear appointed David Getsy of the School of the Art Institute of Chicago in Illinois to a two-year term as editorial-board chair.

Art Journal

The new member at large for the Art Journal Editorial Board is Juan Vicente Aliaga, a curator and a professor of modern and contemporary art and theory at Universitat Politècnica de València in Spain.

caa.reviews

The caa.reviews Editorial Board welcomes David Raskin as editor designate through June 30, 2014. Raskin is professor of contemporary art history in the Department of Art History, Theory, and Criticism and chair of the Department of Sculpture at the School of the Art Institute of Chicago in Illinois. Juliet Bellows, assistant professor of nineteenth- and twentieth-century art in the Department of Art at American University in Washington, DC, joins the editorial board for a three-year term.

New field editors for the journal are: Suzanne Hudson, a historian of modern and contemporary art at the University of Southern California in Los Angeles and an active critic, as field editor for reviews of exhibitions of modern and contemporary art on the West Coast; Kevin Murphy, chair of the History of Art Department at Vanderbilt University in Nashville, Tennessee, as field editor for books on architecture and urbanism from 1800 to the present; Kristoffer Neville, assistant professor in the Department of the History of Art at the University of California, Riverside, as field editor for books on architecture and urbanism, pre-1800; Andrei Pop, assistant professor of art history at Universität Basel in Switzerland, as field editor for books on theory and historiography; and Jason Weems, assistant professor in the Department of the History of Art at the University of California, Riverside, as field editor for books on American art.

Joining the caa.reviews Council of Field Editors in late August are: Andrea Bayer, curator in the Department of Paintings, Metropolitan Museum of Art, as field editor for reviews of books on arts administration and museum studies; and Tatiana Flores, associate professor in the Department of Art History at Rutgers University, as field editor for exhibitions on modern and contemporary art in New York and internationally.

Publications Committee

Susan Higman Larsen joins CAA’s Publications Committee. Larsen is director of publications at the Detroit Institute of Arts in Michigan and an adjunct professor in the graduate program in museum studies at Johns Hopkins University in Baltimore, Maryland.



Apply to Join a CAA Committee

posted by Vanessa Jalet


Get involved in an issue that you care about! CAA invites members to apply for service on one of its nine Professional Interests, Practices, and Standards Committees. These committees address critical issues in the visual arts in an attempt to deal with, and respond to, the pressing concerns of CAA’s members.

Communicating via listserv throughout the year, each committee takes on the objectives it has set for itself, which include: programming ARTspace at the Annual Conference; establishing best practices, standards, and guidelines; sharing and examining pedagogical practices; examining new and developing technologies; addressing issues critical to emerging professionals as well as concerns of diversity and gender; extending the reach of CAA internationally; and clarifying and debating matters of fair use, copyright, and open access. This vigorous exchange of information reveals common goals and leads to solutions that will help CAA members to weather their changing professional landscape.

Committees are active at the Annual Conference in February, where each presents one or two sessions on a subject of its choosing. These sessions, sometimes collaborations between committees and sometimes dealing with workforce issues, are meant to be of immediate value to CAA members. Also at the conference, the committees hold face-to-face business meetings and discuss the past year’s accomplishments while targeting ideas for future projects. Participation on a committee is an excellent and fruitful way to network with other CAA members; for some individuals it is a stepping-stone to service on the organization’s Board of Directors.

The public face of several CAA committees appears most visibly at the conference. The Services to Artists Committee, for example, conceives nearly all content and programming for ARTspace, ARTexchange, and the Media Lounge, while the Student and Emerging Professionals Committee organizes events on professional-development issues that take place in the Student and Emerging Professionals Lounge.

Online, the Committee on Women in the Arts publishes the monthly CWA Picks of exhibitions and events related to feminist art and scholarship, among other activities. Last year, the Museum Committee conducted a survey of museum-based members; it also advocates greater access to museum image collections. After conducting a survey of its own, the International Committee warmly welcomed and hosted twenty travel-grant recipients who attended the New York conference from around the world.

The Professional Practices Committee continues to study, develop, and revise CAA’s Standards and Guidelines, so that these documents, once approved by the CAA board, become authoritative, comprehensive documents for art-related disciplines. The Committee on Diversity Practices is compiling syllabi that consider diversity and inclusiveness in curricula and the classroom. The Committee on Intellectual Property completely updated all intellectual-property information on CAA’s website and continues to monitor the tricky terrain of copyright and fair use, which dramatically affects the work lives of artists and scholars.

Committee members serve three-year terms (2013–16), with at least one new member rotating onto a committee each year. Candidates must be current CAA members and possess expertise appropriate to the committee’s work. Members of all committees volunteer their services without compensation. Committee work is not for the faint of heart; it is expected that once appointed to a committee, a member will involve himself or herself in an active and serious way.

The following vacancies are open for terms beginning in February 2014:

CAA’s president, vice president for committees, and executive director review all candidates in early November and make appointments in December, prior to the Annual Conference. New members are introduced to their committees during their respective business meetings at the conference.

Nominations and self-nominations should include a brief statement (no more than 150 words) describing your qualifications and experience and an abbreviated CV (no more than 2–3 pages). Please send all materials to Vanessa Jalet, CAA executive liaison. Deadline: October 11, 2013.

Image Caption

The Student and Emerging Professionals Committee hosted a breakfast at the American Folk Art Museum during the 2011 Annual Conference (photograph by Bradley Marks).



Filed under: Committees, Governance

Volunteer for the Mock Interview Sessions in Chicago

posted by Christopher Howard


For the 2014 Annual Conference in Chicago, the Student and Emerging Professionals Committee seeks established professionals to volunteer as practice interviewers for the Mock Interview Sessions. Participating as an interviewer is an excellent way to serve the field and to assist with the professional development of the next generation of artists and scholars.

In these sessions, interviewers pose as a prospective employer, speaking with individuals in a scenario similar to the Interview Hall at the conference. Each session is composed of approximately 10–15 minutes of interview questions and a quick review of the application packet, followed by 5–10 minutes of candid feedback. Whenever possible, the committee matches interviewers and interviewees based on medium or discipline.

Interested candidates must be current CAA members and prepared to give six successive twenty-minute interviews with feedback in a two-hour period on one or both of these days: Thursday, February 13, 1:00–3:00 PM and 4:00–6:00 PM; and Friday, February 14, 9:00–11:00 AM and 2:30–4:30 PM. Conference registration, while encouraged, is not required to be a mock interviewer. Desired for the sessions are art historians, art educators, designers, museum-studies professionals, critics, curators, and studio artists with tenure and/or experience on a search committee. You may volunteer for one, two, three, or all four Mock Interview Sessions.

Please send your name, affiliation, position, contact information, and the days and times that you are available to Megan Koza Young, chair of the Student and Emerging Professionals Committee.

The Mock Interview Sessions are not intended as a screening process by institutions seeking new hires.




Students and emerging professionals have the opportunity to sign up for a twenty-minute practice interview at the 2014 Annual Conference in Chicago. Organized by the Student and Emerging Professionals Committee, Mock Interview Sessions give participants the chance to practice their interview skills one on one with a seasoned professional, improve their effectiveness during interviews, and hone their elevator speech. Interviewers also provide candid feedback on application packets.

Mock Interview Sessions are offered free of charge; you must be a CAA member to participate. Sessions are filled by appointment only and scheduled for Thursday, February 13, 1:00–3:00 PM and 4:00–6:00 PM; and Friday, February 14, 9:00–11:00 AM and 2:30–4:30 PM. Conference registration, while encouraged, is not necessary to participate.

To apply, download, complete, and send the Mock Interview Sessions Enrollment form to Megan Koza Young, chair of the Student and Emerging Professionals Committee. You may enroll in one twenty-minute session.

You will be notified of your appointment day and time by email. Please bring your application packet, including cover letter, CV, and other materials related to jobs in your field. The Student and Emerging Professionals Committee will make every effort to accommodate all applicants; however, space is limited.

Onsite enrollment will be limited and first-come, first-served. Sign up in the Student and Emerging Professionals Lounge starting on Wednesday, February 12, at 4:00 PM.



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.

In Detroit, a Case of Selling Art and Selling Out

These days, the message screens above the main ticket desk at the Detroit Institute of Arts regularly flash the phrase “Thank You Voters.” Unusual as it may seem among announcements about exhibitions and events at this world-class museum, it belongs there. On August 7, 2012, the citizens of the three counties that contain and surround Detroit—Wayne, Oakland, and Macomb—voted in favor of a ten-year commitment to a small increase in real-estate taxes that would guarantee the institute $23 million a year, roughly two-thirds of its annual operating budget. (Read more in the New York Times.)

Sunday Dialogue: Sell Masterpieces to Help Save a City

The choice being debated in Detroit—whether to sell works from the Detroit Institute of Arts to help pay the city’s debts—is agonizing. How can we equate a few pieces of canvas with paint on them with the pensions of thousands of firefighters, nurses, police officers, teachers, and other civil servants? (Read more in the New York Times.)

More Humanities PhDs

New doctoral enrollments in the arts and humanities have been going up modestly—an average of 1 percent annually—for a decade. But data being released by the Council of Graduate Schools show that in fall 2012, arts and humanities doctoral programs saw a 7.7 percent increase—a surprising jump given the difficulty many new PhDs in those fields have in finding jobs. (Read more from Inside Higher Ed.)

Insider Tips from the Art World’s Social-Media Pros (Part Three)

To get a better sense of how museums and art organizations are adapting to and embracing the increasing centrality of social media to their missions, Blouin Artinfo spoke to the experts: the people behind some of the art world’s richest and most rewarding social-media accounts. For this third and final installment in a three-part series, we put some questions to the Contemporary Jewish Museum, the public-relations firm Fitz & Co, the Los Angeles Museum of Contemporary Art, and Creative Time. (Read more from Blouin Artinfo.)

Help Desk: Padding the Résumé

Artists are routinely asked to donate work toward the benefit of an organization. I have reached the point where I am not sure how my participation ranks along with my overall exhibition history. What is a suitable way (if any) to list auctions, charitable donations, or benefit shows on my CV? Furthermore, when panels or curators view résumés, do they view these things as positive qualities or simply as résumé padding? (Read more in Daily Serving.)

Know the Vital Players in Your Career: The Chair

In a series of essays starting with this one, I will look at the crucial professional players—found in every academic department, no matter the discipline or the institution—who can profoundly affect the progress (or lack thereof) of your career. The most crucial dyad for a new faculty member is usually you and your department head. The chair (a catchall title I will use here for ease of reference) might be the person who has the greatest sway over you from the start: in hiring, through the promotion-and-tenure stage, and beyond. (Read more in the Chronicle of Higher Education.)

Keeping Students Engaged in the Online Classroom

As an online instructor, I can fulfill the minimum requirements of the university regarding interacting with students, or I can create a learning environment that facilitates student engagement in the classroom. Students enroll in online classes because of scheduling flexibility, work-life-school balance, costs, and convenience. Although online learning holds many advantages, the potential drawbacks revolve around the lack of personal interaction between the instructor and student, as well as the student-to-student contact. Keeping students engaged in the course is a vital function of an effective instructor. (Read more from Faculty Focus.)

“If You Want to Be My Student”

Like any good graduate adviser, Chris Blattman expects a lot from his students. But just how he’s expressing those expectations has generated a fair amount of discussion at Columbia University, where he is an assistant professor of political science and international and public affairs, as well as some talk outside its walls. Blattman, who is known for his frank approach to decoding college and graduate school for students on his blog, outlines protocol for would-be advisees in a new post called “If you want to be my student.” (Read more from Inside Higher Ed.)



Filed under: CAA News

Scalar Webinars: Announcing Our Fall Schedule

posted by Linda Downs


The Alliance for Networking Visual Culture sent the following email on September 16, 2013.

Scalar Webinars: Announcing Our Fall Schedule

To follow up on our recent Beta release, the Scalar development team will be offering a series of free online webinars this Fall.

Our “Introduction to Scalar” webinars will cover basic features of the platform: a review of existing Scalar books and a hands-on introduction to paths, tags, annotations and importing media. Our “Intermediate Scalar” webinars will delve into more advanced topics including the effective use of visualizations, annotating with media and a primer on customizing appearances in Scalar. Finally, one advanced webinar will cover Scalar’s RDF-based API as well as Scalar’s theme engine for programmers who wish to utilize the platform’s internal components when creating interfaces.

Our Fall schedule will include five dates:

  • Introduction to Scalar  – September 26, 10am-12pm (PST)
  • Intermediate Scalar – October  17,  10am-12pm (PST)
  • Introduction to Scalar – November 14, 4pm-6pm  (PST)
  • Advanced Scalar/API – November 21, 10am-12pm (PST)
  • Intermediate Scalar – December 12, 4pm-6pm  (PST)

Scalar is a free, open source authoring and publishing platform that’s designed to make it easy for authors to write long-form, born-digital scholarship online. Scalar enables users to assemble media from multiple sources and juxtapose them with their own writing in a variety of ways, with minimal technical expertise required.



Filed under: Digital Issues, Webinars

September 2013 Issue of The Art Bulletin

posted by Christopher Howard


The September 2013 Art Bulletin, the leading publication of international art-historical scholarship, is the third issue of the journal’s centennial year. In the opening text, “Regarding Art and Art History,” David Summers traces his career as a trajectory of changing perspectives on art history. For the “Notes from the Field” section, eleven authors—Eric Fischl, Jan Assmann, Malcolm Bull, Darby English, Ludmilla Jordanova, Mary Miller, Steven Nelson, Ajay Sinha, Gloria Sutton, Gerrit Walczak, and David E. Wellbery—ponder the role of time in art. The September “Interview” features Partha Miller and Keith Moxey discussing the emergence of a world art history.

In his essay “Graphic Knowledge,” Peter Parshall analyzes Albrecht Dürer’s treatise on human proportion to reveal a fear of the transgressing power of imagination that, he argues, ultimately hobbled the artist and his legacy. Next, Matthew M. Reeve explores Horace Walpole’s neo-Gothic villa, Strawberry Hill, showing the role of the eighteenth-century Englishman’s sexuality in the design and reception of the house. In “Rhetorics of Place and Empire in the Fountain Sculpture of 1830s Havana,” Paul B. Niell examines the reconfiguration of international forms, iconography, and materials in three public fountains erected in Cuba during the 1830s to show how a burgeoning Atlantic world city negotiated its relation with the Spanish Empire and its emerging distinctiveness as a local setting. Finally, Namiko Kunimoto considers the Japanese artist Tanaka Atsuko’s Electric Dress in relation to a changing urban and industrial context in postwar Japan that provoked shifts in the status of gender, underscoring the frailty of female subjectivity.

In a “Centennial Review Essay,” H. Perry Chapman discusses what she calls the “problem with artists” by reconsidering two influential books: Ernst Kris and Otto Kurz’s Legend, Myth, and Magic in the Image of the Artist: A Historical Experiment (1934); and Rudolf Wittkower and Margot Wittkower’s Born under Saturn: The Character and Conduct of Artists; A Documented History from Antiquity to the French Revolution (1963). Then, Jacqueline E. Jung assesses Herbert L. Kessler and David Nirenberg’s edited volume, Judaism and Christian Art: Aesthetic Anxieties from the Catacombs to Colonialism, alongside Nina Rowe’s The Jew, the Cathedral, and the Medieval City: Synagoga and Ecclesia in the Thirteenth Century. Last, Peter Chametzky considers a recent exhibition and publishing project on a German art critic, which includes Konstanze Rudert’s catalogue, In the Network of Modernism: Kirchner, Braque, Kandinsky, and Klee … Richter, Bacon, Altenbourg, and Their Critic Will Grohmann, and Rudert and Volkmar Billig’s anthology, Will Grohmann: Texte zur Kunst der Moderne.

CAA sends The Art Bulletin to all institutional members and to those individuals who choose to receive the journal as a benefit of their membership. The next issue of the quarterly publication, to appear in December 2013, will feature essays on the artists Frederic Church and Awa Tsireh, Vasari’s alleged account of Roman Jews “adoring” Michelangelo’s Moses, and the contested status of color in Indian nationalism, among other topics.

 



Filed under: Art Bulletin, Publications

Arts in Turkey Tour: Yesterday and Today

posted by Nia Page


CAA has partnered with Tutku Tours to provide an exclusive offer for its members to spend two weeks exploring the ancient and contemporary sides of Turkey, from May 27 to June 10, 2014. Highlights of the Arts in Turkey Tour: Yesterday and Today trip include stops in Istanbul, Iznik, Canakkale, Troy, Assos, Ayvalik, Izmir, Pergamum, Ephesus, Kusadasi, Pamukkale, Catalhoyuk, Konya, Cappadocia, and Ankara. This tour is a one-of-a-kind experience that takes visitors on a spectacular journey through ancient and modern Turkey. Visit the workshops of local artists, learn about techniques of ancient art, and take in galleries and museums in some of the world’s oldest cities.

The tour begins with three days in Istanbul—the city on seven hills and the capital of two former empires—where travelers will visit the major attractions, including the Hippodrome, Blue Mosque, and Hagia Sophia, and also get to know the city’s vibrant street life and local art scene. The tour will then visit the Iznick Foundation’s tile factory, the archaeological site of ancient Troy, and the Pergamum acropolis. The city of Izmir, which boasts numerous museums and art galleries, comes next, and later the port city of Ephesus and Pamukkale, near the ancient city of Herapolis. A handful of other exciting stops will happen in the several days before the return flight from Ankara.

In addition to access to cultural and historic sites, the Art of Turkey Tour will provide CAA members with time for rest and relaxation. The group will stop at a carpet school in Ephesus, along with an overnight stay at a spa hotel at the Pamukkale hot springs. The end of the trip includes a stop in Cappadocia, where travelers can explore the Göreme Open-Air Museum, a vast collection of painted cave-churches dating from 1000 AD, and also watch a whirling dervishes ceremony. At the final destination, Ankara, the tour will visit the famed Museum of Anatolian Civilizations.

Getting There: Turkish Airlines provides nonstop, direct flights from the United States and Canada from the following cities: New York, Los Angeles, Washington, DC, Chicago, Houston, and Toronto.

Land and Air Rates: $3,990 per person for a double room; $4,780 per person for a single room.

The Arts in Turkey Tour features include:

  • International flight from the US via Turkish Airlines
  • Thirteen nights in superior hotels
  • Comprehensive sightseeing as specified in the program
  • Meals (thirteen dinners, four lunches, daily breakfasts)
  • An official, licensed English-speaking guide throughout the tour
  • Visits to art galleries
  • Transportation in air-conditioned vehicles
  • All entry fees to sites and museums
  • A hot-air balloon flight in Cappadocia
  • Local taxes and service charges

For a detailed, day-by-day tour itinerary, please download and review the Arts in Turkey Tour brochure.



Filed under: Membership, Tours

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