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Meiss/Mellon Author’s Book Awards for Spring 2014

posted by Christopher Howard

CAA is accepting applications for Meiss/Mellon Author’s Book Awards for the spring 2014 grant cycle. This grant program is designed to support the work of emerging authors of manuscripts in art history and visual studies who are responsible for paying for rights and permissions for images in their publications. Awardees will be selected on the basis of the quality and demonstrated financial need of their project.

Successful applicants will be authors under contract with a publisher for a manuscript on art history or visual studies. Awardees are announced six to eight weeks after the deadline. For a fuller grant description, the complete guidelines, and the application forms, please visit the Meiss/Mellon section of the CAA website or send an email to Deadline: March 15, 2014.

Image Caption

Megan R. Luke won a Meiss/Mellon Author’s Book Award in spring 2013 for her book Kurt Schwitters: Space, Image, Exile (Chicago: University of Chicago Press, 2013).

Report on the 2014 Annual Conference

posted by Nia Page

CAA hosted its 102nd Annual Conference from February 12 to 15, 2014, at the Hilton Chicago in Chicago, Illinois. This year’s program included four days of presentations and panel discussions on art history and visual culture, Career Services for professionals at all stages of their careers, a Book and Trade Fair, and a host of special events throughout the region. Preceding the Annual Conference was CAA’s second THATCamp, an “unconference” on digital art history that took place at Columbia College Chicago.


Over 4,000 people from throughout the United States and abroad—including artists, art historians, students, educators, curators, critics, collectors, and museum staff—attended the conference. Visual-arts professionals from over 43 countries were represented at the conference.


Conference sessions featured presentations by artists, scholars, graduate students, and curators who addressed a range of topics in art history and the visual arts. In total, the conference offered over 200 sessions, developed by CAA members, affiliated societies, and committees. Approximately 800 individuals presented their work.

Career Services

Career Services included four days of mentoring and portfolio-review sessions, professional-development workshops, and job interviews with colleges, universities, and other art institutions. Approximately 240 interviewees and 47 mentors participated in Career Services. During the week of the Annual Conference, there were 165 active jobs posted on the Online Career Center and 56 employers participating onsite.

Book and Trade Fair

This year’s Book and Trade Fair presented 108 exhibitors—including participants from the United States, the United Kingdom, the Netherlands, Belgium, Mexico, and Germany—that displayed new publications, materials for artists, digital resources, and other innovative products of interest to artists, scholars, and arts enthusiasts. The Book and Trade Fair also featured book signings, lectures, and demonstrations, as well as three exhibitor-sponsored program sessions on art materials and publishing.


ARTspace, a “conference within the conference” tailored to the needs and interests of practicing artists, presented programming that was free and open to the public, including this year’s Annual Distinguished Artist Interview with Kay Rosen. Over three hundred people attended this lively event. The scheduled interview with William Pope.L was unfortunately cancelled due to inclement weather.

ARTspace also featured four days of panel discussions devoted to visual-arts practice, opportunities for professional development, and screenings of film and video.

ARTexchange, an open-portfolio event in which CAA artist members displayed drawings, prints, photographs, small paintings, and works on laptop computers, took place on Friday, February 14. Nearly 40 artists participated in ARTexchange this year.

The Media Lounge, a space for innovative new-media programming in conjunction with ARTspace, presented the UncommonCommons project. UncommonCommons was an incubator for skills and knowledge-sharing that responded to the themes of the commons and “commoning.” The project included a series of workshops, film and video screenings, public discussions, and provocations by a range of international artists, filmmakers, activists, art critics, curators, educators, lawyers, and ethnographers.

Programmed by CAA’s Services to Artists Committee, ARTspace was made possible in part by a generous grant from the National Endowment for the Arts.

Student and Emerging Professionals Lounge

The Student and Emerging Professionals Lounge served as a hub for networking, information- sharing, collaboration, professional development, and much more. The Student and Emerging Professionals Committee hosted an incredibly informative session on “Teaching Professional Practices in the Arts” to a packed audience; five Brown Bag Sessions with attendance ranging from 25 to 60; a successful, first-ever social night; and two days of Mock Interviews at full capacity.

The SEP Lounge was sponsored by Wix workshops were held daily at the Annual Conference to captive audiences. Wix empowers creatives and entrepreneurs to build their own website—without having to write a single line of code.

Distinguished Scholar Session

Wanda M. Corn, professor emerita of art history at Stanford University, was CAA’s 2014 Distinguished Scholar. Corn was honored during a special session, sponsored by the Terra Foundation for American Art. Gwendolyn DuBois Shaw of the University of Pennsylvania chaired the session and five additional participants—Lanier Graham, Cécile Whiting, Richard Meyer, Ellen Wiley Todd, and Tirza Latimer—joined Shaw in exploring and celebrating Corn’s many contributions to American art.

Convocation and Awards

More than 400 people attended CAA’s Convocation and presentation of the annual Awards for Distinction, which honor the outstanding achievements and accomplishments of individual artists, art historians, authors, conservators, curators, and critics whose efforts transcend their individual disciplines and contribute to the profession as a whole and to the world at large. Jessica Stockholder of the University of Chicago delivered the keynote address. Video of her presentation will be posted on CAA’s website and YouTube page in the coming weeks.

The recipients of the 2014 awards are:

  • Yvonne Rainer, Distinguished Artist Award for Lifetime Achievement
  • Kay Rosen, Artist Award for Distinguished Body of Work
  • John Berger, Distinguished Lifetime Achievement Award for Writing on Art
  • T. J. Demos, Frank Jewett Mather Award
  • Lorraine O’Grady, Distinguished Feminist Award
  • Yukio Lippit, Charles Rufus Morey Book Award
  • Jeff L. Rosenheim, Alfred H. Barr Jr. Award
  • Peter C. Sturman and Susan S. Tai, Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
  • Reni Gower, Distinguished Teaching of Art Award
  • Margaretta M. Lovell and W. J. T. Mitchell, Distinguished Teaching of Art History Award
  • Glenn Wharton, CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
  • Sascha Scott, Arthur Kingsley Porter Prize
  • Jeanne Dunning, Art Journal Award

The recipients of the 2014 Professional-Development Fellowships are:

Professional-Development Fellowships in the Visual Arts:

  • Roberta Gentry, University at Albany, State University of New York
  • Jaime Knight, University of Iowa
  • Liss LaFleur’, Emerson College
  • Patrick Segura, School of the Art Institute of Chicago
  • Valentina Vella, Columbia College Chicago

Professional-Development Fellowships in Art History:

  • Maggie M. Cao, Harvard University
  • Michelle Maydanchik, University of Chicago

Honorable Mentions in the Visual Arts:

  • Ann Bartges, University of Michigan, Ann Arbor
  • Rachael Lynn Davis, Colorado State University
  • Michelle Young Lee, New York University

Honorable Mentions in Art History

  • Lacey Baradel, University of Pennsylvania
  • Karlyn Griffith, Florida State University

Board Election and Member Vote

Results of the Board of Directors election were announced on February 14, 2014, during the Annual Members’ Business Meeting. The new directors are:

  • Helen C. Frederick, Professor, School of Art and Design, George Mason University
  • Gunalan Nadarajan, Professor and Dean, Stamps School of Art and Design, University of Michigan
  • Dannielle Tegeder, Associate Professor of Art, Art Department, Lehman College, City University of New York
  • David C. Terry, Director of Programs and Curator, New York Foundation for the Arts

They will take office at the next board meeting in May 2014.

CAA’s membership also voted in favor of an amendment to the By-laws. The board believes that this change will benefit members and sustain the services that CAA provides. The amendment also provides for flexibility in enabling CAA to make further changes to the membership structure as may be deemed desirable in the future.

Special Events

Following Convocation, the Art Institute of Chicago hosted CAA’s Opening Reception on Wednesday evening, February 12. Over 600 attendees gathered to celebrate the conference while enjoying a stroll through the Art Institute’s Modern Wing.

CAA celebrated its copublishing partnership with Routledge, Taylor & Francis, with a reception and champagne toast at the CAA booth in the Book and Trade Fair on Friday afternoon.

International Travel Grant Program

The highlight of this year’s CAA International Travel Grant Program was a full-day preconference on Tuesday, February 11, 2014. The grant recipients, who came from 20 countries from around the world, gave presentations about their work, addressing topics such as art and national identity, international issues in contemporary art, cross-cultural influences on artistic styles, and curriculum reassessments of art-historical training. The talks featured a wide range of art, from Renaissance arches to Islamic-Hispanic domestic architecture, from communist-era paintings in Poland and Russia to contemporary art in Estonia, South Africa, and Malaysia. Following the presentations, Rick Asher, professor of art history at the University of Minnesota, led a stimulating discussion that further explored the above topics as well as the differences in how art history is practiced around the world. This is the third year of the International Travel Grant Program, funded by the Getty Foundation. Additional support for the program was provided by the National Committee for the History of Art.

Online Presence

Digital media were used in a number of creative ways to expand the reach of Annual Conference programming and encourage greater interactivity:

  • Thanks to the sponsorship of Golden Artist Colors, select conference sessions were filmed and will be posted to CAA’s YouTube page in the coming weeks
  • Informational preconference Google+ Hangout and Q&A currently has 753 views
  • A free mobile app helped attendees navigate the conference. The app was downloaded 1,186 times
  • Columbia College Chicago students hosted the conference blog, reporting on panels, receptions, exhibitions, and participant experience
  • ARTspace organized Art2Make, an exhibition of 3D printed art
  • Renowned blog and podcast Bad at Sports recorded a podcast onsite at the conference

Other Exciting Highlights

  • CAA released and distributed a Fair Use Issues Report and held a discussion about the ongoing fair-use project. Video from the fair-use session will be posted to CAA’s YouTube page in the coming weeks.
  • Unscheduled performance art enlivened the Hilton Chicago during the Annual Conference

Thank You

Members of CAA’s Board of Directors and staff would like to extend their gratitude to all conference funders and sponsors, attendees, volunteers, and participants; the organization’s committees and award juries; the Hilton Chicago staff; Choose Chicago; the museums and galleries that opened their doors to conference attendees free of charge; and everyone else involved in helping to make the 102nd Annual Conference such a tremendous success!

A warm thanks to the following for their generous support of CAA:

  • Andrew W. Mellon Foundation
  • Andy Warhol Foundation for the Visual Arts
  • Art in America
  • Artstor
  • Blick Art Materials
  • Burlington Magazine
  • Columbia College Chicago
  • David L. Klein Jr. Foundation
  • Getty Foundation
  • Golden Artist Colors
  • Institute for Doctoral Studies in Visual Arts
  • National Committee for the History of Art
  • National Endowment for the Arts
  • Pearson
  • Prestel
  • Samuel H. Kress Foundation
  • School of the Art Institute of Chicago
  • Terra Foundation for the Arts
  • Wix
  • Wyeth Foundation for American Art

Save the Date

CAA’s 103rd Annual Conference will be held in New York City, February 11–14, 2015.

About CAA

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

Filed under: Annual Conference

On February 14, 2014, CAA members voted to approve an amendment to the organization’s By-laws that will permit the Board of Directors to streamline the current categories of membership and develop a structure based on benefits rather than on income. The amendment also provides for flexibility in enabling CAA to make further changes to the membership structure as may be deemed desirable in the future.

The amendment grew from a detailed analysis of CAA’s current membership structure and reflects the results of a recent survey evaluating the most highly valued aspects of membership as well as the needs of contingent faculty. New benefits will include: online access to The Art Bulletin, Art Journal, and; additional online access to a non-CAA publication published by Taylor & Francis (the new copublisher of CAA’s journals); and JPASS access at a 50 percent discount. CAA will also offer part-time membership for contingent faculty.

Filed under: Governance, Membership

CAA is accepting applications for spring 2014 grants through the Millard Meiss Publication Fund. Thanks to a generous bequest by the late art historian Millard Meiss, the twice-yearly program supports book-length scholarly manuscripts in any period of the history of art, visual studies, and related subjects that have been accepted by a publisher on their merits but cannot be published in the most desirable form without a subsidy.

The publisher, rather than the author, must submit the application to CAA. Awards are made at the discretion of the jury and vary according to merit, need, and number of applications. Awardees are announced six to eight weeks after the deadline. For the complete guidelines, application forms, and a grant description, please visit the Meiss section of the CAA website or send an email to Deadline: March 15, 2014.

Image Caption

Bibiana K. Obler’s book Intimate Collaborations: Kandinsky and Münter, Arp and Taeuber won a Meiss grant in fall 2012.

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.

Orr’s Plan Would Protect DIA Artwork, but It’s Not a Done Deal Yet

The fate of the Detroit Institute of Arts remains in limbo in the wake of the recent release of Kevyn Orr’s restructuring plan for Detroit’s finances. While Orr’s plan incorporates the fundamentals of a much-talked-about deal to prevent the forced sale of any masterpieces and to separate the city-owned museum into an independent charitable trust, several critical steps remain before a final settlement would guarantee the museum safe harbor in Detroit’s historic bankruptcy. (Read more from the Detroit Free Press.)

Photographers Band Together to Protect Work in “Fair Use” Cases

To many photographers, a federal appeals court ruling last spring that permitted Richard Prince to use someone else’s photographs in his art was akin to slapping a “Steal This” label on their work, but photographers are pushing back. Several membership and trade organizations have banded together recently to press their cause in Congress and the courts. (Read more from the New York Times.)

No Longer Appropriate?

“Appropriating” other artists’ work without consent is still common, but there is growing evidence—albeit rarely reported—that, although some artists may have started out as willing or unwitting outlaws, they decided that possibly infringing other artists’ copyright was legally unwise and potentially expensive, and they stopped. (Read more from the Art Newspaper.)

Protest Action Erupts inside the Guggenheim Museum

Last weekend, over forty protesters staged an intervention inside the Guggenheim Museum in Manhattan during Saturday night’s pay-what-you-wish admission hours. Unfurling Mylar banners, dropping leaflets, chanting words, handing out information to museum visitors, and drawing attention with a baritone bugle, the group highlighted the labor conditions on Saadiyat Island in the United Arab Emirates, where Guggenheim Abu Dhabi, a franchise of New York’s Guggenheim, is being built. (Read more from ArtLeaks.)

Eminent Domain

A gallery’s street address says a lot more than its web address. We’ll assume that a gallery at 555 West 24th Street in Chelsea sells more expensive art, represents more well-known artists, and is more influential on the market than, say, the residential address of an artist-run apartment gallery in Bed Stuy. A web address can’t connote this same kind of prestige differential. There are no neighborhoods on the internet, and the cost of rent is always somewhere from $1 to $15 a month. (Read more from the New Inquiry.)

People Lose Their Minds over Obama’s Art History Apology

President Barack Obama’s apology to the art historian Ann Collins Johns has created a frenzy of media coverage, including some inexplicably strange responses. When was the last time you heard art history discussed in mainstream news publications and news channels? Crickets. Exactly. (Read more from Hyperallergic.)

In Defense of Art History: Against the Neoliberal Imagination

Obama’s recent statement about art-history majors echoes a crude opinion of the American ruling class—all that is not of immediate and utilitarian interest to the profit system is to be shunned—and underlines a common conception of education and culture and highlights the ongoing onslaught on the humanities and liberal arts. The corporate education model being pushed heavily on public schools, state universities, and city colleges—schools that serve students from largely working-class and poor backgrounds—grants little weight to these subjects. (Read more from Red Wedge.)

The End of the Corcoran Gallery of Art

If the Corcoran Gallery of Art had to be swallowed up by a larger and healthier institution to survive, we might celebrate last week’s announcement that its collection will be devoured by the National Gallery of Art. The National Gallery is hands down the most prestigious and respected steward of fine art in Washington, and its reputation is international. But this is not a swallowing of the Corcoran—this is the end of the Corcoran and its final dismemberment. (Read more from the Washington Post.)

Filed under: CAA News

AAMD Provenance Workshops

posted by Linda Downs

The Association of Art Museum Directors (AAMD) will cosponsor two provenance workshops this spring: one in Seattle, Washington, and another in Washington, DC.


This workshop will be held on May 18, 2014, in conjunction with the Association of Academic Museums and Galleries’s annual conference in Seattle. The workshop will review best practices for conducting provenance research in art museums, with a focus on Nazi-era provenance, as well as issues pertaining to antiquities and cultural property. The session is geared to all levels of experience and can serve as a how-to and a refresher. The workshop leaders will discuss due diligence and the acquisition process, online research tools, and the handling of restitution claims. The workshop is limited to fifty participants; ample time will be allotted for Q&A.

Victoria Reed, curator for provenance at the Museum of Fine Arts, Boston, and Nancy H. Yeide, head of the Department of Curatorial Records at the National Gallery of Art, will conduct the half-day workshop, which will be held at the Hotel Deca in Seattle. Each participant will receive a copy of Yeide’s book Beyond the Dreams of Avarice: The Hermann Goering Collection (2009), which is the first biography to focus on Hermann Goering’s personal collection and provides the first opportunity since the war to look at the collection as a whole and evaluate its place within art collecting and politics. This carefully documented volume is critical to the clarification of provenances of the objects featured and brings to light pictures whose histories and whereabouts have been hidden for decades.

Registration is available at; scroll down to “Sunday Morning Workshops.”

Washington, DC

In cooperation with the National Archives and Records Administration, the Smithsonian Institution, and the American Alliance of Museums, AAMD will sponsor a workshop for advanced researchers following the success of a two-day, Nazi-era provenance seminar that was held in 2011. Taking place at the National Archives on June 17, 2014, this workshop is limited to thirty participants who are experienced researchers working in museums. The event will provide a hands-on workshop on using new and updated online provenance research resources. Registration will include a copy of Holocaust-Era Assets, a Finding Aid to Records at the National Archives at College Park.

Nancy H. Yeide, head of the Department of Curatorial Records at the National Gallery of Art, and Chris Naylor, director of textual records for the National Archives, will lead the one-day workshop, which will be accompanied by an introduction to new materials at the Archives of American Art led by Marisa Bourgoin, chief of reference services for the Archives of American Art, and Laurie Stein, senior provenance advisor for the Smithsonian Provenance Research Initiative.

The cosponsors for the DC seminar express grateful appreciation to the Samuel H. Kress Foundation for support to defray expenses for workshop participants.

To apply for registration go and to learn more about Kress grants, visit the AAMD website.

Filed under: Museums and Galleries, Workshops

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.

Obama Picks Low-Profile Arts Center Executive to Chair the NEA

Opting for arts-administration and fundraising credentials over star power, the White House announced last week that President Obama will nominate Jane Chu, president and chief executive of the Kauffman Center for the Performing Arts in Kansas City, Missouri, as the next chairman of the National Endowment for the Arts. (Read more from the Los Angeles Times.)

The Monuments Men Did More Than Rescue Nazi-Looted Art

The greatest Rubens altarpiece in America is in Ohio, at the Toledo Museum of Art. We have the Monuments Men to thank for that. George Clooney’s galumphing all-star movie The Monuments Men did not impress the critics—“inert,” lamented the Los Angeles Times movie critic Kenneth Turan—but the real-life story of soldiers sent to protect and rescue Europe’s great artworks during and after World War II is impressive. So was its aftermath. (Read more from the Los Angeles Times.)

How American Museums Protected Their Art from the Nazis

Last weekend, George Clooney’s newest film, The Monuments Men, arrived in theaters, highlighting a fascinating chapter in World War II. Beginning in 1943, the Monuments Men dutifully retrieved canvases and confiscated heirlooms stashed in salt mines and inconspicuous locations across the continent (and later Japan). Given the inconceivable scope of the cultural upheaval, it’s understandable that one element of the story remains largely overlooked: the precautions taken to protect artworks on American soil. (Read more from the Atlantic.)

Who Owns This Image?

CAA, an organization of about fourteen thousand artists, scholars, and curators, recently released a report on the state of fair use in the visual arts. The association commissioned Patricia Aufderheide and Peter Jaszi, a law professor at American, to be the principal investigators, who found that most professionals have no idea how to employ fair use. As a result, they wrote: “Their work is constrained and censored, most powerfully by themselves, because of that confusion and the resulting fear and anxiety.” (Read more from the New Yorker.)

When Cost Cutting and Staff Costs Are Passed Off as Reductions in Administrative Bloat

At the end of December, the Wall Street Journal published an article by Steve Herbert titled “Colleges Trim Staffing Bloat.” So, if you did not read any further than the title, you might think that all of the attention to administrative bloat as a cost-driver in American higher education was finally producing some results. Think again. (Read more from Academe Blog.)

Great Art Needs an Audience

As the virtual replaces the physical and the world gets globalized, we’ve been hearing that art galleries, settled in a single place, are bound to be on their way out. Collectors are now more likely to buy at a fair than from a dealer’s home base; some may do their art shopping online. A few midrange dealers, especially, are already closing their galleries, to conduct all their business in private, at fairs, or by JPEG. I believe that these changes put art itself at risk. (Read more from the Art Newspaper.)

Art at Arm’s Length: A History of the Selfie

We live in the age of the selfie. A fast self-portrait, made with a smartphone’s camera and immediately distributed and inscribed into a network, is an instant visual communication of where we are, what we’re doing, who we think we are, and who we think is watching. Selfies have changed aspects of social interaction, body language, self-awareness, privacy, and humor, altering temporality, irony, and public behavior. (Read more from Vulture.)

Creativity Becomes an Academic Discipline

The world may be full of problems, but students presenting projects for Introduction to Creative Studies have uncovered a bunch you probably haven’t thought of. Elie Fortune, a freshman, revealed his Sneaks ’n Geeks app to identify the brand of killer sneakers you spot on the street. Jason Cathcart, a senior, sported a bulky martial-arts uniform with sparring pads he had sewn in. No more forgetting them at home. (Read more from the New York Times.)

Filed under: CAA News

Serve on a CAA Award Jury

posted by Lauren Stark

CAA invites nominations and self-nominations for individuals to serve on eight of the twelve juries for the annual Awards for Distinction for three years (2014–17). Terms begin in May 2014; award years are 2015–17. 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 25, 2014.

Filed under: Awards, Service

The CAA Board of Directors welcomes four newly elected members, who will serve from 2014 to 2018:

  • Helen C. Frederick, Professor, School of Art and Design, George Mason University
  • Gunalan Nadarajan, Professor and Dean, Stamps School of Art and Design, University of Michigan
  • Dannielle Tegeder, Associate Professor of Art, Art Department, Lehman College, City University of New York
  • David C. Terry, Director of Programs and Curator, New York Foundation for the Arts

Anne Collins Goodyear, CAA board president, announced the election results during the Annual Members’ Business Meeting, held on Friday, February 14, at the 102nd Annual Conference in Chicago.

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

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

Art Journal Editorial Board Seeks Two Members

posted by Christopher Howard

CAA invites nominations and self-nominations for two individuals to serve on the Art Journal Editorial Board for a four-year term, July 1, 2014–June 30, 2018. Candidates may be artists, art historians, art critics, art educators, curators, or other professionals in the visual arts; institutional affiliation is not required. Art Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture.

The editorial board advises the Art Journal editor-in-chief and assists him or her in seeking authors, articles, artists’ projects, and other content. The group also guides the journal’s editorial program and may propose new initiatives for it, performs peer review and recommends peer reviewers, and may support fundraising efforts on the journal’s behalf. Members also assist the editor-in-chief to keep abreast of trends and issues in the field by attending and reporting on sessions at the CAA Annual Conference and at other academic conferences, symposia, and events.

The Art Journal Editorial Board meets three times a year: twice in New York in the spring and fall and once at the CAA Annual Conference in February. CAA reimburses members for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but members pay these expenses to attend the conference. Members of all editorial boards volunteer their services to CAA without compensation.

Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Members may not publish their own work in the journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, and your contact information to: Chair, Art Journal Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Alyssa Pavley, CAA editorial assistant. Deadline: April 15, 2014.

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