College Art Association
rss Twitter Facebook You Tube flickr instagram

CAA News

News from the Art and Academic Worlds

posted by Christopher Howard


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

77,000 Images of Tapestries and Italian Monuments Join the Open Content Program

The Getty Research Institute has just added more than 77,000 high-resolution images to the Open Content Program from two of its most often-used collections. The largest part of the new open-content release—more than 72,000 photographs—comes from the collection Foto Arte Minore: Max Hutzel photographs of art and architecture in Italy. (Read more from the Getty Iris.)

NGA Online Editions

Available for the first time on the National Gallery of Art’s website, NGA Online Editions presents the most current, in-depth information on the museum’s collections by the world’s leading art historians along with rich capabilities for exploring that information. A customized reading environment and toolkit for managing text and images are intended both to provide scholars with a useful workspace for research and to encourage the study and appreciation of art. (Read more from the National Gallery of Art.)

As Researchers Turn to Google, Libraries Navigate the Messy World of Discovery Tools

Many professors and students gravitate to Google as a gateway to research. Libraries want to offer them a comparably simple and broad experience for searching academic content. As a result, a major change is under way in how libraries organize information. Instead of bewildering users with a bevy of specialized databases—books here, articles there—many libraries are bulldozing their digital silos. They now offer one-stop search boxes that comb entire collections, Google style. (Read more from the Chronicle of Higher Education.)

Previously Unknown Warhol Works Discovered on Floppy Disks from 1985

A multi-institutional team of new-media artists, computer experts, and museum professionals has discovered a dozen previously unknown experiments by Andy Warhol on aging floppy disks from 1985. The purely digital images, “trapped” for nearly thirty years on Amiga floppy disks stored in the archives collection of the Andy Warhol Museum, were discovered and extracted by members of the Carnegie Mellon University Computer Club, with assistance from the museum’s staff, the Frank-Ratchye STUDIO for Creative Inquiry, the Hillman Photography Initiative at the Carnegie Museum of Art, and the artist Cory Arcangel. (Read more from the Frank-Ratchye STUDIO for Creative Inquiry.)

The Happy Hour Test

Getting a job, as we all know, can prove mysterious. Just what determines if one gets the job or not? And what, for departments and committees, proves the deciding factor? If things are relatively equal by the finalist stage, and they usually are, then what? I’d contend that many, maybe most searches come down to the intangibles. And the biggest and most indefinable of them all is simply fitting in. (Read more from Inside Higher Ed.)

Why This Movie Perfectly Re-Created a Picasso, Destroyed It, and Mailed the Evidence to Picasso’s Estate

Imagine this: You’ve just spent three weeks painstakingly replicating a Picasso painting from scratch—you’ve scrutinized documentation about the artist’s creative process; you’ve practiced his brushstrokes, so your work will look convincing; you’ve even painted in noted preliminary images, then covered them up, because that’s what he did. You’ve toiled over this, all for mere seconds of screen time in a film. And then you have to destroy it. (Read more from Vanity Fair.)

Ten Steps to Becoming an Adjunct Ally

There have been plenty of word battles recently between tenure-track faculty and adjuncts as the crisis within higher education has become more publicized, and it is more important than ever that tenured and full-time allies take action in support their colleagues and students as we struggle to take back our colleges from corporate mismanagement. Here are some direct steps tenure-track and other full-time faculty can take to support adjunct faculty. (Read more from Fugitive Faculty.)

Warming Up to the Culture of Wikipedia

If ever there was the antithesis of the crowd-sourced Wikipedia, it would be a museum, where an expert picks what is seen and not seen, then carefully prepares captions explaining what each piece of art means. But while there used to be innate suspicion toward Wikipedia among museum staffs, even hostility, in recent years there has increasingly been cooperation. Wikipedia’s volunteer editors are frequently invited to spend the day at museums and archives to create and improve articles related to the works housed there. (Read more from the New York Times.)



Filed under: CAA News

The following announcement was originally published by Ithaka S+R on April 30, 2014.

Supporting the Changing Research Practices of Art Historians

A study funded by the Getty Foundation and the Samuel H. Kress Foundation, called Supporting the Changing Research Practices of Art Historians, looks at how art historians’ research practices are evolving in the digital age. Intended primarily for the museums, libraries, academic departments, and visual-resources centers that support research in art history within the United States, this project focused on five key areas:

1. The emergence of “digital art history,” and how it is diverging from the broader understanding of the digital humanities.

2. The interconnected scholarly communities that support art history, including museums, libraries, and visual-resources centers, both within and beyond an art historian’s home institution.

3. The changes that digitization and online search portals have brought to the process of searching for primary sources and the limitations of the current discovery environment.

4. The practices art historians employ for managing their large personal collections of digital images.

5. The state of graduate students’ professional training.

Within these five areas, the report makes clear that the needs of art historians can be successfully met only through the collaborative work of many support organizations. Our findings suggest several opportunities for these organizations to develop new funding, services, tools, and initiatives that will have far-reaching impact on the discipline.

This is the third project to be completed as part of Ithaka S+R’s Research Support Services Program. A report for the project in history was released in December 2012, and a report for the project in chemistry was released in February 2013.




CAA has been awarded a $20,000 grant from the National Endowment for the Arts (NEA) to support the next installment of ARTspace at the 2015 Annual Conference in New York. Spearheaded by CAA’s Services to Artists Committee, ARTspace is a forum for programming designed by artists for artists that is free and open to the public. Held at each Annual Conference since 2001, ARTspace is intended to reflect the current state of the visual arts and arts education and is among the most vital and exciting aspects of the conference.

Designed to engage CAA’s artist members as well as the general public, ARTspace offers free program sessions and includes diverse activities such as the Annual Distinguished Artists’ Interviews (most recently with Kay Rosen); screenings of film, video, and multimedia works; live performances; and papers and presentations that facilitate a conversational yet professional exchange of ideas and practices.

The grant, which is the NEA’s sixth consecutive award to CAA for ARTspace, will help fund programs such as ARTexchange, the popular open-portfolio exhibition for artists, as well as [Meta] Mentors, a professional-development forum that has addressed such topics as making a living as an artist with and without a dealer, self publishing, social media, and alternative funding. ARTspace programming at the 2014 conference in Chicago included panels that explored the shifting landscape of the field, from the growing role of audience participation and collaboration to new models for artists’ workspaces. You can explore all of the 2014 ARTspace programming at conference.collegeart.org/artspace.

Image Caption

The artist Kay Rosen was interviewed in ARTspace at the 2014 Annual Conference in Chicago (photograph by Bradley Marks).



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.

Summer Survival Strategies for Adjuncts

I’ve lived through enough adjunct summers to know that things get pretty difficult financially around late July. What little money you managed to scrape together during the school year is long gone, and you’re at least two rent cycles away from the next paycheck. For adjuncts who aren’t lucky enough to score classes, the end of the summer can become a deeply stressful period of doing whatever it takes—borrowing, penny-pinching, and scouring Craigslist for odd jobs. (Read more from Vitae.)

Personal Finance in Grad School

Living on a grad student stipend is tough, but we often make it harder on ourselves if we don’t know where the money is going. By tracking our spending habits, we can get a better sense of what we value, our motivations for spending, and areas where we can save a few dollars or even a few hundred dollars. (Read more from GradHacker.)

Can an Economist’s Theory Apply to Art?

Thomas Piketty is a name on a lot of people’s lips at the moment. The French economist’s new book, Capital in the Twenty-First Century, is a historic survey of wealth concentration that has quickly become a go-to text for the gathering debate on income inequality. In his book, published in English last month, Piketty argues that the rich are only going to get richer as a result of free-market capitalism. The reason, he says, is simple: returns on invested capital are greater than rates of economic growth, and this has become a “fundamental force for divergence” in society. (Read more from the New York Times.)

Detroit Pension Deals Make Sale of DIA Art Less Likely—but Still Possible

Some bankruptcy experts said that it now appears increasingly unlikely that creditors will be able to get their hands on the city-owned art collection at the Detroit Institute of Arts. But experts also said that even in the wake of tentative agreements between the city and Detroit retirees and pensioners, the bondholders, and others pushing hard for a sale of art still have viable legal arguments. (Read more from the Detroit Free Press.)

The Importance of Being a Director-Curator

For those occupying the highest positions in art institutions, spending time with the works that fill their galleries is inevitably more limited than in their earlier curatorial roles. The chance to do the job that made their name—organizing groundbreaking exhibitions or displaying exemplary scholarship—become fewer as bureaucratic demands become greater. Two directors have arguably the most demanding administrative roles in European museums—Udo Kittelmann and Nicholas Serota—both of who continue to take on lead curator roles in major shows. (Read more from the Art Newspaper.)

The Lost, Surprisingly Soulful Art of Corporate Identity

Before corporations, entertainment companies, sports franchises, and political parties acquired “brand narratives,” the notion of branding was a subset of a practice called “corporate identity.” CI, as it was known, required companies and design firms to develop, refine, and maintain an integrated identity system defined by laws set down in a bible known as the graphic standards manual. (Read more from the Atlantic.)

How to Earn Tenure II

So now your clock is running out. In some cases, you’ll be asked to write up a personal statement to be included in your dossier. This can be a tricky thing to write. On the one hand, it will be read by experts in your field. On the other hand, it will also be read by some people who don’t know the first thing about your field. How can you possibly write one document to serve such disparate audiences? (Read more from Inside Higher Ed.)

Confronting the Myth of the “Digital Native”

When Kaitlin Jennrich first walked into her communications seminar last fall, she had no idea that the professor already knew of her affinity for pink cars and Olive Garden breadsticks—and that she planned to share that knowledge with the class. It hadn’t taken much sleuthing on the professor’s part to uncover those inane nuggets. The eighteen-year-old freshman at Northwestern University had herself lobbed them into the public sphere, via Twitter. Her reaction, she recalls, was, “Oh, no.” (Read more from the Chronicle of Higher Education.)



Filed under: CAA News

Recent Deaths in the Arts

posted by Christopher Howard


In its periodic list of obituaries, CAA recognizes the lives and achievements of the following artists, historians, teachers, curators, dealers, philanthropists, and others whose work has significantly influenced the visual arts.

  • Molly Lamb Bobak, an artist, teacher and the first Canadian woman to be sent overseas as a war artist, died on March 2, 2014. She was 95
  • Markus Brüderlin, a Swiss curator, art historian, and director of the Kunstmuseum Wolfsburg, died on March 16, 2014, at age 55
  • Chu Teh-Chun, a Chinese painter also known as Zhu Dequn who was celebrated for integrating traditional Chinese painting with Western abstraction, died on March 26, 2014. He was 94 years old
  • Derek Clarke, a painter inspired by Scottish and Irish landscapes, died on February 10, 2014, at the age of 101. He had taught for many years at the Edinburgh College of Art
  • Margaret Crow, a Texan philanthropist and matriarch of a family of real-estate developers, died on April 11, at age 94. The Trammell and Margaret Crow Collection of Asian Art in Dallas is named for her and her husband
  • Alan Davie, a Scottish painter of colorful abstractions, passed away on April 5, 2014. He was 93 years old
  • Lucia Eames, a designer, the daughter of Charles Eames, and the owner of the Eames Office for twenty-six years, died on April 1, 2014. She was 83
  • Joseph Anthony “Joe” Gatto, a noted jewelry artist and the founding visual-art dean of the Los Angeles County High School for the Arts, died on November 13, 2013. He was 78 years old. CAA has published a special obituary for Gatto
  • John Heskett, a writer, professor, and lecturer on industrial design who greatly expanded the theorization of his subject, died on February 25, 2014. He was 76
  • Frederick Horowitz, an artist, educator, author, and advocate of Josef Albers’s teaching, died on September 12, 2013, at age 75. CAA has published a special text on Horowitz
  • Alexis Hunter, a feminist and conceptualist photographer who based in London, died on February 24, 2014. She was 65
  • Charlotte Jirousek, associate professor of textiles and apparel at Cornell University, passed away on February 12, 2014. She was 75 years old
  • Peter Kalkhof, a German artist based in London known for his colorful linear abstractions, died on February 24, 2014, at the age of 80. He also taught art for many years at Reading University
  • Monika Kinley, a British curator, collector, and dealer who specialized in outsider art, passed away on March 9, 2014, at age 88
  • Donald F. McCallum, an art historian, professor, and scholar of Japanese art, died on October 23, 2013. He was 74 years old. CAA has published a special obituary for McCallum
  • Kenneth W. Prescott, an art historian, curator, and ornithologist whose last position was chairman of the Department of Art at the University of Texas at Austin, died on August 20, 2013. He was 93
  • Ernest Silva, a painter, sculptor, and professor at the University of California, San Diego, from 1979 to 2013, died on February 24, 2014. He was 65
  • Edward Sozanski, an art critic for the Philadelphia Inquirer for three decades, died on April 14, 2014. He was 77 years old
  • Martin Sullivan, the former director of the Smithsonian Institution’s National Portrait Gallery from 2008 to 2012, died on February 25, 2014. He was 70
  • Theo Wujcik, an artist, professor, and master printmaker who worked with Jasper Johns and Robert Morris, died on March 29, 2014, at age 78

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

Kanwal Khalid was a participant in the 2014 CAA-Getty International Travel Grant Program. A professor of fine arts at University of the Punjab in Pakistan, she specializes in the history of South Asian art and design with a particular focus on miniature painting in nineteenth-century Lahore. Khalid is also a practicing miniature painter and former curator of paintings at the Lahore Museum. Below she describes her experiences at the 102nd Annual Conference in Chicago.

Just when you think you have seen it all, something turns up and surprises you with its novelty and magnitude. The College Art Association did just that when I attended its Annual Conference in Chicago last February. For me, it became more than attending a conference; it was the experience of a lifetime that changed many of my perspectives.

In Pakistan, art history has always been part of the academic study of fine arts, but now it has become an independent discipline in its own right. This is a relatively recent development, of which I have been a part, and art history is enjoying a high status for the first time in the history of Pakistan. But still it is a comparatively new field. When I came to the Chicago conference, it was a complete surprise to realize that thousands of people share the same passion. CAA and the Getty Foundation have caught a tiger by the tail that is growing fast and expanding everywhere.

The chill of Chicago and the layers of snow couldn’t mar the fiery passion of the scholars, students, artists, and art historians participating in the conference. Interactive sessions, exhibitions, bookstalls, art-supply booths—this was a completely magic world for me. To breathe in thoughts and objects that are the passion of my life was a real treat.

Another dimension of knowledge was listening to presentations by the other nineteen recipients of CAA’s International Travel Grant Program and realizing what wonderful work was going on in their countries regardless of all the challenges they face on daily basis, very similar to the situation in my own country.

Outside the grandeur of the Hilton Hotel, it was the world of museums and modern architecture. I really liked the friendly size of museums in Chicago, which were not as overwhelming as other institutions I have visited, where there’s always a sense of missing a lot even after seeing so much. In all the museums that I visited in Chicago, I was able to return to many of my favorite galleries more than once during the week.

And then a bad snowstorm hit just as we were departing Chicago for New York. Our destination was the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, and I will not be exaggerating if I call it a researcher’s paradise. The library was a dream-come-true. The best part for me was being surrounded by mountains—the Berkshires were an enchanted land containing everything I could desire. Here, we raised questions, made suggestions, and challenged old concepts in a true scholarly approach.

The time passed too quickly, and we were saying goodbye to each other at Penn Station in New York City, with a hope that someday we will meet again. I traveled south to give a lecture in Delaware and then attend a meeting in Washington, DC. My experience at CAA turned out to be a great asset for these events, where I imparted my knowledge of South Asian art and culture with more confidence and vigor, especially during a briefing to the South Asian desk at the US State Department about the contemporary educational and cultural situation of Pakistan.

CAA’s 2014 Annual Conference was a life-changing event. Now I’m more confident about my research and teaching methodology because a comparison with other approaches helped me improve my own ways of doing things. I’m so very much looking forward to attending the conference next year.

After returning to Pakistan, I have talked with my students about the potential and scope of CAA and to encourage them to become members. This will give them an exposure to a world of dedicated art historians, enthusiastic academicians, and talented artists, with endless opportunities for those who have the judgment and ability to take advantage of them.

Image Caption

Kanwal Khalid in Chicago.



Filed under: Annual Conference, International

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.

Dealing Direct: Do Artists Really Need Galleries?

When Haunch of Venison closed in 2013, the Portuguese artist Joana Vasconcelos was left without a gallery in London or New York—the two cities where Haunch, which was bought by Christie’s in 2007, had spaces. Since her gallery closed, Vasconcelos’s career has been on an upward trajectory: she has represented Portugal at the Venice Biennale, unveiled public sculptures in Porto and Lisbon, and produced several new works for a retrospective at the Manchester Art Gallery. (Read more from the Art Newspaper.)

Value/Labor/Arts: A Primer

“When is it okay to work for free? Is it acceptable as long as you’re working with—or for—another artist? What is an artistic service?” These are some of the questions raised by Shannon Jackson, director of the Arts Research Center at the University of California, Berkeley, in her introduction to Art Practical’s latest issue, Valuing Labor. (Read more from Daily Serving.)

The Best Prospective Law Students Read Homer (and Study Art History)

Several years ago, Michael Nieswiadomy released a paper on the LSAT scores of economics majors. I thought I’d make some inquiries with LSAC for some data on this subject to follow up. Applicants to law schools who have degrees in classics placed first, and art-history majors came fourth. (Read more from Excess of Democracy.)

Low Expectations, High Stakes

More than half the nation’s most vulnerable college students are in courses taught by part-time, adjunct faculty members who lack the job security, credentials, and experience of full-time professors—as well as the campus support their full-time peers receive. Community colleges rely on part-time, “contingent” instructors to teach 58 percent of their courses, according to a new report. (Read more from Inside Higher Ed.)

Team-Based Learning for Art Historians

Recently two professors participated in a workshop on team-based learning at Brooklyn College, a process in which students are divided into permanent teams for the semester and work during class on activities based on readings. Team-based learning was developed by professors working with business and marketing majors in large lecture classes. While claims that students reportedly read and engage more are attractive, can this model be applied to an art-history class? (Read more from Art History Teaching Resources.)

Precocious Professionalism: An Academic Epidemic?

The job crisis facing young American PhDs today has an analogue in one earlier historical period: the situation of newly minted lawyers and physicians in early-nineteenth-century France. After the French Revolution abolished the guilds, regulation of recruitment ceased in not only artisanal crafts and mercantile trades but also faculties of law and medicine. As the number of law and medical students soared, employment prospects correspondingly diminished. (Read more from Perspectives on History.)

Insurer Solicits Offers for DIA Artwork; Several Billion-Dollar Bids Received

A group of major Detroit creditors said four investors have made tentative billion-dollar bids for the Detroit Institute of Arts—or key portions of its collection—in a move aimed at undercutting the city’s competing proposal to give the museum to a nonprofit in exchange for $816 million in outside funding that would help reduce pension cuts. (Read more from the Detroit Free Press.)

How to Avoid a Digital Boom and Bust

The Microsoft Corporation donated more than $1.5 million worth of software to the Museum of Fine Arts, Boston, to upgrade its computer systems and help the museum put more of its collection online. Meanwhile, the Art Institute of Chicago will soon launch an app that transforms visitors’ smartphones into pocket-sized curators. Like many digital projects, the Art Institute’s app and the MFA Boston’s upgrades received a green light only because of external funding. But some experts worry about what will happen if and when grants for digital development diminish. (Read more from the Art Newspaper.)



Filed under: CAA News

Call for Peer Reviewers

posted by Linda Downs


2014 Arts in Education Model Development and Dissemination & Professional Development for Arts Educators

CALL FOR PEER REVIEWERS

The U.S. Department of Education, Office of Innovation and Improvement (OII), is seeking individuals to review grant applications for the FY 2014 Arts in Education Model Development and Dissemination (AEMDD) and Professional Development for Arts Educators (PDAE) grant competitions. The AEMDD program supports research and evaluation, sustainability, documentation and dissemination of innovative models that demonstrate effectiveness for student improvement and performance in the elementary and middle school curricula. The PDAE program supports the implementation of a high-quality model for professional development of educators and instructional staff working with kindergarten through 12 grade students (K-12) in high-poverty schools. Integration of art disciplines for both programs includes: music, dance, drama, media arts, visual arts, and folk arts.

WHO: We are seeking peer reviewers from various backgrounds and professions including:

  • Arts or Arts Education,
  • Elementary through High School Education,
  • College and University Educators
  • Professional Development,
  • Special Populations,
  • Research and Evaluation,
  • Curriculum Development,
  • Model Development,
  • Educational Partnerships,
  • Non-Profit Organizations, and
  • School Administration.

Peer reviewers may have expertise in various geographies, including urban, suburban, rural, and tribal communities.

REQUIRED AREAS OF EXPERTISE: The selected peer reviewers should have expertise in at least one of the following areas: professional and/or curriculum development, applied research and evaluation, arts based program management and design. Selected reviewers may choose to review applications for the AEMDD competition, the PDAE competition or both.

  • Professional and Curriculum Development: Experience designing, evaluating, or implementing effective lesson plans and methods to learning for K-12, that focuses on teaching strategies and student engagement inside and outside of the classroom
  • Experience integrating the arts into other core academic subjects
  • Experience developing model in-service professional development programs for arts educators and other instructional staff
  • Experience transferring or adapting projects/organizations to new settings
  • Fluency in reviewing organizational assessment tools for project effectiveness

Applied Research and Evaluation:

  • Extensive knowledge about current research findings in the What Works Clearinghouse (WWC) and comprehensive school reform  models, with knowledge of how to apply those strategies in a variety of settings
  • Knowledge of arts in education data sources and measures of program implementation and outcomes
  • Knowledge and experience in developing logic models
  • Expertise with experimental and quasi-experimental art based research designs
  • Understanding of and experience with proven research methods successful in integrating effective practices

Arts Program Management and Design:

  • Knowledge and understanding of effective operational and organizational/management infrastructures (e.g. people, processes, accountability structures, technology systems, program and grant management)
  • Knowledge of or experience with building effective partnerships in a variety of sectors (education, legislative, private sectors, etc.) and successfully engaging diverse groups of stakeholders
  • Experience using one or more of the following arts disciplines in program design: music, dance, drama, media arts, visual arts, and/or folk arts
  • Experience building capacity and financial sustainability in organizations
  • Experience developing policy to support adaptation of organizational change
  • Expertise in recognizing and developing effective arts models in program implementation, particularly those for underserved students in high-poverty communities
  • Experience reviewing grant applications

PEER REVIEWER EXPECTATIONS:

Application Review: Selected peer reviewers will independently read, score, and provide written comments for approximately 10 grant applications submitted to the U.S. Department of Education under the AEMDD and/or the PDAE grant programs.

Availability: Peer reviewers must generally be available for a 4 week time period and will work remotely and via teleconference. The peer review will devote time reading, scoring, developing comments, and discussing assigned applications. In addition, all reviewers will be required to participate in an online orientation webinar prior to reviewing applications.

AEMDD will require peer reviewers from May 12 until June 20, 2014.

PDAE will require peer reviewers from June 24 until July 31, 2014.

*These dates are estimates and will be confirmed upon peer reviewer selection*

Tools: Each reviewer must have access to the Internet, a phone, a computer, a printer and have the ability to access and navigate the G5 web-based system.

Quality of review: Each reviewer must provide detailed, objective, constructive, and timely written reviews for each assigned application. These reviews will be used to recommend applications for funding. They will also be shared with each applicant and the comments regarding winning applicants will be made available to the general public following the reviews.

Completion of review: Reviewers will receive an honorarium for the satisfactory completion of the above requirements during the grant review schedule.  A satisfactory review requires that each application is read, scored, and discussed.  The final, high-quality comments and corresponding scores will be reviewed and approved by a panel moderator prior to their final submission in the G5 system.

IF INTERESTED: If you would like to be considered as a peer reviewer, please click here and complete the Peer Reviewer Application Form. Even if you applied to be a peer reviewer for either the AEMDD and/or the PDAE grant competitions in the years prior, you must complete the Peer Reviewer Application Form. Please only submit one Peer Reviewer Application Form via the link provided above. Please also send your resume to the email address provided below no later than April 25, 2014.

Please do not exceed the three-page limit for resumes.

If you have any questions about the peer review process, please contact us by email: artspeerreviewcall@ed.gov

PROGRAM INFORMATION:

For more information about the AEMDD program, go to:

http://www2.ed.gov/programs/artsedmodel/index.html

For more information about the PDAE program, go to:

http://www2.ed.gov/programs/artsedprofdev/index.html



Filed under: Education, Service

CAA Salutes Its Fifty-Year Members

posted by Christopher Howard


CAA warmly thanks the many contributions of the following dedicated members who joined CAA in 1964 or earlier. This year, the annually published list welcomes thirteen artists, scholars, and curators whose distinguished exhibitions, publications, and teaching practices have shaped the direction and history of art over the last fifty years.

1964: Richard J. Betts; Ruth Bowman; Vivian P. Cameron; Kathleen R. Cohen; Paula Gerson; Ronald W. Johnson; Jim M. Jordan; William M. Kloss; Rose-Carol Washton Long; Phyllis Anina Moriarty; Annie Shaver-Crandell; Judith B. Sobre; and Alan Wallach.

1963: Lilian Armstrong; Richard Brilliant; Eric G. Carlson; Dean Carter; Vivian L. Ebersman; Francoise Forster-Hahn; Walter S. Gibson; Caroline M. Houser; Susan Koslow; E. Solomon; Lauren Soth; Richard E. Spear; Roxanna A. Sway; Athena Tacha; and Roger A. Welchans.

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

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

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

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

1958: Samuel Y. Edgerton Jr.; Damie Stillman; and Clare Vincent.

1957: Marcel M. Franciscono; Bruce Glaser; Jane Campbell Hutchison; and John F. Omelia.

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

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

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

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

1951: Wen C. Fong.

1950: Marilyn J. Stokstad.

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

1948: William S. Dale.

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

1945: James S. Ackerman.



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.

Delaware Art Museum’s Deaccession Debacle: My Q&A with Its Former Director, Danielle Rice

While the Delaware Art Museum has been the target of considerable criticism among museum professionals for its decision to sell art to repay debts and enhance the endowment, no one has been more distressed by this development than the museum’s own former director, Danielle Rice, who left at the end of August to direct a program in museum leadership at Drexel University. In a candid, in-depth conversation, Rice expressed her strong disapproval of what the trustees did after she left, outlined what should have been done instead, and commented on what lies ahead for her former institution. (Read more from Culturegrrl.)

Detroit Creditors Demand a Full Reckoning of Museum’s Art

The Detroit Institute of Arts has hit an obstacle in its ongoing quest to safeguard its collection from the city’s creditors amid Detroit’s bankruptcy proceedings. Over the past week, two groups of creditors served the museum with wide-ranging subpoenas for records covering the past hundred years and documenting the ownership history of every work in its 60,000-piece collection. (Read more from the Art Newspaper.)

What I Learned from Organizing a Conference

Conferences are an integral part of developing oneself as an academic, especially for a graduate student. They provide the chance to practice public speaking, are a great way to get feedback on the progress of one’s work, and are one of the best ways to network with others in your field. But what if you want to be on the other side of the conference? What if you want to organize one? (Read more from GradHacker.)

Galleries Are Man’s World, and Micol Hebron Is Keeping Score

While browsing the glossy pages of Artforum, the artist Micol Hebron kept getting the feeling that male artists were disproportionately represented in the magazine’s advertising. “People assumed that there was an inequity there, but no one had any data,” she recalls. “So every time I got the physical magazine, I would count the ads—the full-page ads for single artists—since that tells you who the galleries are putting their weight behind.” Month after month, she says, the count was roughly the same, “Usually, about 70 percent men.” Sometimes it was worse. (Read more from KCET.)

I’m the Biggest Man on Campus

Overweight professors across academe describe similar battles to achieve self-acceptance, full inclusion in academic life, and genuine respect from students and colleagues. Some struggle daily to navigate campus spaces that don’t comfortably accommodate their size. Some stand in front of classrooms and wonder whether their bodies influence how students perceive their minds. Some say they have trouble adhering to exercise plans or healthy eating habits because their jobs come with lots of research and little structure. Yet larger professors often grapple with these concerns in isolation and silence. (Read more from Vitae.)

What Can You Do with a Humanities PhD, Anyway?

There is a widespread belief that humanities PhDs have limited job prospects, yet recent studies suggest that these tragedies do not tell the whole story. It is true that the plate tectonics of academia have been shifting since the 1970s, reducing the number of good jobs available in the field. What is less widely known is between a fifth and a quarter of them go on to work in well-paying jobs in media, corporate America, nonprofits, and government. (Read more from the Atlantic.)

Stuck in the Middle

Associate professors, in theory, should be hitting a stride in their academic careers. In the middle ranks of faculty, they have typically earned tenure and started to take on broader responsibilities in their departments, juggling more service and governance roles with their teaching and research. But the earning power of these professors is diminishing compared with their peers in ranks above and below them. (Read more from the Chronicle of Higher Education.)

Room to Grow

Flexibility stigma is a term scholars use to describe work places that punish those who don’t fit the “ideal worker” profile: solely devoted to one’s job, available twenty-four hours a day and traditionally male. Lots of studies suggest that in academe, such biases are particularly prevalent in the sciences, and that women with young children are the most frequent targets. But a new study argues that both men and women with small children report and resent inflexible department cultures. It also finds that even nonparents resent flexibility stigma, with negative consequences for the department over all. (Read more from Inside Higher Ed.)



Filed under: CAA News

Privacy Policy | Refund Policy

Copyright © 2017 College Art Association.

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

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