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2015 Annual Conference Website Is Live

posted by Nia Page

The website for the 103rd Annual Conference in New York City, to be held from Wednesday, February 11 to Saturday, February 14, 2015 at the Hilton New York Midtown, is now live. Get a taste of conference highlights and discover all that comes with registration, including access to all program sessions and admission to the Book and Trade Fair.

The CAA Annual Conference is the world’s largest international forum for professionals in the visual arts, offering more than two hundred stimulating sessions, panel discussions, roundtables, and meetings. CAA anticipates that more than five thousand artists, art historians, students, curators, critics, educators, art administrators, and museum professionals will be in attendance at the New York Hilton Midtown, where most sessions and events will take place.

Online registration is now open, and hotel reservations and travel accommodations can be booked—don’t forget to use the exclusive CAA discount codes to save money! Register before the early deadline, December 12, to get the lowest rate and ensure your place in the Directory of Attendees. You may also purchase tickets for special events such as the Opening Reception at the Museum of Modern Art following the presentation of the annual Awards for Distinction, as well as for professional-development workshops on a variety of topics for artists and scholars.

CAA will regularly update the conference website in the months leading up to the four-day event, so please be sure to check back often.

Averaging more than 40,000 unique visitors per month, the Annual Conference website is the essential source for up-to-the-minute updates regarding registration, session listings, and hotel and travel discounts, and more. For those interested in reaching this captive audience, please download the Website Advertising Reservation and Contract for rates and terms.

We look forward to seeing you in New York!

Filed under: Annual Conference

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.

Detroit Institute of Arts Will Sue If the City’s Bankruptcy Plan Is Not Approved

The Detroit Institute of Arts is prepared to sue to prevent the sale of its collection if Detroit’s plan for exiting bankruptcy is not approved, the museum’s chief operating officer told the US Bankruptcy Court last week. When Detroit filed for the largest-ever municipal bankruptcy fourteen months ago, the museum began preparing for possible litigation to keep its artworks from being sold to pay city creditors. (Read more from Reuters.)

What to Expect from Artist Residencies

Artist residencies can be an incredible way to expand and improve your art practice, but getting into the right one can be a challenge. I’ve completed residency programs in 2012, 2013, and 2014. Through this process, I’ve learned how to pick the right residency and how to use one residency experience to gain another. Here’s my advice for anyone wishing to dive into the artist residency circuit. (Read more from BurnAway.)

Artists Raising Kids: Thoughts on How to Have It All

This summer, Creative Capital conducted a survey entitled “Artists-As-Parents” to find out how working artists sustain their practice while also being busy parents (or prepare themselves to do so as parents-to-be). We received nearly six hundred responses, giving us a good idea of the profile of artist-parents in our network, the challenges they face, and the strategies they use to maximize their time and productivity. (Read more from Creative Capital.)

Scholars Take Aim at Student Evaluations’ “Air of Objectivity”

Student course evaluations are often misused statistically and shed little light on the quality of teaching, two scholars at the University of California, Berkeley, argue in the draft of a new paper. Even though evaluations have become ubiquitous in academe, they remain controversial because they often assume a high-stakes role in determining tenure and promotion. But they persist because they are easy to produce, administer, and tabulate, said Philip B. Stark, a professor of statistics at Berkeley, in an interview. (Read more from the Chronicle of Higher Education.)

We Asked Twenty Women “Is the Art World Biased?” Here’s What They Said

Artnet News has noticed that bias, both conscious and unconscious, is rampant throughout the world. It’s in the umpteenth exhibition not featuring a woman. It’s in the evening auction whose top winners are male. It’s in art schools the world over, germinating and putting down roots. What to do? We canvassed women collectors, dealers, curators, advisers, and artists to find out their responses to the question “Is the art world biased?” (Read more from Artnet News.)

Why Original Artworks Move Us More Than Reproductions

Now that we can view high-definition reproductions of virtually any artwork from our computer screens, why do people visit art museums anyway? Sure, arranging individual pieces into compelling exhibitions enhances our appreciation, but it’s doubtful that people come for the curation. Clearly, encountering original artworks in person is a unique experience. But why? (Read more from Pacific Standard.)

Who Funds the Arts and Why We Should Care

Anyone passing through Tate Modern’s Turbine Hall one recent Saturday might have witnessed an unscheduled performance by a group of people writhing beneath a huge square of black cloth. Taking its motif from the Malevich exhibition at Tate, the event was designed to flag the museum’s refusal to reveal details of its financial relationship with BP. It was the latest in a series of protests about the sponsorship of institutions—among them the British Museum and the National Portrait Gallery—by the energy giant responsible for the Deepwater Horizon disaster of 2010. (Read more from the Financial Times.)

Crimes against Dissertation Humanities

Since I left academia in 2013, I’ve had a part-time job as something called a “dissertation coach.” I work one-on-one with a stable of about a dozen private clients, helping them manage both their workload and the emotional vicissitudes of graduate school. And no matter their field—I’ve worked with scientists, engineers, sociologists, psychologists, historians, and literary scholars—one thing remains the same: my services simply would not be necessary if the faculty advisers of the world saw fit to do their jobs. (Read more from Vitae.)

Filed under: CAA News

Dear Colleague,

We are writing to ask for your insights regarding practices in new media by taking the following survey: should take approximately 20 minutes for you to complete.

The information gathered from this survey will be used to assist the CAA Professional Practices Committee Taskforce on updating and improving the existing CAA Guidelines for Faculty Teaching in New Media, which can be found at This document is a description of circumstances, standards, and practices within the field. Its purpose is to assist with faculty hiring, promotion and tenure, workload, compensation, funding, and support in new media, and to provide information about faculty working in this area that could be used in making accurate and comprehensive evaluations.

Our aim is to revise these guidelines into order to the better reflect current practices, and to ensure that it is a useful document for all stakeholders. In February 2015 we will be making initial recommendations for revision, based on this survey and interviews with those in the field. Our goal is to have the updated document(s) approved by the CAA Board by May 2016.

If you are interested in being interviewed by our committee members, please contact us at In addition, we ask that you forward this email to your colleagues, whose input is valuable. In addition to New Media Faculty, we would especially like to involve colleagues with administrative duties overseeing practitioners who work with new media as well as part-time and contingent faculty in this survey.

The survey will end on November 15, 2014.

We thank you for your time, and look forward to your input.


CAA Professional Practices Committee Taskforce on New Media Guidelines:

Paul Catanese, Columbia College Chicago
Rachel Clarke, California State University, Sacramento
Chris Coleman, University of Denver
Michael Grillo, The University of Maine
Heidi May, Columbus State University
Ellen Mueller, West Virginia Wesleyan College
Joanna Spitzner, Syracuse University
Amy Youngs, The Ohio State University

Filed under: Committees, Digital Issues, Surveys

JPASS for CAA Members

posted by Nia Page

JPASS, a new JSTOR access plan for individuals, is ideal for CAA members who want individual access to JSTOR’s rich archival collections. It is especially valuable for individuals without institutional access; faculty members at institutions with limited access to JSTOR; and adjuncts with irregular access to library resources. Regardless of your professional affiliation, JPASS serves as your personal library card to the expansive selection of journals on JSTOR.

As part of your CAA membership, you may purchase a one-year JPASS access plan for $99—a 50 percent discount on the listed rate!

JPASS includes unlimited reading and up to 120 article downloads—not only to The Art Bulletin and Art Journal but also to more than 1,500 humanities, social science, and science journals in the JSTOR archival collections, including Design Issues, Gesta, Muqarnas, and October.

CAA invites you to review the JPASS collections at, where you can view all the journal titles and date ranges that are available to JPASS subscribers, as well as filter titles by subject to help you discover publications of interest to you.

Dedicated support personnel for JPASS are available Monday–Friday, 8:30 AM–5:30 PM EDT. You can also get real-time support via Twitter: @JSTORSupport. Here are other ways to learn more:

To use your member discount to sign up for JPASS, log into your CAA account and click the Member Benefits link on the left and then refer to the JPASS instructions which includes the JSTOR custom link. This will admit you to the JPASS purchase website for CAA members.

JSTOR provides access to the complete back runs of CAA’s journals and preserves them in a long-term archive. Users may search, browse, view, and print full-text, high-resolution PDFs of articles from The Art Bulletin (published since 1913) and Art Journal (published since 1929). Coverage in JSTOR includes the journals’ previous titles from their first issues through 2010. Because of a moving wall that changes annually, the most recent three years (2011–13) are not yet available.

The Art Bulletin and Art Journal are available through JSTOR’s Arts & Sciences III Collection. Users at participating institutions can gain access to these two journals through their institutions—contact your librarian to find out if you are eligible and, if so, how to access the journals. In a separate benefit, CAA offers online access to back issues of its two print publications for CAA members unaffiliated with an institution for $20 a year through a special arrangement with JSTOR. Please contact CAA’s Member Services if you have questions about this benefit.

You can review the tables of contents for The Art Bulletin (1996–present) on the CAA website and for Art Journal (1998–present) on its own website.

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.

Introduction to 2012–13 Humanities Departmental Survey

The American Academy of Arts and Sciences initiated the Humanities Departmental Survey, first administered in 2008, to fill critical gaps in knowledge about the state of the humanities in higher education—specifically, about the number of faculty and students in the field and the role of humanities departments in their institutions and society. Apart from trends in the number of students receiving degrees in humanities disciplines, data sources about the state of the humanities at the national level have fallen away over the past fifteen years, leaving decision-makers without key guideposts during a time of change in higher education. (Read more from Humanities Indicators.)

On Trigger Warnings

A current threat to academic freedom in the classroom comes from a demand that teachers provide warnings in advance if assigned material contains anything that might trigger difficult emotional responses for students. This follows from earlier calls not to offend students’ sensibilities by introducing material that challenges their values and beliefs. The specific call for “trigger warnings” began in the blogosphere as a caution about graphic descriptions of rape on feminist sites, and has now migrated to university campuses in the form of requirements or proposals that students be alerted to all manner of topics that some believe may deeply offend and even set off a PTSD response in some individuals. (Read more from the American Association of University Professors.)

Creative Schools: The Artists Taking Art Education into Their Own Hands

Several artists and arts professionals, spotting the same or similar failures in the UK’s official education programs at both schools and universities, have taken matters into their own hands. If the government’s curriculum changes, funding cuts, and fees are barring the way to education for many aspiring artists, independent initiatives might offer alternative routes into the creative industry. Who’s leading the way? (Read more from Apollo.)

Getting a Reference When You’re New

I just graduated with my PhD and am beginning my job as a one-year visiting assistant professor this fall. My first applications for this year’s job market are due about two weeks after the semester starts; most applications will be due by midterm. Will hiring committees be expecting a recommendation from my new colleagues? I don’t think they would be able to write a strong letter after knowing me for a month, but I also don’t want the lack of letters to throw up any red flags. (Read more from Vitae.)

Peer Review and Careers

I have no doubt that the humanities disciplines are, on the whole, the worst offenders when it comes to how long it takes to generate reader reports, and to move an article from an initial submission to a finished, published product. If it can take two years to publish humanities research in some traditional, print-based journals—and I’m talking articles here, not books—that lag makes it harder than ever to defend the project of humanities disciplines. (Read more from Inside Higher Ed.)

Hidden Monuments under Stonehenge Revealed by High-Tech Mapping

An astonishing complex of ancient monuments, buildings, and barrows has lain hidden and unsuspected beneath the Stonehenge area for thousands of years. Scientists discovered the site using sophisticated techniques to see underground, announcing the finds last week. Among the discoveries are seventeen ritual monuments, including the remains of a massive “house of the dead,” hundreds of burial mounds, and evidence of a possible processional route around Stonehenge itself. (Read more from National Geographic.)

How Okwui Enwezor Changed the Art World

Since his 1996 breakthrough as a curator of In/Sight: African Photographers, 1940 to Present, an exhibition of thirty African photographers at the Guggenheim Museum, Okwui Enwezor has alternated between ambitious international exhibitions that seek to define their moment—biennials in Johannesburg, Gwangju, and beyond, along with the Paris Triennale in 2012—and historically driven, encyclopedic museum shows centered on topics such as African liberation movements in the twentieth century, the arc of apartheid, and the use of archive material in contemporary art. (Read more from the Wall Street Journal.)

Apply Now for Sustaining Digital Resources: A Course for Digital Project Leaders

Ithaka S+R will again offer its highly successful course, “Sustaining Digital Resources: A Course for Digital Project Leaders,” in 2015. If you are responsible for the future vitality and impact of a digital initiative, Ithaka S+R encourages you to apply. The application deadline is October 15, 2014. (Read more from Ithaka S+R.)

Filed under: CAA News

Mock Interviewers Needed for the 2015 Conference

posted by Lauren Stark

For the 2015 Annual Conference in New York, 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 12, 11:00 AM–1:00 PM and 3:00–5:00 PM; and Friday, February 13, 9:00–11:00 AM and 1:00–3:00 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. Deadline: January 31, 2015.

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

Image: A Mock Interview at the 2012 Annual Conference (photograph by Bradley Marks)

Practice Your Techniques in a Mock Interview

posted by Lauren Stark

Students and emerging professionals have the opportunity to sign up for a twenty-minute practice interview at the 2015 Annual Conference in New York. 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 12, 11:00 AM–1:00 PM and 3:00–5:00 PM; and Friday, February 13, 9:00–11:00 AM and 1:00–3:00 PM. Conference registration, while encouraged, is not necessary to participate.

To apply, download, complete, and send the 2015 Mock Interview Sessions Enrollment Form to Megan Koza Young, chair of the Student and Emerging Professionals Committee, by email to or by mail to: 706 Webster Street, New Orleans, LA 70118. You may enroll in one twenty-minute session. Deadline: February 5, 2015.

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 11, 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.

Tenure-Track Wisdom, Part One

Here is the first in a series of interviews with faculty who recently finished their first year on the tenure track. By reading about their experiences, new faculty members starting out this fall may get a better sense of what to expect. Today we hear from Sam Redman, who just finished his first year as an assistant professor of history at the University of Massachusetts in Amherst, where he is also a faculty affiliate with the university’s Center for Heritage and Society. (Read more from Vitae.)

What Twitter Changes Might Mean for Academics

Time-based organization works really well for many popular academic uses of Twitter—particularly conferences, where it’s easy to find an interesting panel or meet-up in the moment, while the rest of the timeline becomes one historical record of the conference interactions. However, it’s precisely the timeline that may be at risk. (Read more from ProfHacker.)

Who and What Is Arts Education For?

We may consider art as a way of thinking, acquiring, and ordering knowledge with a boundless use of our imagination, as a way to make connections, and as a tool for subverting conventions in order to refresh and shape culture and improve society. “Art thinking” can be viewed as speculation based on wonder, free of dogma, not discarding anything except the overly obvious and trivial. Even chaos is part of this totality: nonlogical, nonlinear connections may be used as much as logical ones, and everything is available when seeking to construct new systems of order. (Read more from Colección Patricia Phelps de Cisneros.)

UK Art Dealers Are Dodging Artist Resale Rights

The Artist Resale Right (ARR) might have been introduced in 2006, but many dealers in the United Kingdom are still choosing to treat this legal obligation as optional. “It’s still a big problem,” said Leonora Gummer, a senior manager at the Artist Collecting Society, one of two nonprofits dedicated to collecting ARR. “I still meet dealers, quite often, who say: ‘I’m not going to [pay].’” Gummer spoke alongside the lawyer Simon Stokes at a recent panel chaired by the Antiques Trade Gazette editor Ivan Macquisten at London’s inaugural Art Business Conference. (Read more from Artnet News.)

The Law against Artists: Public Art Often Loses Out in Court

When artists faced the destruction of New York’s graffiti mecca, Long Island City’s 5 Pointz, last year, they sued the property owner under something called the Visual Artists Rights Act. They lost. In part, they lost because a judge ruled that while the artists had been permitted to decorate the space, they “knew that the buildings were coming down.” They therefore couldn’t have expected that their work would be permanent. (Read more from the New York Observer.)

Creativity Creep

Every culture elects some central virtues, and creativity is one of ours. In fact, right now, we’re living through a creativity boom. Few qualities are more sought after, few skills more envied. Everyone wants to be more creative—how else, we think, can we become fully realized people? Creativity is now a literary genre unto itself: every year, more and more creativity books promise to teach creativity to the uncreative. A tower of them has risen on my desk—Ed Catmull and Amy Wallace’s Creativity, Inc.; Philip Petit’s Creativity: The Perfect Crime—each aiming to “unleash,” “unblock,” or “start the flow” of creativity at home, in the arts, or at work. (Read more from the New Yorker.)

Face It: Your Decks Will Never Be Cleared

One of the most widespread myths in academic writing is that you can, and should, try to “clear the decks”—that is, finish all of your other obligations before you can focus on your scholarship. The reality is: things never clear up. They don’t even reliably settle down. Your inbox is always full. The decks are always crowded. There is always more going on than you want or expect. Nonetheless, you can find ways to put your writing first and make sure that it gets done. Otherwise, everything but your writing will get done. (Read more from Vitae.)

To Help Emerging Artists, Let Collectors Resell Their Work

The art market is hot again, even for emerging artists—the typically hard-to-price, who-knows-where-this-is-headed group of young, living creators. At Phillips’s last Under the Influence auction, almost all of the work sold, much of it for double the estimated price or higher. This and other sales have generated reports of overheating, irrational exuberance due for a correction. Like some of the art market itself, such reports may be victims of their own hype. (Read more from Bloomberg Businessweek.)

Filed under: CAA News

2016 Conference Session Proposals Due by September 12

posted by Emmanuel Lemakis

The CAA 104th Annual Conference will take place February 3–6, 2016, in Washington, DC. The Annual Conference Committee invites session proposals that cover the breadth of current thought and research in art, art and architectural history, theory and criticism, pedagogical issues, museum and curatorial practice, conservation, and developments in technology. Deadline: Friday, September 12, 2014.

In order to submit a proposal, you must be a current CAA member. For full details on the submission process for the conference, please review the information published below.

Open Formats

This category encourages experimental and alternative formats that transcend the traditional panel, with presentations whose content extends to serve the areas of contemporary issues, studio art, historical studies, and educational and professional practices. Proposals may experiment with session hierarchies, length, technology, and modes of participation. Open Formats are the only sessions that may be preformed, with participants chosen in advance by session chairs. These sessions require advance planning by the chair.

Historical Studies

This category broadly embraces all art-historical proposals up to the third quarter of the twentieth century. Historical Studies session proposals may not be submitted as preformed panels with a list of speakers.

Contemporary Issues/Studio Art

This category is intended for studio-art proposals, as well as those concerned with contemporary art and theory, criticism, and visual culture. Contemporary Issues/Studio Art session proposals may not be submitted as preformed panels with a list of speakers.

Educational and Professional Practices

This category pertains to session proposals that develop along more practical lines and address the educational and professional concerns of CAA members as teachers, practicing artists and critics, or museum curators. Educational and Professional Practices session proposals may not be submitted as preformed panels with a list of speakers.

Affiliated Societies

Each CAA affiliated society may submit one proposal that follows the guidelines outlined b elow. A letter of support from the society or committee must accompany the submission. The Annual Conference Committee considers it, along with the other submissions, on the basis of merit.


Each CAA committee may submit one proposal that follows the guidelines outlined below. A letter of support from the society or committee must accompany the submission. The Annual Conference Committee considers it, along with the other submissions, on the basis of merit.

Proposal Submission Guidelines

All session proposals are completed and submitted online; paper forms and postal mailings are not required. Prospective chairs must include the following in their proposal:

  • The Annual Conference Committee considers proposals from individual CAA members only. Once selected, session chairs must remain current members through 2016. No one may chair a session more than once in a three-year period. (That is, individuals who chaired sessions in 2014 or 2015 may not chair a session in 2016.) The committee seeks topics that have not been addressed in recent conferences or areas that have traditionally been underrepresented as well as formats that explore new modes of dialogue
  • A completed session proposal made through an online database
  • If you have prior approval from a CAA affiliated society or committee to submit an application for a sponsored session, an official letter of support from the society or committee uploaded as a PDF or Word file. If you are not submitting an application for a sponsored session, please skip this step
  • Your CV and, if applicable, the CV of your cochair; no more than two pages in length each, uploaded as a PDF or Word file (both CVs in one document)

The committee makes its selection solely on the basis of merit. Where proposals overlap, CAA reserves the right to select the most considered version or, in some cases, to suggest a fusion of two or more versions from among the proposals submitted. The submission process must be completed online. Deadline: Friday, September 12, 2014.

General Proposal Information

The process of fashioning the conference is a delicate balancing act. The 2016 program is shaped by four broad submission categories: Open Formats, Historical Studies, Contemporary Issues/Studio Art, and Educational and Professional Practices. Also included in the mix are sessions by CAA’s affiliated societies and committees.

The Annual Conference Committee welcomes session proposals from established artists and scholars, along with those from younger scholars, emerging and midcareer artists, and graduate students. Particularly welcome are proposals that highlight interdisciplinary work. Artists are especially encouraged to propose sessions appropriate to dialogue and information exchange relevant to artists.

Sessions selected by the Annual Conference Committee for the 2016 conference are considered regular program sessions; that is, they are 2½-hours long, are scheduled during the eight regular program time slots during the four days of the conference, and require a conference badge for admission. With the exception of the Open Formats category, CAA session proposals may not be submitted as preformed panels with a list of speakers. Proposals for papers for the 2016 conference are solicited through the 2016 Call for Participation, to be published in March 2015.


For more information about session proposals for the 2016 Annual Conference in Washington, DC, please contact Lauren Stark, CAA manager of programs, at 212-392-4405.

Filed under: Annual Conference

The following message was sent as an attachment to an email from Adam D. Blistein, executive director of the Society for Classical Studies, on Friday, September 5, 2014.

Letter about Our New Name

Dear Colleague:

I am writing to let you know that the American Philological Association, founded in 1869 and the principal learned society for Classics scholars in North America, has changed its name to the Society for Classical Studies (SCS). We have also unveiled the new logo that appears on this letterhead and will soon launch a new web site. These changes culminate a decade-long process of re-examining the role of the Society in the 21st century, with the goal of better promoting and serving a growing interest in Classical antiquity on the part of students and teachers at all levels as well as the general public.

For centuries the cultures of ancient Greece and Rome have inspired creativity, contemplation, scholarship, and teaching both inside and outside of the academy. While we continue to serve our original academic mission, we also want to take advantage of new technologies which make it easier to share the insights and pleasures of studying Classical antiquity with the widest possible audience. A new name is critical to this expanded mission. A philological focus is at the core of much scholarship on Greek and Latin texts, and we will continue to take an active role in projects like the Digital Latin Library that represent excellent philology in the 21st Century. However, we recognize that the term is no longer widely understood and therefore can be a barrier to communication with a broader public. Especially now, when it is so important for us to advocate for the study of Classics and, indeed, of all the humanities, we must strive for clarity in the transmission of our message.

We recently completed a successful capital campaign which raised an unprecedented $3.2 million to provide essential resources for Classics teachers and scholars and to share our appreciation for Classical antiquity as broadly as possible. The name of the Campaign (From Gatekeeper to Gateway: The Campaign for Classics in the 21st Century) reflected this ambition. Donors from both inside and outside of our membership supported this effort because they shared our belief that knowledge of Classics is a valuable component of education, attracts broad interest, and has much to contribute to contemporary society. Our new web site is the next step in responding to this interest. It will add features targeted to a variety of audiences, improve its accessibility to different types of users, and facilitate communications that support the Society’s goal to be the public face of Classics in North America.

It is a special privilege to be guiding the Society as we take this significant step and establish a new level of leadership in Classical Studies. The SCS looks forward to continuing to work with you to encourage the study of Classics and of all humanistic disciplines.

Very truly yours,

Kathryn Gutzwiller

Filed under: Organizations

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