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CAA News

News from the Art and Academic Worlds

posted by Christopher Howard

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

Getty Foundation Celebrates Thirty Years of Philanthropy

Celebrating its thirtieth anniversary this year, the Getty Foundation is one of the most highly respected international funders of the visual arts in the world. The foundation has awarded 7,000 grants totaling more than $370 million, benefitting over 180 countries on all seven continents. It is the only foundation that funds projects that advance the understanding and preservation of the visual arts on a fully international basis. (Read more from the Getty Foundation.)

The Education of William Adams

At a recent National Endowment for the Humanties dinner for winners of the National Humanities Medal, William “Bro” Adams introduced his special guest Morgan Freeman, who could not help but laugh as he said the words, “Thanks, Bro.” What is the story behind his nickname? (Read more from Humanities.)

Adjunct Action Report Investigates Faculty Working Conditions and Advocates Federal Labor Protections and Accountability from Employers

A recently released SEIU/Adjunct Action report called Crisis at the Boiling Point tells an important story of what’s happening in academic labor by documenting and analyzing just how much work part-time faculty are doing, when they are doing it for free, and how federal employment laws often fail to protect the contingent workforce. This report also offers recommendations and actions that faculty, students, and concerned members of the community can take to begin to reclaim our higher-education system. (Read more from Adjunct Action.)

This Job Market Season, Interview More Adjuncts

Most tenure-track and tenured faculty have tremendous empathy for the plight of adjuncts. Aside from a few “lifeboaters” here and there, the prevailing attitude in the academy is a self-aware and very correct “there but for the grace of [favorite deity], go I.” But when it comes to concrete measures to improve academic labor conditions, many ladder faculty still feel, and not without reason, like their hands are tied. (Read more from Vitae.)

Creative Exchange Launched to Drive Grassroots Projects

The Knight Foundation has teamed up with the Minnesota-based nonprofit Springboard for Arts to help American artists launch grassroots initiatives, from pop-up museums to health fairs that connect uninsured artists with doctors. The project, called Creative Exchange, gives enterprising artists access to on-call experts and free step-by-step guides to replicate previously successful programs. (Read more from the Art Newspaper.)

Science and Art Meet, Unveiling Mystery and Cultural Tragedy

In the last decade, art conservators—the people who protect and preserve works of art—have begun practicing complicated science. Now they can tell more stories of the secret lives of artists, the chemistry behind great works, and why many of the most famous masterpieces no longer look anything like they did when they were painted. They also discovered that one form of paint may reduce great works of modern and Impressionist art into white canvases with smudges. (Read more from Inside Science.)

The Forever Professors

The 1994 law ending mandatory retirement at age 70 for university professors substantially mitigated the problem of age discrimination within universities. But out of this law a vexing new problem has emerged: a graying—yea, whitening—professoriate. The law, which allows tenured faculty members to teach as long as they want, means professors are increasingly delaying retirement past age 70 or even choosing not to retire at all. (Read more from the Chronicle of Higher Education.)

Ageism in Academe

Senior faculty. It sounds like an honorific. It isn’t. It’s more a sort of stigmata. Being called “senior faculty” stigmatizes you. I’m called “senior faculty” quite a lot. I have been teaching journalism for thirty-three years, twenty-nine at the same college. My career in academe, begun with innocent hopes and fearsome ambitions, is nearing its obvious end. I expect to be bid farewell in the style to which I have been made accustomed. (Read more from the Chronicle of Higher Education.)

Filed under: CAA News

Digital Art History

posted by Linda Downs

The conference titled “New Projects in Digital Art History” was presented Friday, November 19, 2014 by the Center for Advanced Study in the Visual Arts at the National Gallery of Art and included six major digital art and architectural projects. This conference follows a series of digital art history conferences held last summer: . Many of the projects presented are not so new as they have been in development for many years. The presenters, however, focused on the latest methods, technology and new directions in research that has evolved.

Some of the latest technologies employed are:
• digital mapping and graphing to capture the changing construction projects in Auschwitz in order to gain an understanding of the context of the entire site: ;
• GIS layered mapping devices to build an evolving geo-database to accurately present the changing urban structures of Rome over a 2000 year history:;
• large data visualizing systems to show the flow of art objects, money and people in the Getty Research Institute Index which consists of 1.5 million records of archival inventories, sale catalogs and dealer stock books from Britain, France, Belgium and the Netherlands (1800 to 1820):;
• word and image systems that serve to integrate and mirror an illustrated text from the High Renaissance:;
• visual and gaming systems such as one called Unity that allowed navigation through digitally reconstructed models of two Roman villas buried by volcanic ash during the eruption of Vesuvius in 79 CE:; and
• visualization technologies utilized in the Visualizing Venice Project at the Duke University Digital Visualization Workshop: .

Each of these extraordinary digital art and architectural history projects employ teams of scholars in many fields beyond art and architectural history such as geography, engineering, statistics, linguistics and gaming technology. Their focus in on digital computation. The projects approach history, as the sociologist Charles Tilly advocated several decades ago, by utilizing “big structures, large processes, huge comparisons.” They have gathered mammoth amounts of data subjected to a broad range of analytical digital tools to visualize, compare and determine trends. The scholars have spent years gathering data and building systems with many being supported by their universities and foundations. These projects have brought to light new knowledge that could only be based on the digital possibilities of aggregated information that are revealed through visual technology.

The demands of time and attention to detail were most evident in the project which focused on mapping Rome. James T. Tice, professor, University of Oregon presented the growth and decline of physical Rome in maps ranging from the 3rd century to the present; each map is more highly detailed and grander in scope, scale and beauty (he demonstrated the size of two 18th century maps by overlays of a Volkswagen and an elephant). The ultimate goal is to track the growth and decline of every street, building, piazza and sewer. I imagined this team as a digital scriptorium working on palimpsests with painful precision. What took medieval monks generations to copy and preserve is taking this team only a few years via digital technology. The teams’ sources include maps made from fresco fragments to photogrammetic images taken from low-flying planes.

The Visualizing Venice Project led by Caroline Bruzelius, Anne M. Cogan Professor of Art History, Duke University, has similar goals but a different approach to working as a group. While the majority of the other projects presented at the conference might be loosely described as ‘parallel play’ this project integrates scholars, students and public issues. As Caroline Bruzelius stated, it “seeks to engage the public (residents, tourists, students) in ways that social, economic, religious, and technological changes (the railroad, for example) transform cities and their surrounding environments.”

In the Reconsideration of the Vernacular Architecture of Auschwitz, another group project that Paul Jaskot, Mellon Professor, CASVA, has been working on for fifteen years and his team for the past five years, is investigating this place of horror to broaden the understanding of the camp as prison, planning and construction site, a future town and a place that reflected the maniacal ambitions of the SS. One of the many goals of this project is to write the history of the experience of the prisoner since all previous architectural history has been limited to studies of individual buildings based solely on SS documentation. It has mapped out the hundreds of buildings from both a bird’s eye view and from movement through the buildings on the ground. The team on this project has also graphed temporal changes of construction, destruction and rebuilding using graphs. They found new insight not only into the constant change of architectural plans and construction but were able to link a high number of prisoner escapes in 1943 and 1944 when construction and destruction projects in the camp were hectic and chaotic. Jaskot called this discovery “information hiding in plain sight” that is greatly assisted by large data crunching.

My thoughts during the conference reflected on the challenges the task force will face that CAA and the Society of Architectural Historians have established to develop guidelines for digital art and architectural history for promotion and tenure through a grant from the Andrew W. Mellon Foundation.  I came away with more questions posed than answered.

First, art and architectural historians traditionally do research and publish independently. How can PhD students and faculty be prepared either to work in a digital research as part of a group or, if not in a group, master digital technology that has been mainly been developed in other fields. Digital humanities centers, the recent conferences, SAH’s JSAH, CAA hands-on workshops and sharing programs at THAT Camp have provided important information on the kinds of digital systems that have been utilized by art and architectural historians. Are these introductions enough or, should new technology be incorporated into every program for art history majors and be required for entry into graduate programs?

New definitions of ‘new knowledge’ and impact factors need to be developed to recognize, encourage and evaluate digital scholarship. Should the definition of new knowledge include the development of new digital systems and apps or is it the content that should be evaluated? How does one evaluate the effectiveness of visualization technologies to support a thesis? Current impact factors such as bibliometric indicators, citations, acknowledgements and awards need redefinition to encompass digital projects. When are digital projects like this ‘finished’ or ‘published?’ When are they considered ‘stable’ enough to be peer reviewed or cited? Each one of the projects presented could continue to be developed over generations of scholars. Should definable versions be demarcated when new systems are continually added to address better visualization, data aggregating and upgrading? How can the collaborative contributions be disentangled to assign credit and evaluate a single person’s contribution? Or, should the evaluation solely focus on the team? Is it necessary to publish a separate summary of the digital research project for promotion and tenure committees? Will this be the sole ‘publication’ that results from the digital project? Or should the promotion and tenure committees also review the digital working site?

The digital projects presented at CASVA clearly attest to the important value that digital computational technology brings to research. As digital projects continue to be developed by faculty and students the field has the challenge of embracing them by readjusting and broadening past practices. The questions here are just a few that the task force will be discussing with the assistance of information gleaned from member surveys and interviews with art and architectural history chairs and provosts. These guidelines will provide one step toward the exciting transformation of research and publishing that digital technology brings to the visual arts field.

Filed under: Art History, Digital Issues

Report on the ACLS Conference

posted by Linda Downs

Each year the chief executive officers of the American Council of Learned Societies (ACLS) are hosted by a different city’s visitors and convention bureau in order to attract association conferences and conventions. The Hawaiian visitors’ bureau hosted our trip to Honolulu October 30th – November 2nd. In addition to scoping out the hotels and restaurants this conference provides a great opportunity for academic leaders to discuss critical issues in humanities scholarship and to enhance mutual support. This year we focused on several major topics.

How learned societies can address evolving definitions of scholarship. Through support from the Andrew W. Mellon Foundation, three membership associations—the American Historical Society, the Society of Architectural Historians, and CAA—will soon be developing guidelines to evaluate digital scholarship in history, art history, and architectural history for promotion and tenure.

Issues surrounding teaching and learning. The discussion centered on the need to redefine and reevaluate the value of teaching, research, and advocacy for promotion and tenure. What do we mean when we say that scholarship is “new knowledge”? This needs greater definition and broadening. David Marshall, associate director of Tuning USA, described his organization’s initiative, funded and promoted by the Lumina Foundation, Tuning USA provides faculty-driven but inclusive discussion with all stakeholders to determine outcomes for students in each discipline in two- and four-year colleges. The American Historical Association and the National Communications Society are participating in this project by engaging communications and history departments in this assessment process. In addition, Jean-Marc Mangin, director of the Canadian Federation for the Humanities and Social Sciences, shared the development process for the new Canadian assessment model: Their model broadens areas for consideration of impact by the following five factors:
1) Research has Impact on Scholarship
Biobliometrlc Indicators
Downloads from Open Access
Citations in grant applications
Prizes and awards
2) capacity through teaching and mentoring
3) Impact on the economy
4) Research has impacts on society and culture
5) Research has impacts on practice and policy.

How learned societies can help PhD students understand how to apply their skills and expertise to professions outside the classroom. Rosemary Feal, executive director of the Modern Language Association, and Karen Shanton, who in 2013 was an ACLS Public Fellow and now is an analyst at the think tank Demos, shared their insights into how learned societies can assist PhD students to realize opportunities beyond academia on a departmental level and at conferences.

How learned societies advocate for member issues. Most associations have a means of responding to issues of national importance such as free speech and censorship but there are areas that require proactive engagement. The learned society leaders discussed ways of approaching difficult advocacy issues.

We also heard from Peter Arnade, dean of the College of Arts and Humanities at the University of Hawaii, who said that his school has the greatest number of languages taught in the United States, including many from the Pacific Rim.

Pauline Yu, ACLS president, spoke to the power of her organization, which has no equivalent globally. When the seventy-five learned societies address issues of scholarship and advocacy, it has an immediate impact in the humanities. This year marks the founding of the Commission on the Arts, which led to the establishment of the National Endowment for the Humanities. The new chairman of this important federal agency, “Bro” Adams, is dedicated to seeing that the humanities scholarship has the widest circulation possible. ACLS has an operating budget of $145 million, with $110 million awarded to fellows annually. The Mellon Foundation contributes a major portion of these funds to scholars, including a new fellowship for minorities.

Stephen Kidd, executive director of the National Humanities Alliance, presented a very exciting initiative to develop grassroots humanities public programming, titled Humanities Working Groups for Community Impact. We all agreed that the arts and humanities do not get enough positive public engagement and that this program is a step in the direction of changing this environment by working on a local level throughout the country.

I always come away from these conferences charged up with new ideas and gratified that CAA is not the only association dealing with difficult issues. Ideas such as online mentoring, regional member conversations and meet-ups, creating a forum where assessment and research in teaching and learning come together and promoting public engagement of the academic community are all potential projects that CAA can address.

While at the conference I visited the Honolulu Art Museum (formerly the Honolulu Academy of Arts, which was recently renamed by its new director, Stephan Jost) and the Bernice Pauahi Bishop Museum. The Honolulu Art Museum is a small museum with extraordinary gems that features Korean celadon ware, gorgeous kimonos, the most highly detailed and expressive netsuke (which beg to be touched and held), serene Buddha sculptures, and a wonderful collection of American and European paintings. The big surprise for me was the special exhibition of Hawaiian art deco. In a gallery filled with kitsch paintings of happy Hawaiians—in traditional dress luau-ing, surfing, ruling, and dancing—was a small but extraordinary wooden sculpture depicting a diver with a spear sculpted by Isamu Noguchi. He made it in 1939 when he lived in Hawaii and designed advertisements for the Dole Pineapple Company. The work reminded me of the sleek sinewy wooden reclining figure at the Detroit Institute of Arts by Henry Moore. (And how great it was to hear upon my return of the news that the City of Detroit bankruptcy decision saved the Detroit Institute of Art’s collections from being sold!)

The Bishop Museum houses the anthropology and history collections of Hawaii. Its Richardsonian facade presents a foreboding nineteenth-century era of endless cases of thousands of specimens that can initially fascinate then quickly exhaust the viewer. But the moment I stepped inside the installations dispelled that notion. The museum has been recently renovated: the old cases were restored and contemporary installation techniques were used to present an amazing collection of Hawaiian and Pacific Island artifacts and textiles.

The chieftan cloaks—literally for the big kahunas—were made of hundreds of thousands of tiny bird feathers, in the colors of royal red and yellow. Later I visited one of the ancient Hawaiian temple ruins that line the cliffs of the western coast on the Big Island, and I envisioned those brilliant red and yellow robes flowing through the black volcanic rock architecture.

Because I have worked on Diego Rivera and modem Mexican art for many years, it was one of the great highlights of this trip to be able to spend an afternoon with John Chariot, professor emeritus In philosophy at the University of Hawaii who is researching and writing about his father, the Mexican muralist and professor of art at the University of Hawaii, Jean Charlot. John lives on the Big Island and—after giving me a delightful tour of a Zen temple, a black beach with enormous sea turtles lounging on the sand, and an ancient Hawaiian temple on a high cliff—we talked Mexican art for an afternoon and evening. Paradise!

Filed under: Learned Societies

Support CAA with a Gift to the Annual Fund

posted by Nia Page

Since 1911, the College Art Association has served the individuals and institutions that make up the world’s largest professional association in the visual arts. Through its journals, standards and guidelines, resources on employment, advocacy, and its forum for exchange of creative and scholarly research at the Annual Conference, CAA supports and enhances the community in the visual arts. Today, I ask that you support all that CAA does with a gift to the Annual Fund.

As an enormously productive year comes to a close, we reflect on some highlights:

Your contribution to the Annual Fund will enable CAA to continue this momentum well into 2015. Voluntary support from CAA members is critical to our collective advancement, and your contribution to the Annual Fund makes this important work possible.

On behalf of the artists, art historians, curators, critics, collectors, educators, and other professionals who make up CAA, I thank you for your dedication. Please give generously!


Maria Ann Conelli
Vice President for External Affairs

Filed under: Development

Professional Development

posted by Linda Downs

According to the Academic Impressions report “The State of Professional Development in Higher Ed” published yesterday: less than half of faculty and administrators believe that professional development is mission-critical in moving their institution ahead and that resources for PD are somewhat declining.

PD is essential for faculty as well as students who should be made aware of how their experience and expertise can be used in and outside of the classroom. Most art departments include entrepreneurial programs for their students and art history programs include museum studies and talks with alumni.

If you plan to attend CAA’s annual conference in February there are broad range of numerous PD workshops and sessions available that address skill building from job mentoring to intersecting research on teaching and learning:

2015–2016 Nominating Committee Seeks Members

posted by Vanessa Jalet

CAA invites you to help shape the future of the organization by serving on the 2015–2016 Nominating Committee. Each year, this committee nominates and interviews potential candidates for the CAA Board of Directors and selects the final slate for the membership’s vote. The candidates for the 2015–19 board election were announced on November 10, 2014.

The Board of Directors and the Nominating Committee strive to find the best candidates that represent the broad subdisciplines and practitioners represented in the membership. The current Nominating Committee will choose the new members of its own committee at its business meeting, to be held at the 2015 Annual Conference in New York in February. Once selected, all committee members must propose, in the spring, a minimum of five and a maximum of ten people for the board. Service on the committee also involves conducting telephone interviews with candidates during the summer and meeting in fall 2015 in New York to select the final board slate. Finally, all Nominating Committee members attend their next business meeting, at the 2016 Annual Conference in Washington, DC, to select the succeeding committee.

Nominations and self-nominations should include a brief statement of interest and a 3–4 page condensed CV. Please email a statement and your CV as Word attachments, with the subject line “2015–2016 Nominating Committee,” to the attention of Charles A. Wright, CAA vice president for committees, care of Vanessa Jalet, CAA executive liaison. Deadline: December 19, 2014.


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.

DIY Careers: How to Get Paid for Your Art

Often the biggest unknown in launching a DIY career is accounting. Most of us who go down this road are artists of one kind or another, so we don’t necessarily bring a lot of business acumen to the venture. We know how to create but not how to monetize our creation. Of course, not everyone is interested in assigning a value to their art, but anyone who is needs to incorporate some basic business knowledge into their creative endeavor. (Read more from Vitae.)

How Do Award-Winning Artists Spend Their Prize Money

The modern artist faces a conundrum: good work needs time and space, imaginative and physical. But making work also costs money; studios and materials don’t come cheap, and even aesthetes have to eat. So you get a job that pays … then you don’t have the time—or headspace—to make the work. We hear about the super-successful celebrity artists who make a fortune, but they are the minority. For emerging artists, making work and making ends meet is rarely easy. (Read more from the Independent.)

Full Ninth Circuit to Review California Resale Royalty Act En Banc

Several weeks ago, the parties to the appeal over the constitutionality of the California Resale Royalty Act briefed the question about whether the Ninth Circuit Court of Appeals should hear the case, rather than a three-judge panel that would otherwise be assigned to the case. The Ninth Circuit granted the petition in late October, meaning the appeal will now go before the full court. The issue in the case is a California law that requires royalties on secondary sales of art, something that is not part of US copyright law and is more common in civil law countries as “droit de suite.” (Read more from the Art Law Report.)

If Artists Need to Know about VARA, So Do Judges

On August 11, 2010, Gasser Grunert Gallery in Manhattan sold Jomar Statkun’s painting Tubal Cain at Beggar’s Creek (2009) to an art collector for $16,000. Less a 50 percent commission, Statkun walked away with an $8,000 sale. At a party two years later, Statkun met a former employee of the gallery who told him that the gallery facilitated that sale by cropping ten inches off the painting to suit the space needs of the collector. (Read more from re:sculpt.)

How We Look When We Look at a Painting

Among the abounding fascinations of Frederick Wiseman’s National Gallery, a three-hour documentary about the museum on London’s Trafalgar Square, is a leitmotif of lingering shots of solitary viewers of paintings. Looking at art may be the most unguarded action that we perform in public. We aren’t aware of performing, of course, nor do we openly watch one another doing so. Wiseman’s studies of people entranced, or stupefied, by Leonardos and Vermeers amount to a pictorial essay on self-forgetting: faces young and old, plain and fancy, each as vulnerable as that of a sleepwalker. (Read more from the New Yorker.)

At Harvard, Three Become One

Three institutions will be united under one roof when the Harvard Art Museums reopen after a six-year building project. The Renzo Piano–designed scheme on the edge of the Harvard campus doubles the museums’ combined square footage, increasing gallery space by 40 percent. But the changes at Harvard extend well beyond bricks and mortar and creating extra space to show more of its 250,000-strong art collection. (Read more from the Art Newspaper.)

On Elite Campuses, an Arts Race

Closed for six years, the Harvard Art Museums reopen after a radical overhaul by the architect Renzo Piano. He saved only the shell of the chaste, red-bricked Fogg Museum and its interior courtyard, extending it upward in sheets of glass and elegant truss work. Galleries wrap the new public space, but so do a materials lab, an art-conservation suite, and a study center, where students, faculty, and visitors can learn from the collection of 250,000 objects. (Read more from the New York Times.)

What the Midterm Elections Mean for the Arts: Summary of 2014 Election

In this year’s midterm elections, Republicans took back the Senate, kept control of the House, and won governorships in thirty-one states and counting. What does that mean for you and for us, as strong advocates of the arts and arts education? Here we break down the national, state, and local results—and their potential impact on the arts. (Read more from Americans for the Arts.)

Filed under: CAA News

Call for Mock Interviewers

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.

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.

Notice of 103rd Annual Business Meeting

posted by Vanessa Jalet

Notice of 103rd Annual Business Meeting
College Art Association, February 13, 2015

The 103rd Annual Meeting of the members of the College Art Association will be held on Friday, February 13, 2015 from 5:30 to 7:00 p.m. (EST) in the Rendezvous Trianon Ballroom, 3rd Floor, Hilton New York Hotel, 1335 Avenue of the Americas, NY NY 10010. CAA’s President, DeWitt Godfrey, will preside.


  1. Call to Order: DeWitt Godfrey, President
  2. Approval of Minutes of Annual Business Meeting, February 14, 2014 [ACTION ITEM] – See Minutes at
  3. President’s Report: DeWitt Godfrey
  4. Financial Report: Teresa Lopez, Chief Financial Officer
  5. Old Business
  6. New Business
  7. Results of Election of New Directors: DeWitt Godfrey


If you are unable to attend the Annual Meeting, please complete a proxy online to appoint the individuals named thereon to (i) vote, in their discretion, on such matters as may properly come before the Annual Meeting; and (ii) to vote in any and all adjournments thereof. CAA Members will be notified when the online proxy, and the ability to cast votes for directors, will be available, which will be in early January 2015. A proxy and vote must be received no later than 5:00 p.m. (EST) on Friday, February 13, 2015.

Next Meeting

The 104th Annual Meeting of the College Art Association will take place on Friday, February 5, 2016 in Washington, D. C.


Doralynn Pines, Secretary
College Art Association

November 12, 2014

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