College Art Association
rss Twitter Facebook You Tube flickr instagram

CAA News

caa.reviews Seeks Field Editors for Books and Exhibitions

posted by Christopher Howard


caa.reviews invites nominations and self-nominations for individuals to join its Council of Field Editors, which commissions reviews within an area of expertise or geographic region, for a term ending June 30, 2019. An online journal, caa.reviews is devoted to the peer review of books, museum exhibitions, and projects relevant to art history, visual studies, and the arts.

The journal seeks field editors to commission reviews of books in museum studies and of exhibitions on the West Coast, in the Midwest, and in Europe. Candidates may be artists, art or design historians, critics, curators, or other professionals in the visual arts; institutional affiliation is not required.

Field editors select content to be reviewed, commissions reviewers, and reviews manuscripts for publication, working with the journal’s editor-in-chief, editorial board, and CAA staff editor as necessary. Field editors for books are expected to keep abreast of newly published and important books and related media in their fields of expertise, and field editors for exhibitions should be aware of current and upcoming exhibitions (and other related projects) in their geographic regions. The Council of Field Editors meets annually at the CAA Annual Conference.

Candidates must be current CAA members and should not serve concurrently on the editorial board of a competitive journal or on another CAA editorial board or committee. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, and your contact information to: caa.reviews Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Deidre Thompson, CAA publications assistant. Deadline: January 15, 2017.



Filed under: caa.reviews, Publications, Service

New in caa.reviews

posted by CAA


Hollis Clayson reads The Work of Art: Plein-air Painting and Artistic Identity in Nineteenth-Century France by Anthea Callen. The “impressive book, chockablock with technical information,” views “the visible painted mark” as not only an “index of an artist’s working methods and tools, but also the inescapable sign of the painter’s aesthetic, social, and institutional allegiances.” Read the full review at caa.reviews.

Claire Grace discusses Taryn Simon: Paperwork and the Will of Capital, an exhibition hosted at Gagosian Gallery, New York. Grace focuses on twelve sculptures that feature plant specimens yet spring “from the world of geopolitics and trade.” Although sculpture “is a departure for Simon,” the series “extends the research-driven, post-documentary axis of her photography-based practice.” Read the full review at caa.reviews.

James Housefield reviews Ruth E. Iskin’s The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s. This “engaging and readable book” “rethinks the role of print media in the creation and transformations of modern art.” Arguing “persuasively for renewed examination of posters” in visual culture, the volume “contributes to the history of modern art, writ large.”  Read the full review at caa.reviews.

Jessica N. Richardson examines From Giotto to Botticelli: The Artistic Patronage of the Humiliati in Florence by Julia I. Miller and Laurie Taylor-Mitchell. “A long-awaited study,” the book “traces the entire span of Humiliati art at a single location.” It “provides another model for breaking down period boundaries and envisaging images and objects as communicating through the centuries.” Read the full review at caa.reviews.

Caa.reviews publishes over 150 reviews each year. Founded in 1998, the site publishes timely scholarly and critical reviews of studies and projects in all areas and periods of art history, visual studies, and the fine arts, providing peer review for the disciplines served by the College Art Association. Publications and projects reviewed include books, articles, exhibitions, conferences, digital scholarship, and other works as appropriate. Read more reviews at caa.reviews.



Filed under: caa.reviews, Publications

Staff Interview: Paul Skiff

posted by CAA


Paul Skiff

As part of the new myCAA campaign where we ask our members to share with us what CAA means to them, we thought it also makes sense to share with our members more about ourselves at CAA. In this spirit, every few weeks we will post an interview with a staff member at CAA. We want our members to know who we are also.

Our first interview in the series is with Paul Skiff, assistant director for Annual Conference.

How long have you worked at CAA?

Seventeen years.

What do you do at CAA?

I handle all space use for the Annual Conference: facility specification and coordinating with facility personnel, logistics, service providers, production, marketing, and sponsorships for the Book and Trade Fair, receptions, tours, onsite direction, and the task of working up budgets for all of this. Essentially I set up the arrangements that enable us at CAA to coordinate everyone and everything into and out of the conference.

What does CAA mean to you?

CAA is a leading international organization promoting visual art and culture in a way that has direct impact on society. The conference brings together the membership, along with related professions, for a large public event that gives a high profile to the cultural sector of the host city and contributes to defining the forward direction of culture in general.

Can you talk about one of your favorite member moments?

Too many to mention, really. CAA members are so frequently a great pleasure to work with no matter what the situation. At its base the organization is a collective, and that really guides so much of what members bring.

What do you like best about the arts and working in the arts?

Art, and culture in general, provides a basis for unity across social, cultural, national, and political boundaries. In the urban culture of the United States, cultural practice is seen as an open forum with authority to comment upon—and provide a way for coping with—the prevailing conditions of the time. Applied this way, cultural practices have as their main goal establishment of a democratizing equality. What I like about one part of the particular work I do in the arts with CAA is that my efforts serve to create opportunities for thousands of people involved in art and culture. Over my time working with CAA, this has amounted to providing a wide variety of opportunities for literally tens of thousands of people involved with art and culture.

Do you have a favorite moment from the Annual Conference each year?

The closing celebration for department staff after sessions conclude on the last day of the conference, when a year’s worth of hard work is complete and you know thousands of people had a pleasurable and fulfilling experience.

Video capture of Paul Skiff’s performance Blood Circle

What have your most recent performances consisted of?

My most recent performances have been straightforward presentations of texts and poetry spoken live, often with supplemental sound, and mostly presented for community-based cultural organizations with a vision for preserving, promoting, and strengthening local culture.

How do you feel about the differences between your art performed live or recorded on tape?

My live performance often incorporates recorded sound and images, so it is not that easy to separate the two modes of presentation. But to consider electronically recorded material separately, there is of course a vast difference with regard to the resultant sensory phenomenon. The main strength of actual live, spoken work is its generative quality, its immediacy, and its ability to create a “hearership” that can challenge existing listening institutions. With electronically recorded sound and/or images you have the rather endlessly deep toolbox of technology, which mostly amounts to applying exaggeration and distortion to live forms, and playing with time, as well as simply preserving information for transmission. I’m not saying anything profound by that, of course. Applying technology to a live performance enables an extension and transformation of form that allows for many different and new ways to present the work, seek a broader audience, and invent ever more creative solutions.

The creation of electronic information along with storage and retrieval is the most expansive creative environment for us now. At this point in our history telelectricentrism is second nature. Humanity has adapted to this so that forms of experience based on electronic image and sound increasingly dominate everyday life. We are still discovering how this is an asset and liability. It has mixed results and risky implications for our ability to really communicate. But in this for me is a great and absorbing task of applying these distorting and exaggerating technologies to instill acts of rehumanizing our culture. It’s kind of like taking something inherently dangerous and reshaping or repurposing it to provide pleasure, fulfillment, and a greater sense of shared well-being—not to mention preserving and strengthening our sense of self-worth.



Filed under: myCAA, People in the News, Staff

News from the Art and Academic Worlds

posted by Christopher Howard


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

Doubts about Date: 2016 Survey of Faculty Attitudes of Technology

Most faculty members say data-driven assessments and accountability efforts aren’t helping them improve the quality of teaching and learning at their colleges and universities, according to the 2016 Survey of Faculty Attitudes on Technology. Instead, instructors and many academic technology administrators say the efforts are mainly designed to satisfy accreditors and politicians. (Read more from Inside Higher Ed.)

The Next Step in Diversifying the Faculty

These days there’s no escaping discussions about the need to diversify academe. So it should be. A recent addition to this brimming conversation was a widely discussed essay in The Hechinger Report from Marybeth Gasman, in which she argued that there aren’t more people of color on faculties for a simple reason: colleges and universities don’t want them. (Read more from the Chronicle of Higher Education.)

After a Decade of Growth, MFA Enrollment Is Dropping

Across the country, art schools have minted a growing number of visual art MFA programs over the last ten to fifteen years. Many of them now face a challenge, as application numbers and enrollment figures are falling, according to the better part of a dozen insiders who spoke to Artnet News, some of them on condition of anonymity. (Read more from Artnet News.)

David Salle’s How to See, a Painter’s Guide to Looking at and Discussing Art

The painter David Salle, in his new book How to See: Looking, Talking, and Thinking about Art, goes bravely in search of happiness. His quarry is aesthetic bliss. Salle’s mission is to seize art back from the sort of critics who treat each painting “as a position paper, with the artist cast as a kind of philosopher manqué.” (Read more from the New York Times.)

Toxic Art: Is Anyone Sure What’s in a Tube of Paint?

Artists get called many things—geniuses, madmen, rebels, unemployed—but rarely chemists. Painters, however, increasingly find that they need a degree in organic chemistry when they go to an art-supply store and try to buy a tube of paint. (Read more from the New York Observer.)

How to Work in the Art World without Selling Out Your Politics

What if you realized that an entire community of people were underrepresented in the arts, so you created your own area of study in college to push their work to the forefront? What if you spent the next thirty years trying to change the ratio? Would you have the perseverance to get there? (Read more from New York.)

Why Attend Conferences as a Freelance Academic?

Attending a conference without an institutional affiliation can feel alienating. That alienation, combined with the fact that many freelance academics are no longer searching for faculty positions, can make conferences seem like a colossal waste of time and money. What could you possibly contribute? (Read more from Vitae.)

Missing Out on the Fear of Missing Out

There are three openings tonight in three different parts of the city and it’s only possible to do one. Your old friend, your new friend, and the hip space that just opened. Now make a choice. Was it the right one? (Read more from Momus.)



Filed under: CAA News

New in caa.reviews

posted by CAA


Melanee C. Harvey reviews The Divine Comedy: Heaven, Purgatory and Hell Revisited by Contemporary Artists, an exhibition catalogue edited by Mara Ambrožič and Simon Njami. The volume expands on three exhibitions—each dedicated to a realm of the afterlife—and illuminates “the potential aesthetic and conceptual configurations in contemporary art that undermine parochial notions of African art.” Read the full review at caa.reviews.

Danielle Carrabino reads Faith, Gender and the Senses in Italian Renaissance and Baroque Art: Interpreting the Noli me tangere and Doubting Thomas by Erin E. Benay and Lisa M. Rafanelli. Comparing the two religious narratives, the authors combine “feminist theory and notions of reception” to argue that gender dictates the way Mary Magdalene and Thomas “experience the resurrected body.” Read the full review at caa.reviews.

Allison Myers discusses International Pop, a traveling exhibition organized by the Walker Art Center. The “ambitious show” aims to “overturn the idea of Pop as a primarily American and British movement by redefining it as a fluid sensibility with international reach.” At the Dallas Museum of Art, the layout “underscores the exhibition’s stakes in the conversation on global art history.” Read the full review at caa.reviews.

Caa.reviews publishes over 150 reviews each year. Founded in 1998, the site publishes timely scholarly and critical reviews of studies and projects in all areas and periods of art history, visual studies, and the fine arts, providing peer review for the disciplines served by the College Art Association. Publications and projects reviewed include books, articles, exhibitions, conferences, digital scholarship, and other works as appropriate. Read more reviews at caa.reviews.



Filed under: caa.reviews

News from the Art and Academic Worlds

posted by Christopher Howard


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

“All art is political”: A Conversation with Hank Willis Thomas

Cofounded in January by Hank Willis Thomas as the first artist-run super PAC, For Freedoms has been working tirelessly to engage the public in critical discourse about our political system. For those unfamiliar, a super PAC is an independent political action committee that can raise unlimited funds from corporations, unions, associations, and individuals. (Read more from Arts ATL.)

Make No Mistake, Art History Is a Hard Subject. What’s Soft Is the Decision to Scrap It

In the UK, art history A-level is to be scrapped in 2018. The decision taken by the exam board AQA seems related to the Conservative government’s policy of ranking subjects by perceived relative difficulty, using an analogy of “soft” and “hard” that may be designed to belittle students and teachers who have apparently taken the easy way out. (Read more from Apollo.)

Where Social-Media Sensation Kimberly Drew Sees the Art World in Ten Years

Kimberly Drew stands as one of black contemporary art’s most visible champions. With north of 100,000 followers subscribed to her Instagram handle alone—joined by thousands more across Twitter and Facebook—Drew’s presence is fortified by the type of institutional sheen that comes with running the Metropolitan Museum of Art’s social-media channels. (Read more from Artnet News.)

How Many Hours a Week Should Academics Work?

How many hours do you work in a week? Many academics feel overworked and exhausted by their jobs. But there is little evidence that long hours lead to better results, while some research suggests that they may even be counterproductive. (Read more from Times Higher Education.)

Tasked with Creating a Catalogue Raisonné, These Art Historians Become Detectives

“Something like provenance is the most time-consuming aspect of a catalogue raisonné because, basically, it is detective work,” said Katy Rogers, who coauthored the Robert Motherwell catalogue raisonné and currently serves as the project’s director. “You’re tracking down people, and you’re finding out their stories.” (Read more from Artsy.)

Data Ethics Is a Challenge That Major Foundations Can’t Afford to Ignore

If I ask you to picture “big data,” what do you think of? You probably didn’t think first of a grant-making foundation, social-justice group, or humanitarian-assistance organization. Compared to government agencies and large companies, key players in the social sector lag far behind in realizing the potential of data-intensive methods. (Read more from Equals Change Blog.)

Should We Kill the Conference Panel?

The reality is that the room dynamics of panels just don’t work all that well. It is difficult for panelists to build a narrative that will capture the audience’s attention. Panel discussions become performative rather than enlightening or challenging, and none of us is as good at speaking extemporaneously as we think we are. (Read more from Inside Higher Ed.)

The Middle Market Squeeze, Part II: A Reality Check for Art Galleries

If a flush but lopsided art economy invites confusion, it also demands takeaways. The against-all-economic-odds gallery once begun with boundless ambition and maxed-out credit cards is no more. Here’s the same idea put differently: the era of undercapitalized, illiquid, labor-of-love galleries that rely mostly or exclusively on the primary market for sales is over. (Read more from Artnet News.)



Filed under: CAA News

South African Diary

posted by Janet Landay, Project Director, CAA-Getty International Program


rhodes-must-fall-photo-from-facebook-3Rhodes Must Fall, downloaded from https://www.facebook.com/RhodesMustFall/photos

Twenty-two years after the end of apartheid, South Africa, and especially its university system, is in an enormous state of flux. Since March 2015, students have militated against South Africa’s twenty-three government-funded universities in two related protests. The first was Rhodes Must Fall, which demanded the removal of a sculpture of Cecil Rhodes, the embodiment of British racist colonial imperialism, from the University of Cape Town (UCT). In October 2015 came Fees Must Fall, prompted by the announcement of a steep increase in fees at the University of Witwatersrand. Both movements have had successes: the UCT sculpture of Rhodes was removed; students at Rhodes University persuaded authorities to consider renaming the school; and the government announced there would be no tuition increase for 2016. (This issue is being debated again, as increases for 2017 have elicited renewed protests.)

This was the context for the 31st Annual Conference of the South African Visual Arts Historians (SAVAH), which I had the pleasure of attending this past summer. Approximately sixty professors of art history, visual culture, and studio art gathered at the University of Johannesburg for three days of papers on “Rethinking Art History and Visual Culture in a Contemporary Context.” The ongoing crisis in higher education charged the sessions and discussions with particular intensity. The subjects addressed, whether historical, pedagogical, or political, were not chosen solely for theoretical considerations; speakers were seeking practical solutions to the immediate challenges they face as scholars and teachers in post-apartheid South Africa.

The SAVAH conference was not the only significant art event taking place in Johannesburg during my visit. The meetings coincided with a historic exhibition held downtown at the Standard Bank Gallery: the first-ever presentation on the African continent of paintings and works on paper by Henri Matisse. Juxtaposed against the topic of the conference, this major exhibition provided another bellwether of the state of art history in South Africa.

READ MORE



Filed under: International

A CAA Road Trip

posted by Janet Landay, Program Manager, Fair Use Initiative


memberreceptionatmassartBowdoin College Museum of Art in Brunswick, Maine (photograph by Janet Landay)

In late September, Hunter O’Hanian and I had the pleasure of spending a weekend at Bowdoin College in Brunswick, Maine, to attend two CAA events hosted by Anne Goodyear, codirector of the Bowdoin College Museum of Art and a former CAA president. We arrived at the picturesque New England campus on a beautiful fall day. The college’s art museum, one of the oldest in the country, anchors the western edge of the quad, its neoclassical façade presiding gracefully over green lawns and majestic trees where students played Frisbee, read, or walked across campus. It was a perfect weekend to welcome CAA members to campus.

The first group arrived that Saturday afternoon to attend a CAA member reception, the first of several Hunter has planned around the country to provide an opportunity for him to meet with members in a relaxed setting and talk about CAA. The event began with a tour of the Bowdoin College Museum of Art given by Anne and her husband, the museum’s codirector, Frank Goodyear. Immediately following, we all walked a block away to Anne and Frank’s house to enjoy some wine and cheese on their back patio. The fifteen or so participants hailed from several schools and museums in addition to Bowdoin—Colby College, Bates College, the Portland Museum of Art, and the Farnsworth Art Museum—and included art historians, artists, librarians, and independent scholars.

Members spoke in turn about their most memorable CAA experiences: attending a first conference, interviewing and getting a job, meeting old friends, or networking with scholars in their fields. Hunter then shared thoughts about his goals for CAA based on what he has learned from members since he became executive director in July. He observed the importance of connectivity—how to keep CAA members in touch with issues in the field, but especially how to keep them in touch with each other. And he described many of the changes members will experience at the next Annual Conference, including a focus on personal experience, captured by a new theme for the meetings, myCAA.

On Sunday morning, several of the same CAA members returned, joined by others from around the state, for a half-day workshop about copyright and fair use. Peter Jaszi, a co–lead investigator on CAA’s Fair Use Initiative, came from Washington, DC, to Bowdoin to lead the program, which focused on how visual-arts professionals can use CAA’s Code of Best Practices in Fair Use for the Visual Arts in their work. Following an introduction to copyright and fair use, the workshop began with a look at how museum professionals can use the Code when employing copyrighted materials in their work.

Participants had been asked to bring real-life questions with them. Thus, a museum director wanted to know whether his museum could allow photography in the galleries of works still protected by copyright. A curator described a challenge she had in getting an image for a catalogue from a museum in central China. When she received no reply from the museum, she resorted to scanning the image from another book. Is that fair use? Other questions involved loan forms, credit lines, and online projects.

As the day continued, the program moved on to address questions from professionals in other areas: librarians and archivists, professors and teachers, artists and independent scholars. Can a faculty member use images in class that she got from a flash drive she had received from a foreign museum? What kind of credit information is necessary for a blog about films? Is Shepard Fairey’s image of Obama a good case study for students learning about fair use? How should the institutional repository on a college campus view the copyright protection of yearbook photographs? By the end of the afternoon, a remarkable range of questions had been discussed, and the forty participants came away with a much greater understanding of fair use and how to rely on it in their work.

peterjasziandkylecourtneyPeter Jaszi and Kyle Courtney at CAA’s fair-use town hall at Harvard University (photograph by Janet Landay)

On Monday, Hunter, Peter, and I were in Cambridge, Massachusetts, to join Kyle Courtney, a copyright specialist in Harvard’s Office for Scholarly Communication, for a fair-use town hall on the campus of Harvard University. As in Maine, Peter began the program with an introduction to fair use, and I followed with a description of CAA’s Fair Use Initiative. Kyle spoke about a program he directs at Harvard that trains librarians to be “first responders” to users’ questions about fair use. Although relatively new, the program has proven to be an effective way to support and teach visual-arts professionals about fair use. It is now being replicated on other university campuses. The event was then opened to questions from the sixty-five members of the audience, which Peter and Kyle discussed in depth.

Many of the topics were similar to those that had been addressed at the Bowdoin workshop, but a new subject emerged as well: advocacy. Does a professor who has had a manuscript accepted have any recourse when her publisher requires signed author agreements stating that all images had been cleared for publication and all fees paid? The answer is yes; she can ask her publisher to read CAA’s Code and explain that many, if not all, of her uses of images comply with the doctrine of fair use. While the effort may not succeed (though CAA has several success stories on file), over time it will familiarize publishers with the principles outlined in the Code. Changes have already taken place, in large part due to this kind of challenge from users. Yale University Press now accepts fair-use defenses from its authors who are publishing monographs; the Robert Rauschenberg Foundation embraced a fair use policy for that artist’s work; and CAA not only encourages its authors to consider whether or not their uses are fair, but it also indemnifies authors against lawsuits about works used under fair use.

The program concluded with a reminder that CAA is happy to answer questions about fair use; please don’t hesitate to contact us at nyoffice@collegeart.org.

memberreceptionatmassartThe CAA member reception at Massachusetts College of Art and Design (photograph by Janet Landay)

Later on Monday, Hunter and I joined another group of CAA members at the Massachusetts College of Art and Design for a wine-and-cheese reception at the school’s President’s Gallery and Bakalar and Paine Galleries. Attendees included a wide range of members, from professors who have belonged to the association for thirty years to new members just graduating from MFA programs. Lisa Tung, the gallery’s director and curator, kicked off the event with a tour of two exhibitions currently on view, Encircling the World: Contemporary Art, Science, and the Sublime and Women’s Rights Are Human Rights: International Posters on Gender-Based Inequality, Violence, and Discrimination. Hunter, who is a former vice president for development at MassArt, then invited participants to speak about how CAA is valuable to them. He emphasized the importance of hearing from members so that CAA can support them as fully as possible in this rapidly changing world.

CAA’s road trip continued in early October with another member’s reception in Portland, Oregon. Later this month we will convene a fair-use workshop in Seattle, Washington. More events are planned for early next year in Georgia and Virginia. Stay tuned!

The Bowdoin College fair-use event was organized by the Bowdoin College Museum of Art and CAA, with funds provided by the Andrew W. Mellon Foundation. The Harvard University fair-use event was organized by Harvard’s Office for Scholarly Communication, thanks to the generous support of the Arcadia Fund, and by CAA, with funds provided by the Mellon Foundation.



What is myCAA?

posted by CAA


artnews

With the opening of conference registration for the 2017 Annual Conference in New York, February 15-18, you might have seen us mention our new campaign, myCAA.

myCAA is a way for us to tell our members, and even those outside our membership in the arts and culture field, that we are listening. And that we want to hear from you! myCAA is about opening up the channels of communication member to member and between the CAA staff, board, committees, and affiliates. We are all in this together, each and every person involved in CAA. From the administrative and staff side of CAA, we know the organization exists because of the support of our members and those working in the visual arts field. Your support helps us in turn support you in your professional teaching, scholarship, and art making. We see this circle as vital to the impact that art historians, artists, and scholars have on the field of visual arts and on society as a whole.

We want to hear from you on CAA Connect, our new digital discussion and resource library platform. The myCAA community is where members should post any and all thoughts they have about how to make CAA an organization that serves the profession at the highest level. How to log in to CAA Connect.

At the conference, we want to hear from you. Stop a CAA staff member, board member, or committee member in the hallway, in sessions, or in the Hilton lobby! Say hello and tell us how we can make CAA the best organization it can be to support your efforts and your work.

Call us. Email us. Write to us. Send us a carrier pigeon.

We know that our members and those working in the visual arts contribute to and improve society every single day. myCAA is the call for our members to use their voices and to tell us how we can help so you can push forward and change the world.



Filed under: Annual Conference, Membership

New in caa.reviews

posted by CAA


Laura Weigert discusses Anne Teresa De Keersmaeker: Work/Travail/Arbeid, an exhibition and site-specific work at the Centre Pompidou. Each of the nine hour-long segments features “a different combination of dancers and musicians.” According to Weigert, “the concept of work” is central to the project, along with the question of “what might dance achieve in a museum.” Read the full review at caa.reviews.

Yumi Park Huntington reviews the exhibition catalogue Chavín: Peru’s Enigmatic Temple in the Andes. Edited by Peter Fux, the essays “present new archeological excavations and new interpretations of material objects.” Using “rich and abundant data,” the contributors illustrate “the importance of analyzing a culture within its network of interactions and exchanges with contemporaneous societies.” Read the full review at caa.reviews.

Heather Diack visits This Place, a traveling exhibition initiated by Frédéric Brenner and curated Charlotte Cotton. Featuring twelve internationally acclaimed photographers, the show “claims to grapple with ‘the complexity of Israel and the Westbank, as place and metaphor,’” but ultimately “does not bring the viewer any closer to understanding the realities of this highly charged terrain.”  Read the full review at caa.reviews.

Brian Madigan reads Art and Rhetoric in Roman Culture, edited by Jaś Elsner and Michel Meyer. The volume “makes a case for a prescriptive approach to the understanding of Roman visual culture” based on “Aristotle’s tripartite division of rhetoric.” While the “nature of workings” of this visual rhetoric “are still vitally debated,” the book will surely benefit “advanced scholars of Roman art.” Read the full review at caa.reviews

Caa.reviews publishes over 150 reviews each year. Founded in 1998, the site publishes timely scholarly and critical reviews of studies and projects in all areas and periods of art history, visual studies, and the fine arts, providing peer review for the disciplines served by the College Art Association. Publications and projects reviewed include books, articles, exhibitions, conferences, digital scholarship, and other works as appropriate. Read more reviews at caa.reviews.



Filed under: caa.reviews

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.