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Anne Teresa De Keersmaeker, Work/Travail/Arbeid, performed by Rosas at the Centre Georges Pompidou, Paris, February 26–March 6, 2016 (choreography © Anne Teresa De Keersmaeker; photograph © Laura Weigert)

caa.reviews is pleased to announce the publication of a new multimedia reviews project on the Scalar platform: Anne Teresa De Keersmaeker’s Work/Travail/Arbeid by Laura Weigert. Weigert’s review of Work/Travail/Arbeid’s ten-day performance at the Centre Georges Pompidou in Paris from February 26 to March 6, 2016, is the starting point for this project, which also includes a conversation between De Keersmaeker and Weigert. The project features media explorations of the performances of Work/Travail/Arbeid at WIELS Contemporary Art Centre in Brussels and Tate Modern in London. The site will present additional media following Work/Travail/Arbeid performances at the Museum of Modern Art in New York from March 29 through April 2, 2017.

Filed under: caa.reviews

New in caa.reviews

posted by March 24, 2017

Katharine J. Wright reviews Realize Your Desires: Underground Press from the Library of Stefan Brecht, an exhibition at Printed Matter. It “brings to light an expansive private collection of underground newspapers dating from the mid-1960s through the early 1970s” and “proves both timely and enlightening” by providing “a rare glimpse into America’s troubled past.” Read the full review at caa.reviews.
Stephen Caffey discusses the exhibition American Epics: Thomas Hart Benton and Hollywood, organized by the Peabody Essex Museum and Amon Carter Museum of American Art, and its catalogue. Featuring the artist’s best-known works “along with less familiar paintings,” the show “situates Benton’s artistic practice within the trajectories of two venerable traditions: the literary epic and the cinematic blockbuster.” Read the full review at caa.reviews.
Betty J. Crouther reads Mary Ann Carroll: First Lady of the Highwaymen by Gary Monroe. The author “builds Carroll’s story around her Highwaymen associations as well as quotations sprinkled generously throughout the text.” Although “readers will be grateful to Monroe for bringing attention to Carroll, they will also be frustrated that he documents so little.” Read the full review at caa.reviews.
Filed under: caa.reviews

How to Submit a Sharp Proposal for CAA 2018

posted by March 23, 2017

We are enjoying spring break as much as you are, but we also know that CAA has upcoming deadlines for proposing a session or paper for the 106th Annual Conference in Los Angeles, February 21–24, 2018.

In this video, Hunter O’Hanian, executive director of CAA, and Tiffany Dugan, director of programs, discuss what makes a great Conference proposal. We think your submission should contain clear writing, and your idea should be thoughtful. We want you to be accurate and complete when using the submission portal also.

The Annual Conference Committee, comprised of regional representatives, members of the Board, and CAA members at large, are in search of proposals that reflect the breadth and variety of our discipline and field, and demonstrate the expertise and curiosity of our membership also. Especially welcome are proposals from artists and on subjects in art before 1800.

The deadlines to propose a session or paper for the 2018 Annual Conference in Los Angeles are April 17 and April 24, 2017. Full details are available on the submissions website.

Filed under: Annual Conference

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.

Could Blockchain Put Money Back in Artists’ Hands?

By registering artworks with blockchain to establish authenticity and create property rights which can then be split off and traded, argues Amy Whitaker, artists can retain an “equity share” in their works, much like the founder of a startup retains an ownership stake that grows in value as the company expands. (Read more from Artsy.)

Report from the 2016 Craft Think Tank

Last June the Center for Craft, Creativity, and Design convened a two-day, special-topic Craft Think Tank, bringing together experts across disciplines to assess the state of craft in academia. The group discussed and made recommendations concerning the content, format, approach, audience, and resources needed to create a relevant and successful program. (Read more from the Center for Craft, Creativity, and Design.)

Detroit Exits Bankruptcy, Thanks to Its Art Museum

A federal judge approved Detroit’s bankruptcy plan, allowing the city government to hit the reset button after years of financial mismanagement. The bankruptcy could have been far lengthier, and even more painful for retirees, had it not been for an unusual deal designed to save the Detroit Institute of Arts while minimizing cuts to pensions. (Read more from Slate.)

The Skillful Curator: A Case Study in Curatorial Pedagogy and Collective Exhibition-Making

For a recent CAA panel on pedagogy, feminism, and activism, I presented a graduate curatorial practice course I developed at the School of the Art Institute of Chicago, for which I organized an exhibition alongside sixteen students, as a case study. While the curatorial field is considered hospitable to women, the curator’s role often operates within structures that reinforce patriarchy and inequality. How? (Read more from Art History Teaching Resources.)

Midcareer Faculty: Five Great Things about Those Long Years in the Middle

In a recent post on tired teaching I identified the major challenge of the midcareer stretch—keeping your teaching fresh and keeping yourself engaged, enthusiastic, and instructionally moving forward. On the other hand, special opportunities are afforded by that long stretch in the middle. The question is whether we’re taking full advantage of them. (Read more from Faculty Focus.)

The Sculpture of a Fearless Girl on Wall Street Is Fake Corporate Feminism

Fearless Girl features a branded plaque at its base. The companies that installed it had a permit. They are the advertising firm McCann New York—whose leadership team has only three women among eleven people, or 27 percent women—and the asset manager SSGA—whose leadership team has five women among twenty-eight people, or 18 percent women. SSGA is a division of State Street, which has a board of directors that includes only 27 percent women. (Read more from Hyperallergic.)

Dispute on Cultural Appropriation Leads to Assault Charges

Last week a Hampshire College student was in a Massachusetts court to face charges that she assaulted a member of the women’s basketball team of Central Maine Community College when, at a January game, the woman refused to take out braids that she had in her hair—braids that Carmen Figueroa, the student facing charges, demanded be removed because they are an example of cultural appropriation. (Read more from Inside Higher Ed.)

Did ISIS Inadvertently Uncover the Secret to the “Lost” Hanging Gardens of Babylon?

To the surprise of the archaeologists, upon examining the reconquered Iraqi city of Mosul, they found evidence that when ISIS blew up parts of the Nebi Yunus shrine, the militants unveiled a major discovery: a palace that predated the tomb of the Prophet Jonah and had been buried beneath it—unseen for thousands of years. (Read more from Salon.)

Filed under: CAA News

Exclusive Promotional Offer from Frieze

posted by March 20, 2017

CAA is pleased to extend an exclusive promotional offer from frieze, one of our partner organizations.

As a special offer to institutional members of the College Art Association, frieze is offering a free trial issue of the magazine for your institution or library!

Founded in 1991, frieze is the leading international magazine on contemporary art and culture. Including essays, reviews and columns by today’s most forward-thinking writers, artists and curators, including amongst others, Michael Bracewell, Brian Dillon, Olivia Laing, Lynne Tillman, Jan Verwoert and Maria Warner.

Recently redesigned for 2017, frieze has a new look, comprising of a new suite of typefaces, additional room for images and more commissioned photography. This visual rethink reflects frieze’s ongoing commitment to both providing fresh perspectives on more established artists and highlighting new trends.

Published 8 times a year and with offices in London, New York and Berlin. frieze is essential reading for anyone interested in visual arts and culture.

We are offering our upcoming April issue as a free trial to institutional members of CAA. This issue focuses on whether art can be used as an effective form of protest and includes a roundtable on the theme of protest including contribution from, amongst others, Tania Bruguera, Okwui Enwezor and Slavs and Tatars.

There are a limited number of free copies on a first-come-first served basis. To register to receive your free issue, please click here.

  • Orders are limited to one copy per institution
  • The offer is for libraries/institutions only
  • The free trial copy applies to the April issue only
  • Orders must be placed by 1 April
  • Subscription offer is for new subscribers only

New in caa.reviews

posted by March 17, 2017

Vanessa Rocco visits Photo-Poetics: An Anthology at the Solomon R. Guggenheim Museum. The “exhibition of ten contemporary photographers” is grounded in the “passionate advocacy of investing time in looking closely at photographs.” As a whole, the works on display were “striking,” though “some individuals and groups were more compelling than others.” Read the full review at caa.reviews.
Nicholas C. Morgan reviews the book Flesh Cinema: The Corporeal Turn in American Avant-Garde Film by Ara Osterweil. In “one of the most compelling studies of the body’s relation to avant-garde art and film,” the author “articulate[s] ‘flesh cinema’ as a coherent, if shifting, category of postwar film” and insists “on the impossibility of divorcing ‘flesh cinema’ from the flesh of the world.” Read the full review at caa.reviews.
Anne Hrychuck Kontokosta discusses Gods and Mortals at Olympus: Ancient Dion, City of Zeus at the Onassis Cultural Center. The exhibition “delighted viewers with a carefully curated collection” of objects” and “focused on archeological research,” facilitating “a comprehensive and contextualized understanding of the ancient city of Dion.” Read the full review at caa.reviews.
Gülru Çakmak reads Gustave Moreau: History Painting, Spirituality, and Symbolism by Peter Cooke. The author traces the artist’s “lifelong endeavor to revitalize le grand art in France … and to combat the endemic materialism of the age,” showing how “the antinaturalist and antidemocratic aesthetic” of Moreau’s work “countered the dominant naturalist paradigm in French art.” Read the full review at caa.reviews.
Filed under: caa.reviews, Uncategorized

Serve on a CAA Award Jury

posted by March 16, 2017

CAA invites nominations and self-nominations for individuals to serve on seven of the twelve juries for the annual Awards for Distinction for three years (2017–20). Terms begin in May 2017; award years are 2018–20. CAA’s twelve awards honor artists, art historians, authors, curators, critics, and teachers whose accomplishments transcend their individual disciplines and contribute to the profession as a whole and to the world at large.

Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2017. CAA’s president and vice president for committees appoint jury members for service.

The following jury vacancies will be filled this spring:

Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and an abbreviated CV (no more than two pages). Please send all materials by email to Katie Apsey, CAA manager of programs; submissions must be sent as Microsoft Word or Adobe PDF attachments. For questions about jury service and responsibilities, contact Tiffany Dugan, CAA director of programs. Deadline: May 12, 2017.

Today the US President released his proposal for 2018 federal budget – it envisions transferring additional billions of dollars to the Department of Defense, Veterans Affairs, and Homeland Security from many important domestic programs such as the Environmental Protection Agency, education, and legal services. As expected, the budget also calls for the complete elimination of the Corporation for Public Broadcasting, National Endowment for the Arts, National Endowment for the Humanities, and 16 other federal agencies. CAA was one of the first national organizations to speak against these cuts.

Read the statement against these cuts that CAA released on January 23, 2017.

As educators, art historians, artists, curators, museum directors, designers, scholars, and other members of the visual arts community we must act to defend the role of arts and humanities in our society. The budget process is long and ultimately controlled by the US House and Senate.  Earlier this week, CAA traveled to Washington for Humanities Advocacy Day to meet with many congressional offices to discuss the importance of continued NEA and NEH funding. We will return again next week to do the same for Arts Advocacy Day.

In addition, CAA assembled an Arts and Humanities Advocacy Toolkit with information on how to contact your representatives in Congress to voice your support for the NEA and NEH and the many quality programs they fund. Call their offices. Email them. Attend Town Halls. You can learn how these agencies support activities in your area here: funded by the NEA and funded by the NEH.  Be sure to let your representatives know of the impact of the arts and humanities in your districts. Spread the word to your colleagues and friends.

Despite the White House’s opposition to continued funding for the NEA and NEH, there is sufficient reason to believe that many members of the US House and Senate will support a budget that includes continued funding for these agencies.  I ask our members to join in the effort to make sure all members of Congress knows the importance of the work done by these agencies.


Hunter O’Hanian
Executive Director
Chief Executive Officer

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.

Can .art Domain Give the Art Business an Online Boost?

London’s Institute of Contemporary Art adopted the new .art suffix last week, a sign that the art and culture business may be coming to terms with its future in the digital realm. The ICA ditched its fusty ica.org.uk domain for the streamlined and descriptive ica.art, and the move may soon be followed at other prestigious art institutions around the world. (Read more from the Guardian.)

BHQFU on How to Run a Free Art School with the “Worst” Business Model

If there’s one thing that sets US education apart from education in other nations, it’s student debt. For art students with vague graduate degrees that don’t offer much job security, the cost of tuition has left many of them worse off after graduating than they were before becoming a student. What can be done? (Read more from Artspace Magazine.)

What Happens to Whitney Biennial Curators after the Show’s Over?

Inclusion in the Whitney Biennial—the influential and sometimes controversial snapshot of contemporary American art that takes place every two years—has launched or resuscitated many an artist’s career. But those tapped to do the selecting have experienced their own professional transformation, as this year’s organizers Christopher Y. Lew and Mia Locks may well discover. (Read more from Artsy Editorial.)

Trigger Warning: Academic Standards Apply

“I don’t like this whole idea of academic standards. Ever since I was in grade school, they’ve made me feel pressured and stressed out. I think academic standards are bullying. Whenever I deal with them, they bring back all these old bad memories. It’s like PTSD or something.” So declared a student from one of my courses at California State University, Fresno. (Read more from Inside Higher Ed.)

New Travel Ban Still Sows Chaos and Confusion

A long-anticipated executive order restricting travelers from a half-dozen predominantly Muslim countries is likely to bring little certainty to American college campuses. The new order imposes a ninety-day ban on issuance of new visas, including student visas, to citizens of Iran, Libya, Somalia, Sudan, Syria, and Yemen. (Read more from the Chronicle of Higher Education.)

Museums Chart a Response to Political Upheaval

As President-elect Donald J. Trump’s Inauguration Day approached, hundreds of artists, critics, and others asked American museums, galleries, and other institutions to close their doors in protest. They wanted museums to show that they are “places where resistant forms of thinking, seeing, feeling, and acting can be produced,” the organizers wrote in a petition for a J20 Art Strike. (Read more from the New York Times.)

When the Private Sector Funds the Arts

I recently wrote a piece defending the NEA, a grant-making organization that is somehow such a drag on the economy that it is now on the chopping block for the federal 2017 budget. This move makes perfect sense for Donald Trump the businessman, according to GOP enablers, because if the arts and so-called free expression are so worthy, the private sector will step in and fund them. (Read more from the Millions.)

US Embassy Art Scheme Should Survive Trump

The Trump administration is considering cutting federal funding for the arts, among other spending programs, to reduce domestic spending. However, one US cultural initiative appears to be secure—the State Department’s Art in Embassies program, which places works by US artists in embassies and ambassadorial homes around the world. (Read more from the Art Newspaper.)

Filed under: CAA News, Uncategorized

CAA extends a warm thank-you to all of the artists, scholars, curators, critics, educators, and other visual-arts professionals who served as Career Services mentors during the 2017 Annual Conference. Your knowledge and expertise helped to enrich the Artists’ Portfolio Review, Career Development Mentoring, and Mock Interviews. We also appreciate the efforts of the members who created and led Professional Development Workshops and Brown Bag Sessions based on members’ needs.

Artist’s Portfolio Review

Susan Canning, Sculpture; Jill Conner, Artists Studios; Carrie Ida Edinger, Independent Artist; Nancy Hart, Artist/263 Gallery; Richard Heipp, University of Florida; David Howarth, Zayed University; Paul Hunter, Artist/Painter; Jason Lahr, University of Notre Dame; Suzanne Lemakis, Citibank, retired; Sharon Lippman, Art Without Walls; Craig Lloyd, Mount St. Joseph University; Yelena McLane, Florida State University; Dinah Ryan, Principia College; Paul Bernard Ryan, Mary Baldwin University, Emeritus; and Greg Shelnutt, Clemson University.

Career Development Mentoring

Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University, Emeritus; Roann Barris, Radford University; Colin Blakely, University of Arizona; Leda Cempellin, South Dakota State University; Crista Cloutier, The Working Artist; Rebecca J. DeRoo, Rochester Institute of Technology; James Farmer, Virginia Commonwealth University; Reni Gower, Virginia Commonwealth University; Antoniette (Toni) Guglielmo, Getty Leadership Institute; Dennis Ichiyama, Purdue University; Zach Kaiser, Michigan State University; Ann B. Kim, University East; Carol Herselle Krinsky, New York University; Emmanuel Lemakis, CAA, retired; Jeffery Cote de Luna, Dominican University; Heather McPherson, University of Alabama, Birmingham; Liliana Milkova, Oberlin College; Mark O’Grady, Pratt Institute; Doralynn Pines, CAA; Thomas Post, Ferris State University; Heather Snyder Quinn, DePaul University; Jack Risley, University of Texas at Austin; Andrew Svedlow, University of Northern Colorado; Joe A. Thomas, Kennesaw State University; Ann Tsubota, Raritan Valley Community College; and Barbara Yontz, St. Thomas Aquinas College.

Mock Interview Sessions

Megan Koza Mitchell (Student and Emerging Professionals Committee Chair), Prospect New Orleans; Amanda Wainwright (Student and Emerging Professionals Committee), University of South Carolina; Tamryn Mcdermott, Temple University; Annie Storr, Brandeis University; Lauren Puzier, Sotheby’s; Abbey Hepner, University of Colorado; Rachel Kreiter, Spelman College; Nathan Manuel (Student and Emerging Professionals Committee); Lauren O’Neal, Lamont Gallery, Phillips Exeter Academy; DeWitt Godfrey, Colgate University; Dennis Ichiyama, Purdue University; Rachel Stephens, University of Alabama; Matt King, VCU School of the Arts; Carol Garmon, University of Mary, Washington; Craig Lloyd, Mount St. Joseph University; Maile S. Hutterer, University of Oregon; Mark O’Grady, Pratt Institute; Thomas Post, Kendall College of Art and Design; Greg Shelnutt, Clemson University; Maria Ann Conelli, Brooklyn College, City University of New York; Rebekah Beaulieu, Bowdoin College Museum of Art ; David LaPalombara, Ohio University; Arthur Blake Pierce, Valdosta State University; Michael Lobel, Hunter College; Susan Altman, Middlesex County College; David Howarth, Zayed University; and Colin Blakely, University of Arizona.

Brown Bag Lunches and Sessions

Megan Koza Mitchell (Student and Emerging Professionals Committee Chair), Prospect New Orleans; Amanda Wainwright (Student and Emerging Professionals Committee), University of South Carolina; Tamryn Mcdermott, Temple University; Annie Storr, Brandeis University; Lauren Puzier, Sotheby’s; Abbey Hepner, University of Colorado; Rachel Kreiter, Spelman College; Nathan Manuel, SEPC; Andrea Kirsch, Rutgers University; and Mattie M. Schloetzer, National Gallery of Art.

Professional Development Workshops

Maria Michails, Rensselaer Polytechnic Institute; Susana Sevilla Aho, Modern Language Association; Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University, Emeritus; Emily Pugh, Getty Research Institute; Elizabeth Buhe, Institute of Fine Arts, New York University; Petra ten–Doesschate Chu, Seton Hall University; Kate Kramer, University of Pennsylvania; Shannon Connelly, Lebanese American University; Craig Dietrich, The Claremont Colleges; Jon Ippolito, University of Maine; John Bell, Dartmouth College; Molly Fox, Indiana University; Rebekah Beaulieu, Bowdoin College Museum of Art; Deborah Lutz, Pamela Lawton, Annie Leist, and Emilie Gossiaux, all from the Metropolitan Museum of Art; Alexa Sand, Utah State University; Sara Orel, Truman State University; Jenn Karson, University of Vermont FabLab; Martha Schwendener, New York Times/New York University; Jack Henrie Fisher, University of Illinois, Chicago; and Alan Smart, University of Illinois, Chicago.