On Tuesday, February 24, the American Alliance of Museums (AAM) held the seventh annual Museums Advocacy Day, in which representatives from all types of museums and arts organizations from across the country meet with congressional representatives to promote museums’ contributions to society and to discuss specific initiatives affecting their impact. This year, CAA sponsored a Museum Committee member to attend the event, so I was able to join fellow museum professionals in this important and surprisingly fun activity.
Monday, February 23, was dedicated to all-day training, which included presentations on the three main initiatives that we were to focus on during our discussions on Capitol Hill, as well as a panel Q&A with representatives from several federal funding agencies, including the usual “alphabet soup” of the NEA, NEH, IMLS, NSF, and the Bureau of Educational and Cultural Affairs from the US State Department. The main takeaway from that discussion was to always contact these federal agencies when applying for a grant or program, as their staffs are there to help you through the process. Another activity was a fantastic presentation on the “Art of the Ask” by Dan Yaeger, executive director of the New England Museum Association. As a lobbying newbie, I attended a talk by Stephanie Vance (a.k.a. the Advocacy Guru) on the nuts and bolts of lobbying on the Hill. Helpful tips included:
- Be respectful to everyone you meet, even if it’s a twenty-one-year-old staff member and not your congressperson. These staff members truly affect how the representatives work and vote
- Prepare an elevator speech and connect it to the representative’s personal interests or platform
- If you have an appointment with a congressperson whose views you oppose personally, remember that when they meet with you, you are at the very least taking up their valuable time (an amusing and helpful tip!)
The afternoon consisted of reviewing the main issues that AAM was emphasizing this year:
- Supporting fully authorized funding of $38.6 million in fiscal year 2016 for the IMLS’s Office of Museum Services
- Opposing any proposals that would limit the scope or value of the tax deduction for charitable donations
- Supporting the Artist-Museum Partnership Act, which would allow artists to claim a tax deduction of the fair market value of their work when donated to a charity
- Supporting partnerships between museums and schools
- Allowing museums be to eligible to compete for funding as part of a new Elementary and Secondary Education Act
AAM’s staff and presenters assured us that we need not be experts on these subjects but rather should use our congressional meetings to offer personal stories that demonstrate how museums are vital to the fabric of society and explain how the issues stated above will help museums continue this good work.
On Tuesday, we were fed a great breakfast, then all broke up to attend appointments that AAM set up for us across the Hill. I attended these meetings representing both CAA and my own institution in Virginia, so I met with Senator Tim Kaine (VA), Senator Kirsten Gillibrand (NY), Representative Louise Slaughter (NY), Representative Bobby Scott (VA), and Representative David Brat (VA).
I was with a group of about ten to fifteen fellow museum and arts folks for the first two appointments, and for the last three I was one of only two or three people. In addition to the issues mentioned above, I was able to talk about my museum, about university museums in general, and, of course, about CAA, including the recently issued fair-use guidelines. In general, the congressional staffers I met were gracious and knowledgeable—and I even got a photo op with a representative for my Facebook page. I was surprised and terribly grateful by how well AAM organized the event, how well they prepared us for the meetings, and how kind all the staff on the Hill were.
One of the things AAM pushed during training was that advocacy should continue beyond just that day, so I sent thank-you notes later that week. I’ve also been in touch with the two House Representative offices in Virginia to invite the congressmen and their staffs to visit our museums. Finally, my fellow advocates and I offered ourselves as resources on issues related to museums and the arts. All in all, Museums Advocacy Day was a fantastic experience to see and engage Congress in person, to meet colleagues with shared interests, and to spread the good word about museums and CAA.
On the occasion of the National Adjunct Walkout Day planned for February 25th CAA asks visual arts tenured faculty and faculty administrators to review, discuss with your colleagues, and implement the CAA Guidelines for Part-Time Professional Employment. These guidelines provide the consensus on best practices in the visual arts in hiring, contracting, providing resources, working space, information, professional development, equitable salaries, and opportunities to participate in institutional government. We particularly encourage full-time tenured faculty and administrators to revisit these guidelines and discuss them toward full implementation at your institution.
The CAA Strategic Plan, 2015–2020 has placed part-time faculty issues as a priority. At the February 15th Board of Directors meeting, a task force on advocacy has been formed to address part-time faculty issues along with diversity in the field, and the public face of art and art history. As part of this effort, we will be surveying visual-arts departments to determine where we stand on these issues and how best to move forward.
DeWitt Godfrey, CAA President
Professor of Art and Art History
Executive Director and CEO
posted by Linda Downs — February 17, 2015
The J. M. K. Innovation Prize is an exciting new initiative of the J. M. Kaplan Fund, a New York–based family foundation. In 2015 up to ten prizes will be awarded to US–based individuals or teams addressing our country’s most pressing needs through social-sector innovation.
Join us on Tuesday, February 24 at 12:00 PM EST for an informational webinar about the J. M. K. Innovation Prize. Topics of discussion will include the purpose of the prize, eligibility requirements, the application and selection timeline, and much more. You may register here:
If you’ve already registered for this webinar, it is not necessary to register again.
For more information about the J. M .K. Innovation Prize, please visit the J. M. Kaplan Fund’s website: www.JMKFund.org.
Thank you for your continued interest and support!
CAA has signed on to this Petition to the US Copyright Office for Proposed Exemption Under 17 U.S.C. 1201 to the 1998 Digital Millennium Copyright Act (DMCA) for the use of audiovisual media by college and university students or faculty in an educational setting. The DMCA prevents users from unlocking digital media or software. Congress has allowed review of the DMCA every three years to determine whether the law is affecting legitimate use of audiovisual material. In compliance to this three-year review the US Copyright Office has requested that examples be gathered of evidence where students or faculty were stopped from including a video clip in their teaching materials because of no access to decryption codes.
Student lawyers at American University are working on gathering examples and would appreciate hearing from those CAA members who have attempted to use audiovisual material from DVDs or off the web and were prevented from doing so. Please refer to the Google Form created to gather evidence and provide an easy forum for individuals to share their stories. This information will then be sent to the US Copyright Office to demonstrate the need for an exemption for students and faculty use of locked audiovisual materials. Deadline: December 30, 2014.
We would also like to share a piece for Forbes, written by Peter Decherney, which is an interesting read about some of the technology policy issues raised by the DMCA rulemaking.
Thank you for participating in this important petition.
Abundantly illustrated by photographs from the 2014 Annual Conference in Chicago, the report presents a summary of an enormously productive year that included several major projects: a copublishing agreement with Taylor & Francis that brought all of CAA’s scholarly journals online; the ongoing fair-use initiative that will soon establish practical guidelines for the visual arts; and the restructuring of the individual membership program to better accommodate part-time faculty and independent art historians and artists.
Also covered is an overview of the CAA-Getty International Program, which brought twenty scholars from around the world to the Chicago conference, as well as a selected list of grants received during the fiscal year and statistics related to CAA News, www.collegeart.org, and social media. An update on professional-development activities and a financial statement on the 2014 fiscal year close the report.
We hope you will enjoy reading about CAA’s accomplishments.
Written by Anne Collins Goodyear and Paul B. Jaskot.
This summer four institutes held on the east and west coasts provided opportunities for art historians—both academics and museum professionals—to increase their familiarity with the tools and opportunities presented by a computational approach to “doing” art history. These programs, underwritten by the Getty and Samuel H. Kress Foundations took place at Harvard’s metaLAB (Beautiful Data: Telling Stories About Art with Open Collections, June 16–27, Getty Foundation), George Mason University’s Roy Rosenzweig Center for History and New Media (Rebuilding the Portfolio: DH for Art Historians, July 7–18, Getty Foundation), UCLA’s Digital Humanities Program (Beyond the Digitized Library, July 28–August 6, Getty Foundation), and Middlebury College (Summer Institute on Digital Mapping and Art History, August 3–15, Kress Foundation). The firm groundwork laid by these programs as well as the enthusiastic response by participants suggest that the field of art history is in an ever-stronger position to take advantage of the opportunities provided by new technologies and to lead the digital humanities in key areas.
Each program had its own personality and addressed different needs in the field. At Harvard, attendees found themselves working on digital archival collections and exploring different approaches to using this kind of information, such as curating, annotating, and visualizing digital collections. The institute at George Mason provided self-identified newcomers to digital scholarship with broad exposure to digital environments and specific tools, including the use of social media, data mining, and visualization techniques. UCLA organizers focused on methodological and theoretical issues at stake in the digital humanities and encouraged participants to critically address their approaches. A one-day conference on publishing and the digital environment at UCLA allowed participants and audience members a chance to reflect on participant’s projects and the future of digital scholarship. For the Kress mapping institute, fellows were asked to come prepared with specific spatial questions related to their area of research and to include a database of spatial information. In the short period of the workshop, they were exposed to the methods of digital mapping through Geographic Information Systems (GIS) and, on the last day, presented extraordinary maps of their own that pushed their research questions forward. Collectively, the summer institutes show the diversity of approaches as well as the depth of interest in digital scholarship, something unusual for any humanities field in recent years.
Digital or computational art history has been gaining ground since the advent of innovative projects like the Digital Roman Forum and Mapping Gothic France, among others. Work in our discipline has been further sustained by new publishing venues for digital work. These include not only new authoring and publishing platforms such as HyperCities and Scalar, but also more substantial interventions in long-standing print periodicals, such as the Journal of Society of Architectural Historians online edition, which allows authors to include a variety of digital formats with their texts. Indeed, CAA’s adoption of an electronic format for its print journals earlier this year through its partnership with Taylor & Francis continues the important role of facilitating new sorts of scholarly publishing.
More important, however, are the new forms of analysis and data sharing that digital art history makes possible or, alternatively, the ways in which digital methods push known scholarly questions in innovative and exciting directions. Addressing the “stuff” of art history from a computational standpoint may initially seem counter-intuitive, particularly given the field’s propensity for qualitative analysis and the stress placed on our ability to look closely. However, reflection upon the nature of the information we might encounter, particularly in the era of “big data,” suggests how rapidly the field might benefit from alternatives to traditional research methods. Depending on the nature of the art-historical problem, such analysis may involve the identification of trends in bodies of literature: the use of certain key terms for example, and their frequency. It may enable us to identify economic, social, or stylistic relationships between key entities through network analysis. It may utilize tools to analyze more minutely geographic settings and the relationships between buildings and human actors, or to study the physical evolution of sites over time. Each of the summer institutes took a different approach to these possibilities, with some offering a wide view while others provided a more focused set of inquiries. Tweets from the UCLA colloquium and the individual workshops have been gathered at #doingdah14.
While the summer institutes show the energy around the digital humanities in art history, CAA has also been continuing its strong investment in responding to member interest in this area. For example, in addition to hosting its third annual THAT (The Humanities And Technology) Camp, CAA will offer a number of digital humanities workshops at the upcoming CAA Annual Conference in February in order to meet the needs of both artists and art historians. These include: Building Scholarly Digital Archives and Exhibits with Omeka; Scalar; and Making Sense of Digital Images, which explores how to describe and develop optimal reproductions, both for current projects and for preservation.
Furthermore, CAA is now examining the question of tenure and promotion based on projects using digital tools. In our reading of the field, the digital future of art-historical scholarship rests in part, and for the near future, on its acceptance by those responsible for evaluating tenure and promotion applications. Since 1973, CAA has formulated and published standards and guidelines on its website after careful research and ratification by its Board of Directors, thereby offering guidance to arts institutions as they create policies and make decisions. In a 2005 addendum to CAA’s current guidelines concerning tenure, the Association recognized “that the well-documented “crisis” in scholarly publishing in the humanities is especially acute for art historians, and threatens the integrity and continuity of the discipline if colleges and universities continue to insist on books as the chief criterion for tenure and promotion.” This concern grows larger with the development of new forms of digital publishing.
Other scholarly societies have developed or are investigating guidelines, including the Modern Language Association and the American Historical Association. Professional literature also addresses the need and components for useful guidelines in The Journal of Digital Humanities, society reports, and in compendiums such as Debates in the Digital Humanities, edited by Matthew Gold (University of Minnesota Press, 2012), Digital_Humanities, by Peter Lunenfeld, Anne Burdick, Johanna Drucker, Todd Presner, and Jeffrey Schnapp (Cambridge, MA: MIT Press, 2012). Additionally, NEH-funded workshops have addressed the need for guidelines, including an institute sponsored by NINES. These initial efforts to promulgate advancement and tenure guidelines serve as models for other humanities disciplines.
An equally crucial question facing the field is the sustainability of digital scholarship, particularly in light of the rapid development of new technologies. Rather than allowing such scholarship to “sit on the shelf,” digital work must be networked in order to survive. The question of the interoperability of the programs utilized for scholarship aside, technology platforms become outmoded and CD-ROMs, disks, and external drives will inevitably deteriorate. The field would benefit from the development of “best practices” for the creation of digital scholarship, from mechanisms of data storage and retrieval, to the development of trustworthy digital repositories, and a careful analysis of the benefit of open-source versus proprietary software for particular forms of writing and data analysis. In addition, funding institutions need to consider the need for further training, like the four summer institutes, to assess what works and what doesn’t for the long-term sustenance of new scholarly innovation.
Despite these challenges, which may, in fact be invitations for future collaborations among art historians and across disciplines, the realm of the digital offers exciting new possibilities. Perhaps most significantly, digital scholarship may demonstrate the significance of some of the skills we tend to take for granted as humanists and experts in visual analysis: namely the ability to think critically about the function and production of images and language, as well as the source of these representations. Just what assumptions may be embedded in the very way we interact with the digital realm and how might we tease that apart? Digital art history, then, permits not only a new way for us to interrogate our data and our own assumptions, but for the very visualization of both traditional archival information as well as the digital itself to be rethought.
Anne Collins Goodyear, Co-Director of the Bowdoin College Museum of Art, is now CAA Past President. She served as president of CAA from 2012 to 2014. Paul B. Jaskot is currently Andrew W. Mellon Professor at the Center for Advanced Studies in the Visual Arts (CASVA), Washington, DC (2014–16). He served as CAA’s president from 2008 to 2010.
 We thank Anne Helmreich for sharing her thoughts on the resources developing in this arena.
Rowman & Littlefield is pleased to announce the release of Volume 10, Number 3 of Collections: A Journal for Museum and Archives Professionals, a focused issue dedicated to the subject of provenance research in American institutions. Guest-Edited by Jane C. Milosch, Lynn H. Nicholas, and Megan M. Fontanella, the issue draws attention to current research in the field by highlighting key resources and initiatives, case studies from collections throughout the United States, and perspectives on unprovenanced cultural property and Nazi-era claims.
\Bringing together the expertise of independent scholars and professionals who are affiliated with American institutions, this issue aims to foster dialogue among museums, archives, and research centers and to broaden the accessibility of information. The collection of articles opens with a Foreword by Megan M. Fontanella and an introduction by Lynn H. Nicholas. A closer look at resources and initiatives is offered in the following articles: “Provenance: Not the Problem (The Solution): Smithsonian Provenance Research Initiative” by Jane C. Milosch; “Princes, Dukes, and Counts: Pedigrees and Problems in the Kress Collection” by Nancy H. Yeide; “The ‘German Sales 1930–1945’ Database Project” by Christian Huemer; and Laurie A. Stein’s “’Everyone Brings a Piece to the Puzzle’: Conversations with Elaine Rosenberg and Reflections on Provenance Research among The Paul Rosenberg Archives.” Case studies include: “Navigating the Gray Area: Pechstein’s Girl Combing Her Hair, the Littmann Collection, and the Limits of Evidence” by Catherine Herbert; “Researching the Wertheim Collection at the Harvard Art Museums” by Elizabeth M. Rudy; “One Painting Concealed Behind Another: Picasso’s La Douleur (1903) and Guitar, Gas-Jet, and Bottle (1913)” by Christel Hollevoet-Force; “The Eugene Garbáty Collection of European Art” by Victoria Reed; and Dorota Chudzicka’s “’In Love at First Sight Completely, Hopelessly, and Forever with Chinese Art’: The Eugene and Agnes Meyer Collection of Chinese Art at the Freer Gallery of Art.” Perspectives on legal claims include Gary Vikan’s “Provenance Research and Unprovenanced Cultural Property” and Stephen W. Clark’s “Nazi-Era Claims and Art Museums: The American Perspective”.
This impressive group of articles is valuable to art historians, curators, and myriad others whose work addresses provenance. The collection showcases thoughtful, methodical and meticulous research related to individual owners and to individual works and collections of art. It serves as a touchstone for provenance research in American Institutions. Journal Editor Juilee Decker stated, “It is particularly exciting to see this issue of Collections appear in print. This focused issue takes the lead in proactive press regarding the continuous efforts of provenance research at American institutions. Building on the recent interest surrounding ‘The Monuments Men,’ this journal forms part of the epilogue to an unfinished story of provenance that both pre- and post-dates the Second World War, providing insight into the challenging, exciting and ongoing work of provenance researchers that continues to be integral to museums worldwide.”
“The value of this focused issue on provenance research in American institutions,” remarks guest editor and Director of the Smithsonian Provenance Research Initiative Jane C. Milosch, is that it “brings together scholars and researchers to share their incredible work and to initiate important discussions for the future. While the greatest focus and challenge of provenance research remains sifting through immense amounts of paper and digital archival materials, communication and collaboration are essential to effective provenance research and to sharing with and educating others on how specialized and time-consuming provenance research is with its often inconclusive results and on-going nature.”
Published by AltaMira Press (an imprint of Roman & Littlefield), Collections: A Journal for Museum and Archives Professionals is a multidisciplinary journal for all aspects of handling, preserving, researching, interpreting, and organizing collections. To purchase Volume 10, Number 3 (Summer 2014) focusing on “Provenance Research in American Institutions” call 1.800.273.2223 or send an email to: firstname.lastname@example.org with “Issue 10.03” in the subject line. Further information about the journal may be obtained online: https://rowman.com/Page/Journals.
posted by Linda Downs — July 16, 2014
Yesterday, Congressman Jerrold Nadler (NY-10), the Ranking Member of the House Judiciary Subcommittee on Courts, Intellectual Property and the Internet, delivered an opening statement at the subcommittee’s hearing of “Moral Rights, Termination Rights, Resale Royalty, and Copyright Term.” Congressman Nadler introduced the American Royalties Too (ART) Act, which will be discussed at the hearing, in order to ensure visual artists are compensated when their original artwork is resold. His legislation would bring fairness to American artists who, unlike their fellow visual artists in 70 countries, do not receive any compensation when their works are resold at public auction.
“I firmly believe that the time has come for us to establish a resale royalty right here in the United States. By adopting a resale royalty, the United States would join the rest of the world in recognizing this important right. The ART act would ensure that American artists also benefit whenever and wherever their works are sold, whether in New York, London, or Paris,” said Congressman Jerrold Nadler (D-NY). “I thank Chairman Coble and Chairman Goodlatte for including this issue as part of the Subcommittee’s review of the Copyright Act.”
The following is the full text of Congressman Nadler’s opening statement (as prepared for delivery):
“Today we consider a broad range of existing legal protections for artists and creators, including the moral rights of attribution and integrity, the right to terminate a transfer or license of one’s works, and the copyright term. Congress has taken some steps to address these issues, and I welcome this opportunity to hear from our witnesses about how our current laws are working and what, if any, changes might be necessary and appropriate.
“I also welcome this chance to examine resale royalties for visual artists. To date, Congress has failed to adopt a resale royalty right, which would grant visual artists a percentage of the proceeds each time their work is resold. Unlike other artists – including, for example, songwriters and performing artists who may receive some royalties whenever their works are reproduced or performed – our visual artists currently benefit only from the original sale of their artwork. This means that the artist receives no part of the long-term financial success of a work. For example, if a young artist sells a work of art for $500 at the beginning of his or her career, and the same work is later sold for $50,000, the original artist gets nothing. It is the purchaser, not the artist, who benefits whenever the value of the artist’s work increases.
“The Berne Convention, to which the United States is a signatory, makes adoption of the resale royalty right optional, but does not allow artists in any country that fails to adopt this right to benefit from resale royalties in any other country. Because we do not provide this right, U.S. artists are prevented from recovering any royalties generated from the resale of their works in countries that have resale rights.
“Seventy other countries now provide this right, including the entire European Union.
“Concerned about this lack of fairness for American artists, I have introduced a bill – H.R. 4103, the American Royalties Too (or ART) Act – to correct this deficiency, and injustice, in the law. The ART Act provides for a resale royalty of 5 percent to be paid to the artist for every work of visual art sold for more than $5,000 at public auction. The royalty would be capped at $35,000 for works of art that sell for more than $700,000. The royalty right is limited to works of fine art that are not created for the purpose of mass reproduction. Covered artworks include paintings, drawings, prints, sculpture, and photographs in the original embodiment or in a limited edition. Small auction houses with annual sales of less than $1 million are exempt.
“I firmly believe that the time has come for us to establish a resale royalty right here in the United States. I am not alone in this belief. The national arts advocacy organization Americans for the Arts supports this legislation. So does the Visual Artists’ Rights Coalition (VARC), which includes the Artists Rights Society, the Visual Artists and Galleries Association, the American Society of Illustrators Partnership, the National Cartoonists Society, the Association of American Editorial Cartoonists, and the Association of Medical Illustrators, among others.
“The United States Copyright Office, which once opposed adopting a resale royalty right, also now supports “Congressional consideration of a resale royalty right, or droit de suite, which would give artists a percentage of the amount paid for a work each time it is resold by another party.” In its report in December of last year – Resale Royalties: An Updated Analysis – the Copyright Office observed that visual artists operate at a disadvantage relative to other artists. It also noted that many more countries had adopted resale royalty laws since its 1992 report recommending against adoption of this right, and that the adverse market effects it feared might result from resale royalty laws have not materialized.
“I welcome and look forward to hearing more from Karyn Claggett, Associate Register of Copyrights and Director of Policy and International Affairs, who is testifying on resale royalty on behalf of the Copyright Office at the hearing today.
“By adopting a resale royalty, the United States would join the rest of the world in recognizing this important right. And because these other countries have reciprocal agreements, they would then pay U.S. artists for works resold in their countries. This would ensure that, in addition to resale royalties for works resold in this country, American artists would also benefit whenever and wherever their works are sold, whether in New York, London, or Paris.
“Serious consideration of a resale royalty right is long overdue, and I thank Chairman Coble and Chairman Goodlatte for including this issue as part of the Subcommittee’s review of the Copyright Act.
“With that, I look forward to hearing from our witnesses and yield back the balance of my time.”
CAA endorses the Association of Art Museum Directors sanction against the Delaware Art Museum for selling an object from their permanent collection to address financial challenges. The work in question is William Holman Hunt’s Isabella and the Pot of Basil (1868) sold at Christie’s this week for a final hammer price of $4.25 million, half the amount estimated.
The sanction will result in the Delaware Art Museum not receiving loans of works of art from the AAMD member museums: http://galleristny.com/2014/06/aamd-sanctions-delaware-art-museum/. This sale is unethical and a breach of fiduciary responsibility according to the collection policies of Association of American Museums, AAMD and CAA. Museum collections are held in the public trust, and proceeds of sales of works from permanent collections are to be used for future growth of collections.
Image: William Holman Hunt, Isabella and the Pot of Basil, 1868, oil on canvas, 74 x 46 in. (artwork in the public domain)
posted by Linda Downs — June 18, 2014
The Strategic Plan 2015-2020 was approved by the directors and the following priorities were established by the new president, DeWitt Godfrey:
- Advocate for workforce issues particularly for part-time faculty;
- Review the Professional Interests, Practices and Standards committees to ensure addressing critical issues in the visual arts field;
- Increase membership nationally, internationally and in terms of diversity; increase communication with members, including social communication;
- Find ways of extending the annual conference to a larger group of members; and
- Enhance utilization of digital capabilities by journal authors and promote digital expertise.
The directors are grateful to the Strategic Planning Task Force chaired by president emerita Anne Collins Goodyear and all the members who contributed to the development of this new plan.
The directors gratefully approved the endowment gift by Mary Douglas Edwards of $50,000 to support travel and registration to attend the CAA annual conference by women who are emerging scholars pursuing a doctoral degree or who have received their Ph.D. within two years prior to the submission of the application for the award of the grant and who will present research papers at an art history session at the conference with strong preference for papers on any topic pertaining to the art of ancient Greece or Rome, Medieval Europe from 400 – 1400, or Europe and North American from 1400 – 1950.
The directors approved the IRS Form 990 for Fiscal Year Ended June 30, 2013.
The directors approved CAA joining the Partner Program of the Society of Architectural Historians.
The directors also approved the Resolution to commend the Women’s Art Journal requested by the Committee on Women in the Arts for the maintenance of high quality scholarship that serves as a forum for re-examining feminist concerns of the women’s art movement. A letter of commendation was sent to Joan Marter, Professor of Art History, Rutgers University and Editor, Women’s Art Journal.
The directors established a Task Force on Design, chaired by Debra Riley Parr, , to investigate and make recommendations to the directors on 1) tenure and promotion standards for designers; 2) CV guidelines for designers; 3) representation of design fields in all the professional committees; and 4) scheduling sessions at the annual conference on design issues.
The directors decided to evaluate the Professional- Development Fellowships in Art History and Visual Arts in light of the current job market and in the context of the Strategic Plan 2015-2020 and to temporarily suspend the program.