posted by CAA
Advocacy has always been part of CAA.
Like many other Americans, we have closely watched the proposed changes to the federal government, its impact on artistic and academic freedom and have grown concerned.
Two weeks ago, I was contacted about a painting properly hanging in a student exhibition in the US Capitol. The painting by eighteen-year-old David Pulphus depicts his insightful point of view regarding circumstances in Ferguson, Missouri. Based on complaints about the painting’s contents, the US government permanently removed it from the exhibition. Grown men with guns felt threatened by a teenager armed only with a paintbrush.
The following week, I was visited by a group of college and university art educators from a variety of public and private institutions who presented shocking stories of threats to their artistic and academic freedom in the classroom. You will be hearing more about their efforts to document institutional and self-imposed censorship in academic settings. As they have said, “Harassment campaigns against targeted professors and institutions are being unleashed with increasing regularity around the country.”
Last week we learned that the newly formed government intends to take steps to defund the National Endowment for the Arts and the National Endowment for the Humanities. CAA President Suzanne Preston Blier and I sent a message on this topic to the entire CAA membership last week.
These are alarming events. For the first time in decades, it appears our artistic and academic freedom is under a coordinated attack. We ask that CAA members vigilantly watch for further infringements. Take steps to reach out to your elected representatives to make your point of view known. Let them know that you are a member of CAA. Together we can work to protect our respective artistic and academic freedoms.
Chief Executive Officer
posted by CAA
Like many around the world, CAA is concerned with the direction the current US government has taken with regard to international travel in and out of the United States. We view this as having a potentially chilling effect on artistic and academic freedoms. CAA has taken a stand in strong opposition to the current executive order.
However, we would like to do more if we can. If you are planning to attend the 2017 Annual Conference from another county and have been impacted by the travel ban we ask that you contact us immediately. Email our membership department or call 212-691-1051, ext. 1. We will endeavor to assist you in any way we can.
You may also use this Google Form to submit a query if you have been impacted by the immigration ban.
posted by Christopher Howard
The College Art Association (CAA), the largest professional group for artists and art historians in the United States, strongly condemns and expresses its grave concern about the recent presidential executive order aimed at limiting the movement of members of CAA and the broader community of arts professionals who fall under the selective set of criteria for national status or ethnic affiliation.
CAA has counted international scholars and artists among its members for many years. Committed to the common purpose of understanding the visual arts in all its forms, professionals throughout the world have enriched CAA’s community by adding diverse perspectives to the study, making, and teaching of art. With funding in recent years from the Getty Foundation to support travel and programs for scholars and curators from Africa, Latin America, Russia and Eastern Europe, and Asia, the association now includes members from seventy countries. More than ten percent of our individual members are international. CAA has counted international scholars and artists among its members since the earliest years of its existence. The roots of CAA’s present-day international program stemmed from a desire to assist European refugees in the 1930s to support personal safety as well as academic and artistic freedom. During that decade, CAA had a “foreign membership” category; as art historians fled Hitler’s Europe, CAA ran a lecture bureau for refugee scholars that created speaking engagements for them at institutions throughout the United States.
The recently announced ban on travel to the United States for residents of seven predominantly Muslim countries not only goes against the inclusive, secular underpinnings of American democracy, it stifles the open access to scholarship and art upon which our work is founded. The executive order goes against our professional and scholarly commitment to diversity, the global exchange of ideas, and the respect for difference. The contribution of immigrants, foreign nationals, and people of all cultural backgrounds greatly strengthens our intellectual and creative world. Further, we believe the executive order law challenges the values at the heart of the US Constitution’s protections on speech and association as well as our national commitment to democratic process for all.
Turning our backs on refugees and closing our borders selectively stifles creative and intellectual work in addition to its very real impact on peoples’ daily lives. We call on our public officials to thwart this attempt to seemingly preserve our own safety at the expense of those who are vulnerable and who also contribute so much.
Without question, CAA welcomes all members and non-members to our upcoming Annual Conference to discuss and debate what constitutes a thriving artistic and intellectual society. Such openness is essential to our mission. We are committed through dialogue and action to help any CAA members who are affected by this policy. To this end, the association and the Board of Directors will continue to monitor and respond to policies related to this order as well as pressure for its immediate repeal.
Suzanne Preston Blier
Chief Executive Officer
posted by Christopher Howard
For more than a century, the College Art Association (CAA) has represented art historians, artists, museum professionals, designers, and others who think and care about the visual arts and its impact on our culture. We do this in part through direct advocacy for artistic and academic freedom.
Like many other Americans, we have closely watched the proposed changes to the federal government. Recent news reports reveal that the US President intends to propose the elimination of funding for the National Endowment for the Arts (NEA) and the National Endowment for the Humanities (NEH). This proposal is reportedly based in part on a recommendation by the Heritage Foundation that states, “As the U.S. Congress struggles to balance the federal budget and end the decades-long spiral of deficit spending, few programs seem more worthy of outright elimination than the National Endowment for the Arts.”
We offer our complete and total opposition to these efforts.
Since the 1960s, the NEA and NEH have supported artists, writers, museum professionals, and a wide array of scholars of various disciplines in creating new work and scholarship. The NEA supports thousands of cultural and educational organizations, and, in a few cases, individual artists. The NEH, which strengthens teaching and learning in schools and colleges—as well as the work of independent scholars—creates access to educational scholarship and research nationwide. In addition, the NEH is a strong supporter of museum exhibitions throughout the country. Combined, the budgets for the two agencies are less than $300 million. The organizational grantees generate hundreds of millions of dollars in matching support and countless new works of art and scholarship. These works and related projects are studied and enjoyed by millions of Americans in museums and other venues. The cultural sector of the US economy generates more the $135 billion in revenue and employs over three million people in small towns and large cities countrywide.
Given that the respective budgets of the NEA and NEH represent only a tiny fraction of the entire federal budget, their planned elimination cannot logically be seen as a cost-saving measure. Rather, it appears to be a deliberate, ominous effort to silence artistic and academic voices, representing a potentially chilling next step in an apparent effort to stifle and eradicate oppositional voices and cultural output from civic life. By eliminating the support for these agencies, the government undermines the unifying potential of the arts, culture, and education that encourages and nurtures communication and positive discussion.
CAA leadership is monitoring the possible elimination and/or reduction of funding for the NEA and NEH and how it may affect our members and the work they do. CAA will communicate and collaborate with other cultural and educational organizations and learned societies to determine potential future advocacy options.
We urge our fellow CAA members to contact their representatives in Congress to let them know the importance of maintaining a robust, national, publicly supported framework for artistic and academic freedom. When you contact your representative, we ask that you let them know you are a member of CAA and together we are advocating for continued public funding for the arts. We also encourage you to contact the National Humanities Alliance and Americans for the Arts to become further involved.
Through our collective strength, we can ensure that public funding of scholarship and art making continues, free from political and commercial interference.
Suzanne Preston Blier
Chief Executive Officer
posted by CAA
For more than one hundred years, the College Art Association (CAA) has been dedicated to the creative process through making and thinking about art and how it affects our past, present, and future. We do this through scholarship, publications, convenings, research, and professional development for artists, designers, and art historians. As a member-driven association, we are committed to intellectual rigor, peer review, inclusion, and diversity. We uphold these values by engaging everyone, nationally and internationally; all races, ages, abilities, religions, citizenships, ethnicities, gender expressions, and sexual orientations. We defend academic freedom as forcefully as we reject discrimination, bigotry, sexual assault, and violence against the vulnerable.
As scholars, artists, and educators, we expect the same exactitude from leaders in education, cultural institutions, and, in particular, government. We will continue to advocate in no uncertain terms for an inclusive climate that fosters intellectual honesty, transparency, and human engagement.
Suzanne Preston Blier
posted by CAA
CAA has signed onto the letter reprinted below, written by the Middle East Studies Association (MESA) on July 21, 2016, and signed by dozens of organizations. To read the full list of signatories, please visit the MESA website.
Threats to Academic Freedom and Higher Education in Turkey
The above listed organizations collectively note with profound concern the apparent moves to dismantle much of the structure of Turkish higher education through purges, restrictions, and assertions of central control, a process begun earlier this year and accelerating now with alarming speed.
As scholarly associations, we are committed to the principles of academic freedom and freedom of expression. The recent moves in Turkey herald a massive and virtually unprecedented assault on those principles. One of the Middle East region’s leading systems of higher education is under severe threat as a result, as are the careers and livelihoods of many of its faculty members and academic administrators.
Our concern about the situation in Turkish universities has been mounting over the past year, as Turkish authorities have moved to retaliate against academics for expressing their political views—some merely signing an “Academics for Peace” petition criticizing human rights violations.
Yet the threat to academic freedom and higher education has recently worsened in a dramatic fashion. In the aftermath of the failed coup attempt of July 15–16, 2016, the Turkish government has moved to purge government officials in the Ministry of Education and has called for the resignation of all university deans across the country’s public and private universities. As of this writing, it appears that more than 15,000 employees at the education ministry have been fired and nearly 1,600 deans—1,176 from public universities and 401 from private universities—have been asked to resign. In addition, 21,000 private school teachers have had their teaching licenses cancelled. Further, reports suggest that travel restrictions have been imposed on academics at public universities and that Turkish academics abroad were required to return to Turkey. The scale of the travel restrictions, suspensions, and imposed resignations in the education sector seemingly go much farther than the targeting of individuals who might have had any connection to the attempted coup.
The crackdown on the education sector creates the appearance of a purge of those deemed inadequately loyal to the current government. Moreover, the removal of all of the deans across the country represents a direct assault on the institutional autonomy of Turkey’s universities. The replacement of every university’s administration simultaneously by the executive-controlled Higher Education Council would give the government direct administrative control of all Turkish universities. Such concentration and centralization of power over all universities is clearly inimical to academic freedom. Moreover, the government’s existing record of requiring university administrators’ to undertake sweeping disciplinary actions against perceived opponents—as was the case against the Academics for Peace petition signatories—lends credence to fears that the change in university administrations will be the first step in an even broader purge against academics in Turkey.
Earlier this year, it was already clear that the Turkish government, in a matter of months, had amassed a staggering record of violations of academic freedom and freedom of expression. The aftermath of the attempted coup may have accelerated those attacks on academic freedom in even more alarming ways.
As scholarly organizations, we collectively call for respect for academic freedom—including freedom of expression, opinion, association, and travel—and the autonomy of universities in Turkey, offer our support to our Turkish colleagues, second the Middle East Studies Association’s “call for action” of January 15, request that Turkey’s diplomatic interlocutors (both states and international organizations) advocate vigorously for the rights of Turkish scholars and the autonomy of Turkish universities, suggest other scholarly organizations speak forcefully about the threat to the Turkish academy, and alert academic institutions throughout the world that Turkish colleagues are likely to need moral and substantive support in the days ahead.
Organizations wishing to be included as signatories on the above statement should contact Amy Newhall at firstname.lastname@example.org.
posted by DeWitt Godfrey
DeWitt Godfrey, President of the CAA Board of Directors
A Call to Action
That there are many things wrong in and around our current cultural, educational, and political institutions goes almost without saying. But students of color and their allies at my university and across the country are saying and naming many of the endemic failings of our institutions, refusing to remain silent in the face of systemic racism, inequalities, and oppression. These protests demand redress, unquestionably deserved and long overdue, refusing to let the status quo resettle into old and harmful patterns. There is much anger, much emotion, and sometimes even much empathy. In the pursuit of new paradigms and patterns, territories are marked out, language crafted seeking discourse that ideally cannot support or makes impossible the reification of old injustices.
In the quest for these new spaces, in the specificity we believe will prevent and dismantle these systems of oppression and in their focused intention to redescribe and reframe the terms and debate around the responsibility of institutions and individuals, there also exists the possibility of curtailing and preventing the very conversations that might productively contribute to a process of recognition, acknowledgment, and critique of these pernicious systems of privilege and inequality. In the face of these very real grievances, in a climate of anxiety and fear, all around us the collective is at risk of fracture, dispersing into self-referential self-reinforcing pockets that create false senses of common purpose, aligned against a shared enemy composed of those who refuse or who are excluded by the preconditions of inclusion. In the final irony, this fracturing of the collective along clannish lines most suits those who opportunistically exploit the fears of those who fear losing their spaces of privilege, in a zero sum game predicated on the notion that to gain someone has to lose. We are weaker divided, and the institutional spaces, such as those enshrined at the heart of the university, a collective under which many disparate forms of knowledge production can find common purpose and support, grow also weaker, creating conditions under which the entire enterprise of higher education comes under attack as irrelevant, disconnected, and even antagonistic to the ideologically oriented common good.
Rather than arguing and debating ideas we are reduced to defending positions, constructs that by design resist and reject critique in conditions that neuter dialogue. While these constructs are created out of real conditions—real pain, suffering, and oppression—we should not counter by discounting or mediating the raw feelings at the center this experience. But we might be careful not to fall into a trap of our own design, in which debate and conversation can only occur with those in our likeminded cohort.
What does this have to do with CAA? Over the past decade the largest learned societies such as CAA and MLA have experienced steady and sometimes rapid declines in membership, while smaller discipline-specific societies’ memberships have grown.
From a peak in 2010 of 13,000 members, our current individual enrollment has fallen to 9,000. Conference attendance in New York, historically the highest and most consistent, was down 25 percent from 2013 to 2015. There are many substantive reasons for this downward trend: some are demographic (research shows that millennials are not joiners), so we restructured our membership categories when we launched our copublishing agreement with Taylor & Francis. The great recession of 2009 sharply reduced institutional support for research and conference travel and transformed hiring practices—a lot less of you are here interviewing candidates or seeking jobs than in years past. But beyond that, the fact remains that for many of our former and even current members, CAA is no longer relevant. For many the answer is to gather with like-minded individuals in narrowly defined subgroups. This has tangible consequences for CAA, but I also believe this current trend of atomization is a threat to the difficult cross-disciplinary, cross-identity, and cross-cultural conversations that must be supported and preserved that are less likely to be taken up by insular groups.
So what do productive and viable institutions make possible? What can large institutions provide that small ones can’t? Specifically, CAA carves out spaces of debate and conversation, opportunities to talk across difference, to bring focus and attention to issues that cross disciplines and fields. Our Mellon-funded task force produced guidelines for the fair use of third-party images in teaching, publishing, and creative work could not have been undertaken without the broad reach, constituency and intellectual reputation that we have at CAA. In the past five years our partnership with the Getty Foundation has gathered ninety art historians from over forty-five countries in every conceivable area of art and art-historical inquiry for a one-day preconference. The plurality and heterogeneity of our membership should be seen as our greatest asset, how a diverse spectrum of practitioners and scholars gather at the annual conference, through our publications and programs from across the range of arts, artists, art historians, museum and arts professionals, designers, and educators.
What I have offered above is a frank appeal for your support and advocacy for CAA, an appeal for an association that has been, in particular for our academic members, at the front lines for over a century, for an organization that has played a critical role in the integration of art history and studio practice into a frequently resistant academy. Times have changed, battles have been fought and won, and while there are standards to be defended, CAA must face a future where many—even most—of our colleagues no longer have access to the institutional resources which were once the norm, to advocate for the fair and equitable treatment of part-time and contingent faculty, to lead the debate around how education will be delivered, to keep education affordable, to protect and preserve a higher-education system that despite its flaws remains the envy of the world. We must also imagine a CAA that reaches further beyond the academy than we already do, as relevant to the unaffiliated artist, designer, and even art historian, as we are to those of us who hold academic positions. Our task force on design, design theory, design education, and design history has uncovered exciting potential for greater advocacy for our design colleagues and how to reimagine our structures and programs to strengthen and expand our association, acknowledging the growing stature of design in our culture and in our institutions. Artists without a permanent or sometime itinerant academic connection have long been, despite specific outreach attempts, on the periphery of our association because we have yet to clearly articulate what the benefits of membership are. CAA will need to clear new spaces for such new contributors and membership
Change is frightening and nearly everyone despises ambiguity—conversely conditions in which art and artists thrive. In the midst of an election cycle that has upended assumptions on both the left and right, now more than ever art matters. And I mean matters more than instrumentally—not merely as an economic driver and not as an adjunct practice that increases student’s math scores or that it is somehow “good for us.” Art matters because artists work and thrive in the interstitial spaces between disciplines, around institutions, who assume the permission to ask questions that cannot be formulated from inside the confines of a particular, single point of view or perspective.
This speech was first delivered as opening remarks at the CAA Annual Conference Convocation Ceremony on February 3, 2016. A Keynote talk by artist Tania Bruguera followed (Watch on YouTube).
posted by Linda Downs
The undersigned learned societies are deeply concerned about the impact of Texas’s new Campus Carry law on freedom of expression in Texas universities. The law, which was passed earlier this year and takes effect in 2016, allows licensed handgun carriers to bring concealed handguns into buildings on Texas campuses. Our societies are concerned that the Campus Carry law and similar laws in other states introduce serious safety threats on college campuses with a resulting harmful effect on students and professors.
American Academy of Religion
American Anthropological Association
American Antiquarian Society
American Association for the History of Medicine
American Folklore Society
American Historical Association
American Musicological Society
American Philosophical Association
American Political Science Association
American Studies Association
American Society for Aesthetics
American Society for Environmental History
American Sociological Association
Association for Slavic, East European, and Eurasian Studies
Association of American Geographers
College Art Association
Latin American Studies Association
Law and Society Association
Medieval Academy of America
Middle East Studies Association
Modern Language Association
National Communication Association
National Council on Public History
Oral History Association
Society for American Music
Society of Architectural Historians
Society of Biblical Literature
Society for Ethnomusicology
World History Association
posted by DeWitt Godfrey
DeWitt Godfrey, professor of art and art history at Colgate University in Hamilton, New York, is president of the CAA Board of Directors.
CAA is moving ahead on several strategic goals. After a year of investigation and discussion with over 200 artists, art historians, curators, editors and reproduction rights officers, Professors Patricia Aufderheide and Peter Jaszi are drafting the new Code of Best Practices in Fair Use in the Visual Arts which will be reviewed by the Task Force on Fair Use, the Committee on Intellectual Property, the Professional Practices Committee, and an independent Legal Advisory Committee. We anticipate that the code will be presented at the Annual Conference in February 2015.
At the October 26th Board meeting, the formation of two task forces was approved: one to review CAA’s governance structure, and one to review its professional committees. As a greater number of faculty are now part-time, the board and committee requirements have to be adjusted so that the best expertise is brought to CAA within the most economical timeframes. The Board also had a lively discussion on the best directions to be taken regarding advocacy and how CAA can respond quickly and efficiently to issues that affect members’ daily work. We are exploring the creation of a task force on advocacy.
The CAA Board and senior staff held a day-long retreat which focused on a vision for the future of the annual conference—a more flexible structure, greater opportunities for interdisciplinary discussion, serving the needs and interests at each stage of a career in the visual arts, and the ability to quickly address issues that arise in the field, have an international perspective and participation, and reach those members who are not able to attend the conferences.
New, updated volumes of the Directories of Graduate Programs are now available through CAA’s website. From the data published in the directories, CAA will draw statistical information about all the visual-arts subdisciplines, mapping important changes in the field regarding enrollment and employment. We plan to make information from the past four years available to members in the coming months.
The September issue of The Art Bulletin features the third essay in the “Whither Art History?” series, as well as essays on Jan van Eyck and commemorative art, Hans Burgkmair and recognition, Watteau and reverie, and contemporary Indian Art from the 1985-86 Festival of India. The latest issue of Art Journal includes a forum called “Red Conceptualismos del Sur/Southern Conceptualisms Network,” featuring articles printed in their original Spanish and Portuguese alongside new English translations—this is the first foray into multilingual publishing for CAA. Art Journal Open’s first web editor, Gloria Sutton, associate professor at Northeastern University, has commissioned features from the artist Karen Schiff and the new-media historian Mike Maizels, as well as a dialogue between the curator Becky Huff Hunter and the artist Tamarin Norwood. The vision for this website is to provide an online space for artists’ works, experimental scholarship, and conversations among arts practitioners. And caa.reviews, now open access, includes nearly 2,500 reviews of books, exhibition catalogues, and conferences on art, as well as an annual list of completed and in-progress art history dissertations. Thirty-four field editors commission reviewers to address new publications, exhibitions, and exhibition catalogues and videos in every area of the visual arts. The new copublishing relationship between CAA and Taylor & Francis that supports all three CAA journals will complete its first year this month with a marked increase in readership. We are encouraging authors to use the multimedia resources offered at Taylor & Francis Online as well as its citation app.
The Andrew W. Mellon Foundation has awarded CAA and the Society for Architectural Historians a grant to cooperatively carry out research and develop guidelines in digital art and architectural history for promotion and tenure in the workforce. With the increased use of digital platforms in research and publishing there is a need for guidelines that reflect the best practice in evaluating digital art and architectural history. A task force will be formed of two art historians, two architectural historians, a librarian, a museum curator, a scholar from another humanities or social science field with expertise in digital scholarship, and a graduate student or emerging professional in art history or architectural history. CAA will hire a part-time researcher to gather information on current practices from faculty members throughout the country. Please see the Online Career Center for the listing.
CAA, like other learned, membership societies, faces significant challenges and opportunities for the future. The changing landscape of publication, academic workforce issues, advocating for the arts and humanities, serving a changing membership and the field are areas where CAA has and will continue to make a difference, by building on our legacy of leadership and embracing the necessary changes required to meet our mission and vision.
posted by Linda Downs
The more information that is made available on critical issues in the field, the greater a case can be made for advocacy to promote change. One of the major challenges for the visual-arts field is ensuring that all faculty are properly supported so that they may provide outstanding teaching, research and creative work. It is estimated that over 70% of faculty at colleges and universities in the United States are now hired on a contingent bases. This upward trend began in the 1970s and appears to dominate the future.
Data on working conditions of part-time faculty is not easily available since the funding for the National Study on Postsecondary Faculty at the Department of Education was discontinued in 2003. Data on art history, studio art, and art education faculty is even more difficult to obtain since visual arts and performing arts faculty were historically aggregated together by the Department of Education.
In response to the lack of data, the Coalition on the Academic Workforce, http://www.academicworkforce.org/ comprising twenty six academic associations including CAA, organized an extensive survey. The report on this survey was published in June 2012 http://www.academicworkforce.org/CAW_portrait_2012.pdf. Of the 20,000 part-time faculty participating in the survey, 1,034 were CAA members. The data they contributed has been compiled and is now available [http://www.collegeart.org/pdf/CAA-CAWContingentFacultySurvey.pdf].
Some of the major findings from the art historians, artists and art educators indicate that: 1) part-time faculty in the visual arts field have a slightly higher salary rate than the median; 2) there are gender disparities in salaries within the visual arts; and 3) resources and benefits provided by institutions are two to three times lower for visual-arts faculty than the full sample of respondents.
What is CAA doing to address these issues? The Board adopted the Guidelines for Part-Time Faculty in 2004. The Professional Practices Committee under the chairmanship of Jim Hopfensperger and an ad hoc committee led by Tom Berding and CAA board member, John Richardson are working to update these guidelines to respond to present needs in order to provide standards for the field.
Several CAA annual conference sessions have been devoted to resources for administrators and part-time faculty. At the 2013 New York Annual Conference, a panel which included John Curtis from the American Association of University Professors and Rosemary Feal from the Modern Language Association, among others, provided valuable resources for networking among part-time faculty. An example is organizations such as CAW that are actively addressing workforce issues and state and national government advocacy. These resources can be found at http://www.collegeart.org/resources/contingentfaculty.
The CAA Board has organized a planning task force of members to address critical issues in the field over the next five years. The profound changes in the structure of faculty, teaching formats, digital research, publishing and creative work are some of the greatest challenges identified. The members of the task force welcome your comments in shaping how CAA can address these and other major issues of our profession. Please send your ideas and comments to CAA at email@example.com.
I would like to thank Peter Bucchianeri at Harvard University for compiling the data and writing the report on the responses of CAA member respondents to the contingent faculty survey.