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.
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 Christopher Howard — September 10, 2014
Humanities Indicators, a project of the American Academy of Arts and Sciences, has released the findings from its 2012–13 Humanities Departmental Survey. The report says:
Despite considerable discussion in the media about the impact of the recent recession on academia in general and the humanities in particular, the results from the Humanities Departmental Survey (HDS-2) suggest considerable continuity between the 2007–08 and 2012–13 academic years—bearing in mind that we are only seeing snapshots from two moments in time. Among the degree-granting departments surveyed for both HDS-1 and HDS-2 (in art history, English, languages and literatures other than English, history, history of science, linguistics, combined languages and literatures programs, and religion at four-year institutions) the number of existing departments and faculty appeared relatively unchanged, though the number of students majoring in the humanities slipped.
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.”
The following email from Nina Ozlu Tunceli, executive director of Americans for the Arts, was sent on Tuesday, July 15, 2014.
Arts Action Fund Breaking News 7-15-14
Once again, your advocacy voices made a difference. Last week, thousands of Arts Action Fund members sent letters to their Members of Congress in response to action taken by the House Subcommittee on the Interior. The Subcommittee had proposed an $8 million cut each from the FY 2015 budgets of the National Endowment of the Arts and the National Endowment for the Humanities.
We’re really pleased to report that when this bill came before the Full Appropriations Committee today, the Interior Subcommittee Chairman Ken Calvert (R-CA) announced that he had made some “manager’s amendments” to the bill. He restored the cuts to the two federal cultural agencies and now the bill moves to the House floor with a $146 million recommendation for the NEA and NEH each.
posted by CAA — July 15, 2014
The following email from Stephen Kidd, executive director of the National Humanities Alliance, was sent on Tuesday, July 15, 2014.
Appropriations Committee Rescinds Proposed Cut to NEH
Dear Humanities Advocate,
Today, the House Appropriations Committee passed an amendment that rescinds the proposed $8 million cut to the National Endowment for the Humanities. Thanks to the many of you who responded to last week’s action alert, the amendment passed with substantial bipartisan support.
This is a very important step in preserving NEH’s capacity. In the coming weeks, we may need to call on you to contact your elected officials again as this funding bill proceeds through Congress and faces additional challenges.
Thanks in advance for your continued support!
posted by Christopher Howard — July 09, 2014
The United States Senate today voted to confirm William D. “Bro” Adams as the 10th chairman of the National Endowment for the Humanities (NEH). Adams is expected to begin as Chairman in the coming days.
Founded in 1965, the National Endowment for the Humanities is an independent grant-making institution of the United States government dedicated to supporting research, education, preservation, and public programs in the humanities.
Adams, president of Colby College in Waterville, Maine from 2000 until his retirement on June 30, 2014, is a committed advocate for liberal arts education and brings to the Endowment a long record of leadership in higher education and the humanities.
A native of Birmingham, Michigan, and son of an auto industry executive, Adams earned his undergraduate degree in philosophy at Colorado College and a Ph.D. from the University of California at Santa Cruz History of Consciousness Program. He studied in France as a Fulbright Scholar before beginning his career in higher education with appointments to teach political philosophy at Santa Clara University in California and the University of North Carolina at Chapel Hill. He went on to coordinate the Great Works in Western Culture program at Stanford University and to serve as vice president and Secretary of Wesleyan University. He became president of Bucknell University in 1995 and president of Colby College in 2000.
Adams’s formal education was interrupted by three years of service in the Army, including one year in Vietnam. It was partly that experience, he says, that motivated him to study and teach in the humanities. “It made me serious in a certain way,” he says. “And as a 20-year-old combat infantry advisor, I came face to face, acutely, with questions that writers, artists, philosophers, and musicians examine in their work — starting with, ‘What does it mean to be human?’”
In each of his professional roles, Adams has demonstrated a deep understanding of and commitment to the humanities as essential to education and to civic life. At Colby, for example, he led a $376-million capital campaign – the largest in Maine history – that included expansion of the Colby College Museum of Art and the gift of the $100-million Lunder Collection of American Art, the creation of a center for arts and humanities and a film studies program, and expansion of the College’s curriculum in creative writing and writing across the curriculum. He also spearheaded formal collaboration of the college with the Maine Film Center and chaired the Waterville Regional Arts and Community Center.
As senior president of the prestigious New England Small College Athletic Conference (NESCAC), Adams has been at the center of the national conversation on the cost and value of liberal arts education. “I see the power of what is happening on our campuses and among the alumni I meet across the country and around the world,” he says. “People who engage in a profound way with a broad range of disciplines – including, and in some cases especially, with the humanities — are preparing to engage the challenges of life. They are creative and flexible thinkers; they acquire the habits of mind needed to find solutions to important problems; they can even appreciate the value of making mistakes and changing their minds. I am convinced that this kind of study is not merely defensible but critical to our national welfare.”
Adams, nicknamed Bro by his father in honor of a friend who died in World War Two, is married to Lauren Sterling, philanthropy specialist at Educare Central Maine and has a daughter and a stepson. He currently resides in Falmouth, Maine.
Deputy Chairman Carole Watson has served as Acting Chairman of the National Endowment for the Humanities since the departure of former Chairman James A. Leach.
Please join the conversation and offer your congratulations to Adams with #NEHBroAdams.
The following email from Nina Ozlu Tunceli, executive director of Americans for the Arts, was sent on Wednesday, July 9, 2014.
Arts Action Fund Breaking News 7-9-14
Today, U.S. Rep. Ken Calvert (R-CA), the new House Chairman of the Interior Appropriations Subcommittee, set the initial funding levels for the nation’s cultural agencies’ budgets for FY 2015. The chairman was able to assign small increases to the Smithsonian and National Gallery of Art, but also made some cuts to each of the National Endowments for the Arts and for the Humanities, as well as the Kennedy Center for the Performing Arts.
We now look to the Senate to restore these proposed cuts and hopefully provide an increase to each of these federal cultural agencies. We’ve already prepared an easy-to-customize, pre-written letter for you to e-mail to your two Senators and House Representative. Please take two minutes to help us get the word out.
With your help, I am optimistic that we will be able to secure higher funding levels in the Senate, which coincidentally is voting to confirm new National Endowment for the Humanities Chairman Bo Adams today.
posted by CAA — July 09, 2014
The following email from Stephen Kidd, executive director of the National Humanities Alliance, was sent on Tuesday, July 8, 2014.
Act Now! Proposed Cuts Would Bring NEH’s Funding to Its Lowest Level since 1972
Dear Humanities Advocate,
This morning, the House subcommittee that oversees funding for the National Endowment for the Humanities proposed to fund NEH at its lowest level since 1972. If enacted, this $8 million cut would bring NEH’s funding level to just $138 million for 2015.
It is time to stop the steady erosion of NEH’s capacity!
The subcommittee will be voting on the proposed cuts tomorrrow, so it is essential that you act now. Please contact your Member of Congress and urge them to oppose the proposed cut to the NEH.
Click here to send our message to your Representative today. They are waiting to hear from you.
Thanks for your help!
posted by Christopher Howard — July 08, 2014
The National Endowment for the Arts is pleased to announce the appointment of Wendy Clark as director of Museums, Visual Arts, and Indemnity. Clark has served as acting director of Museums, Visual Arts, and Indemnity since November 2012 and will continue to manage the NEA’s grantmaking in this area, as well as the program’s special initiatives, such as Blue Star Museums.
NEA Deputy Chairman Patrice Walker Powell noted “Ms. Clark brings to this leadership position a wealth of knowledge and experience with the people and institutions that comprise the visual arts and museum field. She is an asset to our organization, an advocate for the field, and a long-term NEA leader.”
Clark has more than 20 years of experience managing various federal grant programs and special initiatives at the NEA in the fields of museums, visual arts, and design, including the Mayor’s Institute on City Design, Your Town, the American Masterpieces/Visual Arts Touring Program, the Rosa Parks Sculpture Competition for the Architect of the Capitol, and the Renna Scholarship Grants Program. Prior to her role as acting director, she was the museum specialist, working primarily on Art Works grants and special initiatives and advising hundreds of museums annually seeking funding for exhibitions, conservation, commissions, care of collections, educational outreach, and reinstallation projects. She has represented the agency annually at the American Alliance of Museums conference as both a presenter and exhibitor. Clark is a member of ArtTable, an organization dedicated to advancing women’s leadership in the visual arts field.
“I’m thrilled to help the nation’s museums and visual arts organizations—with their aligned missions and divergent needs—continue to present the work of excellent artists to the American people. To be part of this community is an honor,” said Clark. “Museums have a tall and challenging order, increasingly called upon to be civic anchor, community gathering place, and stewards of our most prized cultural heritage. I remain energized and fulfilled by public service.”
Prior to coming to the NEA, Clark held positions at the Illinois Arts Council in public affairs, visual arts, and design. There she worked on a traveling exhibition program initiative, and a cultural facilities planning and design grant program called Building by Design, which was awarded a Federal Design Achievement Award by the NEA’s Presidential Design Awards jury. She was an NEA Fellow in arts administration, and was the chairman of the Design Review Committee for the Civic Association of Hollin Hills, a mid-century modern residential development designed by architect Charles Goodman and landscape architect Dan Kiley.
Clark has a bachelor’s degree from the University of Michigan and studied Elizabethan history, art, and literature at New College, Oxford University. She is originally from Dayton, Ohio.