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The National Museum Institute (NMI) in New Delhi, India. Image: Wikimedia Commons

New Delhi, India, November 27 – 30, 2018
Deadline: May 7, 2018

ART, DESIGN & SOCIETY
Comité International d’Histoire de l’Art (CIHA) India Colloquium 2018

Art and design are intrinsic to all forms with aesthetic value. In the modern world, the dichotomy between art and design was created by the socio-political and economic changes that were brought about by the industrial revolution and colonization. This has led to the paradoxical paradigm wherein the utilitarian designs of the past are perceived as art in the present and are displayed in museum spaces.

In countries like India, art institutions are products of colonialism which aimed at instilling western values leading to the collapse of traditional structures of art creation, dissemination and consumption. The living traditions of indigenous, popular and ritual art which formed the major corpus of artistic production in societies worldwide went unnoticed in the grand narratives. This led to the exclusion of a vast array of tangibles and intangibles that engendered incomplete perceptions of the past across the world.

This colloquium aims at bringing together the smaller narratives that have often been overlooked but which are nonetheless important parts of the tapestry of humanity. It has also become imperative that we re-examine the notions of art and design to understand the essence of the creative process across various cultures and encourage discussion and discourse on their interface and intersection with society. The colloquium particularly intends to probe the role of categorization and enquire into the very frameworks within which art & design operate.

Against this background, the colloquium would like to call for papers under the following topics:

  • Design of the Past: Art of the Present
  • Synthesizing the Sacred and the Secular
  • Art & Design: Expressions of Conflict and Synthesis in Society
  • Utility to Frivolity
  • Space, Design & Art
  • Power, Politics & Propaganda
  • Sustainability: Practice and Production
  • Vision, Perception and Interpretation
  • Signs & Symbolism in Art & Design
  • Prevailing Over Prejudice: Untold Stories
  • Interpreting the Intangible Through the Tangible
  • Impacting Society: Social & Digital Media
  • Harmonizing the Individual and the Collective
  • Art History: The Melting Pot

We invite paper presentations of 20 minutes. Please send a title of your proposed paper, an abstract of between 300 and 350 words. Please write the word “Abstract” in the subject line of your e-mail. Submissions must be sent to cihaindia2018@gmail.com

Closing date for the first call for papers: Monday, May 7, 2018

Kindly note that participation in the colloquium will only be confirmed after receipt of payment of registration fee. Click here to register.

CONVENERS:

Prof. (Dr.) Anupa Pande
Professor & Head, Department of History of Art
Director & Pro-Vice-Chancellor, National Museum Institute

Dr. Savita Kumari
Assistant Professor, Department of History of Art
National Museum Institute

Website: cihaindia2018.in

Filed under: Calls for Papers, Design

Introducing the New CAA

posted by February 27, 2018

 

 

A New Look for CAA

As we look to build CAA in the future, with new and energized staff, new programs that will assist all of us in our professional lives, we have given the organization a new look and a name more focused on how our members know us after many years of service. We unveiled our new logo, new name, and new branding colors at the 106th Annual Conference last week in Los Angeles.

For decades, people have used the term “CAA” as a nickname for the Association. Many of our members feel connected to the words, College Art Association, but many others, especially new members and prospective members, feel these words don’t resonate with them. We started the renaming and rebranding process in spring of 2017 with the retention of a professional design and branding firm called Briteweb, which works exclusively with social sector organizations. This fall, as part of the research process, CAA and Briteweb held workshops, surveyed the current and past membership, and conducted interviews with long-standing and new members, as well as other arts professionals.

Nearly 1,500 members and members of the wider CAA community contributed to surveys and questionnaires about a new name and mark for the organization. As part of the process, we not only looked internally at our own membership but also at the marks of similar societies and organizations. To shepherd the process, CAA established a Branding Subcommittee, which reviewed and synthesized all of the ideas coming from membership and from Briteweb.

Last December we reached the first major milestone in the renaming and rebranding process. The Board, informed by member feedback, unanimously voted to simply call the organization CAA and to add a tagline ADVANCING ART & DESIGN to be used in coordination with the three letters.

Then we built a new logo. We built the new logo by thinking about the field, about our collective passions and interests, and the work we work we do every day. We narrowed down to two core components: the frame and the page. We used these symbols of the lives and work of our members as the building blocks of the new visual identity. They represent what we study, what we teach, what we practice, and what we create. We spend endless hours looking at, thinking about, writing about and reading about art.

We also wanted the idea of flexibility to be part of CAA’s new identity so we’ve adopted a logo system that can change as we do and as the field does. And the color palette was, of course, very important to us. We wanted to inject vibrancy and lots of color into our new logo system.

But change is more than a logo. This is about a shift in how we work to assist everyone in the field. A new look necessitates action. This is about more opportunities to present papers at the conference. This is about more opportunities to publish articles. It’s about more opportunities to network with colleagues. It’s about more opportunities to advocate for the field. It’s about beginning to think seriously about attracting otherwise marginalized communities to be part of the field.

This is the future of CAA.

A Brief History of 107 Years of Branding at CAA

From its inception, the College Art Association understood the importance of its name. Publications like The Art Bulletin (founded in 1913) and Art Journal (founded in 1941) have proudly touted the name of the organization.

But formal branding and styling did not arrive until the 1950s when a modernist approach was adopted.

It was not until decades later, in the 1980s, that an official CAA logo took shape. The CAA logo of the 1980’s angled forward in all capital letters and had conjoined A’s.

In 2012, the CAA logo many know was born.

The new CAA logo dropped its height to use lowercase letters in a sans-serif font that was overlaid with swooping and intersecting lines.

       

Murmurs and Decisions

For years, discussion has brewed among the CAA board of directors and members about a name change and new branding for the organization. The decision was formally written into the 2015-2020 CAA Strategic Plan.

In spring 2017, work officially began. CAA issued an RFP for the redesign and renaming of the 107-year old organization. The firm Briteweb, which specializes in branding for the social sector, was chosen as the best fit from eight other firms.

Step 1: Renaming

Feedback. Feedback. Feedback. The first step on the path to renaming the College Art Association (CAA) was gathering feedback from our members and stakeholders. A survey went out to all members, current and lapsed. Phone calls and interviews took place with stakeholders and board members. We learned a lot.

“Overall, it seems to me that the goal should be to figure out how to make sure that everyone who has a stake in teaching art, design, art history, curatorial and museum practices at the college level understand that they are included and welcomed—that it is their professional organization.”  –CAA member survey response

Feedback we received from our members told us how CAA matters to them, where we can improve, and where we should focus our energy as we move into the future.

Step 2: A Tagline That Fits

Members told us that CAA has to move forward. You told us that we have to be there for the next generations of students and scholars in the arts and humanities. We have to advance the field by supporting the field. Our tagline was born.

“Advancing Art & Design”

We also learned that there was immeasurable value packed into three letters—CAA. We explored different acronyms, new names, and different words to fit CAA. But in the end, it came down to the letters CAA being the sole representation of the organization as it moves into the future, stepping up a role they have already played for decades.

Step 3: A Logo is Born

With our name settled, it was time to design. What does advancing mean visually? How can we encompass the many professions and personalities of our membership in a visual representation? Rounds of designs were reviewed.

We wanted risk, but not too risky.

The new CAA logo includes nods to the frame and page, two crucial elements of our members’ lives. It has dimensionality and flexibility. Just like our members.

Filed under: Design, Organizations
depero-futuristaDepero Futurista, Dinamo-Azari, Milan, Italy, 1927, artist’s book bound with bolts, 32 x 24.2 cm. © 2016 Artists Rights Society (ARS), New York / SIAE Rome. Photo by Adam Reich

One of our Member Partners, Designers and Books, recently launched a Kickstarter campaign to raise funds to bring a classic design book back to life.

In 1927 Italian futurist artist Fortunato Depero developed what is still considered the first avant-garde artist book: Depero Futurista, commonly known as the Bolted Book. In an edition of fewer than 1,000 copies, this book is celebrated for its daring experiments in typography,  innovative ideas about graphic design, and reinvention of the concept of the printed book (and yes– its binding is two steel bolts!).

You can explore this wonderful book, page by page, on the Bolted Book website.

Designers and Books is  partnering with the Center for Italian Modern Art in New York and the MART Museum of modern and contemporary art of Trento and Rovereto to produce the first exact facsimile of Depero Futurista. The facsimile will include an accompanying readers’ guide, featuring essays from a variety of experts, original unpublished materials from the Depero archives at MART, and translations of selected pages of the book.

Your Kickstarter pledge toward this important piece of art and design history will be rewarded with an exact copy of The Bolted Book, the readers’ guide, and full acknowledgement of your support.

The least expensive Kickstarter reward tier currently available for a copy of the book is $141 (including US shipping). Acknowledging the special relationship of this book to the CAA community Designers and Books is making it available for a special price: $109 (plus shipping of $14 for a total of $123)——for a savings of $18.

Since this price is not available to the general public, here is how CAA members can secure a copy of the book for this special price:

1) Go to bit.ly/BoltedBook-Kick
2) Next to the video, click “Back This Project”
3) Click “Make a pledge without a reward”
4) Enter $123 and click “continue”
5) Log in or sign up, then complete the pledge as directed
6) Please email info@designersandbooks.com indicating your name, shipping destination,  and the code “CAA.”

You will then receive a confirmation that you are registered for this special offer.

Filed under: Books, Design, Uncategorized

The College Art Association is pleased to announce a grant from the Samuel H. Kress Foundation to support a redesign of The Art Bulletin. CAA, the journal’s editors-in-chief, and its editorial boards have maintained unwavering attention to the quality of the journal’s scholarship for more than one hundred years of publication. Through the generosity of the Kress Foundation, the visual character of the print journal will gain a more contemporary and reader-friendly format, incorporating changes in the presentation of images and text, and an open, inviting look. CAA’s copublisher, Taylor & Francis, is also keen to assist with logistics and production support.

The first issue of The Art Bulletin slated for the new format is March 2017. The redesign is spearheaded by Nina Athanassoglou-Kallmyer, the new editor-in-chief of The Art Bulletin, who joined its editorial board in July. As she notes, “The journal not only represents our discipline and our professional association, but, even more, our wish to offer our members high-quality scholarship, a public platform, and a public profile that will earn them the recognition they merit on an international level.” Kallmyer is working closely with the journal’s editorial board, which identified key design elements during the course of several meetings, as well as with CAA staff.

CAA remains firm in its commitment to excellent scholarship in the print and online versions of its flagship journal, and is grateful to the Kress Foundation for making the redesign of the journal possible.

CAA Announces Formation of Committee on Design

posted by February 23, 2016

Dear College Art Association Members:

In 2015, CAA established a Task Force on Design charged with suggesting positions the organization might adopt toward design, design studies, designers, design educators, historians, and theorists. The CAA Board of Directors is delighted to announce the approval of a new Committee on Design, approved during the recently concluded 2016 CAA Annual Conference.

The Committee will replace the Task Force and be among CAA’s ten standing Professional Interests, Practices, and Standards Committees. The Committee on Design will promote and advance issues in design practice, design history/theory/criticism, and design education through advocacy, engagement, and a commitment to the diversity of practices and practitioners. The committee will further support discussion and action in these areas to stimulate intellectual curiosity and advance skills that enrich the individual and society.

CAA invites members to apply for service on this inaugural Committee on Design. To apply, kindly forward a statement of interest (250 words or less) and a 3–4 page condensed résumé noting in the subject line Committee on Design to vjalet@collegeart.org. Initial application review begins on March 30, 2016, with appointments to two-year terms anticipated by May 1, 2016.

Until May 1, the Task Force on Design will continue work on revising CAA’s Standards and Guidelines for Retention and Tenure of Art and Design Faculty and seeks input from CAA members. We invite you to review and comment upon the current draft. Please send any comments and/or questions to designfeedback@collegeart.org.

Responses at your earliest convenience, and especially prior to March 15, 2016, are greatly appreciated as the Task Force wishes to complete this project for a May 2016 approval by the CAA Board of Directors.

Thank you in advance for input toward advancing design interests within CAA.

Sincerely,

DeWitt Godfrey,
President

Jim Hopfensperger, Chair,
CAA Task Force on Design

Rosanne Gibel, a professor of graphic design at the Art Institute of Fort Lauderdale in Florida and chair of CAA’s Education Committee, has catalogued all design-related sessions and events taking place at next week’s 100th Annual Conference in Los Angeles. Below is a chronological list by day.

Wednesday, February 22

Deconstructing Costume Histories: Rereading Identities in Fashion Collections and Exhibitions
Wednesday, February 22, 9:30 AM–12:00 NOON
Concourse Meeting Room 409AB, Level 2, Los Angeles Convention Center
Chairs: Ian McDermott, ARTstor; Consuelo Gutierrez, independent scholar

ARTspace
Citizen Designer: Authoring a Definition
Wednesday, February 22, 9:30 AM–12:00 NOON
West Hall Meeting Room 515A, Level 2, Los Angeles Convention Center
Chairs: Gary Rozanc, Columbia College Chicago; Alyson Beaton, Columbia College Chicago

Design Studies Forum Business Meeting
Wednesday, February 22, 12:30–2:00 PM
West Hall Meeting Room 515B, Level 2, Los Angeles Convention Center

CAA Education Committee
Who Do We Teach? Challenges and Strategies in Recognizing Our Students, and Developing and Supporting Curriculum for Multiple Constituencies
Wednesday, February 22, 12:30–2:00 PM
Concourse Meeting Room 403A, Level 2, Los Angeles Convention Center
Chairs: Joan Giroux, Columbia College Chicago; Cindy Maguire, Adelphi University

Design, from “California Dreamin’” to “Designed in California,” ca. 1965–2012
Wednesday, February 22, 2:30–5:00 PM
Concourse Meeting Room 406AB, Level 2, Los Angeles Convention Center
Chairs: James Housefield, University of California, Davis; Stuart Kendall, California College of the Arts

Art History Open Session: Renaissance Art
Form and Function: Art and Design?
Wednesday, February 22, 2:30–5:00 PM
Concourse Meeting Room 405, Level 2, Los Angeles Convention Center
Chair: Antonia Madeleine Boström, J. Paul Getty Museum

Thursday, February 23

SPEAKOUT! CAA’s Strategic Plan for the Annual Conference and You
Thursday, February 23, 8:00–9:00 AM
Concourse Meeting Room 402AB, Level 2, Los Angeles Convention Center

Foundations in Art: Theory and Education
Foundations in Literature: Developing a Culture of Reading within the Art and Design Foundations Program
Thursday, February 23, 12:30–2:00 PM
Concourse Meeting Room 404A, Level 2, Los Angeles Convention Center
Chair: Sara Dismukes, Troy University

Critical Craft Forum
What Is Contemporary about Craft?

Thursday, February 23, 5:30–7:00 PM
Concourse Meeting Room 408A, Level 2, Los Angeles Convention Center
Chairs: Namita Gupta Wiggers, Museum of Contemporary Craft; Elizabeth Agro, Philadelphia Museum of Art

Friday, February 24

Design Education 2.0: Teaching in a Techno-Cultural Reality
Friday, February 24, 9:30 AM–12:00 NOON
Concourse Meeting Room 404A, Level 2, Los Angeles Convention Center
Chair: Ashley John Pigford, University of Delaware

Centennial Session
Yesterday, Today, and Tomorrow: CAA Town Hall Meeting
Friday, February 24, 9:30 AM–12:00 NOON
West Hall Meeting Room 515B, Level 2, Los Angeles Convention Center
Chair: Margaret Lazzari, University of Southern California

AIGA Business Meeting
Friday, February 24, 12:30–2:00 PM
West Hall Meeting Room 502A, Los Angeles Convention Center

Center for Craft, Creativity, and Design
Windgate Fellowship Program: A Case for Funding Professional Development Opportunities for Graduating Seniors
Friday, February 24, 12:30–2:00 PM
Concourse Meeting Room 408A, Level 2, Los Angeles Convention Center
Chair: Stephanie Moore, Center for Craft, Creativity, and Design, University of North Carolina, Asheville

Is It Time to Question the “Privileging” of Visual Art?
Friday, February 24, 2:30–5:00 PM
Concourse Meeting Room 409AB, Level 2, Los Angeles Convention Center
Chairs: Greta Berman, Juilliard School; Ellen K. Levy, independent artist, New York

Centennial Session
Connections: Architecture and Design in Los Angeles at Midcentury
Friday, February 24, 2:30–5:00 PM
Bing Theater, Plaza Level, Bing Center, Los Angeles Times Central Court entrance, Los Angeles County Museum of Art
Chair: Ruth Weisberg, University of Southern California

CAA Annual Members’ Business Meeting and Reception
Friday, February 24, 5:30–7:00 PM
West Hall Meeting Room 503, Level 2, Los Angeles Convention Center
Keynote address: April Greiman

New Media Caucus
Code as Craft: Programming in the Art and Design Curriculum
Friday, February 24, 5:30–7:00 PM
Concourse Meeting Room 402AB, Level 2, Los Angeles Convention Center
Chair: Michael Salmond, Florida Gulf Coast University

Saturday, February 25

Design Studies Forum
Design, Thing Theory, and the Lives of Objects
Saturday, February 25, 12:30–2:00 PM
West Hall Meeting Room 503, Level 2, Los Angeles Convention Center
Chair: Leslie Atzmon, Eastern Michigan University

CAA Committee on Intellectual Property
Give and Take: Copyright’s Balancing Act
Saturday, February 25, 12:30–2:00 PM
West Hall Meeting Room 515B, Level 2, Los Angeles Convention Center
Chairs: Christine L. Sundt, Visual Resources; Doralynn Pines, Metropolitan Museum of Art, emerita

Filed under: Annual Conference, Design