posted by CAA — February 26, 2020
As part of the 2021 Annual Conference, CAA seeks to offer a selection of sessions, papers, speakers, and related programming on the topic of Climate Crisis. Including but going beyond eco-art and eco-criticism, and with climate justice and intersectional thinking as priorities, panels and presentations can address ecology as a matter of the content of artworks, but also, and pressingly, how we—artists, designers, and art historians, institutional stakeholders and independent practitioners, and members of allied fields—can and should change our professional practices in light of the crisis.
We invite discussions of creative interventions into the status quo, up to and including a serious discussion of ways of reducing the carbon footprint of the annual conference itself, while preserving and enhancing access. Practices and themes may include remediation and amelioration, thematic representation and critique, the ramifications of change for institutions and collections, issues of preservation, and the nature of research. We invite radical and practical proposals. The conference content will stress a broad and inclusive conversation on climate crisis impact through the lens of age; gender; nationality; race; religion; and socioeconomic status among others.
posted by CAA — February 05, 2020
Please join us for a Memorial Celebration for Professor Victor Margolin during the 2020 Annual Conference on February 12, 2020.
Memorial Celebration for Professor Victor Margolin
Wednesday, February 12, 2020
Resident’s Dining Room
Jane Addams Hull House
800 S. Halsted Street
If you’d like to attend, please RSVP to Rebecca Houze: email@example.com
Victor Margolin (1941-2019) was Professor Emeritus of Design History at the University of Illinois at Chicago. He served on the CAA Board of Directors from 1993 to 1997 and was a frequent presenter and session chair at CAA’s Annual Conferences. He promoted the study of design and design history by encouraging the work of others and contributing to the activities of the Design Studies Forum. He was honored with Lifetime Achievement Awards for design research from LearnXDesign (2015) and the Design Research Society (2016). Victor was a founding editor of the academic design journal Design Issues. Books that he has written, edited, or co-edited include The Struggle for Utopia: Rodchencko, Lissitzky, Moholy-Nagy, 1917-1936; Design Discourse; The Designed World: Images, Objects, Environments; and The Politics of the Artificial: Essays on Design and Design Studies. He also edited and co-edited important volumes of essays on design titled Design Discourse (1989), The Idea of Design (1995) Discovering Design (1995) and The Designed World: Images, Objects, Environments (2002). The first two volumes of his World History of Design were published in April 2015.
In the words of his colleague and co-editor Bruce Brown, “Victor was a man of immense intellectual generosity and he mentored scholars young and old around the world. He was always a reasoned advocate of design as a tool to create societies that were more just, equitable and compassionate. These values were accompanied by a keen mind and twinkling eye that drew Victor to people all over the world. His deep humanity, ideas and insights will live on through books and essays to inspire future generations of designers.”
The Jane Addams Hull-House Museum is located on the campus of the University of Illinois at Chicago, 800 S. Halsted Street, Chicago. It is easily reached by public transportation using the UIC Halsted stop on the Blue Line or the Halsted Bus (#8), or via the Eisenhower Expressway (I-290) and the Dan Ryan Expressway (I-90). Parking is available at the Halsted and Taylor Street garage.
CAA Announces Guidelines for Addressing Proposed Cuts to Arts and Humanities Programs and Departments
posted by CAA — November 12, 2018
By any number of metrics, the arts and humanities are experiencing challenging times. Funding is under threat from the Federal government. Student enrollment is dropping in higher education classes focusing on the arts and humanities. The number of tenure-track faculty positions are diminishing in arts and humanities departments. The wide support of STEM-centered education has placed an emphasis on career paths with measurable and immediate financial outcomes. Yet, we know the importance of an arts and humanities education, not just for those looking to have careers in the arts and humanities but those across the entire professional spectrum.
In response to the challenges in the arts and humanities, some universities and colleges in the United States have cut programs, collapsed libraries, or shuttered entire departments. These steps, taken as cost-saving measures, only increase the uphill battle for the arts and humanities. Over the past years, CAA has tracked these changes in higher education through the organization’s own research efforts and through narratives relayed directly from our members. These actions taken by administrations are in no way secret. In article after article, the alarm has been sounded. We believe there is a better way to resolve these issues and protect the arts and humanities at the same time.
To bridge this divide, CAA is pleased to release “Guidelines for Addressing Proposed Substantive Changes to an Art, Art History or Design Unit, or Program at Colleges and Universities.”
“These guidelines provide a path for open communication between faculty and administration,” says Hunter O’Hanian, executive director of CAA. “With this new tool to be used by both administrations and faculty equally, CAA builds a resource that is vital to strengthening the arts and humanities on campuses. The guidelines create clearly definable steps and parameters for a process that when handled badly leads to fissures between faculty, students, and administrations.”
The “Guidelines for Addressing Proposed Substantive Changes to an Art, Art History or Design Unit or Program at Colleges and Universities” call for a deeper understanding of the factors and issues that have precipitated the action to close a department or program. The guidelines outline two clear paths: they encourage constituencies to communicate about the potential changes, and they pave the way to resolution without having to eliminate or downsize the program or department.
If those conversations fail to reach a satisfactory outcome with the educational institution, the guidelines emphasize that the institutional administration must do everything it can to see that the program continues. And, as is the case with all scholastic endeavors, the administrations must show their work—they must provide documentation that the department has been adequately resourced and funded. It must demonstrate that growth has been encouraged rather than to allowing it to lay fallow.
“CAA remains convinced that students and society derive lasting benefit when institutions offer a diverse range of academic resources to support different learning styles,” says Jim Hopfensperger, president of the CAA Board of Directors. “These new CAA guidelines outline best practices toward sustaining this essential diversity of academic programs and operational assets.”
Hopfensperger adds that “CAA believes that students, staff, faculty, and institutional leadership teams are all well served by inclusive processes, open lines of communication, engagement across constituencies, and empathetic deliberations.”
Authors and Contributors for the “Guidelines for Addressing Proposed Substantive Changes to an Art, Art History or Design Unit or Program at Colleges and Universities”:
CAA Working Group for Guidelines for Addressing Proposed Substantive Changes to an Art, Art History or Design Unit or Program at Colleges and Universities: Tom Berding, Michigan State University; Brian Bishop, Framingham State University (Chair, CAA Professional Practices Committee); James Hopfensperger, Western Michigan University (CAA Board President); Charles Kanwischer, Bowling Green State University; Karen Leader, Florida Atlantic University; Richard Lubben, College of the Sequoias; Paul Jaskot, Duke University; Hunter O’Hanian, CAA Executive Director.
In conjunction with the release of our new Guidelines for Addressing Proposed Substantive Changes to an Art, Art History or Design Unit or Program at Colleges and Universities, here are some helpful resources to support the arts and humanities in higher education.
In the News
- Why We Should Spend More on Humanities Research in a High-Tech World (Chronicle of Higher Education, April 2018)
- We Reversed Our Declining English Enrollments. Here’s How. (Chronicle of Higher Education, April 2018)
- It’s Time To Worry When Colleges Erase Humanities Departments (Forbes, March 2018)
- The Arts Contribute More Than $760 Billion to the U.S. Economy (NEA, March 2018)
- STEM May Be the Future—But Liberal Arts Are Timeless (Quartz, February 2018)
- How the Humanities Can Train Entrepreneurs (The Atlantic, September 2017)
- Why Med Schools Are Requiring Art Classes (Artsy, August 2017)
- Liberal Arts in the Data Age (Harvard Business Review, July 2017)
- What Is the Value of an Education in the Humanities? (NPR, February 2016)
See more excellent articles compiled by the National Humanities Alliance.
There is lots of good data to explore online about the impact of the arts and humanities.
- Almost 87% of workers with a bachelor’s degree in the humanities reported they were satisfied with their jobs in 2015, comparable to graduates from almost every other field.
- Over three-quarters of humanities graduates saw themselves at or approaching “the best possible life,” which was similar to the shares among engineering and natural science graduates.
The Study the Humanities Toolkit from the National Humanities Alliance is a collection of resources for higher education faculty and administrators to use in making the case for the value of studying the humanities as an undergraduate.
Americans for the Arts is a hub for data and information about various federal arts agencies and arts education in America.
Data on the arts and humanities can also be found on the National Endowment for the Arts Facts & Figures page.
posted by CAA — November 08, 2018
The following schools have taken steps to reduce or cut arts and humanities programs, faculty positions, or institutions on campuses. This list comprises those that have researched these steps and announced them publicly. In some scenarios below, the administration recanted or changed direction due to outcry from faculty and students.
University of Wisconsin – Stevens Point
Plans to cut or discontinue thirteen majors, including its History, Art (excluding Graphic Design), and Philosophy programs. Read more
UPDATE: A new proposal proposes cutting half as many majors than what was proposed, at least initially. Read more
University of Wisconsin-Superior
Announced the elimination of nine undergraduate majors, as well as fifteen minors and one graduate program. Read more
California State University, Chico
College of Humanities and Fine Arts (HFA) cut 68 classes due to budget cuts. Read more
University of Southern Maine
University of Southern Maine no longer offers degrees in either American and New England Studies or Modern and Classical Languages and Literatures to newly admitted students. The programs have been discontinued. Read more
SUNY Stony Brook
Proposed cuts to humanities programs. Possible changes include combining the departments of European languages, Hispanic languages, and cultural studies and comparative literature into a single department; suspending doctoral programs in Hispanic languages and cultural studies and comparative literature; and suspending undergraduate majors in comparative literature, cinema and cultural studies, and theater arts. The plan was announced in May 2017. Read more
Eastern Kentucky University
Board of Regents voted to slash a long list of academic programs, eliminate jobs, close a regional campus, and end two sports teams. Read more
Western Kentucky University
Plans to cut 140 positions, eliminate a multidisciplinary college, and turn three regional campuses over to a distance learning unit in an effort to offset a $15 million deficit. Read more
University of Central Missouri
Proposes transferring arts and humanities departments into the College of Education. Read more
UPDATE: The University of Central Missouri has abandoned the plan to move arts and humanities into its College of Education, instead considering a different kind of reorganization. Read more
University of Missouri
Cuts twelve graduate programs amidst budget crisis. Read more
University of Nebraska – Lincoln
Cuts at University of Nebraska – Lincoln include consolidating or eliminating several undergraduate and graduate programs, shuttering certain research and extension offices, and terminating some student services and athletic teams, according to proposals. Read more
University of Akron
Announced that it is terminating nineteen percent of its degree tracks following a comprehensive review of academic programs. New admission to the affected tracks is suspended but current students will be able to finish their programs. Programs cut include bachelor’s degrees in art history, French, geography, math and physics, along with master’s degrees in history, physics, sociology and Spanish. Read more
University of North Texas
College of Visual Arts & Design will discontinue Fibers concentration as the school nears completion of $70 million new building for the arts. Read more
University of Texas Austin
College of Fine Arts and the University of Texas Libraries have threatened to move tens of thousands of books, journals, music scores, CDs and other works from Austin’s Fine Arts Library off-site with little input from the faculty. Read more
UPDATE: After uproar from faculty and students, University of Austin at Texas administration reversed the decision to move library materials and have passed resolutions to further fund the library. Read more
Majors to be cut include Russian studies, studio art, theater, religion, elementary education and special education. Minors to be phased out include book studies, German and Judaic studies. Read more
University of Vermont
Adopts an IBB (incentive-based budgeting) model to cut or eliminate low-enrollment majors and departments, thereby laying off adjuncts and faculty in the humanities. Read more
A small private liberal-arts college in Portland, OR will close permanently at the end of 2018. Read more
University of Montana
Specific reductions within departments include ending the Global Humanities and Religions major and minors and consolidating six current majors within the Modern and Classical Languages and Literatures into one World Languages and Cultures major with language options. The plan includes voluntary retirements, as well as some faculty moving to part-time positions, and a reduction of about 58 full-time faculty members by fall of 2021. Read more
Pacific Lutheran University
As of 2017, the plan calls for 31 faculty members could lose their jobs and two areas of study be eliminated or reduced within three years. Read more
posted by CAA — October 22, 2018
The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.
This week, Elizabeth Guffey, Matt Ferranto, and Rebecca Mushtare discuss “Bringing Access to Design Practice: Teaching Inclusion in the 21st Century.”
Elizabeth Guffey is Professor of Art & Design History, State University of New York at Purchase.
Matt Ferranto is Associate Professor of Design, Westchester Community College.
Rebecca Mushtare is Associate Professor of Graphic Design, State University of New York at Oswego.
posted by CAA — October 01, 2018
Funding Sought: $4,000
Every day, across thousands of universities and high schools in the US, students learn about the history of art from prehistory to the present. Very rarely is design history incorporated into this curriculum. Art History Teaching Resources (AHTR)—a non-profit teaching resource site in the visual arts—wants to change this.
AHTR has collaborated with CAA’s Committee on Design to propose an initial collection of online teaching resources related to design history of the last two hundred years that will enable university-level and AP instructors to confidently teach them in foundational art and design history survey classes. The resources will be hosted online at arthistoryteachingresources.org in an area clearly marked as “design history” content.
Like AHTR’s existing resources already, the Design History Teaching Resources will include scholarly, well-researched, and peer-reviewed lecture outlines, image clusters, and bibliographies, as well as innovative digital videos and links to other Open Educational Resources (OERs) for students and teachers. The resources will remain freely accessible and open to all under a Creative Commons license.
To realize these resources AHTR needs to raise a modest sum of $4,000. If you might consider supporting this venture with a donation large or small, and would like to see the budget outline, timeline for completion, or any further details about the project, please contact: firstname.lastname@example.org
posted by CAA — March 20, 2018
New Delhi, India, November 27 – 30, 2018
Deadline: May 7, 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 email@example.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.
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
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.
posted by CAA — November 22, 2016
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 firstname.lastname@example.org indicating your name, shipping destination, and the code “CAA.”
You will then receive a confirmation that you are registered for this special offer.