CAA News

With its Centennial in mind, CAA invites members to discuss the future of the organization in three conference forums. The Board of Directors is hosting two Strategic Plan Focus Group Discussions on Thursday and Friday mornings on topics in communication and career enhancement. A third opportunity, the Annual Members’ Business Meeting, takes place on late Friday afternoon.

Strategic Plan Focus Group Discussion Part I: Communication

This first Strategic Plan Focus Group Discussion, led by Sue Gollifer, CAA vice president for Annual Conference, will explore new forms of communication using innovative and improved technology. The session will take place on Thursday, February 10, 7:30 AM–9:00 AM in the Madison Suite, 2nd Floor, Hilton New York.

After presentations by invited participants, who will talk about new forms of CAA communication. The informal panel will be straightforward, quick moving, and guided in the spirit of conversation and sharing. Next, the floor will open to discussion, enabling CAA members to give their input and to raise concerns of their own. The ideas from this session will then feed the Annual Members’ Business Meeting (see below).

CAA’s Nia Page and Christopher Howard will talk about the organization’s traditional and digital communications, and Randall Griffin of Southern Methodist University and Paul Jaskot of DePaul University will discuss e-publishing. Two speakers on social media, Bonnie Mitchell of Bowling Green State University and Cora Lynn Deibler of the University of Connecticut, will close the introductory presentations. Andrea Kirsh, CAA vice president for external affairs, and Judith Thorpe of the University of Connecticut will also be present.

Strategic Plan Focus Group Discussion Part II: Career Enhancement

Jean Miller of the University of North Texas and a CAA board member will lead a conversation about how CAA can improve its advocacy efforts, career-development activities, and workforce issues in order to assist professional growth. The focus group takes place on Friday morning, February 11, 7:30–9:00 AM in Beekman Parlor, 2nd Floor, Hilton New York.

Participants include these leaders from leading nonprofits and arts organizations: Steve Bliss, a former board member of the Society for Photographic Education; Sally Block, executive director of the Association of Art Museum Curators; Michael Fahlund, CAA deputy director; Jim Hopfensperger, 2011 president of the National Council of Art Administrators; and Richard Grefe, AIGA executive director. Randall Griffin of CAA’s board will also be present.

Annual Members’ Business Meeting

CAA invites all members to attend the Annual Members’ Business Meeting, taking place on Friday, February 11, 2011, 5:30–7:00 PM in the Rendezvous Trianon Ballroom, Third Floor, Hilton New York. Barbara Nesin, CAA board president will lead the meeting and welcome discussion on new organizational business and projects in progress.

In addition, the meeting’s agenda will include summaries of ideas presented in the two Strategic Plan Focus Groups, a financial report from Teresa Lopez, CAA’s chief financial officer, and an update on the 2012 Annual Conference in Los Angeles from Ruth Weisberg. At the end of the meeting, Nesin will announce the results of the current board election. To celebrate CAA’s Centennial, a reception will follow the business meeting.

Connecting to the internet at the CAA Annual Conference is essential, whether you are searching for a job, contacting friends in New York, or communicating with your school or institution back home. From the conference hotels to the ever-reliable Starbucks, CAA has researched the various ways to get Wi-Fi quickly, easily, and at low or no cost. The information below may be subject to change but should be reliable.

Hilton New York

The Hilton New York offers three types of wireless internet service to its guests and thus has three prices: $14.99 per twenty-four hours for a 1 MB download speed; $16.99 for 2 MB; and $18.99 for 4 MB. The Hilton also allows nonguests to log onto its network in the lobby areas on a pay-per-use basis, at $5.99 an hour. No connection speed is specified. Users must pay by credit card upon opening a browser on their laptop. For full details in advance, please contact the Hilton, not CAA. While onsite, ask a hotel representative from the concierge or check-in desk for more information.

Sheraton New York

The Sheraton New York is generously offering free internet access—both in rooms and in the lobby—to all guests who are attending the conference. When you check in, tell the hotel representative that you are here for CAA and need an access code. The Sheraton also provides free wireless connection to anyone inside the hotel—you need not be a guest (so be nice). To gain access, simply request the log-in information from the check-in desk, as you cannot automatically connect just by opening a browser. For full details in advance, please contact the Sheraton, not CAA. While onsite, ask a hotel representative from the concierge or check-in desk for more information.

The Sheraton has graciously extended its special room-reservation rates for CAA conference attendees to February 6, 2011. To reserve a room by phone, call 800-325-3535 and mention “College Art Association Annual Conference.” Please be sure to request a confirmation number, email, or fax.

Park Central Hotel

The Park Central Hotel, the conference hotel for students, charges $15 a day for a wireless connection that can be used by guests throughout the building. For full details in advance, please contact the Park Central, not CAA. While onsite, ask a hotel representative at the concierge or check-in desk for more information.

SEP Lounge

Thanks to a generous contribution from the Courtauld Institute of Art, the SEP Lounge provides free wireless internet during its opening hours: Wednesday–Friday, 9:00 AM–8:00 PM; and Saturday, 9:00 AM–5:00 PM. The lounge is located on Concourse B, Concourse Level, Hilton New York.

Hosted by CAA’s Student and Emerging Professionals Committee, the SEP Lounge is a space that allows its constituents to convene and converse freely, away from the conference hustle and bustle. On several days, the committee will present special interactive programming, where you can practice your interviewing skills, talk candidly about completing your thesis or dissertation, or get advice on what to do after earning your degree.

Candidate Center

As part of the conference’s Career Services, the Candidate Center—located in Concourse A, Concourse Level, Hilton New York—houses a bank of computers that CAA members may use only for the Online Career Center. No other internet use is allowed. Hours are Wednesday, February 9–Friday, February 11, 9:00 AM–7:00 PM. You must have a CAA membership card to enter the Candidate Center.

Starbucks

Bottoms up, coffee drinkers! A smallish Starbucks—located directly across the street from the Hilton, at the northeast corner of Avenue of the Americas (Sixth Avenue) and West Fifty-third Street—offers free wireless internet to its guests. No special password is needed—just connect when you open a browser. This location may be closed on Saturday and Sunday, according to the company. Another Starbucks a few blocks north, on Sixth Avenue between West Fifty-sixth and Fifty-seventh, has free access according to the company, but this is unconfirmed (meaning I did not enter the store and ask).

Other Area Hot Spots

OpenWiFiSpots, which calls itself a comprehensive directory of free wireless hot spots, lists eighty-two free sources near the Hilton in midtown Manhattan, including hotels, cafés, and restaurants. This website, however, includes the Hilton, which we know is not free.

Revised on February 4, 2011.

CAA recognizes the lives and achievements of the following artists, scholars, photographers, museum directors, and other important figures in the visual arts. Of particular interest is a thoughtful text on the art historian and entrepreneur Ronald V. Wiedenhoeft, written especially for CAA by his wife, Renate Wiedenhoeft.

• Günter Behnisch, a German architect best known for creating the 1972 Olympic park in Munich, and whose last project was the Akademie der Künste in Berlin, died on July 12, 2010. He was 88
• Robert F. Boyle, a film production designer who worked with Alfred Hitchcock on North by Northwest and The Birds, died on August 1, 2010. He was 100
• Corinne Day, a British fashion photographer who is credited with discovering Kate Moss, and whose work is in the collections of the Victoria and Albert Museum and Tate Modern, died on August 27, 2010. She was 48
• Corneille, a Dutch expressionist painter who helped establish Cobra as a major postwar European art movement, died on September 5, 2010. He was 88
• Charles Fahlen, a California-born sculptor who taught at the Moore College of Art and Design in Philadelphia from 1967 to 2000, died on July 28, 2010. He was 70
• F. W. Bill Kent, a professor emeritus at Monash University in Melbourne, Australia, who specialized in Renaissance Florence and was an authority on Lorenzo de’ Medici, died on August 30, 2010
• Satoshi Kon, an anime filmmaker and comic-book artist whose work transcended popular culture, died on August 24, 2010. He was 46
• Herman Leonard, a photographer who documented jazz singers and musicians—from Ella Fitzgerald and Billie Holiday to Dizzy Gillespie and Miles Davis—in New York and Paris clubs in the 1940s and 1950s, died on August 14, 2010. He was 87
• Doug MacWithey, an artist based in Dallas, Texas, who worked in drawing, collage, and sculpture, died on August 26, 2010, at the age of 58
• Christoph Schlingensief, a film and stage director, actor, and artist who was chosen to represent Germany in the next Venice Biennale, died on August 21, 2010, at the age of 49
• Shirley Thomson, former director of the National Gallery of Canada and of the Canada Council for the Arts, died on August 10, 2010, at the age of 80
• Ronald V. Wiedenhoeft, an art historian whose documentary photographs formed the basis of Saskia, a provider of images for the teaching of art history, died on August 14, 2010, at age 73. Read a special obituary on him by Renate Wiedenhoeft

Read all past obituaries in the arts on the CAA website.

This month, CAA News transforms from a bimonthly PDF download into a weekly email. The new format is an excellent way of getting compelling CAA information more quickly; it also offers news essential to your life and career as an artist or scholar. If CAA has your email address, you will automatically receive CAA News every Wednesday, beginning September 8.

Each email newsletter begins with short timely notices about CAA programs and publications, grant and fellowship opportunities, conference updates, advocacy work, and more. Links to the CAA website allow you to read the full articles, and social-networking buttons let you easily share these links with friends and colleagues.

Keeping you up to date with the larger art and academic worlds, CAA News features selected headlines from national and international newspapers and magazines on topics that matter to you: publishing and teaching, contemporary art and its practice, new art-historical research, and copyright and intellectual property, to name a few.

In addition, CAA News brings you something different each week: fresh listings from Opportunities, links to recently published reviews in caa.reviews, news from our many affiliated societies, and monthly listings of Member News, which present a record of your solo exhibitions, books published, fellowships received, and more (starting September 8). As we get closer to the 2011 Annual Conference and Centennial Kickoff, immediate updates on special events and member-discount rates will arrive in your inbox.

To keep CAA News out of your spam folder, you may need to set your email preferences to allow messages from caanews@collegeart.org. If you wish to change your email for the newsletter, or to unsubscribe from it, you can do so at http://multibriefs.com/briefs/caa/index.php. To give your email address to CAA, log into your CAA account and update your Contact Info.

Comments, questions, or suggestions? Write to Christopher Howard, CAA managing editor.

Each month, CAA’s Committee on Women in the Arts produces a curated list, called CWA Picks, of recommended exhibitions and events related to feminist art and scholarship from North America and around the world.

The CWA Picks for August 2010 include two exhibitions of folk art: works by American women in the eighteenth and nineteenth centuries presented at the American Folk Art Museum in New York, and by contemporary practitioners from around the world, displayed at the Museum of International Folk Art in Santa Fe, New Mexico. At the opposite end of the spectrum, Columbia College Chicago is hosting a panel of five women at the forefront of gaming theory and practice, called “3G Summit: The Future of Girls, Gaming and Gender.” Lastly, closing this month at the Guggenheim Museum in New York is an exhibition devoted to the art-education practices of Hilla Rebay, the first curator and director of the Museum of Non-Objective Painting.

Check out past CWA Picks archived at the bottom of the page, as exhibitions highlighted in previous months are often still on view.

According to a new report published by the National Endowment for the Arts (NEA), Americans who participate in the arts through the internet, television, radio, computers, and handheld devices are almost three times more likely to attend live arts events than nonmedia participants (59 percent versus 21 percent). Users of technology and electronic media also attend, on average, twice as many live arts events—six versus three in a single year—and see a wider variety of genres.

The report, called Audience 2.0: How Technology Influences Arts Participation, looks at who is participating in the arts through electronic media, what factors affect their participation, and the relationships among media-based arts activities, live attendance, and personal arts creation. Audience 2.0 has determined that media-based arts participation appears to encourage—rather than replace—attendance at live arts events. Among the conclusions:

• Education continues to be the best predictor of arts participation among adults, both for live attendance and through electronic media. Survey respondents with at least some college education were more likely than respondents with a grade-school education to have used electronic media to participate in the arts
• For many Americans—primarily older Americans, lower-income earners, and racial/ethnic minority groups—electronic media is the only way they participate in arts events
• The 15.4 percent of US adults who use media only to engage with the arts are equally likely to be urban or rural
• Twenty-one percent (47 million) of all US adults reported using the internet to view music, theater, or dance performances in the last twelve months. Twenty-four percent (55 million) obtained information about the arts online

Audience 2.0 expands on the research published in the NEA’s 2008 Survey of Public Participation in the Arts (SPPA). This survey, conducted in partnership with the US Census Bureau and released last year, is the nation’s largest, most representative study of arts participation among American adults. Since 1982, SPPA has measured American adult participation in activities such as visits to art museums or galleries and attendance at jazz and classical music concerts, opera and ballet performances, and musical and nonmusical plays. SPPA categorizes these as “benchmark” activities, providing a standard group of arts activities for more than two decades of consistent trend analysis. Audience 2.0 takes a closer look at how audiences use electronic media to engage in these benchmark activities.

In an agency first, the new report is being released only in an electronic format that includes multimedia features. Chairman Rocco Landesman’s video greeting is accompanied by a video commentary on the report from Sunil Iyengar, NEA director of research and analysis. Additionally, each chapter will open with videos from arts organizations that represent each of the benchmark disciplines tracked by the report. Arts organizations can use findings from Audience 2.0 to better understand their audiences’ uses of technology and electronic media.

As part of its ongoing analysis of SPPA data, the NEA is making raw data and detailed statistical tables available to researchers and the public. The tables highlight demographic factors affecting adult participation in a variety of art forms.

The Getty Research Institute (GRI) has announced an agreement with ProQuest, an information-technology firm supporting global research, that will allow ProQuest to take over the indexing of the International Bibliography of Art (IBA), better known as the Bibliography of the History of Art (BHA). The agreement will not only provide a secure future for a resource considered central to the study of art history, but will also assure its continuing development and its accessibility to researchers around the world.

ProQuest will distribute IBA content created by GRI—covering the years 2008 through 2009—and build on it by adding new index records going forward. ProQuest will retain the editorial policies that made IBA a trusted and frequently consulted source in the field, continuing to provide full abstracts and subject indexing for its wide international and multilingual range of periodicals, monographs, and catalogues. Over time, ProQuest intends to expand coverage of art from Asia, Latin America, and Africa, in response to requests from art librarians and researchers. Since its founding in 1972, the bibliography has mostly covered European and American art from late antiquity to the present.

ProQuest, which operates expansive digital archives of newspapers, dissertations, and journals, also publishes specialist databases in the arts, such as ARTbibliographies Modern, Design and Applied Arts Index, and the International Index to Music Periodicals. Further, BHA, discontinued at the end of 2007, has long been available to researchers through ProQuest on the CSA Illumina platform. Users will welcome IBA with its expanded coverage and similar format, and ProQuest will enable IBA to be cross-searched with these other major bibliographies and complementary full-text resources.

As part of the ProQuest family, IBA will benefit from ProQuest’s acclaimed editorial operations, with its emphasis on subject expertise and manual indexing for specialist arts and humanities resources. ProQuest will make existing IBA content available immediately, and at the same time bring the database up to date—no additions have been made to it since December 2009—and continuing to add new records. IBA will migrate to ProQuest’s all-new platform in early 2011.

GRI has supported bibliographical services for art history since 1981, when it took over the International Repertory of the Literature of Art (RILA), which was then housed at the Sterling and Francine Clark Art Institute after many years. Beginning in 1985, GRI partnered with the French Centre National de la Recherche Scientifique (CNRS), which produced the Répertoire d’Art et d’Archéologie (RAA), a publication similar to RILA. RILA and RAA merged to become BHA, which appeared first in 1991, published by CNRS’s database production and distribution arm, the Institut de l’Information Scientifique et Technique (INIST).

BHA was produced jointly by GRI and INIST until 2008. Thereafter, GRI continued producing records under the new name of IBA before budgetary constraints led to the difficult decision to discontinue its support earlier this year. At this time, GRI made IBA (as well as the historical data in BHA and RILA) freely available on its website, so the historical data would continue to aid researchers. Thomas Gaehtgens, GRI director, confirms that “we will continue to make the historical BHA and RILA data available on the website free of charge to researchers who access it.”

Representatives from CAA participated in a pair of meetings on “The Future of Art Bibliography in the 21st Century,” held in April 2010 at the Metropolitan Museum of Art in New York. Organized by the Getty Research Institute in Los Angeles, with a grant from the Samuel H. Kress Foundation, two-day event invited participants to discuss the advantages and disadvantages of the Bibliography of the History of Art (BHA), and to develop ideas for an art bibliography that moves beyond current models.

Christopher Howard, CAA managing editor, has written a report on the April meetings, and the Getty has published a brief summary.

Lee Rosenbaum, an arts journalist, has brought the recent controversy over the Getty Research Institute’s plans for the Bibliography of the History of Art (BHA) to a wider audience in today’s Wall Street Journal. The Getty had announced earlier this month that it was placing the formerly subscription-based service online for free use to scholars worldwide. It will, however, cease updating the resource, which has been in operation since 1972.

In her piece, Rosenbaum talks to Paul B. Jaskot, an art historian at DePaul University and president of the CAA Board of Directors, among other key scholars and librarians in the field. She also updates her ArtsJournal blog with information and quotes that did not make it into the published piece.

A Getty task force will convene a meeting today at the Metropolitan Museum of Art in New York, and CAA representatives will be present. Look for a summary of the meeting later this week.

Several organizations, including the American Society of Media Photographers, the Professional Photographers of America, and the Graphic Artists Guild, have filed a class-action lawsuit against Google, claiming that by scanning millions of books the internet company has infringed on their members’ copyrights and failed to compensate them for their work.

According to Miguel Helft of the New York Times, the new lawsuit is separate from the Google Book Settlement between the company and a consortium of individuals and authors’ organizations. That decision is pending in the US District Court for the Southern District of New York. Helft writes, “Google’s settlement with authors and publishers largely excluded photographs and other visual works. Legal experts said it was not unexpected that Google would face claims from groups that were not part of the original case and are not covered by it.”