Welcome to our revitalized Member News series! Each month we’ll be spotlighting a CAA member and learning about their work, inspirations, and thoughts on the field.
CAA member Ryan Seslow is an artist, graphic designer, web designer, illustrator, and a professor of art and design living and working in New York. As a visual artist he works with a synthesis of applied arts, new media, digital and internet art, and as a professor of art and design he’s been teaching various hybrid studio art, digital art, graphic design, digital storytelling, communication technology, and web design courses for graduate and undergraduate level programs between CUNY York College, CUNY BMCC, LIU Post, and Iona College since 2004.
CAA media and content manager Joelle Te Paske corresponded recently with Ryan via email to learn more about what he’s thinking about and working on.
Joelle Te Paske: Thanks so much for taking the time to chat with me. So first things first – where are you from?
Ryan Seslow: I’m from New York, born and raised. My family migrated from Manhattan to Brooklyn and Queens, then to Long Island. My family owned a business and lived in Williamsburg for many years, then moved to Canarsie. I spent most of my childhood there and then worked for the family business for many years before college and grad school.
JTP: You’re an artist, a designer, and a professor. What drew you to the work you do?
RS: I have always been an artist. I knew it by the time I was 3 years of age because I loved to draw. I could do it for hours all by myself. By the time I was 5 years of age I was making friends in school by drawing cartoon portraits of them, it made everyone laugh. I’m also Deaf and hard of hearing, so having a visual language was the overcompensation for not hearing. I loved to learn but it was at first out of visual necessity. This became an unconventional practice and the discovery of the interconnections of all things creative. This is the short answer of course, but I have always believed in the creative human potential and how we have a responsibility to express and share it.
RS: CAA was always mentioned and shared by colleagues. I started teaching in 2002 as a graduate assistant in my MFA program so CAA was the go-to resource for finding information on jobs and what teaching artists were doing in the field both after their MFA studies and professionally. I joined in 2002 as a graduate student and then became a member on and off over many years now. I’m guilty of letting memberships lapse in-between but CAA has always been there to welcome me back!
I always wanted to know what other people like myself in the field were doing, how they were doing it, and why? I like to watch things from afar for a while, to understand them and experience them in my own way. This is my learning process. This always leads to ideas on how I can contribute to a larger whole. Sometimes its strangely immediate but it’s usually over time.
JTP: Have you attended CAA conferences?
RS: I haven’t, shame on me! Although I do follow the event, especially since so much of it is accessible online. Many of my teaching colleagues have attended and given presentations over the years in the various cities it takes place. I have always had the vicarious experience of hearing their stories and reading the reflection blog posts. Social media certainly helps this even more now. Perhaps 2019 is my year! Perhaps its time to create a presentation to share my last 14 1/2 years of teaching art and design at the college level from the perspective of a Deaf and Hard of Hearing professor.
JTP: What do you appreciate about being a CAA member? Where would you like to see CAA improve?
RS: I appreciate CAA’s website and the resources that are available there. I appreciate the art journals and other publications, plus the updates that CAA is currently making. I feel that I can reach out to you guys and know that I will get a response, support, and guidance. That’s huge, and I am very grateful for that.
CAA can easily expand upon their presence by collaborating with members in various capacities. I would love to curate an online exhibition on CAA’s website of art history remix GIFs. Or a “pass the buck” internet art collaboration that allows members to contribute and participate and also incorporate their students into the project. Transparency and equality, let’s emphasize this more through community. Art education and the college art education platform is in tremendous flux right now. CAA is in a great position to be a bridge between the institutions, teaching artists and professors, students and the communities they serve, and beyond.
JTP: What’s exciting to you right now in academia?
RS: What excites me most in academia right now is the students, first and foremost and always the students. I love my students and I love re-emphasizing why I am a teaching artist at the college level. I’m there to help create a learning platform both inside and outside of the classroom—instilling skill sets that can be learned, displayed, and applied into the non-static world (meaning NOW, not just when they graduate). This includes public collaborative projects between my campuses and regular use of websites and the internet for dialogue, exhibition, and posterity. The internet and mobile applications make it easy to constantly be an example and share use-value-based content.
I’m excited to see how teaching artists are stepping up to the challenges of a changing academic world. Less and less full-time positions are being created and less people are majoring in various art and design programs. How does this effect both full-time professors and adjuncts? What will this lead to? I’m noticing things—many more integrated and experimental special topics courses are being created to test for interest and collaboration. Companies are partnering with colleges and universities to see “how” they can work together. Good or bad, we shall see, but either way it is a continued time of learning and taking responsibility for solving problems. This forces us to make assessments about how to respond. It is our responsibility to be of service regardless of what gets cut.
JTP: What’s not so exciting in academia?
What is not so exciting, well—the chronic complaining about how things used to be in academia. People need to move on. Chronically complaining about the past and what once was is a waste of energy. The past is the past, nothing is ever static, everything changes—art, artists, art movements, art departments and higher learning institutions. We are always in a state of change and we need to remind each other of this. It is so much easier to operate from the past because it is familiar, but we don’t grow that way.
We need to put more emphasis on the imagination and create potential to generate new solutions. We are always in a position to seek and create new solutions through collaboration and community building. This can also be created outside a single institution. Why not form new relationships and collaboratively solve problems with institutions in other countries, for instance? There is much to learn from contrast. Whether it be social, political, environmental, emotional, or psychological. We need to include and consider others in everything we do.
JTP: I love that you mention the importance of empathy and compassion for the future of education on your website. Can you speak more about that?
RS: I would be happy to! As I mentioned above, what excites me the most about teaching in higher education (and being a teaching artist in general) is the students. I love people. I’m interested in the psychology of learning and how that simulates itself through art, creativity, and design in a group practice.
Before any new class begins I have the highest level of respect that each student is first and foremost a beautiful human being. Professors are not better or higher than their students. We were all undergraduate students at one point. When I was in undergraduate college, I struggled as a Deaf and Hard of Hearing person attending an all-hearing university. I was afraid to ask my professors to speak louder or more slowly or clearly. Sadly, many of them were standoffish and strict with outdated rules from the 1940s (I was in college in the early 1990s). There was a lack of approachability and human rapport that I later used as the contrast—that was who I would never be. Of course, this was not all of my professors, but there were quite a few.
I set the entire tone and rapport of the 15-week semesters in the first class by meeting my students and learning about each other. The classes are not about me. Before I say one word about the course content and subject, the class meets each other as human beings, they share snippets of their lives, interests, and why they are taking the course. We talk about life, creativity, the imagination’s potential, and how to create a classroom dynamic where we are all collaborators of a whole. This has never once failed and continues to help me learn so much about myself, and the infinite number of ways that others see and experience the world.
In order to be effective teachers we must become masters of communication. This means we must master the art of listening. It’s not simply “hearing” what someone is saying, but learning how to be attuned and aware that listening goes far beyond the functions of the ears. It means being fully present with out the distractions of one’s ego making judgments and counteracting what is being said by the person speaking or communicating. As a Deaf and Hard of Hearing person working mainly in hearing persons environments it has been a very long road for me to learn how to communicate in various ways. The hearing world can learn a lot from the Deaf and Hard of Hearing community on this. I’m currently working on ways to share more about this with my colleagues, students and administrators.
JTP: That’s terrific, thank you. Could you share some of the projects you’re working on now?
RS: Ah, many, many things, here are a few:
1. I have an online exhibition running right now. I created this specifically for my website to show the potential of creating works for the internet first – then see how they can transcend into otherness. (Otherness meaning a non-commissioned public space a gallery or a museum.) I’m doing this because the internet is incredibly accessible, versatile and has so much potential for sharing of art.
This exhibition is titled: Communicating My Deaf & Hard of Hearing Self – Part 1
All of the pieces have been created in 2018 and consist of digital illustrations, collage, animated GIFs, video art, and written words. Fragments of manipulated grainy images and re-compositions display the variation and extension of each piece. The works are visual representations for the regular distortions, missing of sounds, words, and overall communication I experience daily. They represent how I feel, react, overcompensate, and adjust to communication in various interactions. They are intended to be both subtle, confusing and difficult to follow. Communicating My Deaf & Hard of Hearing Self – Part 1 is the first installation in the series. It is first published here on my website and shared via my social media platforms. I am seeking to extend this body of work into a lecture series for both the Deaf, Hard of Hearing and the Hearing world.
2. One of my favorite pedagogical models is a class blog. I see a lot of power and potential in it. I teach between two CUNY colleges here in New York and just submitted a wonderful cross-campus class collaboration to the New York Public Library’s zine collection. The students applied their new skill sets by interacting with each other using a class blog via the CUNY Academic Commons (where I’m a sub-committee member). You can view the entire project here.
4. I have a new mural at the Welling Court Mural Project in Astoria, NY. The image attached to this interview is of me and my completed mural from this past June, 2018. You can read more here.
JTP: What would you like to see more of in the field regarding resources for Deaf and Hard of Hearing professors?
RS: I would very much like CAA’s help. We could create a network and resource for connecting with more Deaf and H of H teaching artists and professors. It would be great to initiate this via this interview and build off of it.
JTP: Who is your favorite artist or designer? Favorite exhibition?
RS: Ah, the hardest of all questions! I’m constantly redefining and integrating new and old favorites across all levels of influence and inspiration. I tend to like various things and discover so much retroactively through continuous research.
My longest running artistic influence is by far the 1980s New York City subway graffiti movement and many of the artists that pioneered it. Artists like Doze Green, Dondi White, Futura, Lady Pink, John Fekner, and Lee Quinnones are just a few to name. I got into writing graffiti in 1984 and it always stayed with me. I share the history of graffiti in every course I teach.
There is context and influence to be shared across all art and design disciplines. I also love the work of Takashi Murakami, Kara Walker, Cai Guo-Qiang, Yayoi Kusama and Matthew Barney (to name a few). Matthew Barney’s retrospective at the Guggenheim Museum in 2003 was, and still is, one of my favorite exhibitions of all time. I say this because not only did I love the variety of interconnected works in film, photography, sculpture, drawing, and installation, but the museum space itself was incredibly important and complementary to the entire exhibition. I saw the show 8 times in total.
I’m a big Paul Rand fan in the design world, as well as Joshua Davis and Debbie Millman (and her podcast Design Matters).
One of my favorite books is called Viral Art written by the multi-talented author, curator, and critic RJ Rushmore. You can download or read this book online. It’s a fantastic peek into the evolution of how graffiti and street art and their practitioners now use the internet and various web tools as a means of transcending the art form.
JTP: Thanks, Ryan! It’s great to connect with you and learn about your work. Let’s keep building resources.
This interview has been lightly edited for clarity.
A senior scholar recently received a notice asking her to renew her CAA membership. She nicely wrote back to our membership department and suggested that perhaps CAA could offer a complimentary lifetime membership to those who had been long-time members. It was a good idea.
We brought her suggestion to the Board of Directors and they unanimously agreed. Beginning immediately, all CAA members who have been members of the organization for more than 40 years (not consecutively) shall receive a lifetime membership in CAA.
Members should have a current active membership to receive this benefit. Qualified members, please contact membership services Member Services or call 212-691-1051, ext. 1. to upgrade your membership.
Remember, this is your organization and your suggestions and feedback are how we make it stronger together.
Artists and scholars are members of CAA because of the connections they form at our Annual Conference. But putting together an Annual Conference is no small task. The process to plan and execute the CAA Annual Conference takes the CAA staff and committees nearly a full year. You might have noticed that we opened the portal for session submissions for the 2019 Annual Conference in New York, February 13-16, just five days after we ended the LA meeting.
We received nearly 1,000 submissions for the 2019 Annual Conference – the highest number in CAA’s history. We had more than 4,200 attendees in Los Angeles. We hope to see more than 5,000 in New York.
As we set ourselves to planning CAA 2019, we take into consideration your ideas and comments. Working from feedback from the Annual Conference survey and from conversations in person we will make the NYC meeting even better.
Here is what you told us:
- More than 73% were satisfied with the 2018 Annual Conference, so that means we will keep doing a lot of the things that we do. However, many of you hated the Los Angeles Convention Center and the distance from the hotels. This is not something we plan to do again.
- There were a few problems with onsite registration and we are re-thinking how we perform this function. Even though we have a seasoned staff in this area, it is only something done once a year and we only do it for three days. That is not an excuse; it’s just that we have to get it perfect on the first day.
- About two thirds of those who attended were art historians or curators. One third of you are practicing artists. 76% of you are associated with a college or university. That tracks closely to our overall membership. Designers have said that they want to participate and you will see that we will have more offerings for them in the years to come.
- You like the phone app and the positive, welcoming feeling at the Annual Conference and the diversity of sessions. The 90-minute sessions seem to be popular. Many of you like the off-site events and enjoyed going The Getty, The Broad, The Huntington Library, and The Hammer Museum. We will continue to offer off-site events. The Book and Trade Hall remains popular. You liked hearing Catherine Opie and Helen Molesworth.
- Some of you were frustrated that there were several sessions happening on the same topic at the same time. We hate when that happens as well, and we do everything we can to avoid it. The problem is that some panelists have no flexibility in their schedule and we are forced to offer the sessions at the times the panelists can be there. But trust us, we will continue to try to not schedule topics on the same topic at the same time.
- Some felt that there was a broad diversity of topics while others felt that there were not enough sessions on their area of concentration. We want to hear more about this. Let us know how we can make this better. Remember – the members are the ones who control what is offered by submitting on a variety of topics.
- Many of you want more professional development sessions. We hear you and we will be offering more in NYC. Stay tuned for a Professional Development Survey coming your way soon. We are also making it a goal to have childcare at the New York meeting!
- Many didn’t like the fact that the Los Angeles Convention Center only had one coffee cart. It did not help that it was poorly staffed and closed mid-afternoon (Yikes!). The NYC Hilton will have many more options, and so will the immediate vicinity outside the Hilton hotel.
- On one hand, many of you liked being in LA; others hated the city and felt it was too expensive and spread out.
- While we can all use more chairs and places to sit, an overwhelming 83% of you believed that you had an opportunity to network with colleagues – one of the most important reasons we offer the Annual Conference.
- 83% of you are considering coming to NYC and we look forward to seeing you!
Keep telling us what you think. It’s how we put together a great Annual Conference.
posted by CAA — May 16, 2018
CAA is proud to announce a new suite of benefits for its members starting today. As an association concerned with supporting all aspects of its members’ lives, we are adding a series of benefits to your CAA membership that help you when you travel, with your insurance needs, and with technology and design programs. The full details about these new membership benefits will be behind the CAA membership wall shortly, but they are also ready to use now at the links below.
If you have any questions don’t hesitate to contact our membership services team at Member Services at 212-691-1051, ext. 1.
Get discounts on your room rates when you stay at a Hilton or any of the hotels in the Hilton Hotel family.
Learn more about Hilton hotel discounts
- 10% discount at Hilton full service hotels, and 6% discount at Hilton focus service hotels, non-last room availability (NRLA) Discount
- Full Service hotels include: Waldorf Astoria Hotels & Resorts; Conrad Hotels & Resorts; Canopy by Hilton; Curio by Hilton; Hilton Hotels & Resorts; DoubleTree by Hilton; Tapestry by Hilton; and Embassy Suites by Hilton
- Focus Service Hotels include: Hilton Garden Inn; Hampton by Hilton; Homewood Suites by Hilton; Home2 by Hilton; and Tru by Hilton.
*Discounts not available during CAA Annual Conference
Get discounts on Home, Auto, and Dental insurance with MetLife.
Learn more about Home and Auto discounts
Learn more about Dental Insurance discounts
CAA members can take advantage of two discounted Adobe programs. Adobe Creative Cloud includes the full suite of Adobe programs to give you every tool in your design toolbox.
Adobe Acrobat Pro gives you complete flexibility with PDF documents, from editing to e-signatures and more.
Association for Art History
Join the Association for Art History, the UK subject association for those involved with art history and visual culture, at a 20% discount on membership.
Please contact Association for Art History directly at +44(0)20 7490 3211 or firstname.lastname@example.org and have your CAA membership card or CAA member ID ready.
Learn more about the Association for Art History
posted by CAA — April 02, 2018
Has your CAA membership lapsed? Spring is the time to come back to CAA. Rejoin CAA during the month of April and get 25% off any Tiered membership level.
We are working hard to add new member benefits all the time, like publisher discounts, hotel discounts, discounts on legal services, and website design and printing services. We are speaking out on behalf of the profession to ensure the visual arts remain strong and vibrant. We are making CAA the organization every professional in the visual arts must be part of.
Plan on participating in the 2019 Annual Conference, February 13-16, 2019? Submissions are due April 27, 2018.
Join your colleagues and fellow professionals in creating the programming for the largest gathering of art historians, artists, designers, curators, arts administrators, museum professionals, and others in the visual arts.
Offer valid from April 1–April 30, 2018 to all individual lapsed members for a one-year membership. Log in to your CAA account to view the discount code. Code will be visible after log in from April 1–April 30, 2018.
Questions? Contact Member Services at 212-691-1051, ext. 1.
The holiday season is here and we’re celebrating with two of our favorite things—art and books!
ARTBOOK | D.A.P.
Edited with text by Mark Godfrey, Zoé Whitley. Contributions by Linda Goode Bryant, Susan E. Cahan, David Driskell, Edmund Barry Gaither, Jae Jarrell, Wadsworth Jarrell, Samella Lewis
Bringing to light previously neglected histories of 20th-century black artists in the era of Malcolm X and the Black Panthers.
The award-winning author of Thinking with Type and How Posters Work demonstrates how storytelling shapes great design.
Edited with interview by Francesca Pietropaolo
Collected for the first time in a single volume, read interviews conducted by museum curator, academic, editor and writer Robert Storr.
UNIVERSITY OF CHICAGO PRESS
Acknowledging that art is a universal part of human experience leads us to some big questions: Why does it exist? Why do we enjoy it?
Andrés Mario Zervigón
Exploring the evolution of photomontage from an act of antiwar resistance into a formalized political art in the Weimar Republic.
The 2006 collaboration between Whitechapel Gallery and The MIT Press combines affordable paperback prices, good design, and impeccable editorial content.
posted by CAA — September 19, 2017
Back in 2014, CAA set aside our old income-based membership system, replacing it with a new system based on the amount of benefits members wanted.
The program was a success, but we discovered that some of the language caused confusion. Starting this fall, we are launching the final refinement of the membership program that will eliminate confusion about the membership levels.
In addition, we will begin rolling out new membership benefits for our 10,000 individual and institutional members.
Understanding that many members face shrinking departmental budgets, for the fourth consecutive year, membership rates will not increase (in fact, we are reducing the student rate). We do this while at the same time planning for one of the largest Annual Conferences ever.
In February 2018 in Los Angeles (February 21-24), we have already scheduled more than 300 sessions and meetings, involving over 1,400 CAA members who will serve as discussants, presenters, and chairs. Additionally, we have secured a seemingly endless schedule of events for CAA members at LA-based cultural and educational institutions, including The Getty Center, The Broad, LACMA, The Skirball Cultural Center, Norton Simon Museum, The Huntington, UCLA, USC, Otis College of Art and Design, Santa Monica College, 18th Street Arts Center, and many, many others.
Registration for the 2018 CAA Annual Conference will open in early October.
New Membership Levels
Starting on October 1, 2017 you will see three individual membership levels on the CAA website membership page and in our membership materials. You can choose a membership level based on where you are in your career and whether you expect to go to the Annual Conference.
Tier One Membership
$195 annually/$380 two years (formerly Premium Membership)
This level is designed for working professionals in the myriad visual arts fields that support the association and expect to attend CAA’s Annual Conference. You will receive a 55% discount on your early Annual Conference registration. You will still receive one of the two flagship CAA publications (Art Journal or The Art Bulletin), along with all other benefits.
Tier Two Membership
$125 annually/$245 two years (formerly Basic Membership)
This level is designed for professionals for whom the Annual Conference is not a priority. Tier Two members get a 20% discount to the Annual Conference and receive one of the two flagship CAA publications (Art Journal or The Art Bulletin), along with all other benefits.
Tier Three Membership
$80 annually/$155 two years (formerly part-time, independent, retired)
Tier Three Student
$50 students annually/$95 students two years
Both Tier Three levels are designed for independent artists, student, designers, scholars, art historians, part time faculty, retired and others working independently, without full-time employment. It has all the same benefits of Tier One Membership, including the 55% early Annual Conference discount. Students will be charged only $50.
You don’t need to do anything right now! Upon joining or renewing you will be asked to choose one of the new levels. All of the Donor Circle membership levels (Sustaining, Patron, and Life) will remain the same.
In case you hadn’t noticed, we’ve tried every way we can to discover what you need from your professional association. We know you want to advance your career, access to exceptional scholarship, networking opportunities and advocacy. Without a doubt, finances remain an issue for many members.
We are happy to announce that starting October 1, 2017 we are able to offer CAA members the following new benefits. Sign into your CAA member account after October 1 to make purchases or view discount codes.
- Lynda.com – The largest online learning network with more than 3,000 courses in design, photography, web development, marketing, and business is now available to CAA members at a significant discount. Members will have access to the full online premium program for $99 annually (regularly $360 annually).
- Legal Services – We have secured the services of a major Maryland/DC law firm, Whiteford, Taylor, and Preston, which works with other Learned Societies, to assist CAA members at a reduced rate ($275/hour). Whether you need help reviewing a book contract, employment agreement, gallery agreement, or fair use legal opinion, as a CAA member, you can now call on a law firm that knows the field.
- Making Fair Use Real – CAA is a leader in the field of fair use of visual images in education and visual arts publishing. We have worked to educate the field and publishers about the permissions that may not be needed for copy written images to support your academic writing. Teaming up with the Whiteford, Taylor, and Preston law firm, we have secured a New York-based insurance agency, C & S Int’l Insurance Brokers Inc., to issue Errors and Omissions insurance policies to protect you and your publisher. It can save you thousands of dollars in permissions for your academic publications.
- Humanities Commons – More than a year ago, we partnered with the MLA (Modern Language Association) to create web-based discussion and resource hubs known as Humanities Commons (public) and CAA Commons (CAA members only). The platforms offer our members the chance to easily share research and resources with scholars in their field and in other fields.
- More Publisher Discounts –It seems we just can’t get away from owning books. We have heard from members that they would like more book discounts. Several publishers/distributers have come forward to offer discounts to CAA members. University of Chicago Press is now offering 20%, Artbook|D.A.P. is offering 25% off online sales, and MIT Press will offer 25% off to members. Sign into your CAA member account on October 1 to view discount codes. More publishers will be announced soon.
- CAA’s Cultural and Academic Network – We know that you rely on the Annual Conference to promote your programs, network in the field, and attract new faculty and program participants. Starting this year at the Los Angeles Annual Conference (February 21–24, 2018), we will completely revamp CAA’s Candidate Center and offer your college or university a better opportunity to promote programs, connect with alumni and colleagues, and to interview prospective faculty members, all at a very affordable price. Say goodbye to the “hotel room” interview!
- An Office in New York City – Many members have told us that when they travel to NYC on business, either to see exhibitions or to conduct interviews, they would like a place to conduct an interview, catch up on email or make a few phones calls. We now have an office for out-of-town members to use at the CAA offices at 50 Broadway.
We are also presently working to secure affordable dental, vision, and health care for our members who presently do not have coverage. We see how difficult the healthcare market is for employees, for employers, and for just about anyone, and we want to do our share to help our members with this challenge. In addition, we are talking to other professional organizations about joint memberships at reduced prices. We hope to have more information to announce later this fall.
All of the other CAA membership benefits remain intact. You will continue to have access to our insightful scholarly publications, such as The Art Bulletin, Art Journal, Art Journal Open, and caareviews. You will still get access to JSTOR, CAA’s online jobs portal, and additional Taylor & Francis publications. Your discounts to art fairs and art magazines and your corporate discounts (car rental, convention hotels, and airfare) will all continue without change. In a new agreement, the International Fine Print Dealers Association will offer our members half-off admission tickets to their Fine Art Print Fair every year. Shortly, newsletter subscribers will also find a new Monday newsletter dropping into their inbox that focuses more on advocacy, jobs, and opportunities. CAA Conversations, our video interview series, will soon grow to include podcasts focusing on issues in the field of visual arts and teaching. Outside of member benefits, the CAA/Getty International Program thrives, as do our Distinguished Awards, publishing grants, and the Professional-Development Fellowship Program. We are, as is often the case, grateful to the Andrew W. Mellon Foundation for the continued support of RAAMP – the program to provide resources to academic art museums. Additionally, we continue to bring the Code of Fair Use in the Visual Arts to academic communities throughout the US and abroad.
We will continue to advocate for the field on the local, national, and international level, never afraid to take a stand on tough issues. We see the budget battle for federal funding for the NEA, NEH, IMLS, and all agencies that support the arts and humanities as a critical to our members. The content in the Annual Conference and in our publications remains exceptionally high. We are at the beginning stages of a rebranding process, which we plan to unveil at the 2018 Annual Conference in Los Angeles. We are working on new standards and guidelines which aid art historians, artists, and designers. We have been doing all of this while we have worked to streamline the administrative staff and keep the association as nimble as possible to meet the needs of the members.
It goes without saying: Your input is important—Keep it coming!
Dear CAA members,
For the past year we have watched conversations grow in discussion groups on CAA Connect, our online social community for members. We see how our members want to stay in touch and develop ideas around the visual arts and their work outside of our Annual Conference. Our CAA-Getty International Program Scholars, for example, have a discussion group with 280 posts and twenty library items. Our Resources for Academic Art Museum Professionals (RAAMP) group has over 100 resources posted.
Now it’s time to expand the network. CAA is joining forces with the Modern Language Association (MLA) to become part of their Humanities Commons platform, and CAA will also have its own CAA Commons network as part of the partnership. The two networks (Humanities Commons and CAA Commons) will serve different purposes for our members, but we believe each will be of value. Humanities Commons is an open-access network where one can create a professional profile, discuss common interests in groups, develop new publications, and share work. The Humanities Commons network is open to anyone. CAA Commons will be the CAA member portal on the same network, where CAA members only can start discussion groups, contribute to discussion groups, and post resources for professionals in the visual arts.
CAA is not alone in joining Humanities Commons. Other members include The Association for Slavic, East European, and Eurasian Studies (ASEEES), Association for Jewish Studies (AJS), and the Modern Language Association (MLA), of course. Going forward we expect many more associations and organizations to join the network, creating a dynamic, interdisciplinary forum that CAA members can explore and use to expand the reach of their professional work.
Features of CAA Commons and Humanities Commons
- Join discussion groups or create your own on CAA Commons or on Humanities Commons
- Browse the Core Repository or deposit your own work: A collection of papers, images, and materials with open-access
- Create your own WordPress Website
Logging in to CAA Commons and Humanities Commons
Which email should I use to create an account?
If you do not have a Humanities Commons or CAA Commons account, you must create one. The CAA Support page can guide you through creating an account. Please note when creating an account, you must use your primary CAA member email address. If you do not remember this email address please log in to your CAA account to check.
I already have a Humanities Commons account
If you already have a Humanities Commons account, then you will automatically be added to the CAA Commons platform and have full access.
Please note that you DO NOT use your CAA Member ID to log into Humanities Commons or CAA Commons.
For more information about creating an account and extensive FAQs about CAA Commons and Humanities Commons, please visit the CAA Support page.
By joining CAA Commons, you are accepting the Terms & Conditions of the platform.
If you have any questions, please contact us at email@example.com.
Chief Executive Officer
Humanities Commons, Modern Language Association
After nearly a decade of partnership with CAA to offer our members access to their professional resources, Fractured Atlas has decided to discontinue their Open Arts Network as of August 31, 2017.
Through their Open Arts Network program, Fractured Atlas artists and arts organizations access to funding, healthcare, education, and more, to help them function more effectively as businesses. However, due to the changing landscape for the arts community and much reflection, the organization has decided to end the Open Arts Network.
What does this mean for you?
- If you are currently enrolled in the Open Arts Network program (or do so before August 31, 2017), you will get to keep your discount as long as you maintain an active, paid membership.
- After August 31, 2017, you will not longer be able to access the special Open Arts Network subsidized rate.
- Additional questions? Please refer to Fractured Atlas’s help article for more information.
We understand that this is an important resource for many of our members and CAA is actively searching for another healthcare solution to meet our members’ needs. We will keep everyone informed of any updates. If you have any additional questions or wish to share ideas on how our organization can best serve you, please reach out to Membership at firstname.lastname@example.org. Additionally, you can email email@example.com with any questions or concerns.
CAA warmly thanks the many contributions of the following dedicated members who joined the organization in 1967 or earlier.
1967: R. Ward Bissell, D. Sherman Clarke, Christie Fengler-Stephany, Dorothy Gillerman, Eric Hirshler, Renata Holod, Claire Kelleher, Alison Kettering, Dale Kinney, Marjorie Kinsey, Franklin K. B. Toker, Deborah Waite, Gabriel Weisberg, and David Wilkins.
1966: Madeline Caviness, Gilbert Edelson, Jonathan Fineberg, Ann Sutherland Harris, Sara Henry, Cecelia Klein, Henry Klein, Anne-Marie Logan, Peter Moak, Anne Morganstern, James Morganstern, Peter Schabacker, David Sokol, Marcia Werner, and Barbara White.
1965: Jean Borgatti, Norma Broude, Wanda Corn, Elaine Gazda, Diana Gisolfi, Dorothy Glass, Andree Hayum, Ellen Kosmer, Lillian MacBrayne, Jerry Meyer, Ann Lee Morgan, Myra Rosenfeld-Little, Ted Stebbins, Eugenia Summer, MaryJo Viola, Michele Vishny, and Wallace Weston.
1964: Richard Betts, Ruth Bowman, Vivian Cameron, Kathleen Cohen, Paula Gerson, Ronald Johnson, Jim Jordan, William Kloss, Rose-Carol Long, Phyllis Anina Moriarty, Annie Shaver-Crandell, and Alan Wallach.
1963: Lilian Armstrong, Richard Brilliant, Vivian Ebersman, Francoise Forster-Hahn, Caroline Houser, Susan Koslow, E. Solomon, Lauren Soth, Richard Spear, Virginia Stotz, Roxanna Sway, Athena Tacha, and Roger Welchans.
1962: Jo Anne Bernstein, Jacquelyn Clinton, Shirley Crosman, Frances Fergusson, Gloria Fiero, Jaroslav Folda, Harlan Holladay, Seymour Howard, David Merrill, John Paoletti, Aimee Brown Price, Thomas Sloan, Elisabeth Stevens, Anne Betty Weinshenker, and William Wixom.
1961: Matthew Baigell, Margaret Diane David, Bowdoin Davis, David Farmer, J. Forbes, Isabelle Hyman, Clifton Olds, Marion Roberts, and Conrad Ross.
1960: Shirley Blum, Kathleen Brandt, Eugene Kleinbauer, Edward Navone, Linda Nochlin, and J. Pollitt.
1959: Geraldine Fowle, Carol Krinsky, James O’Gorman, and Ann Warren.
1958: Samuel Edgerton, Carla Lord, Damie Stillman, and Clare Vincent.
1957: Marcel Franciscono, Bruce Glaser, Jane Hutchison, and Susan McKillop.
1956: Svetlana Alpers, David Driskell, John Goelet, Joel Isaacson, and Jack Spector.
1955: Lola Gellman, Irving Lavin, and Suzanne Lewis.
1954: Franklin Hazlehurst, Thomas McCormick, Jules Prown, Irving Sandler, and Lucy Freeman Sandler.
1953: Dorathea Beard, Margaret McCormick, and Jack Wasserman.
1951: Wen C. Fong.
1950: Alan Fern.
1949: Dario Covi and Ann-Sofi Lindsten.
1947: Ellen Conant and Ilene Forsyth.