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.
Lynda.com is an elearning platform offering nearly six thousand online courses—including design, photography, and web development—that are taught by experts in the field. Courses consist of videos and tutorials.
An annual membership to Lynda.com is $360 and we are hoping to offer it for far less—like more than $200 less. As members, would you take advantage of the deal?
Let us know by answering yes or no below:
Here at CAA, we are constantly thinking of how we can enhance our members’ career and professional development needs. We know for many of you, it’s a large part of why you’ve decided to join the CAA community. That is why we have added MOO as a member benefit partner. MOO is an award-winning print and design company specializing in premium business stationery and promotional materials. We think our members will find lots to be happy about using MOO.
Starting today, every CAA member can receive 20% off MOO products.
We liked that MOO is passionate about helping people of all abilities design the best looking and highest quality print products.
Simply log in to your CAA account for instructions and the sign-up link. What are you waiting for? Get a MOO-ve on taking advantage of this great benefit!
Not a CAA member? Join today.
On March 29, the National Endowment for the Humanities (NEH) announced funding for 208 humanities projects totaling $21.7 million. These grants include programs that support international collaboration, engage students in interdisciplinary courses, and help veterans.
Among the recipients are the following CAA members, all of whom received a $6,000 Summer Stipend to work on their various research projects:
- Marie-Stéphanie Delamaire of the Winterthur Museum, Garden, and Library in Winterthur, Delaware, for “Diderot and d’Alembert’s Encyclopedia and the Color Printing Revolution: A Translation and Critical Study”
- Jennifer Germann of Ithaca College in Ithaca, New York, for “A Study of the Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray, an 18th-century British Artwork”
- Laura Morowitz of Wagner College in Staten Island, New York, for “Art Exhibitions in Vienna, Austria, during the Nazi Occupation”
- Allie Terry-Fritsch from Bowling Green State University in Bowling Green, Ohio, for “Cosimo de’Medici, Fra Angelico, and the Public Library of San Marco”
- Anne Verplanck of Pennsylvania State University in Harrisburg for “The Business of Art: Transforming the Graphic Arts in an Age of Mechanical Reproduction”
These awards come just weeks after President Donald J. Trump’s administration released a budget proposal calling for the elimination of the NEH, the National Endowment for the Arts, the Department of Education’s international education programs, the Institute for Museums and Library Services, and the Woodrow Wilson International Center for Scholars.
Our attention now turns to Congress, which can fund these programs despite the administration’s proposals. We have been heartened that these programs—which have been supported by presidents of both parties—have seen growing support in Congress in recent years. Indeed, over the past two years, the Republican-controlled Congresses have supported increases for the NEH.
We want to get as many former members to rejoin in the month of April as we can. We’ve heard you, through surveys and our Annual Conference, through emails and phone calls. We know that the economy of higher education is changing. We know it can be hard to find a department position or a museum gig or publish your groundbreaking work. Rejoining the largest professional organization supporting art historians and visual artists is one step you can make to help you thrive in the field. Our impact as an organization and as a profession depends on our membership.
Rejoin during the month of April and we will take 25% off your CAA membership (offer excludes Life Membership level). That means you will be able to attend our next Annual Conference in Los Angeles in February 2018 for a reduced rate. You will receive our publications (Art Journal or The Art Bulletin) delivered to your home. You will have access to the online career center, with over 430 jobs and opportunities listed. You will get discounts on car rentals, health insurance, magazine subscriptions, and more.
But most importantly, you will be a member of the professional organization setting the lead on issues of fair hiring practices, academic freedoms, publishing standards, and connecting visual arts professionals across subjects, practice, and geography regions.
Offer valid from April 1-April 30, 2017 to individuals whose membership has lapsed in the past five years. Log in to your CAA account to view the discount code. Code will be visible after log in from April 1-April 30, 2017.
College Art Association
Notice of 105th Annual Business Meeting
Annual Conference Convocation
February 15, 2017
The 105th Annual Business Meeting of the members of the College Art Association will be called to order at 5:30 p.m. on Wednesday, February 15th, at the Convocation of the 2017 Annual Conference, in West/East Ballroom, 3rd Floor, New York Hilton Midtown Hotel, 1335 Avenue of the Americas, NY, NY 10019.
CAA President, Suzanne Preston Blier, will preside. The Annual Business Meeting will be held in two parts.
The Agenda for the first part of the Annual Business Meeting is as follows:
- Call to Order and President’s Report – Suzanne Preston Blier
- Report by Annual Conference Chair and VP for Annual Conference – Judith Rodenbeck and N. Elizabeth Schlatter
- Report by Executive Director – Hunter O’Hanian
- Presentation of Annual Awards for Distinction – Suzanne Preston Blier
- Keynote Address – Mary Miller
After the Keynote Address, the Meeting will be recessed and will reconvene on Friday, February 17, 2017 from 12:15 – 1:15 p.m. in the East Ballroom, 3rd Floor at the New York Hilton Midtown Hotel, 1335 Avenue of the Americas, NY, NY 10019. The Agenda for the second part of the Annual Business Meeting is as follows:
- Approval of Minutes of 104th Annual Business Meeting, February 3, 2016 [ACTION ITEM] – see http://www.collegeart.org/pdf/2016-annual-business-meeting-minutes.pdf
- Financial Report: Teresa Lopez, Chief Financial Officer
- Old Business
- New Business
- Results of Election of New Directors: Suzanne Preston Blier
- MY CAA – Open discussion with members, board and staff regarding future growth of the Association.
If you are unable to attend the Annual Business Meeting, please complete a proxy online to appoint the individuals named thereon to (i) vote, as directed by you, for directors, and, at their discretion, on such other matters as may properly come before the Annual Business Meeting; and (ii) to vote in any and all adjournments thereof. CAA Members will be notified when the proxy for casting votes becomes available online in early January 2017. A proxy, with your vote for directors, must be received no later than 6:00 p.m. EST Thursday, February 16, 2017.
The 106th Annual Business Meeting of the College Art Association will take place on February 21, 2018, in Los Angeles.
Roberto Tejada, Secretary
College Art Association
December 12, 2016
CAA is excited to announce an exclusive offer to its members to spend two weeks exploring the art and art history of Greece and Italy, from June 2 to June 11, 2017. The trip includes stops in Athens, Rome, and Florence. Hosted by CAA Executive Director and CEO, Hunter O’Hanian, this is a once in a lifetime opportunity to explore these majestic cities with fellow CAA members and lovers of art.
Local tour guides in each city will lead the group through numerous cultural and historic sites, museums, and galleries. The tour begins in Athens, where highlights include the National Archaeological Museum, the Benaki Museum, Zappio Gardens, the Acropolis and museum, and the Museum of Cycladic Art. In Rome, the tour will visit the Colosseum, Roman Forum, Capitoline Museums, and the Borghese Gallery, among others. Ending in Florence, the tour will stop at the Duomo and Baptistery, Church of Santa Croce, Galleria dell’Accademia, Medici Chapels, Church of San Lorenzo, and the Uffizi Gallery.
Following Florence, you may choose to extend your trip to Venice where the 57th Venice Biennale will be taking place, May 13 through November 26, 2017.
For more information, including rates and a day-by-day tour itinerary, please download and review the Greece & Italy Art and Art History Tour brochure.
posted by Janet Landay, Program Manager, Fair Use Initiative — October 18, 2016
In late September, Hunter O’Hanian and I had the pleasure of spending a weekend at Bowdoin College in Brunswick, Maine, to attend two CAA events hosted by Anne Goodyear, codirector of the Bowdoin College Museum of Art and a former CAA president. We arrived at the picturesque New England campus on a beautiful fall day. The college’s art museum, one of the oldest in the country, anchors the western edge of the quad, its neoclassical façade presiding gracefully over green lawns and majestic trees where students played Frisbee, read, or walked across campus. It was a perfect weekend to welcome CAA members to campus.
The first group arrived that Saturday afternoon to attend a CAA member reception, the first of several Hunter has planned around the country to provide an opportunity for him to meet with members in a relaxed setting and talk about CAA. The event began with a tour of the Bowdoin College Museum of Art given by Anne and her husband, the museum’s codirector, Frank Goodyear. Immediately following, we all walked a block away to Anne and Frank’s house to enjoy some wine and cheese on their back patio. The fifteen or so participants hailed from several schools and museums in addition to Bowdoin—Colby College, Bates College, the Portland Museum of Art, and the Farnsworth Art Museum—and included art historians, artists, librarians, and independent scholars.
Members spoke in turn about their most memorable CAA experiences: attending a first conference, interviewing and getting a job, meeting old friends, or networking with scholars in their fields. Hunter then shared thoughts about his goals for CAA based on what he has learned from members since he became executive director in July. He observed the importance of connectivity—how to keep CAA members in touch with issues in the field, but especially how to keep them in touch with each other. And he described many of the changes members will experience at the next Annual Conference, including a focus on personal experience, captured by a new theme for the meetings, myCAA.
On Sunday morning, several of the same CAA members returned, joined by others from around the state, for a half-day workshop about copyright and fair use. Peter Jaszi, a co–lead investigator on CAA’s Fair Use Initiative, came from Washington, DC, to Bowdoin to lead the program, which focused on how visual-arts professionals can use CAA’s Code of Best Practices in Fair Use for the Visual Arts in their work. Following an introduction to copyright and fair use, the workshop began with a look at how museum professionals can use the Code when employing copyrighted materials in their work.
Participants had been asked to bring real-life questions with them. Thus, a museum director wanted to know whether his museum could allow photography in the galleries of works still protected by copyright. A curator described a challenge she had in getting an image for a catalogue from a museum in central China. When she received no reply from the museum, she resorted to scanning the image from another book. Is that fair use? Other questions involved loan forms, credit lines, and online projects.
As the day continued, the program moved on to address questions from professionals in other areas: librarians and archivists, professors and teachers, artists and independent scholars. Can a faculty member use images in class that she got from a flash drive she had received from a foreign museum? What kind of credit information is necessary for a blog about films? Is Shepard Fairey’s image of Obama a good case study for students learning about fair use? How should the institutional repository on a college campus view the copyright protection of yearbook photographs? By the end of the afternoon, a remarkable range of questions had been discussed, and the forty participants came away with a much greater understanding of fair use and how to rely on it in their work.
On Monday, Hunter, Peter, and I were in Cambridge, Massachusetts, to join Kyle Courtney, a copyright specialist in Harvard’s Office for Scholarly Communication, for a fair-use town hall on the campus of Harvard University. As in Maine, Peter began the program with an introduction to fair use, and I followed with a description of CAA’s Fair Use Initiative. Kyle spoke about a program he directs at Harvard that trains librarians to be “first responders” to users’ questions about fair use. Although relatively new, the program has proven to be an effective way to support and teach visual-arts professionals about fair use. It is now being replicated on other university campuses. The event was then opened to questions from the sixty-five members of the audience, which Peter and Kyle discussed in depth.
Many of the topics were similar to those that had been addressed at the Bowdoin workshop, but a new subject emerged as well: advocacy. Does a professor who has had a manuscript accepted have any recourse when her publisher requires signed author agreements stating that all images had been cleared for publication and all fees paid? The answer is yes; she can ask her publisher to read CAA’s Code and explain that many, if not all, of her uses of images comply with the doctrine of fair use. While the effort may not succeed (though CAA has several success stories on file), over time it will familiarize publishers with the principles outlined in the Code. Changes have already taken place, in large part due to this kind of challenge from users. Yale University Press now accepts fair-use defenses from its authors who are publishing monographs; the Robert Rauschenberg Foundation embraced a fair use policy for that artist’s work; and CAA not only encourages its authors to consider whether or not their uses are fair, but it also indemnifies authors against lawsuits about works used under fair use.
The program concluded with a reminder that CAA is happy to answer questions about fair use; please don’t hesitate to contact us at firstname.lastname@example.org.
Later on Monday, Hunter and I joined another group of CAA members at the Massachusetts College of Art and Design for a wine-and-cheese reception at the school’s President’s Gallery and Bakalar and Paine Galleries. Attendees included a wide range of members, from professors who have belonged to the association for thirty years to new members just graduating from MFA programs. Lisa Tung, the gallery’s director and curator, kicked off the event with a tour of two exhibitions currently on view, Encircling the World: Contemporary Art, Science, and the Sublime and Women’s Rights Are Human Rights: International Posters on Gender-Based Inequality, Violence, and Discrimination. Hunter, who is a former vice president for development at MassArt, then invited participants to speak about how CAA is valuable to them. He emphasized the importance of hearing from members so that CAA can support them as fully as possible in this rapidly changing world.
CAA’s road trip continued in early October with another member’s reception in Portland, Oregon. Later this month we will convene a fair-use workshop in Seattle, Washington. More events are planned for early next year in Georgia and Virginia. Stay tuned!
The Bowdoin College fair-use event was organized by the Bowdoin College Museum of Art and CAA, with funds provided by the Andrew W. Mellon Foundation. The Harvard University fair-use event was organized by Harvard’s Office for Scholarly Communication, thanks to the generous support of the Arcadia Fund, and by CAA, with funds provided by the Mellon Foundation.
With the opening of conference registration for the 2017 Annual Conference in New York, February 15-18, you might have seen us mention our new campaign, myCAA.
myCAA is a way for us to tell our members, and even those outside our membership in the arts and culture field, that we are listening. And that we want to hear from you! myCAA is about opening up the channels of communication member to member and between the CAA staff, board, committees, and affiliates. We are all in this together, each and every person involved in CAA. From the administrative and staff side of CAA, we know the organization exists because of the support of our members and those working in the visual arts field. Your support helps us in turn support you in your professional teaching, scholarship, and art making. We see this circle as vital to the impact that art historians, artists, and scholars have on the field of visual arts and on society as a whole.
We want to hear from you on CAA Connect, our new digital discussion and resource library platform. The myCAA community is where members should post any and all thoughts they have about how to make CAA an organization that serves the profession at the highest level. How to log in to CAA Connect.
At the conference, we want to hear from you. Stop a CAA staff member, board member, or committee member in the hallway, in sessions, or in the Hilton lobby! Say hello and tell us how we can make CAA the best organization it can be to support your efforts and your work.
We know that our members and those working in the visual arts contribute to and improve society every single day. myCAA is the call for our members to use their voices and to tell us how we can help so you can push forward and change the world.