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 email@example.com.
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.
Students are crucial to CAA and the work we do. Support and interest from student members allows us to provide fellowships, professional development, mentorships, and job placement services to those very same students. In the coming months, CAA is visiting several local New York colleges and universities in order to connect with our youngest and one of our most vital constituencies. Below is our upcoming schedule. We hope to see you there.
Monday Oct. 10, 10AM-12PM at Parsons Fine Arts
Tuesday Nov. 1st at Pratt Institute (Time TBD)
Wednesday Nov. 2nd at Pratt Institute (Time TBD)
Friday Nov. 18th, 12PM-4PM at School of Visual Arts
This fall, CAA will visit local New York colleges and universities and host a number of wine and cheese receptions throughout the country, connecting professionals in the visual arts within their communities. Taking place at many art institutions in major U.S. cities, these meet-and-greets are a great opportunity to join arts scholars and art makers in your area. Whether you are an existing or former CAA member, work in some capacity in the arts, or are just curious about what we do, we hope you will be able to join us.
CAA’s new executive director, Hunter O’Hanian, will attend many of the receptions and will discuss his ideas and vision for the future of CAA. Come meet new CAA members and reconnect with fellow members.
Upcoming Receptions and Meet and Greets
Brunswick, ME Sept. 24, 3:30PM Bowdoin College Museum of Art
Please RSVP to the Brunswick, ME event here.
Boston, MA Sept 26, 5:30PM Massachusetts College of Art and Design, Paine & Bakalar Galleries
Please RSVP to the Boston, MA event here.
Nashville, TN Sept. 26, 6:30PM Vanderbilt University, Sarratt Center Gallery
Please RSVP to the Nashville, TN event here.
Portland, OR Oct. 5, 6:00PM Yale Union
Please RSVP to the Portland, OR event here.
September is a busy month for CAA and its members. Classes start again. Campuses buzz with activity. Registration opens for the 2017 Annual Conference in New York, February 15-18, 2017, and we will launch CAA Connect (stay tuned for that announcement). Before these announcements, we wanted to let you know we have updated and streamlined your CAA account experience.
Effective immediately, the web pages for your CAA Account will look and navigate a little differently. In addition to a more contemporary look, the pages are designed to work with devices of any screen size (smart phone, tablet, desktop/laptop) and use familiar web page techniques on smaller devices that you may see elsewhere.
Please take a moment to log in to your CAA Account and familiarize yourself with where to find content including:
- Contact information
- Membership status
- Member benefits with specific codes for redemption
- Payment receipts, printable as PDF files
- Communication preferences
You may log in using your user ID# or primary email address and your password. If you do not remember your password, you may reset it using your primary email address. If you have any comments or questions regarding the new CAA Account web pages, please contact Member Services.
CAA seeks a Membership Specialist to support membership growth at the organization.
Approximately 10 to 20 hours per week – flexible hours with some nights and weekend hours available. $16 per hour – September through December 2016
Founded in 1911, the College Art Association (CAA) is the preeminent international leadership organization in the visual arts, promoting the field through intellectual engagement, advocacy, and a commitment to the diversity of practices and practitioners. Each year, CAA offers an Annual Conference, publishes three scholarly journals, and offers a variety of other programs. Visit www.collegeart.org for a complete description of programs and offerings.
CAA has more than 9,000 members worldwide. The majority of members are curators, art historians, scholars, visual artists, and designers. Each year, members renew their membership to CAA. The Membership Specialist will reach out to CAA members whose membership has lapsed and seek to renew that individual’s membership. Selected applicant(s) will receive a one-year complimentary CAA student membership.
- Understanding the core mission, purpose, and programs offered by CAA
- Understanding the various membership levels offered by CAA
- Understanding the benefits assigned to membership levels offered by CAA
- Telephoning members and requesting they renew their annual memberships
- Recording meaningful feedback (both positive and negative) about CAA
- Imparting current information about CAA and its Annual Conference to the individuals called
- Updating objective information (i.e., address, phone, email, etc.) in CAA’s database about the individual
- Processing the payment for renewal of the individual’s membership
- Transmitting information to supervisors with feedback from Members about CAA
- Minimum of two years of college, preferably in the visual arts, art history, or related fields
- Ability to speak in a pleasant professional manner over the phone
- Ability to type with speed and accuracy
- Sufficient computer knowledge (PC) to allow for the successful processing of membership renewals
- Ability to work independently and in collaboration with others
- Ability to convey to the individuals the value of renewing Membership with CAA
- Flexibility, creativity, and initiative
The College Art Association is an equal opportunity employer and considers all candidates for employment regardless of race, color, sex, age, national origin, creed, disability, marital status, sexual orientation, gender expression, or political affiliation.
Application Instructions / Public Contact Information
Interested individuals should submit a cover letter and resume to Denise Williams via email at firstname.lastname@example.org. Applications will be accepted until all positions are filled. Please include the names and contact information for three references who can speak to your ability to perform the tasks requested.
posted by CAA — May 24, 2016
Thank you for being a member of the College Art Association, the world’s leading professional association for the visual arts. As a dedicated member of CAA, you know firsthand about the important work that CAA does to serve and enhance the visual-arts community. We could not do this without your support.
Today, I ask that you join me in celebrating all that CAA does with a gift to the Annual Fund.
Beyond CAA’s ongoing advocacy efforts; vital professional documents like CAA’s Standards and Guidelines; critical projects like the Code of Best Practices in Fair Use for the Visual Arts; prestigious publishing grants for book manuscripts; career-development resources including the Online Career Center; Professional-Development Fellowships in support of promising artists, designers, craftspersons, historians, curators, and critics; important new writing and scholarship published in The Art Bulletin, Art Journal, and caa.reviews; and CAA’s central forum for exchange of creative work and scholarly research at the Annual Conference—CAA does a great deal more to support its members, the lifeblood of the association.
CAA subsidizes over half of its members through discounted membership and registration fees for students, retirees, part-time faculty, and independent artists and scholars. CAA has made part-time faculty issues a priority, recommending that tenured faculty and administrators in the visual arts implement its Guidelines for Part-Time Professional Employment and also providing a resources section on its website for part-time faculty. At the conference, CAA offers Professional-Development Workshops and mentoring opportunities for artists, art historians, designers, and students. CAA is also dedicated to strengthening its support of its international members. Recently CAA launched a section on its website devoted to international topics, the International Desk, which includes reports from around the world and listings of international grants, conferences, and residencies.
In fall 2016, CAA will also launch CAA Connect, the digital social community where CAA members can discuss the latest in visual arts news and practices and collaborate on projects. CAA Connect will boast a number of private and public communities, each with its own discussion threads and resource libraries for multimedia content. We see it as an important tool in bringing together our members and the wider visual arts and humanities fields. Look for CAA Connect to launch in the fall of 2016.
Voluntary support from CAA members is critical to our collective advancement and your contribution to the Annual Fund will enable CAA to continue providing invaluable resources to its members.
On behalf of CAA’s diverse community of artists, art historians, curators, critics, collectors, designers, educators, and other arts professionals, I thank you for your commitment to CAA. Please give generously!
Vice President for External Affairs
CAA warmly thanks the many contributions of the following dedicated members who joined the organization in 1966 or earlier. This year, the annually published list welcomes fourteen artists, scholars, and educators—and one attorney—whose distinguished exhibitions, publications, teaching practices, and professional service have shaped the direction and history of art over the last fifty years.
1966: Madeline H. Caviness; Gilbert S. Edelson; Jonathan Fineberg; Ann Sutherland Harris; Sara Lynn Henry; Cecelia F. Klein; Henry F. Klein; Anne-Marie Logan; Peter V. Moak; Anne Morganstern; James Morganstern; Peter H. Schabacker; David M. Sokol; and Marcia H. Werner.
1965: Jean M. Borgatti; Norma Broude; Wanda M. Corn; Elaine K. Gazda; Diana Gisolfi; Dorothy F. Glass; Andree M. Hayum; Ellen V. Kosmer; Lillian D. MacBrayne; Jerry D. Meyer; Ann Lee Morgan; Myra N. Rosenfeld-Little; Ted E. Stebbins; Eugenia Summer; MaryJo Viola; Michele Vishny; and Wallace E. Weston.
1964: Richard J. Betts; Ruth Bowman; Vivian P. Cameron; Kathleen R. Cohen; Paula Gerson; Ronald W. Johnson; Jim M. Jordan; William M. Kloss; Rose-Carol Washton Long; Phyllis Anina Moriarty; Annie Shaver-Crandell; Judith B. Sobre; and Alan Wallach.
1963: Lilian Armstrong; Richard Brilliant; Eric G. Carlson; Vivian L. Ebersman; Françoise Forster-Hahn; Walter S. Gibson; Caroline M. Houser; Susan J. Koslow; E. Solomon; Lauren Soth; Richard E. Spear; Roxanna A. Sway; Athena Tacha; and Roger A. Welchans.
1962: Jo Anne Bernstein; Phyllis Braff; Jacquelyn C. Clinton; Shirley S. Crosman; Frances D. Fergusson; Gloria K. Fiero; Jaroslav Folda; Harlan H. Holladay; Seymour Howard; Alfonz Lengyel; David Merrill; John T. Paoletti; Aimee Brown Price; Lillian M. Randall; Nancy P. Sevcenko; Thomas L. Sloan; Elisabeth Stevens; Anne Betty J. Weinshenker; and William D. Wixom.
1961: Matthew Baigell; Margaret Diane David; Bowdoin Davis Jr.; David Farmer; J. D. Forbes; Isabelle Hyman; Clifton C. Olds; Marion E. Roberts; and Conrad H. Ross.
1960: Shirley N. Blum; Kathleen Weil-Garris Brandt; Dan F. Howard; Eugene Kleinbauer; Edward W. Navone; Linda Nochlin; and J. J. Pollitt.
1959: Geraldine Fowle; Carol H. Krinsky; James F. O’Gorman; and Ann K. Warren.
1958: Samuel Y. Edgerton Jr.; Carla Lord; Damie Stillman; Clare Vincent; and Barbara Ehrlich White.
1957: Bruce Glaser; Marcel M. Franciscono; Jane Campbell Hutchison; Susan R. McKillop; and Frances P. Taft.
1956: Svetlana L. Alpers; Norman W. Canedy; David C. Driskell; John Goelet; Joel Isaacson; John M. Schnorrenberg; and Jack J. Spector.
1955: Lola B. Gellman; Irving Lavin; and Suzanne Lewis.
1954: Franklin Hamilton Hazlehurst; Thomas J. McCormick; Jules D. Prown; Irving Sandler; Lucy Freeman Sandler; and Harold Edwin Spencer.
1953: Dorathea K. Beard; Margaret McCormick; and Jack Wasserman.
1951: Wen C. Fong.
1950: Alan M. Fern.
1949: Dario A. Covi and Ann-Sofi Lindsten.
1948: William S. Dale.
1947: Dericksen M. Brinkerhoff; David G. Carter; Ellen P. Conant; and Ilene H. Forsyth.
1945: James S. Ackerman.
CAA has partnered with Wix, the leading cloud-based development platform that makes it simple to go online with a beautiful, professional and functional web presence. As a CAA member, you will receive 25% off of Wix’s Yearly Combo Premium Package. The Wix website builder has everything you need to create a fully personalized, high-quality free website, whether to promote your business, showcase your art, set up an online shop or just test out new ideas. Build your online presence today. Contact our membership department today to find out how you can receive this special discount.
CAA’s Annual Conference provides an important platform for the dissemination of new research and creative work. It also provides opportunities for networking, hosts workshops on crucial career topics, tackles pressing issues in the field, and provides an opportunity for institutions to interview candidates for open positions. In an effort to serve its members more effectively, CAA has established a Task Force on the Annual Conference to address ways of providing more occasions for members to exchange work and scholarship. The task force will also investigate greater uses of technology to extend the conference beyond its physical location and increased networking opportunities for professionals in the visual arts. The changes announced below are only the first round of a more thorough redesign of the conference, a very much renewed and improved version of which will be introduced in the coming years.
In preparation for the next Annual Conference, to be held February 3–6, 2016, in Washington, DC, and in an effort to strengthen the Annual Conference while providing an even greater value to the membership and our profession, members of the CAA Board of Directors and the Task Force on the Annual Conference have recommended and approved the following changes:
- Allowing members to present papers and chair sessions in consecutive years at the Annual Conference
- Extending the Annual Conference through low-cost webinars to accommodate those affected by reductions in funds for professional travel. CAA will offer webinars on a regular basis that will highlight the content generated by members
- Conference registration, opening in early October 2015, will have only one advance registration period that will end on December 21, 2015
- A new discounted registration fee for CAA members who are part-time faculty or are independent artists and scholars
- Institutional members may purchase specially discounted student memberships and register their students for the conference at deeper discounts during the advance registration period. These discounts will not be available onsite
- CAA members will be hired to be room monitors and to work at CAA’s registration area for a stipend and free conference registration rather than hiring temporary staff to fill these roles
- Providing a conference that serves members. Everyone who participates (i.e., presenter, speaker, chair) must be a current CAA member at the time of the conference
- All participants will need to either register for the entire conference or purchase a single-time-slot ticket for the session in which they are participating. This change applies to sessions led by all CAA affiliated societies and special-interest groups
CAA must proactively respond to the escalating costs of producing the Annual Conference. Ever-increasing expenses include staffing the conference, union rates at hotels, guaranteeing minimum numbers of attendees, and providing audiovisual equipment and WiFi. In the past, many sessions were offered without requiring CAA membership or conference registration. CAA can no longer subsidize the attendance and participation of nonmembers and nonregistrants. In order for CAA to maintain the high quality of the conference and to meet the needs of its members, we ask for your support as we introduce these changes to improve the conference experience.
The 2016 Annual Conference in Washington, DC, will be outstanding. The keynote speaker will be David Adjaye, architect of the Smithsonian Institution’s new National Museum of African American History and Culture on the National Mall and newly designated architect of the Studio Museum in Harlem. Richard J. Powell is CAA’s Distinguished Scholar, and Joyce Scott is the Distinguished Artist who will be interviewed. CAA will sponsor an MFA exhibition with student artists from around the region and host a reception for all CAA members at the Katzen Art Center at American University. In addition, the Annual Conference Committee for the DC meeting is preparing special tours to artists’ studios and museums and organizing special events.
Washington is home to a host of outstanding museums and other cultural institutions, and CAA has not held a conference there since 1991. We are very pleased to bring the conference to Washington, DC, and grateful for the support of our membership and institutions in that region. You will not want to miss this exciting event! Please refer to http://conference.collegeart.org for ongoing updates and news about the 2016 Annual Conference.