posted by Janet Landay, Program Manager, Fair Use Initiative
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.
posted by CAA
The College Art Association (CAA) announces the launch of RAAMP (Resources for Academic Art Museum Professionals), an online repository and forum that collects, stores, and shares resources to promote scholarship, advocacy, and discussion related to the role of academic art museums and their contribution to the educational mission of their parent institutions. RAAMP aims to strengthen the educational mission of academic museums and their parent organizations, and is oriented toward colleagues at academic art museums as well as university and other museum colleagues. RAAMP is a project of CAA made possible with a generous grant from the Andrew W. Mellon Foundation.
The principal investigators for RAAMP are N. Elizabeth Schlatter, deputy director and curator of exhibitions at the University of Richmond Museums in Virginia and an officer of CAA’s Board of Directors; and Celka Straughn, Andrew W. Mellon Director of Academic Programs at the University of Kansas’s Spencer Museum of Art and a member of CAA’s Museum Committee. Schlatter says, “Art museums at colleges and universities today are creating some of the most dynamic connections to their academic communities. RAAMP creates a virtual place to share these accomplishments and gain inspiration from colleagues. Academic museums can use examples created by their peers and posted on RAAMP to enhance their offerings to faculty and students.”
Straughn adds, “They can find curricular materials utilizing museum resources to emphasize critical thinking skills or sample reports that demonstrate and quantify how a campus museum contributes to its parent institution. RAAMP is also a place to promote professional development activities, to find research related to academic museums, and to engage in discussions with fellow professionals.”
RAAMP was created in response to a 2013 CAA Annual Conference session organized by the organization’s Museum Committee. Attendees at the session expressed a need to have a digital space where they could easily share information and strategies for communicating how their academic museums contribute to the educational mission of their parent institutions. The conversation evolved alongside the development of CAA’s own digital discussion platform, CAA Connect, which launched in September 2016.
RAAMP would not be possible without the help of its partner organizations: Association of American Museum Curators (AAMC), Association of American Museum Director (AAMD), and Association of Academic Museums & Galleries (AAMG), and representatives from the following US-based academic museum stakeholders:
The Art Galleries at Lafayette College, Bowdoin College Museum of Art, The Fowler Museum at the UCLA, Galleries of Contemporary Art at the University of Colorado, Colorado Springs; The Hood Museum at Dartmouth University, Lowe Art Museum at the University of Miami, Neuberger Museum at SUNY Purchase College, Samuel P. Harn Museum of Art at the University of Florida, Schnitzer Museum at the University of Oregon, Smart Museum of Art at the University of Chicago, Spelman College Museum of Art, Spencer Museum of Art at the University of Kansas, University of Iowa Museum of Art, University of Richmond Museums
Visit the RAAMP website to learn more.
Visit the RAAMP submissions page to submit materials.
posted by Nia Page
The College Art Association (CAA) has been awarded a $132,600 grant from the Andrew W. Mellon Foundation to support the development of Resources for Academic Art Museum Professionals (RAAMP), a free, publicly accessible website that will collect, store, and share resources for professionals in academic art museums. RAAMP will promote scholarship, advocacy, and discussion related to academic art museums and their contributions to the educational mission of their parent institutions. CAA and its Museum Committee will develop RAAMP and manage its peer-generated content with the assistance of project partners, which include the Association for Academic Museums and Galleries (AAMG) and the Association of Art Museum Curators (AAMC).
Linda Downs, CAA executive director, said, “The RAAMP project was initiated by the CAA Museum Committee members N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University of Richmond and Celka Straughn, Andrew W. Mellon Director of Academic Programs at the Spencer Museum of Art who recognized the professional needs of academic art museum to share resources in order to better integrate museum collections into interdisciplinary study through a social community system. CAA is excited about this important initiative that will provide a prototype for similar forums.”
“Through its College and University Art Museums program, the Mellon Foundation has been a long-term supporter of the integration of college and university art museums into the curriculum and research cultures of their host institutions,” said Mariët Westermann, vice president of the Mellon Foundation. “We are therefore pleased to provide a grant to CAA for the creation of an online repository and exchange hub that will further strengthen the collaboration between academic museums and their campus communities.”
RAAMP aims to strengthen the educational mission of academic museums and their parent institutions by providing a dynamic repository of resources, by functioning as a site for news and information, and by supporting public discussion through online forums. The anticipated primary users of RAAMP include academic museum staff: administrators, educators, curators, directors, and conservators. The site would also be a significant asset for university and college administrators, faculty and staff in art and art-history departments, undergraduate and graduate students, and scholars of academic museums. Because RAAMP’s content addresses particular demographic groups—higher education and the visual arts—that are also served by nonacademic museums, the project would be valuable to museum professionals from any institution or background.
RAAMP would specifically benefit users seeking publications, information, research, case studies, professional development, and networking opportunities. Support from the Mellon Foundation will help CAA to determine types of content that would be most beneficial to RAAMP’s audience and contributors, how best to deliver and share this content, and how to facilitate dialogue related to the project’s mission.
DeWitt Godfrey, CAA president and professor of art and art history at Colgate University, said, “This is an important step for the Association to strengthen ties with academic art museums throughout the United States.”
RAAMP was conceived during a 2013 CAA Annual Conference session organized by the Museum Committee, titled “The Position of Academic Programs in Campus Art Museums: What, Why, Who, and Where To?” Session attendees expressed the need to better and more efficiently share information, strategies, and best practices for communicating academic museums’ educational contributions to their parent institutions. Many museums have created innovative programs and practices to serve their campus communities and fully integrate their collections and activities into the academic mission of their college or university. Museums have also worked to apply quantitative and qualitative metrics for mission success.
Leading the project as principal investigators will be: N. Elizabeth Schlatter, deputy director and curator of exhibitions at the University of Richmond Museums in Virginia and a member of CAA’s Museum Committee; and Celka Straughn, Andrew W. Mellon Director of Academic Programs at the University of Kansas’s Spencer Museum of Art and a member of CAA’s Museum Committee. “We are excited to work with colleagues to further develop this accessible resource that reflects that many innovative activities happening at academic museums today. We hope it will serve academic art museums to promote collaboration and demonstrate their educational and scholarly contributions.”
The College Art Association is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, website, and other programs, services, and events. CAA focuses on a wide range of advocacy issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching. Learn more about CAA at www.collegeart.org.
For more information please contact Nia Page, CAA director of membership, development, and marketing.
posted by Christopher Howard
In a letter sent to Linda Downs and DeWitt Godfrey on February 9, 2015, the Association of Art Museum Directors (AAMD) expressed its support of CAA’s newly published Code of Best Practices in Fair Use for the Visual Arts.
Christine Anagnos, AAMD executive director, and Susan Taylor, AAMD president and Montine McDaniel Freeman Director of the New Orleans Museum of Art in Louisinan, write: “AAMD believes the code of Best Practices in Fair Use for the Visual Arts is an excellent contribution to the field and a great point of departure for best practices in the fair use of copyrighted materials. We are thankful to those who helped to develop the guide over the past two years and recognize the hard work of Peter Jaszi and Patricia Aufderheide.”
posted by Linda Downs
The Association of Art Museum Directors (AAMD) will cosponsor two provenance workshops this spring: one in Seattle, Washington, and another in Washington, DC.
This workshop will be held on May 18, 2014, in conjunction with the Association of Academic Museums and Galleries’s annual conference in Seattle. The workshop will review best practices for conducting provenance research in art museums, with a focus on Nazi-era provenance, as well as issues pertaining to antiquities and cultural property. The session is geared to all levels of experience and can serve as a how-to and a refresher. The workshop leaders will discuss due diligence and the acquisition process, online research tools, and the handling of restitution claims. The workshop is limited to fifty participants; ample time will be allotted for Q&A.
Victoria Reed, curator for provenance at the Museum of Fine Arts, Boston, and Nancy H. Yeide, head of the Department of Curatorial Records at the National Gallery of Art, will conduct the half-day workshop, which will be held at the Hotel Deca in Seattle. Each participant will receive a copy of Yeide’s book Beyond the Dreams of Avarice: The Hermann Goering Collection (2009), which is the first biography to focus on Hermann Goering’s personal collection and provides the first opportunity since the war to look at the collection as a whole and evaluate its place within art collecting and politics. This carefully documented volume is critical to the clarification of provenances of the objects featured and brings to light pictures whose histories and whereabouts have been hidden for decades.
Registration is available at www.aamg-us.org/registration; scroll down to “Sunday Morning Workshops.”
In cooperation with the National Archives and Records Administration, the Smithsonian Institution, and the American Alliance of Museums, AAMD will sponsor a workshop for advanced researchers following the success of a two-day, Nazi-era provenance seminar that was held in 2011. Taking place at the National Archives on June 17, 2014, this workshop is limited to thirty participants who are experienced researchers working in museums. The event will provide a hands-on workshop on using new and updated online provenance research resources. Registration will include a copy of Holocaust-Era Assets, a Finding Aid to Records at the National Archives at College Park.
Nancy H. Yeide, head of the Department of Curatorial Records at the National Gallery of Art, and Chris Naylor, director of textual records for the National Archives, will lead the one-day workshop, which will be accompanied by an introduction to new materials at the Archives of American Art led by Marisa Bourgoin, chief of reference services for the Archives of American Art, and Laurie Stein, senior provenance advisor for the Smithsonian Provenance Research Initiative.
The cosponsors for the DC seminar express grateful appreciation to the Samuel H. Kress Foundation for support to defray expenses for workshop participants.
To apply for registration go and to learn more about Kress grants, visit the AAMD website.
posted by Linda Downs
Furthermore and Joan K. Davidson, the grants in publishing program of the J. M. Kaplan Fund is pleased to present the inaugural Alice award to the Brooklyn Museum for Youth and Beauty Art of the American Twenties, edited by Teresa A. Carbone and published by Skira Rizzoli Publishing. Awarded in honor of Alice M. Kaplan, the prize recognizes this book’s fresh approach to and keen analysis of its subject and for its general excellence. The Alice was presented to the Brooklyn Museum on October 29, 2013, at the Morgan Library and Museum.
The jury comprised: Paula Cooper of Paula Cooper Gallery; William M. Griswold, director of the Morgan Library and Museum; Gianfranco Monacelli, publisher of Monacelli Press; Jock Reynolds, director of the Yale University Art Gallery; and Massimo Vignelli of Vignelli Associates.
The Alice was established in 2013 by Joan K. Davidson, president of Furthermore, to honor her mother, Alice Manheim Kaplan. Alice loved and collected the illustrated book as a work of art in itself and an essential document of a civilized society. This new award is intended to buttress the kind of slow reading movement that recognizes and cherishes the lasting values of the well-made illustrated book, and the special sense of intimacy it affords. In the fast-changing publishing universe, with its ever rising costs, the continuing life of high-quality printed books will depend upon the determined commitment of writers, editors, designers, and publishers, and their friends. The Alice is dedicated to that heroic commitment and the accomplished books that result from it.
The launching of the award also marks Furthermore’s record so far of financial assistance to some one thousand publications, for a total of $5 million. The Alice carries an award of $25,000. Each year a jury of leaders in publishing and the arts will select the Alice book from the hundreds of eligible titles that have been honored with a grant from Furthermore.
Furthermore grants in publishing is a program of the J. M. Kaplan Fund that supports the publication of significant visual books—and will help to keep them coming in the years ahead. For information on the Alice, please contact Elizabeth Howard at 917-692-8588.
posted by Emmanuel Lemakis
The Opening Reception for the 2014 Annual Conference will take place in the Art Institute of Chicago’s recently inaugurated Modern Wing on Wednesday evening, February 12, from 7:00 to 9:30 PM. Designed by the Pritzker Prize–winning architect Renzo Piano, this stunning addition to the venerable institution provides a new home for the museum’s renowned collection of twentieth- and twenty-first-century art.
Tickets are required for admission and cost $35 for members and $45 for nonmembers. Availability is limited; please purchase your ticket online by January 10, 2014. Tickets will not be sold at the door at the Art Institute of Chicago.
The Modern Wing of the Art Institute of Chicago during the reception for the CAA Annual Conference in 2010 (photograph by Bradley Marks).
posted by Christopher Howard
CAA is selling advance tickets to the opening reception of the 101st Annual Conference through Wednesday, January 23, 2013, at 5:00 PM EST. Admission to the event—which will take place at the Solomon R. Guggenheim Museum on Wednesday evening, February 13, 7:00–9:00 PM—is $40 for CAA members and $55 for nonmembers.
Please contact CAA’s Member Services at firstname.lastname@example.org or 212-691-1051, ext. 1, to purchase your ticket today. In New York, tickets will be sold at Registration at the Hilton New York but not at the museum. Avoid the rush for tickets at the Hilton by purchasing yours in advance.
At the museum, attendees may preview Gutai: Splendid Playground, the first North American exhibition devoted to Gutai, the influential artistic collective in postwar Japan and one of the most important avant-garde movements of the 1950s and 1960s.
The Guggenheim is located at 1071 Fifth Avenue in Manhattan. To get there from the conference hotels, take the 4, 5, or 6 train to 86th Street. Walk west on 86th Street, turn right at Fifth Avenue, and proceed north to 88th Street. To reach the museum by bus, take the uptown M1, M2, M3, or M4 bus on Madison Avenue.
Image: Murakami Saburō, Passing Through, 1956, performance view at the 2nd Gutai Art Exhibition, Ohara Kaikan, Tokyo, ca. October 11–17, 1956 (photograph © Makiko Murakami and the former members of the Gutai Art Association and provided by the Museum of Osaka University)
posted by Christopher Howard
The Committee on Intellectual Property (CIP) is pleased to announce the posting of the revised and expanded Intellectual Property and the Arts pages on CAA’s website. CIP monitors and interprets copyright legislation for the benefit of CAA’s various constituencies. In so doing, it seeks to offer educational programs and opportunities for discussion and debate in response to copyright legislation affecting educators, scholars, museum professionals, and artists.
The section is divided into the following eight categories: US Copyright: Fundamentals & Documents; Visual Art/Visual Artists; Publishing in the Visual Arts; Libraries, Archives, and Museums; Image Sources and Rights Clearance Agencies; Fair Use Guidelines, Practices, and Policies; Copyright Outside the United States; and Legal Assistance.
Education is essential for informed communication. The committee hopes that the resources presented in the updated pages will answer your questions about intellectual property and inform your discussions and debates.
posted by Christopher Howard
Svetlana Mintcheva, director of programs at the National Coalition Against Censorship, reports on a recent meeting about the Hide/Seek controversy that was held at Rutgers University earlier this month. The first two paragraphs are below; you may also read the full article.
Hide/Seek: Museums, Ethics, and the Press
Hide/Seek may be remembered as the censorship controversy that launched a hundred discussion panels. There were public statements and street protests, of course, letters to the Smithsonian Board of Regents and articles in the press, but most of all, there were the conferences. Starting with a gathering at the Jewish Community Center in Washington, DC, spreading to the West Coast, and featuring major public events at the Corcoran and the New Museum, these discussions responded to an apparently endless desire to analyze and assign blame, to blow off steam and extract lessons, and to place what happened within the history of Culture Wars in America.
An April 9 symposium, “Hide/Seek: Museum, Ethics, and the Press,” organized by the Institute of Museum Ethics at Seton Hall University and the Institute for Ethical Leadership at Rutgers Business School, had the goal of framing the issues surrounding the Hide/Seek controversy as ethical ones. Daniel Okrent, former chairman of the National Portrait Gallery, opened the event by posing several key questions: Is choosing to do a controversial show an ethical decision? Should a show ever be changed after opening? What happens after a controversy in terms of institutional definition and future planning? A diverse group of participants from such disciplines as art history, law, political science, and philosophy, as well as Smithsonian representatives and one journalist, attempted to grapple with these issues and more.
Read the full article in the Features section.