CAA is committed to supporting all professionals in the field. This especially pertains to those who are applying for and working as part-time faculty members. For more than twenty years, CAA has been setting standards for hiring part-time faculty.
CAA’s current guidelines are published here and copied below. We want to hear from members about how these might be updated and strengthened.
College Art Association
Executive Director and Chief Executive Officer
CAA Guidelines for Part-Time Professional Employment
Part-time employees play a critical role within the art world, specifically in academia, museums, galleries, and other arts institutions. They help meet curricular demands, offer expertise in specialized areas, and/or provide leadership in institutional programming.
Part-time faculty may be referred to with the following terms: adjunct, temporary, lecturer, graduate assistant, and teaching assistant. The terminology and its implications may vary from institution to institution, with the designation “part-time” or “temporary” serving as the most general and therefore consistent names. While this standard is primarily concerned with addressing the conditions of fully credentialed and professionalized part-time or short-term employees who are not simultaneously graduate students, this guideline may be relevant to those employed in conjunction with their graduate studies.
Part-time/temporary faculty and other part-time/temporary employees may be understood to be of several types: Part-time/temporary employees who would prefer full-time positions, part-time/temporary employees with no other employment, part-time employees who teach/work in addition to other full-time employment, and part-time/temporary employees who are retirees. Additionally, some institutions have paid, professional visitors that are not ongoing, full-time employees and also are not recurring, part-time employees. With this in mind, it is acknowledged that there is no singular reason one seeks part-time employment, and while each person may have individual reasons and needs, CAA encourages institutions to chart a path of continual improvements and aspire to provide the best possible working conditions for all part-time/temporary professionals, especially given the increasing reliance on such professionals.
Among key areas of concern are: equitable compensation; employment stability; access to employee benefits, including health care; access to professional development; and safe and adequate working conditions.
Within academia, these areas of concern may be assessed and addressed by comparing part-time faculty roles against full-time tenured/tenure-track faculty roles. Where similar work is performed and similar institutional expectations are held, equitable compensation and resources should exist. Where the treatment of employees in full- and part-time categories is dissimilar, the differences in expectations/compensation and the reasons for those differences should be articulated to both groups.
Institutions that regularly have visiting or guest faculty or curators should define how such roles are similar and different from other full-time and part-time employee roles. If the visiting appointment has responsibilities most similar to a comparable full-time position, the compensation should resemble such a full-time position.
Certain rights and responsibilities should be consistent regardless of one’s employment category. For example, academic freedom should provide the same protections for all. So too should workers’ compensation and other applicable laws that offer employee safeguards.
Working Conditions for Part-Time Employees
Given the great range of mission and expectations in institutions, it is essential that institutions define the roles of part-time employees and provide them with this information as well as information on their workplaces.
- The following written information should be provided by the institution at the time of employment.
- Institutions with a significant number of part-time employees may wish to create and use a part-time employee handbook.
- Statement on the institutional/departmental mission or philosophy
- A full description of the part-time position, including a definition of the role and duties (in the case of faculty, this would include class title, description, size, contact hours, advising responsibilities, and any other responsibilities)
- Description of teaching facilities, office facilities, and support services
- In the case of art and design faculty, description of and access to studio facilities or teaching and for personal, professional development
- Description of financial support and resources available for performing the work and for personal, professional development
- Information on evaluation and promotion procedures
- Information on employment security
- Information on institutional governance and opportunities to participate in it
- Information on any and all institutional expectations
- A written contract for part-time employment should explicitly state the following:
- Compensation including salary, benefits, and any other compensation
- Duties and responsibilities
- Duration of employment
- Process and timing of evaluation
- Availability and timing of contract renewal
- For part-time/temporary faculty:The standards of excellence defined by visual arts programs should be founded upon realistic criteria
- Generally, part-time/temporary faculty do not have research/creative activity duties; if such expectations exist they should be stated in the contract and the faculty member compensated for them
- Part-time/temporary faculty may or may not have service obligations; if service duties are assigned, the faculty member should be compensated for them
- Institutional expectations should take into consideration changes in academia, the commercial
marketplace, and the discipline in question
- Whenever possible, faculty should be included in the design of the course taught
- If a course is to be canceled due to under-enrollment or another issue, the faculty member should be notified in a timely manner; if it is canceled at the last minute, the faculty member should be compensated, either in full or on a pro-rated basis for course preparation
- Part-time faculty should have access to private (or shared with the expectation
of privacy when needed) office space for student/teacher meetings
- If a part-time faculty member’s institutional contribution is equivalent to that of a full-time faculty member, the part-time faculty member should be equitably compensated in comparison to such a full-time faculty member. If there is no expectation for research or service, differential compensation may be significant. This should be clearly stated in contractual materials.
- For all part-time employees:
- Personal and environmental safety should be a major concern with adequate protection provided by the employer
- OSHA, EPA, and other relevant standards should be followed
- Institutional practices for ensuring safety should be clearly communicated
- Opportunities for advancement in rank, salary, and responsibilities should be given to recurring, part-time employees.
- Adequate administrative support should be provided: mailbox; office space; telephone and computer access; clerical support; library facilities; and teaching/research support such as assistants and/or graders, when warranted
- When additional duties are offered or assigned, and such duties are ones often performed by full-time employees and go beyond the regular scope of part-time employment, the part-time employee should be offered additional and adequate compensation, such as a stipend
The 2013 ad-hoc committee for revision was co-chaired by Thomas Berding, Michigan State University and John Richardson, Wayne State University. The committee included Janet Casey, Skidmore College; Zoe Darling, Milwaukee Institute of Art and Design; Jim Hopfensperger, Western Michigan University; David LaPalombara, Ohio University; Dennis Nawrocki, Wayne State University; and Kate Wagle, University of Oregon.
Alison C. Fleming reads Federico Barocci and the Oratorians: Corporate Patronage and Style in the Counter-Reformation by Ian F. Verstegen. The book “efficiently tackles the subject” of “the interior decoration of the Chiesa Nuova in Rome,” with a focus on Federico Barocci “and how his style corresponded so well to the tenets of the Oratorians that they repeatedly sought his paintings.” Read the full review at caa.reviews.
Claudia Swan reviews Benjamin Schmidt’s Inventing Exoticism: Geography, Globalism, and Europe’s Early Modern World. Merging historical and art-historical elements, this “formidable study” examines artworks and luxury goods “produced in Dutch ateliers between 1670 and 1730 under the rubric of ‘exotic geography,’” which the author views as “a new rhetorical and artistic mode.” Read the full review at caa.reviews.
Carol Damian discusses two books centered on the questions of what is a Latino and what is Latino art: Thirteen Way of Looking at Latino Art, by Ilan Stavans and Jorge J. E. Gracia, and Our America: The Latino Presence in American Art, an exhibition catalogue from the Smithsonian American Art Museum. Both books evidence how “the entire Latino issue is a construct, complicated, and imperfect” and “make valuable contributions to this ongoing discussion.” Read the full review at caa.reviews.
Caa.reviews publishes over 150 reviews each year. Founded in 1998, the site publishes timely scholarly and critical reviews of studies and projects in all areas and periods of art history, visual studies, and the fine arts, providing peer review for the disciplines served by the College Art Association. Publications and projects reviewed include books, articles, exhibitions, conferences, digital scholarship, and other works as appropriate. Read more reviews at caa.reviews.
caa.reviews has published the authors and titles of doctoral dissertations in art history and visual studies—both completed and in progress—from American and Canadian institutions for calendar year 2015. You may browse by listing date or by subject matter. Each entry identifies the student’s name, dissertation title, school, and advisor. Once a year, each institution granting the PhD in art history and/or visual studies submits dissertation titles to CAA for publication.
In 2015, the College Art Association published a Code of Best Practices in Fair Use for the Visual Arts that established policies on the fair use of copyrighted materials for professionals in the visual arts field. The Code outlines the principles and limitations for applying the doctrine of fair use in five areas: critical writing, teaching, making art, museum uses, and online access to archives and special collections. It is available online, along with supplementary information, at the Fair Use web page.
With the input of our members, CAA is now developing curriculum materials to help teachers educate their students about fair use so that people entering the field will start out with a basic understanding of this important doctrine. Please help us develop useful materials by completing the following short survey, which is being administered by American University, CAA’s partner on the fair use initiative.
Please complete no later than May 20.
There are only six questions that should take less than five minutes to complete.
Thank you for your help!
The Association of Research Institutes in Art History (ARIAH), a consortium of museums and research centers based in North America or affiliated with North American institutions, has established a new program that will strengthen intellectual connections among art-history disciplines in different regions of the world. With generous support from the Andrew W. Mellon Foundation, the Getty Foundation, and the Terra Foundation for American Art, ARIAH’s East Asia Fellowship Program will enable twelve scholars from countries in East Asia to conduct research at ARIAH member institutes on any topic in the visual arts. The project is funded for a three-year period, beginning in 2016, with four fellowships offered each year.
The East Asia Fellowship Program is open to scholars of art history from Japan, Mongolia, the People’s Republic of China (including Hong Kong and Macau), Taiwan, and South Korea. Each fellow will be hosted by an ARIAH member institute and have the opportunity to travel to other research centers during the three- to four-month fellowship period. Fellowships will be awarded through an open, competitive application process. One fellowship per year, supported specifically by the Terra Foundation, will focus on research topics related to the art of the United States before 1980. Topics for all other fellowships will be open, as long as they can be supported by research on the collections of the host institute. The deadline for the first of three rounds of fellowships is December 31, 2015.
“It’s impossible to overstate how important material support, not to mention encouragement, from the Mellon, Getty, and Terra foundations has been for launching this program,” said Jon Mogul, chair of ARIAH and assistant director for research and academic initiatives at the Wolfsonian–Florida International University in Miami Beach, Florida. “Art history and visual studies, like other academic fields, thrive when scholars who come from different traditions and view their subject through different lenses have the chance to learn from one another. The birth of this program really underscores just how essential these three foundations are to sustaining an ecosystem in which such intellectual interchange among art historians from different regions of the world can happen more and more routinely.”
The East Asia Fellowship Program grew out of a successful project that ARIAH designed in the late 1990s which brought art historians from Mexico, Central and South America, and the Caribbean to ARIAH member institutes. The Latin American program was part of larger process that yielded longer-term results and fostered increased collaboration and intellectual exchange among academic disciplines in Latin American countries.
ARIAH conceived of and developed the new program to encourage a similar intellectual, cross-cultural exchange between scholars and to establish lasting professional connections. The fellows will work side by side with curators, librarians, and fellows from other areas of research. Among the twenty-seven member organizations of ARIAH are the Metropolitan Museum of Art and the Getty Research Institute. The largest concentration of members can be found in the Smithsonian museums in the Washington, DC, area.
Peter Lukehart, associate dean of the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC, said that East Asia is “a geographic region from which, historically, there have been fewer applications” to the programs of ARIAH’s member institutes. “Consequently, the rich resources of these institutes are not known or available to scholars who might otherwise benefit from them. ARIAH hopes that encounters between scholars and administrators at ARIAH institutes will lead to future collaboration and interchange between fellows and their hosts. “Given the increasingly global nature of the discipline of art history,” Lukehart said, “these goals seem especially urgent.”
posted by Alyssa Pavley — May 29, 2015
caa.reviews recently published the authors and titles of doctoral dissertations in art history and visual studies—both completed and in progress—from American and Canadian institutions for calendar year 2014. You may browse by listing date or by subject matter. Each entry identifies the student’s name, dissertation title, school, and advisor.
Each institution granting the PhD in art history and/or visual studies submits dissertation titles once a year to CAA for publication. The caa.reviews list also includes dissertations completed and in progress between 2002 and 2013, making basic information about their topics available through web searches.
posted by Christopher Howard — May 07, 2015
Initiatives in Art and Culture will present “Insight and Inclusion: Expanding Visions of American Art,” a conference on American art to be held May 15–17, 2015, at the Graduate Center, City University of New York.
posted by Christopher Howard — March 24, 2015
In 2010, thanks to a grant from the Andrew W. Mellon Foundation, the Institute of Fine Art at New York University inaugurated the Mellon Research Initiative. The initiative’s aim was to investigate trends in graduate education and advanced research in art history, archaeology, and conservation. That investigation took place at a time when those fields faced considerable challenges—financial, institutional, and conceptual. Cutbacks in funding from all sources and the concomitant or resulting instrumentalization of university education, which favors economic rationales for degree structures, department sizes, and disciplinary evaluation, presented explicit challenges to the humanistic as opposed to the “hard” sciences. They continue to do so.
The resulting publication, Pathways to the Future: Trends in Graduate Education, was introduced and discussed during three panels at CAA’s Annual Conference in February under the rubric of “Field/Work: Object and Site.” The Pathways report is the result of four years of consultation, undertaken through a series of workshops, conferences, and committees in which our fieldworkers—graduate students, professors, publishers, and university administrators, among others—were asked about the directions being taken in art history, archaeology, and conservation. These participants considered the resources those fields require to support graduate training and research; how those resources are most meaningfully allocated; and, crucially, how learning is best delivered in curriculum and training programs.
The public workshops and conferences (now available on the institute’s video archive) were accompanied by the work of three committees convened to pose relevant questions and investigate different aspects of our practices as researchers and educators. Unified in aim, the review committees largely operated independently. They shaped their work according to concerns and protocols specific to each field. The form of their reporting varies accordingly. All three committees considered both present conditions and future possibilities.
The examination of the state of our subjects found them to be generally robust. If anything they are stronger than ever before, existing as they do in today’s image-based environment and able to promote critical seeing along with critical thinking. They are inherently interdisciplinary and equally international or global in their inquiry and potential impact. They have direct relation to material understanding, in the recovery and safeguarding of our physical heritage, in interpreting its present condition, and in forecasting future manifestations.
Although based on wide consultation and meticulous deliberation, this report is intended to contribute to vital and ongoing conversations about the disciplines of art history, archaeology, and conservation, about their professional and intellectual situation, and about strengths, weaknesses, and strategies. Their thoughts on those matters are contained in this document, which is available on the institute’s website for downloading and circulating. The institute hopes this document generates discussion and stimulates further thoughts on the topics it raises and regarding training and research in art history, archaeology, and conservation.
The institute is profoundly grateful to the Mellon Foundation for its generous sponsorship, and to all those who participated in the initiative.
posted by Christopher Howard — February 23, 2015
Teaching the History of Modern Design: The Canon and Beyond
NEH Summer Institute
Drexel University, Philadelphia, Pennsylvania
July 6–July 31, 2015
“Teaching the History of Modern Design: The Canon and Beyond” is an exciting four-week NEH Summer Institute that will prepare twenty-five college faculty from diverse disciplinary backgrounds to meet the increasing demand for, as well as interest in, courses on modern design history. In-depth seminars will focus upon three interdependent thematic units: (1) taste and popular culture; (2) women as consumers and producers of design; and (3) political and global interpretations of design after World War II.
The director’s and visiting scholars’ complementary approaches to “The Canon and Beyond” will build upon and reinforce participants’ familiarity with standard material, while simultaneously introducing new material and critical perspectives. Field trips to regional museums and collections such as the Philadelphia Museum of Art and the Hagley Museum in Delaware will provide participants direct experience with objects and suggest ways to use local collections in their own teaching. Group presentations by our participants will take place during the final week of the institute.
Application deadline: March 2, 2015
Notification date: March 30, 2015
Visiting scholars: Regina Lee Blaszczyk, University of Leeds, England; Maria Elena Buszek, University of Colorado, Denver; Catharine Rossi, Kingston University, England; Sarah Teasley, Royal College of Art, London; and Vladimir Kulic, Florida Atlantic University.
Project faculty: Carma R. Gorman, University of Texas at Austin
Institute director: David Raizman, Drexel University
The National Endowment for the Humanities (NEH), an independent federal agency created in 1965 and one of the largest funders of humanities programs in the United States, is celebrating its fiftieth anniversary in 2015–16. To mark this historic event, we would like you to tell us about an NEH grant or grant product that has made a difference in your life, career, community, or academic field. To contribute stories about NEH’s past or for more information, send an email to NEH50@neh.gov. Please include your name and telephone number in your message.
Because democracy demands wisdom, the NEH serves and strengthens our republic by promoting excellence in the humanities and conveying the lessons of history to all Americans. The endowment accomplishes this mission by awarding grants for top-rated proposals examined by panels of independent, external reviewers. NEH grants typically go to cultural institutions, such as museums, archives, libraries, colleges, universities, public television, and radio stations, and to individual scholars. The grants:
- strengthen teaching and learning in schools and colleges
- facilitate research and original scholarship
- provide opportunities for lifelong learning
- preserve and provide access to cultural and educational resources
- strengthen the institutional base of the humanities
Since 1965, the endowment has opened new worlds of learning for the American public with noteworthy projects such as:
- Seven thousand books, 16 of which have won Pulitzer Prizes and 20 of which have received the Bancroft Prize
- The Civil War, the landmark documentary by Ken Burns viewed by 38 million Americans
- The Library of America editions of novels, essays, and poems celebrating America’s literary heritage
- The United States Newspaper Project, which catalogued and microfilmed 63.3 million pages of historic newspapers and paved the way for the National Digital Newspaper Program and its digital repository, Chronicling America
- Annual support for 56 states and territories to help support some 56,000 lectures, discussions, exhibitions, and other programs each year
We look forward to hearing from you!