This past spring the National Coalition Against Censorship worked with the Modern Language Association and CAA to produce an online survey of their members regarding trigger warnings and the pressures on instructors. While the survey was not scientific, the over eight hundred responses received offer a bird’s eye view of the debate. Here are some responses to the survey results:
Catherine Rampell, “Young Fogies: Modern Illiberalism Is Led by Students,” Washington Post, November 30, 2015.
Colleen Flaherty, “Trigger Warning Skepticism,” Inside Higher Ed, December 2, 2015.
Robby Soave, “How Trigger Warnings Protect Religious Dogma in the Classroom,” Reason, December 1, 2015.
Tyler Kingkade, “The Prevailing Narrative on Trigger Warnings Is Just Plain Wrong,” Huffington Post, December 1, 2015.
Benjamin Wermund, “Do ‘Trigger Warnings’ Harm Academic Freedom? Most Educators Think So,” Chronicle of Higher Education, December 1, 2015.
College Fix Staff, “Three in Five Professors Say Trigger Warnings Pose a Threat to Academic Freedom,” College Fix, December 1, 2015.
Leah Libresco, “Most Professors Fear, But Don’t Face, Trigger Warnings,” Five Thirty Eight, December 10, 2015.
Jesse Singal, “Is There Any Evidence Trigger Warnings Are Actually a Big Deal?,” Science of Us, December 6, 2015.
posted by Christopher Howard — July 02, 2015
ArtHistoryTeachingResources.org recently received a grant from The Kress Foundation to conduct preliminary research for an e-journal of Scholarship of Teaching and Learning (SoTL) in Art History that will launch in 2016.
We are writing to ask for your help with this initiative by completing a ten-minute survey before July 17.
AHTR is a peer-populated website, committed to experimentation, participation, and fostering community around teaching and learning in art history. The new e-journal Art History Pedagogy and Practice will build on this foundation to engage anyone interested in rigorous scholarship and quality content around pedagogical issues in art history.
This survey aims to identify stakeholders in this project and to make sure the e-journal responds to their needs. The survey will also help clarify the e-journal’s place within the existing landscape of SoTL, art history, and pedagogical research/practice, and help us better understand how a discipline-specific SoTL in art history might provide greater support for research around teaching and learning in the field.
We are distributing the survey to members of the art history and museum communities, but also seek input from university administrators, libraries, teaching/learning centers, academic technologists, and others involved in art history education. Please forward the survey to anyone you think would be willing to offer their feedback. We’re grateful for your time and theirs in helping shape what we hope will be a resource for many. We apologize for any cross-postings you may receive, but know the project will be strengthened by the broadest participation.
Click here to access the on-line survey.
(Survey participants will be eligible to win one of four $50 Amazon gift cards)
If you have questions or want more information about the e-journal initiative, we are in the process of creating an Art History Pedagogy and Practice page on the AHTR website. Immediate inquiries should be sent to firstname.lastname@example.org.
Virginia B. Spivey, Parme Giuntini, Renee McGarry
Project Leaders, Art History Pedagogy and Practice Initiative
Michelle Millar Fisher, Co-Founder and Dean, AHTR
Karen Shelby, Co-Founder and Dean, AHTR
Kathleen Wentrack, Contributing Editor, AHTR
The following message came from Craig Vasey, chair of the Committee on Teaching, Research, and Publications for the American Association of University Professors (AAUP).
Teaching Evaluation Survey
The Committee on Teaching, Research, and Publications is interested in determining to what degree there is consistency nationally in attitudes toward faculty teaching evaluations, in methods used for it, and in institutional practices surrounding it. We have developed a survey, and urge you to provide us information about your institution and your experience.
The survey can be taken at https://www.surveymonkey.com/s/teaching-evaluation.
Without your input, we cannot effectively bring these issues into the national conversation on the quality and the future of higher education. This is not intended to be a survey only of AAUP members, but of as many faculty in higher education in the USA as we can reach. Please share this with colleagues and encourage them to participate.
The International Art Materials Association, better known as NAMTA, asks CAA members to contribute to the Artists and Art Materials Survey, a major international study that should take about ten minutes to complete. NAMTA is an association of hundreds of independent and family-owned art materials manufacturers and retailers. The survey deadline is November 25, 2014.
This survey is anonymous—you will not receive marketing spam after taking it. Results will be published in the third edition of the NAMTA Artists and Art Materials Study, which will be freely available to nonprofit arts organizations, colleges and universities, art school, and NAMTA members in January 2015.
By taking this survey you will help artist organizations, art schools, and businesses serve you better, as well as tell art-supply stores and suppliers what artists want. You may also receive free digital issues of The Artist’s Magazine and Professional Artist and get the chance to win one of five $100 art supply store gift cards. Please forward this webpage to your colleagues and students, as their contributions to the survey are essential.
NAMTA will make the 2015 NAMTA Artists and Art Materials Study available free of charge to college art organizations and institutions. If you work for an educational institution or arts nonprofit, please sign up at https://www.surveymonkey.com/s/NAMTAresults. NAMTA will send you the survey results in early 2015.
posted by CAA — September 24, 2014
We are writing to ask for your insights regarding practices in new media by taking the following survey: http://bit.ly/CAAsurvey – this should take approximately 20 minutes for you to complete.
The information gathered from this survey will be used to assist the CAA Professional Practices Committee Taskforce on updating and improving the existing CAA Guidelines for Faculty Teaching in New Media, which can be found at http://www.collegeart.org/guidelines/newmedia07. This document is a description of circumstances, standards, and practices within the field. Its purpose is to assist with faculty hiring, promotion and tenure, workload, compensation, funding, and support in new media, and to provide information about faculty working in this area that could be used in making accurate and comprehensive evaluations.
Our aim is to revise these guidelines into order to the better reflect current practices, and to ensure that it is a useful document for all stakeholders. In February 2015 we will be making initial recommendations for revision, based on this survey and interviews with those in the field. Our goal is to have the updated document(s) approved by the CAA Board by May 2016.
If you are interested in being interviewed by our committee members, please contact us at email@example.com. In addition, we ask that you forward this email to your colleagues, whose input is valuable. In addition to New Media Faculty, we would especially like to involve colleagues with administrative duties overseeing practitioners who work with new media as well as part-time and contingent faculty in this survey.
The survey will end on November 15, 2014.
We thank you for your time, and look forward to your input.
CAA Professional Practices Committee Taskforce on New Media Guidelines:
Paul Catanese, Columbia College Chicago
Rachel Clarke, California State University, Sacramento
Chris Coleman, University of Denver
Michael Grillo, The University of Maine
Heidi May, Columbus State University
Ellen Mueller, West Virginia Wesleyan College
Joanna Spitzner, Syracuse University
Amy Youngs, The Ohio State University
In an effort to improve our services, we encourage you to complete the following survey about your experiences at the 102nd Annual Conference in Chicago last month. This survey should take only a few minutes to complete. We appreciate your feedback and your support and hope to see you at the 103rd Annual Conference in New York, to be held February 11–14, 2015.
Survey link: https://www.surveymonkey.com/s/HRGVZG8
Please complete the survey by Friday, March 14, 2014. Thank you.
posted by Christopher Howard — January 24, 2014
CAA invites members to participate in a digital media art preservation project currently underway at Cornell University in Ithaca, New York. This project aims to develop scalable preservation strategies for complex, interactive, born-digital media artworks using the collections of Cornell’s Rose Goldsen Archive of New Media Art as a test bed.
In developing a preservation framework that will address the needs of the broadest range of archive users, Cornell seeks the input of artists, researchers, educators, curators, and others who work with interactive digital artworks and artifacts. Would you please take a few minutes to respond to this questionnaire about your practices? Depending on your responses, the survey should take approximately ten to twenty-five minutes to complete.
Information about questionnaire results will be published and made available to the broader media archives community. Read more about this preservation initiative here or contact Madeleine Casad, associate curator and Rose Goldsen Archive of New Media Art Curator for Digital Scholarship for the Cornell University Library, for more information.
posted by Michael Fahlund — October 08, 2013
The results of the September 4th survey to members identified the most critical concerns in the visual arts field as: 1) the availability of full-time positions in academia and professional careers outside of academia; 2) access to information on professional opportunities and grants; 3) copyright, image licensing costs and fair use; and 4) the need for networking (survey results: www.collegeart.org/pdf/2013CAAMembershipSurvey.pdf). These and other critical interests of the members will assist in shaping the future of CAA as it develops the 2015-2020 Strategic Plan.
The CAA Board of Directors will hold a planning retreat on October 26th to review the survey results along with information gathered from interviews with 20 leaders in related fields, discussions with artists and art historians held at the Clark Research Institute September 19 – 24, and ideas from the CAA standing committees. The Task Force on the 2015-2020 Strategic Plan (www.collegeart.org/about/plan) will prepare a draft of the plan before the February 2014 Annual Conference.
All members are invited to attend the Open Discussion on the Future of CAA at the Annual Members Business Meeting at the Annual Conference in Chicago on Friday, February 14th, 5:30 PM.
Some 670 members expressed interest in one or more of CAA’s 16 different committees, juries, or editorial boards. If you would like to become more involved with CAA and wish to pursue your interest, please contact Vanessa Jalet (firstname.lastname@example.org); information about the various committees is also available on the CAA website (www.collegeart.org/committees/).
And, congratulations to Monta May and Mimi Whalen whose names were selected at random for a one-year, complimentary, individual membership with CAA!
Thank you for your time and ideas.
What do we know about the 2.1 million artists in the United States’ labor force? To help answer that question, the National Endowment for the Arts (NEA) has released Equal Opportunity Data Mining: National Statistics about Working Artists. This new online research tool offers seventy searchable tables with figures on working artists by state and metropolitan area, by demographic information (including race and ethnicity, age, gender, and disability status), and by residence and workplace. The public is welcome to investigate the tables, a map of state-level rankings, and links to original sources.
“Artists represent just 1.4 percent of the labor force, but they have an outsized role as entrepreneurs and innovators who contribute to the vitality of the communities where they live and work,” said the NEA’s acting chairman, Joan Shigekawa. “These data add further detail and nuance to our understanding of the profile of American artists.”
This new research resource gives statistical profiles of Americans who reported an artist occupation as their primary job, whether full-time, part-time, or self-employed. The data set looks at artists in eleven distinct occupations: actors; announcers; architects; art directors, fine artists, and animators; dancers and choreographers; designers; entertainers and performers; musicians; photographers; producers and directors; and writers and authors. Some tables offer data on employed artists in particular, while other tables measure all artists in the workforce, both employed and looking for work.
The NEA created these data sets based on the US Census Bureau’s Equal Employment Opportunity (EEO) Tables. Every ten years, the Census Bureau produces EEO tables using data from its annual American Community Survey (ACS). This set of EEO tables is drawn from the ACS survey results for 2006–10, which were combined to obtain a large enough sample. The EEO tables are the federal standard for comparing the race, ethnicity, and gender composition of the labor market in specific geographic areas and job categories.
Equal Opportunity Data Mining is the first installment of a series of Arts Data Profile webpages that the NEA will release over the next several months. Future NEA Arts Data Profiles will introduce public data about arts participation and arts organizations, and additional data on artists in the workforce.
Some findings that emerge from the EEO tables include:
- One-fourth of all American architects are women. Yet in Maryland, Massachusetts, Montana, and Washington, the share is roughly one-third. By contrast, in Arkansas, West Virginia, and Wyoming, nearly all architects are men
- Nationally, 4 percent of all artists are disabled, compared with 6 percent of the labor force. At 7 percent, the share of dancers and musicians with a disability is somewhat higher. The percentage of working musicians with a disability is comparatively high in Alaska (25 percent), Alabama (14 percent), Kentucky (16 percent), and Wisconsin (13 percent)
- In Oregon, 40 percent of working actors are African American, Asian, Native American, Pacific Islander, or other, while these ethnic and racial groups make up only 20 percent of the total Oregon labor force
- Roughly one-quarter of musicians working in Nashville commute to the city from outside areas. For example, an estimated one hundred musicians commute thirteen miles from Hendersonville (Sumner County); twenty musicians commute from Franklin, and an additional sixty-five musicians commute to Nashville from other parts of Williamson County
The research tool also includes a video tutorial, links to additional resources (such as the US Census Bureau’s American Fact Finder page), and surveys and databases from the US Department of Labor’s Bureau of Labor Statistics.
For more than thirty years, the NEA has been the only federal agency to use US Census data to analyze artists in the workforce. The NEA seeks to extend the conversation on arts research through commissioned research, direct research grants, and research convenings to encourage more rigorous research on the impact of the arts in other domains of American life, such as education, health and well-being, community livability, and economic prosperity. Recent endeavors include a landmark partnership between the NEA and the US Bureau of Economic Analysis to develop an Arts and Cultural Production Satellite Account that will identify and calculate the arts and culture sector’s contributions to the Gross Domestic Product (GDP). The NEA has convened seventeen federal agencies in the NEA Interagency Task Force on the Arts and Human Development, to foster more research on the arts’ role in improving health and educational outcomes throughout the lifespan. Just published, Creative Communities from Brookings Institution Press is based on a first-ever convening between the NEA and the Brookings Institution on the arts and economic development.
About the National Endowment for the Arts
The National Endowment for the Arts was established by Congress in 1965 as an independent agency of the federal government. To date, the NEA has awarded more than $4 billion to support artistic excellence, creativity, and innovation for the benefit of individuals and communities. The NEA extends its work through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector.
posted by Linda Downs — June 07, 2013
The more information that is made available on critical issues in the field, the greater a case can be made for advocacy to promote change. One of the major challenges for the visual-arts field is ensuring that all faculty are properly supported so that they may provide outstanding teaching, research and creative work. It is estimated that over 70% of faculty at colleges and universities in the United States are now hired on a contingent bases. This upward trend began in the 1970s and appears to dominate the future.
Data on working conditions of part-time faculty is not easily available since the funding for the National Study on Postsecondary Faculty at the Department of Education was discontinued in 2003. Data on art history, studio art, and art education faculty is even more difficult to obtain since visual arts and performing arts faculty were historically aggregated together by the Department of Education.
In response to the lack of data, the Coalition on the Academic Workforce, http://www.academicworkforce.org/ comprising twenty six academic associations including CAA, organized an extensive survey. The report on this survey was published in June 2012 http://www.academicworkforce.org/CAW_portrait_2012.pdf. Of the 20,000 part-time faculty participating in the survey, 1,034 were CAA members. The data they contributed has been compiled and is now available [http://www.collegeart.org/pdf/CAA-CAWContingentFacultySurvey.pdf].
Some of the major findings from the art historians, artists and art educators indicate that: 1) part-time faculty in the visual arts field have a slightly higher salary rate than the median; 2) there are gender disparities in salaries within the visual arts; and 3) resources and benefits provided by institutions are two to three times lower for visual-arts faculty than the full sample of respondents.
What is CAA doing to address these issues? The Board adopted the Guidelines for Part-Time Faculty in 2004. The Professional Practices Committee under the chairmanship of Jim Hopfensperger and an ad hoc committee led by Tom Berding and CAA board member, John Richardson are working to update these guidelines to respond to present needs in order to provide standards for the field.
Several CAA annual conference sessions have been devoted to resources for administrators and part-time faculty. At the 2013 New York Annual Conference, a panel which included John Curtis from the American Association of University Professors and Rosemary Feal from the Modern Language Association, among others, provided valuable resources for networking among part-time faculty. An example is organizations such as CAW that are actively addressing workforce issues and state and national government advocacy. These resources can be found at http://www.collegeart.org/resources/contingentfaculty.
The CAA Board has organized a planning task force of members to address critical issues in the field over the next five years. The profound changes in the structure of faculty, teaching formats, digital research, publishing and creative work are some of the greatest challenges identified. The members of the task force welcome your comments in shaping how CAA can address these and other major issues of our profession. Please send your ideas and comments to CAA at email@example.com.
I would like to thank Peter Bucchianeri at Harvard University for compiling the data and writing the report on the responses of CAA member respondents to the contingent faculty survey.