posted by CAA — June 14, 2016
Do you have a knack for sharing your knowledge with others and are enthusiastic about doing so? CAA seeks active members who are well established in their fields to serve as leaders for 90-minute Professional Development Workshop offerings at the 2017 Annual Conference at the New York Hilton Midtown from February 15-18.
The Annual Conference Committee and Programs Department aims to provide CAA members with re-vamped, affordable, and relevant professional development opportunities for 2017. But we need your help to do it! We encourage your collaboration and we welcome your proposals! Sample titles and/or subjects could run from, “Creating Online Exhibitions” to “Thinking Outside the Tenure Track.”
For more details, requirements, and submissions please visit the submissions page.
Workshop leaders will receive complimentary conference registration, a complimentary ticket to the 2017 Opening Reception, and one year of Premium Level Membership (renewal or upgrade to commence upon current membership’s expiration date) in exchange for their work as a leader.
Deadline for submissions: Monday, July 18, 2016.
For questions and more information please contact Katie Apsey at email@example.com
posted by Janet Landay, Program Manager, Fair Use Initiative — October 01, 2015
“CAA’s Code of Best Practices in Fair Use for the Visual Arts: How Will It Help the Visual Arts Community?” is the name of a free presentation by Peter Jaszi, lead principal investigator of CAA’s fair-use project, that will take place at the New York Foundation for the Arts (NYFA) in Brooklyn on Tuesday, October 20, 2015, 6:00–7:30 PM. Jaszi will explain how the Code works, how it was created, and why it’s reliable. The presentation will be followed by a Q&A.
When can an artist or art historian use a photo she snapped in a museum for teaching? Can a museum reproduce an image from an exhibition of contemporary art in a related brochure without licensing it? How can fair use simplify the permissions process in publications? Can an archive put images from its collection online—and if so, with what restrictions? The copyright doctrine of fair use, which permits use of unlicensed copyrighted material, has great utility in the visual arts. But for too long, it’s been hard to understand how to interpret this rather abstract part of the law. The newly created Code of Best Practices in Fair Use for the Visual Arts, produced by CAA, makes it much easier to employ fair use to do scholarship in the visual arts, art practice, teaching, exhibitions, digital displays, and more.
The event will be held at NYFA’s office at 20 Jay Street, Suite 740, Brooklyn, NY 11201 (F train to York Street Station or A train to High Street/Brooklyn Bridge Station). The talk is free and open to the public but requires an RSVP via Eventbrite. The event is made possible by CAA, with a grant from the Andrew W. Mellon Foundation.
About the Presenter
Peter Jaszi is a professor of law at American University’s Washington College of Law, where he teaches copyright law and courses in law and cinema. He also supervises students in the Glushko-Samuelson Intellectual Property Law Clinic, which he helped to established, along with the Program on Intellectual Property and Information Justice. Jaszi has served as a trustee of the Copyright Society of the USA and is a member of the editorial board of its journal. A graduate of Harvard Law School (JD) and Harvard University (AB), he has written about copyright history and theory and coauthored Reclaiming Fair Use: How to Put Balance Back in Copyright (Chicago: University of Chicago Press, 2011) with Patricia Aufderheide.
posted by Emmanuel Lemakis — March 02, 2015
CAA wishes to thank the artists, scholars, curators, critics, educators, and other professionals in the visual arts who generously served as Career Services mentors—for the Artists’ Portfolio Review, Career Development Mentoring, the Mock Interviews, and the Professional Development Roundtables—during the 2015 Annual Conference in New York. CAA also appreciates the work of leaders of the Professional-Development Workshops and speakers at Orientation.
Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University; and Jo-Ann Morgan, Western Illinois University.
Artists’ Portfolio Review
Virginia Fabbri Butera, College of Saint Elizabeth; Michael Bzdak, Johnson & Johnson; Susan Canning, College of New Rochelle; Brian Curtis, University of Miami; Peter Kaniaris, Anderson University; Jason Lahr, University of Notre Dame; Matthew LaRose, Park University; Preston B. Lawing, Saint Mary’s University of Minnesota; Suzanne Lemakis; Sharon Lippman, Art Without Walls; Craig Lloyd, College of Mount St. Joseph; Judith Pratt, Judith Pratt Studio; Habibur Rahman, Claflin University; Steve Teczar, Maryville University of St. Louis; and David Voros, University of South Carolina.
Career Development Mentoring
Susan Altman, Middlesex County College; Frances Altvater, University of Hartford; Michael Aurbach, Vanderbilt University; Brian Bishop, Framingham State University; Colin Blakeley, Eastern Michigan University; Karen Carter, Kendall College of Art and Design, Ferris State University; Leda Cempellin, South Dakota State University; Jaia Chen, Shelton State Community College; Kevin Concannon, Virginia Polytechnic Institute and State University; Anne D’Alleva, University of Connecticut; Rebecca DeRoo, Rochester Institute of Technology; James Farmer, Virginia Commonwealth University; Joan Giroux, Columbia College Chicago; Reni Gower, Virginia Commonwealth University; Jim Hopfensperger, Western Michigan University; Dennis Ichiyama, Purdue University; Carol Krinsky, New York University; Elisabeth Leach; Heather McPherson, University of Alabama, Birmingham; Jo-Ann Morgan, Western Illinois University; Jeff Nathanson, Arts Council of Princeton; Niki Nolin, Columbia College Chicago; Mark O’Grady, Pratt Institute; Christopher Olszewski, Savannah College of Art and Design; Morgan Paine, Florida Gulf Coast University; Doralynn Pines, Metropolitan Museum of Art, retired; Judith Pratt, Judith Pratt Studio; David Raizman, Drexel University; Jack Risley, University of Texas at Austin; Dinah Ryan, the Principia; Paul Ryan, Mary Baldwin College; Gerald Silk, Tyler School of Art, Temple University; Andrew Jay Svedlow, University of Northern Colorado; Joe A. Thomas, Zuckerman Museum of Art, Kennesaw State University; Larry Thompson, Samford University; Ann Tsubota, Raritan Valley Community College; Philip Van Keuren, Southern Methodist University; and Barbara Yontz, St. Thomas Aquinas College.
Professional Development Roundtables
Michael Aurbach, Vanderbilt University; Brian Curtis, University of Miami; Dennis Ichiyama, Purdue University; Peter Kaniaris, Anderson University; and Leo Morrissey, Georgian Court University.
Mock Interview Sessions
Dina Bandel, Virginia Commonwealth University, Qatar; Colin Blakely, Eastern Michigan University; Maria Ann Conelli, Brooklyn College, City University of New York; Jacqueline Coutré, Queens University; Stephanie Dickey, Queens University; Adam Fung, Texas Christian University; Carol Garmon, University of Mary Washington; Joann Giroux, Columbia College Chicago; Bertha Gutman, Delware County Community College; Kim Hartswick, Brooklyn College, City University of New York; Rebecca Harvey, Ohio State University; Richard Heipp, University of Florida; Heidi Hogden, University of South Dakota; David Howarth, Zayed University; Eldred Hudson, University of North Carolina, Charlotte; Dennis Ichiyama, Purdue University; Matt King, Virginia Commonwealth University; Andrea Kirsch, Rutgers University; David LaPolambara, Ohio University; Brittany Lockard, Wichita State University; Carolyn Martin; Tamryn McDermott; Jo-Ann Morgan, Western Illinois University; Thomas Post, Kendall College of Art and Design; Lauren Puzier, Sotheby’s Institute of Art; David Yager, University of California, Santa Cruz; and Megan Koza Young, Prospect New Orleans.
Brown Bag Lunches/Sessions
Leda Campellin, South Dakota State University; Maria Ann Conelli, Brooklyn College, City University of New York; Jacqueline Coutré, Queens University; Lauren Grace Kilroy-Ewbank, Brooklyn College, City University of New York; Brittany Lockard, Wichita State University; Carolyn Martin; Tamryn McDermott; Lauren Puzier, Sotheby’s Institute of Art; Georgia Strange, University of Georgia; and Megan Koza Young, Prospect New Orleans.
Professional Development Workshops
Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University; Barbara Bernstein, Virginia Center for the Creative Arts and University of Virginia; Steven Bleicher, Coastal Carolina University; Mika Cho, California State University, Los Angeles; Curtis Fletcher, University of Southern California; Amanda French, George Mason University; Gigi Rosenberg; and Blaise Tobia, Drexel University.
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
A Project of Media Lounge and ARTspace
103rd Annual Conference
February 11–14, 2015
New York Hilton Midtown, Gibson Room
During the 2015 Annual Conference, the Media Lounge and ARTspace will host programming with the shared theme of “Alternative Economies.” These programs will consider models of social, cultural, and technological economies that transform the conditions for critical discourse and art making. The following workshops organized by Jenny Marketou and Stacy Miller are part of the event which take place at the Media Lounge; they are free and open to the public.
Imagining an Alternative School of Art
OWS Arts & Labor | Alternative Economies Working Group
Wednesday, February 11
9:00 AM–1:00 PM
The economic and structural realities of art schools as they exist today can often be a source of anxiety and frustration for students, faculty, and staff alike, so what might an alternative school of art look like? In this workshop the participants will familiarize themselves with over thirty alternative economic models that are in practice throughout the world today. After analyzing the current economic and structural issues apparent in our places of work and study, participants will be asked to imagine and consider the implications of using these alternative models to augment, remedy, or perhaps replace the current structure altogether.
About: Arts & Labor’s Alternative Economies Working Group is focused on researching alternative economic models that can be used to create and nurture more equitable and sustainable art worlds. Believing that vibrant creative communities come from the bottom up, they encourage relationships based on mutual aid rather than competition and advocate for cultural institutions rooted in a framework of social, economic, and environmental justice.
Facilitation: Melissa Liu, Daniel Tuss, Antonio Serna, Yana Dimitrova, and James Douglas Whitman.
Beyond Faxes with Clip Art: Connective Technology and Art Making
Saturday, February 14
This hands-on workshop will move beyond social media as a simple broadcast media for artists and examine how technologically engaged creation and collaboration can enhance, enable, and disrupt established models for art-making practice and interaction. In this workshop, participants will use open-source and/or free tools to connect with artists and create works; they will also discuss relevant issues in practice and pedagogy.
Facilitation: David Hart (MA, Art and Art Education, Teacher’s College, Columbia University) is a producer, writer, and educator with an emphasis in the museum field. He has taught in afterschool settings, corporate workshops, museum programs (in-person and virtually), and undergraduate and graduate programs. Hart worked in the Department of Education and the Department of Digital Media at the Museum of Modern Art and currently is a producer for Acoustiguide, partnering with such institutions as the Solomon R. Guggenheim Museum, the New York Botanical Garden, and the J. Paul Getty Museum.
Students and emerging professionals have the opportunity to sign up for a twenty-minute practice interview at the 2015 Annual Conference in New York. Organized by the Student and Emerging Professionals Committee, Mock Interview Sessions give participants the chance to practice their interview skills one on one with a seasoned professional, improve their effectiveness during interviews, and hone their elevator speech. Interviewers also provide candid feedback on application packets.
Mock Interview Sessions are offered free of charge; you must be a CAA member to participate. Sessions are filled by appointment only and scheduled for Thursday, February 12, 11:00 AM–1:00 PM and 3:00–5:00 PM; and Friday, February 13, 9:00–11:00 AM and 1:00–3:00 PM. Conference registration, while encouraged, is not necessary to participate.
To apply, download, complete, and send the 2015 Mock Interview Sessions Enrollment Form to Megan Koza Young, chair of the Student and Emerging Professionals Committee, by email to firstname.lastname@example.org or by mail to: 706 Webster Street, New Orleans, LA 70118. You may enroll in one twenty-minute session. Deadline: February 5, 2015.
You will be notified of your appointment day and time by email. Please bring your application packet, including cover letter, CV, and other materials related to jobs in your field. The Student and Emerging Professionals Committee will make every effort to accommodate all applicants; however, space is limited.
Onsite enrollment will be limited and first-come, first-served. Sign up in the Student and Emerging Professionals Lounge starting on Wednesday, February 11, at 4:00 PM.
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 Christopher Howard — January 15, 2013
The American Institute for Conservation of Historic and Artistic Works (AIC) will present a session, called “Facing the Unthinkable: Preparing for the Next Sandy,” at CAA’s 101st Annual Conference in New York on Saturday, February 16, 2013. It will take place from 1:00 to 3:30 PM at the Hilton New York, Concourse C, Concourse Level. This session—which is free and open to the public—is aimed particularly at artists and small-gallery managers and will focus on concrete steps they can take to mitigate the impact of emergencies through planning and preparing for forecasted events, such as storms, and on first steps to take following an emergency. In addition, important health and safety procedures will be outlined, and lists of resources and contact information for assistance will be distributed.
When Superstorm Sandy struck the Northeast at the end of October 2012, individual artists and small galleries were especially vulnerable—especially those concentrated in low-lying areas that were eventually inundated with floodwaters. Many prepared as they had for Hurricane Irene a year previously, but the height and power of the water was far beyond what Irene had brought. Lessons learned from this disaster will be covered in the workshop, including the experiences of AIC’s Collections Emergency Response Team (AIC-CERT) and the current work at the Cultural Recovery Center in Brooklyn.
Speakers will include members of AIC-CERT and volunteers from the Cultural Recovery Center: Cynthia M. Albertson, Assistant Conservator, Museum of Modern Art; Lisa Elkin, Chief Registrar and Director of Conservation, American Museum of Natural History; David Goist, Conservator in Private Practice, Raleigh, North Carolina; and Caitlin O’Grady, Department of Art Conservation, University of Delaware.
AIC, which advances the practice and promotes the importance of preservation of cultural property through publications, research, and the exchange of knowledge, is a CAA affiliated society.
Updated on January 28, 2013.
posted by Christopher Howard — January 23, 2012
Advance registration for CAA’s 100th Annual Conference, taking place February 22–25, 2012, at the Los Angeles Convention Center, has been extended to Monday, January 30, 2012. This is also your last chance to purchase advance tickets for special events and workshops.
Advance registration ends on Monday, January 30, 2012.
- Members: $235
- Student and retired members: $135
- Nonmembers: $365
Join us for a variety of special events including CAA’s Centennial Reception at the Los Angeles County Museum of Art, Tours to the Getty Villa and the Getty Center, An Evening at UCLA, as well as the Santa Monica and Venice Art Tour!
Looking to advance your career? This year’s conference will include a bevy of professional-development workshops designed specifically for artists, art historians, and professionals in the visual arts. Workshops address topics such securing tenure, job hunting, and much more! Workshop space is limited, so book your place today! Each workshop costs $45.
Have you booked your accommodation yet? Conference attendees can also take advantage of substantial discounts on rooms at the JW Marriott Los Angeles LA Live, just steps away from the Los Angeles Convention Center. The Westin Bonaventure, the Millennium Biltmore, and the Figueroa Hotel also offer discounts to conference attendees.
posted by Christopher Howard — April 04, 2011
In March 2011, CAA received two significant grants to continue offering the Wyeth Foundation for American Art Publication Grant for three more years and to fund the National Professional-Development Workshops for Artists through 2012.
The Wyeth Foundation for American Art approved funding that will allow CAA to award $40,000 in grants to publishers each year from 2011 to 2013. Wyeth grants support the publication of books on the history of American art, visual studies, and related subjects that have been accepted by a publisher on their merits but cannot be published in the most desirable form without a subsidy. The program has helped publish twenty-two books since 2005.
The Emily Hall Tremaine Foundation awarded $70,000 to CAA for sustaining the National Professional-Development Workshops for Artists. This program focuses on supporting visual artists in underserved areas across the United States and providing essential training to emerging, midcareer, and established professionals. CAA has held sixteen Tremaine-sponsored workshops since 2007.