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Lynda.com Membership for $99 (70% off)

posted by October 10, 2017

We recently announced new membership levels and new benefits for our CAA members, and we wanted to pull out one new benefit for highlighting because we think it’s really helpful, and kind of a big deal.

All CAA members can now get a one-year membership to Lynda.com for $99 (standard price $360). To purchase Lynda.com, log into your CAA account.

Lynda.com is the largest online learning platform, with over 6,000 courses ranging from Teacher Tools to Educational Technology to Content Marketing and Computer Programming.

Lynda.com purchases are nonrefundable and limited to one per CAA member. Please allow up to two business days to receive confirmation email from Lynda.com for access.

Last week, I had a chance to participate in a conference call with Jon Parrish Peede, the new acting chair of the National Endowment for the Humanities (NEH). He assumes the role after the resignation of William D. Adams in May of 2017, who stepped down concurrent with the release of the White House FY2018 budget that called for eliminating the NEH. The call with Peede was organized by the National Humanities Alliance (NHA), and included leaders of other humanities organizations.

Peede, who was appointed by President Trump in late July, is the brother of a senior member of Vice President Mike Pence’s staff.

During the call, Peede talked about his closeness to Dana Gioia, the George W. Bush-appointed head of the NEA, and proudly referred to himself “a product of rural America,” stressing the need for having people from all 50 states on NEH panels.

When asked about his vision for the NEH, he mentioned that humanities could be funded and supported by other organizations, such as colleges, foundations, and individuals. He offered support for grant selection being “grounded in rigor” and wanted grantees to talk about “outcomes and not activities.”

Peede was asked why the public should care about the NEH and stated that the agency’s role is to preserve records and to place them in context, an important position for a federal agency, but one which does not necessarily address the larger idea of the impact of humanities in society. He did state, “a life in the humanities is a life well lived.” In response to a question about what he would do if the NEH received an increase in funds, Peede was not sure, but opined that he might not offer more grants as it may “dilute the value” of other grants.

Unfortunately, he was not asked how he felt about the President’s desire to zero out funding for the NEH or NEA, and what he was planning to do about it. For many in the arts and humanities, this is the pressing issue. Currently, the NEH is approved by the House Appropriations Committee for $145 million in funding for FY 2018, a $4.8 million drop from FY 2017. But the funding is not secure and certain. Hopefully on our next call, Peede will be able to address this important question.

Hunter O’Hanian
Executive Director

Filed under: CAA News — Tags:

Back in 2014, CAA set aside our old income-based membership system, replacing it with a new system based on the amount of benefits members wanted.

The program was a success, but we discovered that some of the language caused confusion. Starting this fall, we are launching the final refinement of the membership program that will eliminate confusion about the membership levels.

In addition, we will begin rolling out new membership benefits for our 10,000 individual and institutional members.

Understanding that many members face shrinking departmental budgets, for the fourth consecutive year, membership rates will not increase (in fact, we are reducing the student rate). We do this while at the same time planning for one of the largest Annual Conferences ever.

In February 2018 in Los Angeles (February 21-24), we have already scheduled more than 300 sessions and meetings, involving over 1,400 CAA members who will serve as discussants, presenters, and chairs. Additionally, we have secured a seemingly endless schedule of events for CAA members at LA-based cultural and educational institutions, including The Getty Center, The Broad, LACMA, The Skirball Cultural Center, Norton Simon Museum, The Huntington, UCLA, USC, Otis College of Art and Design, Santa Monica College, 18th Street Arts Center, and many, many others.

Registration for the 2018 CAA Annual Conference will open in early October.

 

New Membership Levels

Starting on October 1, 2017 you will see three individual membership levels on the CAA website membership page and in our membership materials. You can choose a membership level based on where you are in your career and whether you expect to go to the Annual Conference.

Tier One Membership
$195 annually/$380 two years (formerly Premium Membership)

This level is designed for working professionals in the myriad visual arts fields that support the association and expect to attend CAA’s Annual Conference. You will receive a 55% discount on your early Annual Conference registration. You will still receive one of the two flagship CAA publications (Art Journal or The Art Bulletin), along with all other benefits.

Tier Two Membership
$125 annually/$245 two years (formerly Basic Membership)

This level is designed for professionals for whom the Annual Conference is not a priority. Tier Two members get a 20% discount to the Annual Conference and receive one of the two flagship CAA publications (Art Journal or The Art Bulletin), along with all other benefits.

Tier Three Membership
$80 annually/$155 two years (formerly part-time, independent, retired)

Tier Three Student
$50 students annually/$95 students two years

Both Tier Three levels are designed for independent artists, student, designers, scholars, art historians, part time faculty, retired and others working independently, without full-time employment. It has all the same benefits of Tier One Membership, including the 55% early Annual Conference discount. Students will be charged only $50.

You don’t need to do anything right now! Upon joining or renewing you will be asked to choose one of the new levels. All of the Donor Circle membership levels (Sustaining, Patron, and Life) will remain the same.

 

New Benefits

In case you hadn’t noticed, we’ve tried every way we can to discover what you need from your professional association. We know you want to advance your career, access to exceptional scholarship, networking opportunities and advocacy. Without a doubt, finances remain an issue for many members.

We are happy to announce that starting October 1, 2017 we are able to offer CAA members the following new benefits. Sign into your CAA member account after October 1 to make purchases or view discount codes.

  • Lynda.com – The largest online learning network with more than 3,000 courses in design, photography, web development, marketing, and business is now available to CAA members at a significant discount. Members will have access to the full online premium program for $99 annually (regularly $360 annually).
  • Legal Services – We have secured the services of a major Maryland/DC law firm, Whiteford, Taylor, and Preston, which works with other Learned Societies, to assist CAA members at a reduced rate ($275/hour). Whether you need help reviewing a book contract, employment agreement, gallery agreement, or fair use legal opinion, as a CAA member, you can now call on a law firm that knows the field.
  • Making Fair Use Real – CAA is a leader in the field of fair use of visual images in education and visual arts publishing. We have worked to educate the field and publishers about the permissions that may not be needed for copy written images to support your academic writing. Teaming up with the Whiteford, Taylor, and Preston law firm, we have secured a New York-based insurance agency, C & S Int’l Insurance Brokers Inc., to issue Errors and Omissions insurance policies to protect you and your publisher. It can save you thousands of dollars in permissions for your academic publications.
  • Humanities Commons – More than a year ago, we partnered with the MLA (Modern Language Association) to create web-based discussion and resource hubs known as Humanities Commons (public) and CAA Commons (CAA members only). The platforms offer our members the chance to easily share research and resources with scholars in their field and in other fields.
  • More Publisher Discounts –It seems we just can’t get away from owning books. We have heard from members that they would like more book discounts. Several publishers/distributers have come forward to offer discounts to CAA members. University of Chicago Press is now offering 20%, Artbook|D.A.P. is offering 25% off online sales, and MIT Press will offer 25% off to members. Sign into your CAA member account on October 1 to view discount codes. More publishers will be announced soon.
  • CAA’s Cultural and Academic Network – We know that you rely on the Annual Conference to promote your programs, network in the field, and attract new faculty and program participants. Starting this year at the Los Angeles Annual Conference (February 21–24, 2018), we will completely revamp CAA’s Candidate Center and offer your college or university a better opportunity to promote programs, connect with alumni and colleagues, and to interview prospective faculty members, all at a very affordable price. Say goodbye to the “hotel room” interview!
  • An Office in New York City – Many members have told us that when they travel to NYC on business, either to see exhibitions or to conduct interviews, they would like a place to conduct an interview, catch up on email or make a few phones calls. We now have an office for out-of-town members to use at the CAA offices at 50 Broadway.

We are also presently working to secure affordable dental, vision, and health care for our members who presently do not have coverage. We see how difficult the healthcare market is for employees, for employers, and for just about anyone, and we want to do our share to help our members with this challenge. In addition, we are talking to other professional organizations about joint memberships at reduced prices. We hope to have more information to announce later this fall.

All of the other CAA membership benefits remain intact. You will continue to have access to our insightful scholarly publications, such as The Art Bulletin, Art Journal, Art Journal Open, and caareviews. You will still get access to JSTOR, CAA’s online jobs portal, and additional Taylor & Francis publications. Your discounts to art fairs and art magazines and your corporate discounts (car rental, convention hotels, and airfare) will all continue without change. In a new agreement, the International Fine Print Dealers Association will offer our members half-off admission tickets to their Fine Art Print Fair every year. Shortly, newsletter subscribers will also find a new Monday newsletter dropping into their inbox that focuses more on advocacy, jobs, and opportunities. CAA Conversations, our video interview series, will soon grow to include podcasts focusing on issues in the field of visual arts and teaching. Outside of member benefits, the CAA/Getty International Program thrives, as do our Distinguished Awards, publishing grants, and the Professional-Development Fellowship Program. We are, as is often the case, grateful to the Andrew W. Mellon Foundation for the continued support of RAAMP – the program to provide resources to academic art museums. Additionally, we continue to bring the Code of Fair Use in the Visual Arts to academic communities throughout the US and abroad.

We will continue to advocate for the field on the local, national, and international level, never afraid to take a stand on tough issues. We see the budget battle for federal funding for the NEA, NEH, IMLS, and all agencies that support the arts and humanities as a critical to our members. The content in the Annual Conference and in our publications remains exceptionally high. We are at the beginning stages of a rebranding process, which we plan to unveil at the 2018 Annual Conference in Los Angeles. We are working on new standards and guidelines which aid art historians, artists, and designers. We have been doing all of this while we have worked to streamline the administrative staff and keep the association as nimble as possible to meet the needs of the members.

It goes without saying:  Your input is important—Keep it coming!

Sincerely,

Hunter O’Hanian,
Executive Director

Filed under: Membership — Tags:

Artist Mimi Gross is the daughter of sculptor Chaim Gross and serves as the president of the Renee & Chaim Gross Foundation, based in Greenwich Village in New York City. Mimi Gross’s work has been part of many international exhibitions, including work at the Salander O’ Reilly Galleries, and the Ruth Siegel Gallery, New York City, the Inax Gallery, in Ginza, Tokyo, and Galerie Lara Vincey, in Paris. She has also shown work at the Municipal Art Society and at the Port Authority Bus Terminal. Her anatomically-themed art-work is on permanent display, courtesy the New York City Parks Department, at the Robert Venable Park in East New York.

The Renee & Chaim Gross Foundation houses an extensive collection of over 10,000 objects that includes Gross’s sculptures, drawings, and prints; a photographic archive; and Gross’s large personal collection of African, Oceanic, Pre-Columbian, American, and European art that remains installed in the townhouse as Gross had it during his lifetime. The Foundation is open to the public and tours are available through the website. 

When you think about it, there is an amazing consortium now of artists’ foundations, artist/family foundations. That is a source of continuity.
—Mimi Gross
Hunter O’Hanian: Hi. I’m Hunter O’Hanian. I’m the director of the College Art Association, and I’m very fortunate to be here today with Mimi Gross. Hello, Mimi.
Mimi Gross: Hi.
Hunter O’Hanian: Thank you.
Mimi Gross: Glad to be together.
Hunter O’Hanian: Thank you, yes. And it’s been nice to catch up about our time in Provincetown together.
Mimi Gross: Yeah.
Hunter O’Hanian: We have spent a lot of time there.
Mimi Gross: We do.
Hunter O’Hanian: But thank you very much for inviting us into the home of the Foundation, the foundation that was set up by your parents. And it’s really amazing, and we’re going to get to talk about lots of that stuff.
Mimi Gross: Right.
Hunter O’Hanian: But so our viewers actually see what’s going on, can we talk a little bit about the pieces of artwork over my head here?
Mimi Gross: Oh, of course. Very happily.
Hunter O’Hanian: Yep.
Mimi Gross: So we start, this is by Mane-Katz.
Hunter O’Hanian: Yep.
Mimi Gross: Who was a great, shall we say, French-Israeli-American painter, and it’s a Purim Boy. It’s a Milton Avery above it, Woman in Blue. Next to it, this is by Orozco, Mexican master. This is by Louise Nevelson when she was very young, and she was my father’s student. This is by Marsden Hartley.
Hunter O’Hanian: You said I could take this one home, right?
Mimi Gross: Well, you might try. We might catch you at the door.
Hunter O’Hanian: I saw you had good security here, so …
Mimi Gross: Yeah, we do.

Above it is Francis Crisp. He was a great painter. The two dark men, that surreal painting is by Federico Castellón, a Spanish American painter. Below it is by John Metzinger, a great friend of Leger and strangely, post-modern today. Above is by Raphael Sawyer. I don’t know how far you go, but next to it is Louis Guglielmi. He was a Great Depression painter.

Hunter O’Hanian: Where in the house did your parents … Your dad worked, right?
Mimi Gross: Yes.
Hunter O’Hanian: Tell us a little bit about your father’s career.
Mimi Gross: His career?
Hunter O’Hanian: Yeah.
Mimi Gross: He was a carver. That was his prime interest in his artwork. He came to America as a teenager at age 17 and went to the Education Alliance and studied there and then taught there. He studied with Elie Nadelman. He studied with Robert Laurent. Before that, he started as a painter and John Sloan was his teacher and saw his drawings were very dimensional and said, “Why don’t you try studying sculpture?” He took to it immediately, and that was his love …
Mimi Gross: Which continued throughout his life.
Hunter O’Hanian: The building that we’re in now on La Guardia Place, how long did your parents have this building?
Mimi Gross: They got it in ‘62, ‘63 when they moved in, and they were looking for a place that would be a permanent home for his work and for his collection. I grew up in Harlem at my home had all these things in it, but not this building. He always had a studio in the village. That was his territory.
Hunter O’Hanian: Was your mom a maker as well, too?
Mimi Gross: She took care of everyone.
Hunter O’Hanian: Did she? Good for her. She was probably one of the busiest people in the household.
Mimi Gross: She was very busy.
Hunter O’Hanian: You said you grew up in Harlem. Tell us a little bit about your education.
Mimi Gross: School of hard knocks. I went to high school music and art and then to Bard College. After two years I went to Europe and spent several years there. That was a major part of my education.
Hunter O’Hanian: What was that like growing up with an artist family? Who was coming around the house in those days? Who were your parents chumming around with?
Mimi Gross: My other father was Raphael Sawyer, and I posed for him a lot and got to know him very close. Milton Avery who also came to Provincetown and knew him in the summertime.
Hunter O’Hanian: Right. You spent summers in Provincetown?
Mimi Gross: Since I was a little girl.
Mimi Gross: And still do.
Hunter O’Hanian: One of the reasons why we’re here is to talk about this Spring/Summer issue of the Art Journal, which really talks about artist legacies. You have a great piece in here on page 129, which really talks about the legacy of your parents and the Gross Foundation here, and so we’ll get into some of that, but what brought your family to Provincetown?
Mimi Gross: That’s actually a sensitive subject.
Hunter O’Hanian: Oh.
Mimi Gross: First of all, it’s a artist colony as it’s known, they had spent several summers in Rockport on Cape Ann, which also is an artist colony.
Hunter O’Hanian: In Massachusetts?
Mimi Gross: In Massachusetts came that period before World War II started. World War II started and anti-Semitism was very wide-spread in New England. They heard that Provincetown was liberal, which it still is, or it’s maybe not as liberal as it once was. It was a Portuguese fishing village. It was unlike general New England, so they migrated there and loved it, stayed.
Hunter O’Hanian: Your family ended up having a house there, and that’s how you ended up being able to go every summer?
Mimi Gross: Yep.
Hunter O’Hanian: You were trained as an artist yourself. There’s the lovely picture of you at the beach making a painting. Tell us a little bit about your artistic career.
Mimi Gross: My career itself?
Hunter O’Hanian: Mm-hmm (affirmative).
Mimi Gross: It’s what we’d call the bumpy road to somewhere. I’ve had several, you could call it emerging moments, where there was a notoriety of a sort, but I’ve been working since I’m a teenager very seriously as a painter. I’ve worked with many materials, mainly to paint them. That’s been my quest in life. I’m a figurative painter, but I’ve tried many different things. I’ve done a lot of costumes and sets for dance, in particular, Douglas Dunn. When I was married, we did a lot of movies with animation. That was a lot of artwork as well.
Hunter O’Hanian: You were married-
Mimi Gross: My career in terms of gallery life, I showed with several different galleries which closed, so right now I don’t have any gallery, though I had two shows very recently, this spring.
Hunter O’Hanian: Right, and you were married to Red Grooms, as you said?
Mimi Gross: Yes.
Hunter O’Hanian: Yes, and you had several children with Red?
Mimi Gross: One daughter, Saskia.
Hunter O’Hanian: Yeah, wonderful. Great.
Mimi Gross: And two granddaughters.
Hunter O’Hanian: You and Red made films together?
Mimi Gross: We did. Many films.
Hunter O’Hanian: You collaborated on other projects, too?
Mimi Gross: Yes, we collaborated on very large, walk-through installations that he called pictosculptoramas. They were gigantically room-sized.
Hunter O’Hanian: Right. Your parents over the year…. Certainly your father was incredibly prolific, and you have been very prolific as an artist. Through your relationships you’ve gathered a lot of work, traded it with other artists. I read that there was possibly 10,000 objects that you have at this point.
Mimi Gross: In this house.
Hunter O’Hanian: In this house.
Mimi Gross: I don’t have that many objects.
Hunter O’Hanian: No, no, but I mean in-
Mimi Gross: But my parents were, they were serious collectors. The African art collection is, in itself, multiple objects.
Hunter O’Hanian: The question always comes up then about, for people who are art makers or collectors, what happens to that work? And what is-
Mimi Gross: Good luck.
Hunter O’Hanian: Yeah. Good luck, right, an artist’s legacy going forward. What do you say about that?
Mimi Gross: When I was asked to write this article, at first I said, “Oh, sure,” thinking that it was not a difficult answer, knowing that we made this foundation, but when I really thought about it, I realized that my own life and work was something that I had not particularly addressed, as well as the works I did with Red when we collaborated and we both own. It was complicated and difficult to actually freely write it.

I would say that in terms of how an artist who has objects, how they deal with it, it has a lot to do with their own reputation, their own finances and their own ambitions, and their support. All of these things make it work or not work.

My father would say things like, “Oh, I have a daughter that will take care of it,” so I think my granddaughters, maybe they’ll help. There’s no way of knowing, but the finances are gigantic issue, and even here where we have all of this work and a fantastic building, it still is the main issue is fundraising.

Hunter O’Hanian: Right. Again, we’re here at La Guardia Place in The Village in New York. People can actually come and see the work.
Mimi Gross: Oh, yes.
Hunter O’Hanian: They can contact the foundation to make an appointment and have a docent led tour.
Mimi Gross: It’s open to the public.
Hunter O’Hanian: Which is great.

When I was asked to write this article, at first I said, “Oh, sure,” thinking that it was not a difficult answer, knowing that we made this foundation, but when I really thought about it, I realized that my own life and work was something that I had not particularly addressed…. It was complicated and difficult to actually freely write it.
—Mimi Gross
Mimi Gross: We were well-situated here. I say “we” because I helped my parents get this together. Well-situated when Soho was extremely active as an art center, so people were visiting galleries, and then they knew my father or they heard about him and they would drop by and visit. That evolved that way, but today it’s not an art center, though there are several pockets of places here. There is a consortium with the various places that are still in the neighborhood, but because it’s still easily located near Washington Square and near the subways, people come by.

We have about 5,000 people come here a year. Then we’ve been part of Open House New York and in one weekend have over 1,000 people come. We’re part of the Greenwich Village Society for Historic Preservation, so all of that’s part of this particular foundation.

Hunter O’Hanian: The foundation was set up by your father.
Mimi Gross: No, by his friends.
Hunter O’Hanian: By his friends? So-
Mimi Gross: They did it as a birthday present at one point.
Hunter O’Hanian: While he was still alive they set up the foundation?
Mimi Gross: Mm-hmm (affirmative).
Hunter O’Hanian: Did he set the original mission for the foundation when they set it up or …
Mimi Gross: No, he actually … He was modest. It was done around him.
Hunter O’Hanian: Yeah. Yeah, so it was done around, it was his friends, basically, who got together who decided that …
Mimi Gross: Yeah.
Hunter O’Hanian: I think I read that he thought, oh, maybe it might last 10 years or so, or 20 years.
Mimi Gross: He went like this. Yeah.

We tried to make a gift to, of course, NYU, since they’re neighbors. They own the building next door, for example. We went to City College and Pace College, to the new school, to Yale University. There was quite a few genuine almosts, but he offered the building with everything in it, but without the millions of dollars that are needed to keep it going, and so in the end a friend said, “Why don’t you just make your own place?”

In Europe, it’s very, very common for a home and a studio to be that artist’s resting place for people to visit, so it was based on that.

Hunter O’Hanian: We don’t see so much of that in the United States.
Mimi Gross: Famously, the Delacriox home and studio that people come to visit in Paris.
Hunter O’Hanian: Sure, sure. Some of the conversations that your family had with the institutions in the area, they were hopeful in the beginning, but then it didn’t resolve?
Mimi Gross: Exactly. It took a lot of time.
Hunter O’Hanian: What do you envision will happen to all this work 50 years or 100 years from now?
Mimi Gross: I don’t. It’s way beyond my envisioning.
Hunter O’Hanian: Really? Yeah.
Mimi Gross: I do believe some of it will remain. It’s just there’s no way of knowing what will happen to any of us in 50 or 100 years.
Hunter O’Hanian: Of course, of course.
Mimi Gross: It’s a very big question mark. First of all, we might be underwater.
Hunter O’Hanian: In this part of New York.
Mimi Gross: I hope not. Our future director, hopefully, will be a fundraising person. Hopefully, that will … He does believe in the sustainability. He does believe that we will continue, and with that in mind, hopefully, we’ll have classes, more visitation, and more of a educational outreach. I think that will help sustain here.
Hunter O’Hanian: If you were to give advice, now that you’ve spent so much time doing this, but if you were to give advice to artists in their 40’s, 50’s, or 60’s who are thinking about their legacy and what will happen to all that work, what kind of advice would you give them?
Mimi Gross: I think again it has a lot to do with their reputation in public, their finances, their affiliation with a professional gallery or whatever that way. When you think about it, there is an amazing consortium now of artists’ foundations, artist/family foundations. That is a source of continuity. It’s great. Charles Duncan from the Archives of American Art is the head of it. There has been several meetings. The Aspen Papers have been published on bylaws for a foundation. It’s not a totally easy thing to do, but it’s also not impossible. If you have the work and you want to preserve it, it’s one way to do that. Another is to make gifts to the many, many university museums, small museums all over the country that are eager to increase their collections.
Hunter O’Hanian: Do you work to try to place some of your father’s work in those museums and] collections?
Mimi Gross: I’ve started to. Yes.
Hunter O’Hanian: Yeah. Do you find that to be valuable?
Mimi Gross: Beyond valuable. There’s now a sculpture that I gave to the Metropolitan Museum that’s on display …
Hunter O’Hanian: Fabulous.
Mimi Gross: Between the Edward Hopper and Charles Demieux.
Hunter O’Hanian: Oh, my god. How wonderful is that?
Mimi Gross: Yeah, it was thrilling.
Hunter O’Hanian: Also, we were talking earlier, you have three staff people.
Mimi Gross: Correct.
Hunter O’Hanian: Or you will with your new director here, but just the idea of keeping track of all of this work and where it is, particularly with a prolific artist like your father, it must be a mind-boggling task.
Mimi Gross: Fortunately, we’ve had really great interns, really great work. Then we’re also, we’re pioneers if you compare us to other foundations that are much younger. Basically, everything here has been inventoried, although new things are always being found. Last week my granddaughter found a whole bunch of new things that were not discovered before.
Hunter O’Hanian: Wow. You would have thought by this time you would have opened up all the drawers in the …
Mimi Gross: Yeah, you’d think.
Hunter O’Hanian: That’s great. I hope we get to see you at a college art association conference. Maybe we can even bring some people who come to the conference here.
Mimi Gross: I would really urge you to bring guests here and be part of your organization.
Filed under: Artists, CAA Conversations — Tags:

Photography by Daniel Seth Kraus, 2016 Professional-Development Fellowship Awardee

October 2 (PhD candidates) and November 10 (MFA candidates) are the deadlines for the CAA Professional-Development Fellowships. The program supports promising artists, designers, craftspeople, historians, curators, and critics who are enrolled in MFA, PhD, and other terminal-degree programs nationwide.

Fellows are honored with $10,000 grants to support their work, whether it be for job-search expenses or purchasing materials for the studio.

“I remember sitting in my graduate school studio applying for the award. I was day-dreaming about how it could help me be a self-sustaining artist and maybe start my career in teaching. A few months later I received notification of the award and I’m happy to say the grant has helped me enormously with both of my day-dreams, artistic and academic. CAA’s Professional-Development Fellowship for Visual Artists has stabilized a shaky phase of my career and life, continuing an artistic practice after graduate school. The award funds helped me to kick-start my studio space, travel for photography research, and secure teaching positions right out of graduate school. CAA’s support of developing visual artists is certainly outstanding and to an even greater extent, appreciated. I’m happy to now be a CAA member and encourage others to apply for the fellowship without hesitation.” —Daniel Kraus, 2016 Professional-Development Fellowship Recipient

One award will be presented to a practitioner—an artist, designer, and/or craftsperson—and one award will be presented to an art, architecture, and/or design historian, curator, or critic. Fellows also receive a free one-year CAA membership and complimentary registration to the 2018 Annual Conference in Los Angeles, February 21-24. Honorable mentions, given at the discretion of the jury, also earn a free one-year CAA membership and complimentary conference registration.

CAA initiated its fellowship program in 1993 to help student artists and art historians bridge the gap between their graduate studies and professional careers.

Learn more about eligibility and the application process for CAA’s Professional-Development Fellowship.

 

Solo Exhibitions by Artist Members

posted by August 14, 2017

See when and where CAA members are exhibiting their art, and view images of their work.

Solo Exhibitions by Artist Members is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.

August 2017

Abroad

Lea Kannar-Lichtenberger. Accelerator Gallery, Pyrmont, New South Wales, Australia, May 27–June 10, 2017. Deception.

Northeast

Nancy Azara. Picture Gallery at the Saint-Gaudens Memorial, Cornish, New Hampshire, July 22–September 10, 2017. Passage of the Ghost Ship: Trees and Vines. Wood sculpture and scroll/collages.

South

Diane Burko. Joy Pratt Markham Gallery, Walton Arts Center, Fayetteville, Arkansas, May 4–September 30, 2017. Glacial Shifts, Changing Perspectives: Bearing Witness to Climate Change. Painting and photography.

Tyrus Clutter. Appleton Museum of Art, Ocala, Florida, June 10–September 17, 2017. Con-Text: The Word Based Images of Tyrus Clutter. Color viscosity intaglio prints.

West

Rachel Epp Buller. Galeria Zapatista at Mission Grafica, San Francisco, California, May 12–June 16, 2017. A Hidden Garden. Monotype prints.

Ken Gonzales-Day. Luis De Jesus Los Angeles, Los Angeles, California, September 9–October 28, 2017. Bone-Grass Boy: The Secret Banks of the Conejos River. Photographic project.

Filed under: Uncategorized — Tags: , ,

Work with us at CAA

posted by August 04, 2017

In July CAA announced a restructuring of the organization and the departure of several staff members who took advantage of a buyout program. As part of the restructure we find ourselves with the opportunity to hire new staff at CAA. Below are six positions we are hiring for immediately. Please feel free to share these postings with colleagues and friends who might be a good fit. Click on the linked title of the position to learn more about the role and for application submission details.

Institutional and Individual Giving Manager

Publications and Programs Administrator

Sponsorship and Partnership Manager

Publications and Programs Editor

Grants and Special Programs Manager

Staff Accountant

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Making Changes for the Future

posted by July 27, 2017

Dear CAA members,

CAA exists to serve its members and the wider community of arts and culture professionals. Many of our members are facing challenging fiscal dynamics in their own institutions. They have seen opportunities to attend professional conferences and discretionary departmental budgets decrease. Even more concerning is the lack of new professional opportunities for those entering the field as the number of full time and tenured positions continues to decline.

We know how integral our staff is to serving our 9,000 individual and 600 institutional members. Recently, we took a closer look at our staffing at CAA in relation to changes in the higher education landscape, the visual arts field, and the ecosystem of associations. We discovered that in order to move forward as an organization CAA had to reduce its organizational footprint. Coming to this realization was difficult but we also knew we did not want to simply cut staff.

With this reality in mind, last spring we worked to reduce the size of the CAA staff. Based on my recommendation, the Board of Directors adopted a 2018 budget that matched realistic revenue projections against actual expenses. We offered an Employee Exit Incentive Plan, a plan of choice, to all staff. Several people took the plan. We are saddened to see staff at CAA leave. Some have served the organization for many years and contributed to much of what makes CAA tick. But we also know they are headed for new adventures professionally and personally, and we are proud to offer them support and security as they embark.

The departures at CAA gave us a rare opportunity to restructure the organization, to look at every department and assess its work and goals. It also gave us the chance to hire for a few new mission-driven positions. Programming is important to CAA and its members, and as part of the new structure we expanded programs and placed publications, one of our flagship programs, in that department. The publications department will not change fundamentally and will continue to produce exemplar issues of Art Journal and The Art Bulletin, as well as outstanding digital content in Art Journal Open and caa.reviews. Tiffany Dugan has been named the director of programs and publications to lead the new department. Communications and marketing will also grow as a department as it joins forces with membership services, a pairing that will bring more clarity to how we communicate with our members and how we will look to build our membership in the coming years. The newly formed communications, marketing, and membership department will be led by Nick Obourn. Lastly, our finance department will take the IT department under its wing, forming what will be the center of operations for CAA. Teresa Lopez will lead that department.

We know this is a lot to digest, but we felt it necessary to explain things in full. Restructuring CAA was difficult for us as an organization, but it was a decision we had to make to gain stability and ensure that we exist to serve our members and professionals in the visual arts for another 106 years. These changes will not result in any reduction of services or support to our members and the visual arts field at large.

In the coming weeks we will also announce exciting new offerings for our members at CAA. Stay tuned!

We look forward to seeing you in Los Angeles, February 21–24, 2018 for the 106th Annual Conference.

Please reach out to us at 212-691-1051 or nyoffice@collegeart.org if you have any questions at all.

Filed under: CAA News — Tags:

On Wednesday the U.S. House Appropriations Subcommittee on the Interior, Environment, and Related Agencies approved a bill that would provide funding of $145 million each for the National Endowment for the Arts and the National Endowment for the Humanities in FY2018.

For many of us, this provides a respite of relief as it is a stark contrast to President Trump’s prior call to zero out the agency.

Although the $145 million figure is a $4.8 million drop from the FY2017 budget, this is a reassuring step by Congress in recognizing the value of the arts in America and the need for a strong public arts agency.

While the subcommittee’s proposal brings us hope, our work is not done. In fact, we at CAA will continue to step up our efforts to educate, communicate, and of course, advocate for the artists, art historians, critics, curators, designers, scholars, librarians, educators, students, conservators, and many other professionals in the visual arts world who make up our membership and affiliates.

UPDATE: On July 18, the full House Appropriations Committee approved the bill in its current state. These earmarked funds may be voted on by the full House of Representatives after the summer recess. The Senate will consider funds for the endowments later in the year also.

We encourage you to regularly check out our advocacy page to learn more about CAA’s stance on the issues and how you can join us in mobilizing and championing the field of arts and culture in our country.

Filed under: Advocacy, Government and Politics — Tags:

Photography by Daniel Seth Kraus, 2016 Professional-Development Fellowship Awardee

CAA Announces the opening of its Professional-Development Fellowship for 2017. The program supports promising artists, designers, craftspeople, historians, curators, and critics who are enrolled in MFA, PhD, and other terminal-degree programs nationwide.

Fellows are honored with $10,000 grants to support their work, whether it be for job-search expenses or purchasing materials for the studio.

One award will be presented to a practitioner—an artist, designer, and/or craftsperson—and one award will be presented to an art, architecture, and/or design historian, curator, or critic. Fellows also receive a free one-year CAA membership and complimentary registration to the 2018 Annual Conference in Los Angeles, February 21-24. Honorable mentions, given at the discretion of the jury, also earn a free one-year CAA membership and complimentary conference registration.

CAA initiated its fellowship program in 1993 to help student artists and art historians bridge the gap between their graduate studies and professional careers.

Learn more about eligibility and the application process for CAA’s Professional-Development Fellowship.

 

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