CAA News Today

News from the Art and Academic Worlds

posted by Christopher Howard — Dec 06, 2012

Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.

NEH Solicits Comments on Digital Projects for the Public Grant Program Guidelines

The National Endowment for the Humanities will launch a new Digital Projects for the Public grant program in fiscal year 2014 and seeks public comment on its proposed guidelines. The new program will fund humanities projects using digital formats such as websites, mobile applications, games, social media, and virtual environments to reach the public and foster lifelong learning. (Read more from the National Endowment for the Humanities.)

“Can I Use This?” How Museum and Library Image Policies Undermine Education

Although eight years have passed since Eastman Kodak announced that it would stop manufacturing slide projectors, we have built only a fragmented system for distributing high-quality digital images—one that is failing our students, our discipline, and the public. More has changed than the technology we use to illustrate our lectures. (Read more from E-Literate.)

Who Owns Captured Lectures?

Lecture-capture technology has advanced to a point where implementing a solution can be disarmingly simple. But it’s important for faculty and administrators not to be lulled into a false sense of security—recording faculty and guest lectures still comes with its share of legal issues covering copyright, intellectual-property rights, distribution, and permissions. While some lecture-capture technology provides assistance even in these areas, colleges and universities need to develop clearly defined guidelines on how recorded lectures can be used. (Read more from Campus Technology.)

The Genomics of Art, Education, and Commerce

Recently I blogged about, a service built on the Art Genome Project that enables users to discover, learn about, and collect art that is suggested to them via a mathematical algorithm. That post provoked so much interesting discussion that I followed up with Christine Kuan, chief curator and director of strategic partnerships at, to relay some of the questions raised by commentators related to’s educational goals, its for-profit business model, and its relationship to the art world. (Read more from the Center for the Future of Museums.)

Bucking Conventional Wisdom: Arts Graduates Gauge Success Differently

A new report by the Strategic National Arts Alumni Project offers important new insights into the value of an arts school education, countering prevailing views about salary levels and job prospects as the most important indicators of alumni satisfaction and career success. Called Painting with Broader Strokes: Reassessing the Value of an Arts Degree, the report offers insights into the careers and perspectives of 13,851 arts graduates from 154 institutions surveyed in 2010, shedding new light on educational training and experiences, employment paths, involvement in the arts outside work, and overall job satisfaction and income. (Read more from the Strategic National Arts Alumni Project.)

A Different Kind of Application Fee

A tenure-track job is surely a valuable commodity, but would you pay for a shot at one? A listing for a faculty painting position at Colorado State University attracted some heat on Twitter when several academics noticed the $15 fee attached to the position. The job ad states simply: “In lieu of postage and duplication costs you will be charged a fee of $15.” (Read more from Inside Higher Ed.)

Ten No-Nonsense Tips for Landing a Career in the Art World

Congratulations, you’ve got your shiny degree in curating, art history, or critical theory. Now, how will you make your way in the notoriously cutthroat art world? Sophie Macpherson is the right person to ask. Her company, Sophie Macpherson Ltd, is the leading art recruitment agency, with a London office and representatives in Paris, New York, and soon, East Asia. (Read more from Blouin Artinfo.)

What’s Hot, What’s Not

Frieze shares what terms are hot, not, and holding steady in the world of artist’s statement. What’s hot? An art practice that “is transversal,” “inhabits a transgendered space,” “is post-/para-fictional,” and “references both my height and the height of my bedroom ceiling when I was a teenager.” (Read more from Frieze.)

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