CAA News Today
What’s New with ACLS Humanities E-Book?
posted by Christopher Howard — October 15, 2015
October … shorter days, cooler nights, pumpkin spice in everything, and ACLS Humanities E-Book’s launch of Round 12! This recently released collection of 370 scholarly books offers new titles selected by scholars and learned societies. ACLS Humanities E-Book is the online publisher of CAA’s monographs, and this partnership has helped to develop an essential resource in art history and architecture.
Round 12 includes four winners of CAA’s Charles Rufus Morey Book Award, all published by Princeton University Press:
- The Sculpture of Donatello by H. W. Janson (1957)
- Esprit De Corps: The Art of the Parisian Avant-Garde and the First World War 1914–1925 by Kenneth Silver (1989)
- Only Connect . . . Art and the Spectator in the Italian Renaissance by John Shearman (1992)
- Lorenzo Ghiberti by Richard Krautheimer (1956)
Eighteen titles in the Villa I Tatti series, published in collaboration with Harvard University Press and the Harvard University Center for Italian Renaissance Studies, are also featured as part of ACLS Humanities E-Book’s online collection. Since 1961, the Villa I Tatti program has welcomed over one thousand fellows working in the fields of Italian Renaissance art, history, literature, and music. The research center has thus generated some of the most significant scholarship on the Italian Renaissance published over the last decades.
Subscriptions to Humanities E-Book are available to individual and institutional members of CAA. Individuals should write to subscriptions@hebook.org; institutions should contact lwalton@hebook.org.
News from the Art and Academic Worlds
posted by Christopher Howard — October 14, 2015
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.
Guardian of the Humanities
William “Bro” Adams is the chairman of the National Endowment for the Humanities, an independent federal agency that awards grants to researchers and cultural institutions to preserve America’s heritage. In an interview with Tom Fox, he discussed his mission at the NEH and his views on leading this federal organization. (Read more from the Washington Post.)
The NEA at 50 and the Death of the Public Good
Fifty years after the National Endowment for the Arts was founded, the agency struggles, doing great work despite being the victim of an unrelenting and highly successful conservative assault on the public sector that began with the election of Ronald Reagan and continues to this day. The NEA’s 2015 budget allocation clocked in at a mere $146 million, which accounts for 0.012 percent of total federal discretionary spending. (Read more from Culturebot.)
How an Art-History Class Became More Engaging with Twitter
When I was a college student, art-history courses revolved around a 1960s-era carousel slide projector. Its monotonous humming and clicking in the darkened lecture hall often put my classmates to sleep. As I prepared to teach my own art-history course last year, I wanted to implement new technologies to make the lectures more interactive and relatable to a twenty-first-century audience. (Read more from the Conversation.)
Can I Reuse a Past Show’s Title?
I’m a painter and had an exhibition in another state two months ago that comprised many of the pieces in the one I’m installing at a new gallery in a few weeks. Can or should I give the show the same title? Or should I come up with something new, since I’m showing some new work too? (Read more from Burnaway.)
Art Forgers Beware: DNA Could Thwart Fakes
Eric Fischl remembers the time a friend waved a catalogue at him to alert him that one of his paintings was up for auction for six figures. In reality, the work was a fake, but so convincing, the artist said, “I thought I was losing my mind.” Brushes with forgery like that one two decades ago, and concerns about his legacy and estate, prompted Fischl to appear in London to vouch for a new authentication system that would let artists sign their works with specks of synthetic DNA. (Read more from the New York Times.)
Copyright Registration Strategies
Copyright registration is something most artists can experiment without legal assistance and great cost, outside of more complex registration questions. However, this does not really help individual artists or small businesses who produce a lot of content. So let’s break it down and then you can make your own conclusions about how cheap and easy it is, depending on what type of content you are registering. (Read more from Clancco.)
On the Case: The Law on Augmented Reality and Museums
A few of our more tech-savvy museum clients have been exploring whether and how to make some of their exhibits come alive by using exciting new “augmented reality” technology. At the same time, they have been grappling with cutting-edge legal issues involved in this new technology—which is where we come in. (Read more from Artnet News.)
The Error of Margins: Vernacular Artists and the Mainstream Art World
Though the art world may not yet have a satisfactory way of referring to artists like Marlon Mullen, who are variously described by such leaky terms as self-taught, outsider, and vernacular, it has, over the past few years, shown more interest in them and is gradually growing the existing market for their work. (Read more from ARTnews.)
Candidates for CAA’s 2016 Board of Directors Election
posted by Vanessa Jalet — October 13, 2015
The 2015–16 Nominating Committee has announced a slate of six candidates for the annual election of four new CAA members to serve on the Board of Directors for a four-year term (2016–20). Voting will begin in January 2016. The webpages for the election, which will include the candidates’ statements, biographies, endorsements, and video presentations, will be published in late December 2015.
The six candidates are:
- Dina Bangdel, Associate Professor, Director, Art History Program, Virginia Commonwealth University in Qatar, Doha, Qatar
- Carma Gorman, Associate Professor and Assistant Chair, Design Division, Department of Art and Art History, The University of Texas at Austin
- N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University of Richmond Museums, Richmond, Virginia
- Andrew Schulz, Associate Dean for Research and Associate Professor of Art History, College of Arts and Architecture, Pennsylvania State University, University Park
- Roberto Tejada, Hugh Roy and Lillie Cranz Cullen Distinguished Professor, Departments of English and Art History, University of Houston, Texas
- Anuradha Vikram, Lecturer, Graduate Public Practice, Otis College of Art and Design, Los Angeles, California
If you have questions about the Nominating Committee, the candidates, or the voting process, please contact Vanessa Jalet, CAA executive liaison.
Committee on Women in the Arts Picks for October 2015
posted by CAA — October 10, 2015
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
October 2015
Dress/Shield
Lump Project
505 South Blount Street, Raleigh, NC 27601
October 2–31, 2015
Lump Project celebrates its twentieth anniversary in Raleigh, North Carolina, with Dress/Shield, an exhibition by six female artists whose identity as women underpin the work. Represented in the exhibition are: Leah Bailis, Philadelphia, Pennsylvania; Lee Delegard, Brooklyn, New York; Lydia Moyer, Covesville, Virginia; Molly Schafer, Chicago, Illinois; Tory Wright, Greenville, South Carolina; and Laura Sharpe Wilson, Salt Lake City, Utah.
Each artist has a history of showing at Lump, and the exhibition will feature diverse processes, including sculpture, textiles, video, photography, and works on paper. “This group show is an opportunity to see how the perception of those voices changes when they are in chorus and to explore the connections between the work of women artists who are disparate in geography and media.”
“Schafer and Wright respond to recent motherhood with drawing, photographs and intricate paper-cut (respectively) while Moyer frames the experience of being female through text-based work that references local and national politics. Bailis does so with quilts that double as full-body masks; Delegard uses painting and sculpture to explore relationships between desire, consumerism, and the body. Sharpe Wilson, whose practice is most often painting, expands on her nature-inspired work with an installation of newly created textiles referencing historical social concerns.”
Cover of the exhibition catalogue for Public Works: Artists’ Interventions 1970s–Now
Public Works: Artists’ Interventions 1970s–Now
Mills College Art Museum
5000 MacArthur Boulevard, Oakland, CA 94613
September 16–December 13, 2015
The Mills College Art Museum explores the public practice by women artists from the 1970s to the present. The multimedia exhibition includes audio, documentation, ephemera, photography, prints, and video examining “the inherent politics and social conditions of creating art in public space,” and examining public works beyond monumental artworks.
“Public Works focuses on the often small but powerful temporary artistic interventions found online and in the urban environment. Through various tactics, the exhibition explores themes of public space, public expression, public action, public platforms, and public life through the evolving lens of participatory projects, socially engaged performance, and political action, among other media.”
Featured are the artists Amy Balkin, Tania Bruguera, Candy Chang, Minerva Cuevas, Agnes Denes, Tatyana Fazlalizadeh, Karen Finley, Coco Fusco, the Guerrilla Girls, Sharon Hayes, Lynn Hershman Leeson, Jenny Holzer, Emily Jacir, Suzanne Lacy, Marie Lorenz, Susan O’Malley, Adrian Piper, Laurie Jo Reynolds and Tamms Year Ten, Favianna Rodriguez, Bonnie Ora Sherk, Stephanie Syjuco, and Mierle Laderman Ukeles. New commissions include performances by Constance Hockaday and Jenifer K. Wofford, produced in collaboration with Southern Exposure (San Francisco, California). A full-color catalogue with texts by María del Carmen Carrión, Courtney Fink, Christian L. Frock, Leila Grothe, Stephanie Hanor, Meredith Johnson, and Tanya Zimbardo is available.
Faith Wilding: Fearful Symmetries
Armory Center for the Arts
145 North Raymond Avenue, Pasadena, CA 91103
September 26, 2015–January 3, 2016
The Armory Center for the Arts features the performance artist Faith Wilding’s first retrospective from her studio practice spanning the past forty years. Highlights include works on paper, including drawings, watercolors, collage, and paintings. The exhibition focuses on themes of “becoming,” with Wilding’s work exploring pivotal moments between private and public.
“Viewed together in this exhibition, her work makes a powerful impression about psychological and physical transition and transformation. In the depiction of the chrysalis and the embryo, for example, gestation is suggested, while in imagery of tears, wounds, and ‘recombinant’ bodies, emergence and materialization are pronounced. The sum of these parts provides a unique account of how themes of emergence were central to Wilding’s articulation of feminism, and her own reflections on a childhood growing up in an intentional Christian commune.”
Wilding, a prominent in the formation of the first Feminist Art Program, in Fresno, California, in 1970, and later at California Institute of the Arts, was also a contributor to the famous Womanhouse exhibition housed in an abandoned mansion in Los Angeles in 1972, where she performed Waiting.
The traveling exhibition is organized by Threewalls in Chicago, Illinois. Concurrently OxyArts Gallery at Occidental College will present selections from Wilding’s archive that document her work with the collaborative research and performance group subRosa, rare videos of performances made throughout her career, and papers and publications dating from her participation in the feminist art movement in the 1970s.
Women’s Art Society II
MOSTYN
Galleries 2 + 3, 12 Vaughan Street, Llandudno LL30 1AB, Wales, UK
July 18–November 1, 2015
MOSTYN presents the second edition of Women’s Art Society. Curated by Adam Carr, Women’s Art Society II is the fourth in a series of exhibitions that reflects on the rich heritage and history of the gallery building. Each exhibition in the series will examine the history of MOSTYN and its building, and how that history is tied to events beyond its context locally, nationally and internationally. With the aim to update the spirit of the original Ladies’ Art Society, this particular exhibitions discusses the history of MOSTYN and its building, while bridging the divide between past and present.
Women’s Art Society II follows an exhibition presented in October 2013 that took as its starting point the gallery’s founding in 1902. Mostyn Art Gallery was commissioned by Lady Augusta Mostyn and the first gallery in the world built specifically as a home for the presentation of artwork by female artists, in this case the work of the Gwynedd Ladies’ Art Society, who were denied membership of male-dominated local art societies on the basis of their gender. Women’s Art Society II continues the spirit of the original Ladies’ Art Society, inviting nine internationally active female artists to introduce work in the gallery space more than one hundred years later. This exhibition is also a survey of the discipline of painting today since the works in display ranges of approaches, styles, and conceptual concerns about the continued relevance of painting.
The exhibition includes works by Cornelia Baltes, Sol Calero, Ditte Gantriis, Lydia Gifford, May Hands, Jamian Juliano-Villani, Ella Kruglyanskaya, Shani Rhys James, and Caragh Thuring. Artworks on view are linked to the history of the original society by the way in which they examine the politics of gender, identity, and regulation, and aspects of exclusion and prejudice.
Shahzia Sikander: Parallax
Guggenheim Bilbao
Avenida Abandoibarra, 2, 48009 Bilbao, Spain
July 16–November 22, 2015
The Guggenheim Museum Bilbao’s film and video room is currently inhabited by Parallax, Shahzia Sikander’s three-channel animation work. The installation, composed of hundreds of digitally animated images, combines abstract, representational, and textual forms that coexist and urge for domination. Along the moving images, human voices recite in Arabic six poems written specifically for the video on subjects that oscillate from regional historic context to reflections on human nature. In fact, that fluctuation reflects Parallax’s inspiration by the idea of conflict and control. Focused on the geostrategic position of the Strait of Hormuz and the area’s historical power tensions, such concepts emerge as the core themes of a perspective stretching from modern history to the postcolonial period. Underpinning the narrative is Sikander’s interest in paradox, societies in flux, and formal and visual disruption as a means to cultivate new associations.
The Pakistani-born American artist Shahzia Sikander (1969) is best known as a pioneer in translating the formal constructs of Indo-Persian miniature painting in a variety of formats and mediums in contemporary art, including video, animation, and mural, as well as for her collaborations with other artists.
Zina Saro-Wiwa: Did You Know We Taught Them How to Dance?
Blaffer Art Museum
University of Houston, 120 Fine Arts Building, Houston, TX 77204
September 26–December 19, 2015
Did You Know We Taught Them How to Dance? is the first solo museum exhibition of the British-Nigerian artist Zina Saro-Wiwa. It will open at Blaffer Art Museum in September 2015 and travel to the Krannert Art Museum in 2016.
Saro-Wiwa (Nigeria, 1976) has left a journalism background to change (and challenge) the way the world saw Africa. This is made evident in the new photographs, video, and a sound installation produced in southeastern Nigeria from 2013 to 2015. The project engages Niger Delta region residents both as subjects and collaborators and reflects the complex and expressive ways in which people live in an area historically fraught with the politics of energy, labor, and land, while making visible the cultural, spiritual, and emotional powers propelling the region, addressing also the global circulation of energy capital.
Being the artist’s current interest focused in mapping emotional landscapes, Did You Know We Taught Them How to Dance? unfolds a narrative device that renders environmental and emotional ecosystems as inseparable. Through the exploration of highly personal experiences and a carefully recorded choreography, Saro-Wiwa makes tangible the space between internal experience and outward performance. The exhibition uses folklore, masquerade traditions, religious practices, food, and Nigerian popular aesthetics to test art’s capacity to transform and to envision new concepts of environment and environmentalism. The artist reflects on spirit, emotion, and culture at the center of the conversation by titling the exhibition with a phrase from a private conversation between her and her father, the late writer, environmentalist, and human rights activist, Ken Saro-Wiwa.
For the Blaffer Art Museum, Saro-Wiwa will also stage a feast performance called The Mangrove Banquet: A love letter to the Niger Delta, offering her guests an opportunity to ingest the region’s agricultural bounty, “an experience designed to elicit the triumph of nature, imagination and the feminine over political despair.”
2016 Annual Conference Website Is Live
posted by Christopher Howard — October 08, 2015
The website for the 104th Annual Conference in Washington, DC, to be held from Wednesday, February 3 to Saturday, February 6, 2016, at the Washington Marriott Wardman Park Hotel, is live today. Get a taste of conference highlights and discover the benefits of registration, including access to all program sessions and admission to the Book and Trade Fair.
The dynamic energy of Washington, DC—known for its world-class museums and as an international destination for American history and culture—provides the backdrop for our annual gathering of more than four thousand artists, art historians, museum directors and curators, arts administrators, scholars, and educators. Look forward to the best in new scholarship, innovative art, and in-depth discussion of issues in the visual arts today.
Highlights of this year’s conference include the presentation of CAA’s 2016 Awards for Distinction, an opening reception at the Katzen Arts Center at American University, and the sixteenth annual Distinguished Scholar Session honoring Richard J. Powell of Duke University. The two Distinguished Artists’ Interviews will feature the sculptor Joyce Scott, speaking to the curator George Ciscle.
Among the highly anticipated sessions are: “South to North: Latin American Artists in the United States, 1820s–1890s,” chaired by Katherine E. Manthorne; “Transforming Japonisme: International Japonisme in an Age of Industrialization and Visual Commerce,” led by Gabriel P. Weisberg; and the two-part “Formalism before Clement Greenberg,” chaired by Katherine M. Kuenzli and Marnin Young. Other exciting session topics range from art as adventure to the Hudson River School, from digital cultural heritage to algorithms and data in contemporary art, and from diversity in curatorial work to staging design in museums.
Online registration for individuals and institutions is now open. In addition, you can book your hotel reservations and make your travel arrangements—don’t forget to use the exclusive CAA discount codes to save money! Register before the early deadline, December 21, 2015, to get the lowest rate and to ensure your place in the Directory of Attendees. You may also purchase tickets for special events and for a place in one of eleven professional-development workshops on a variety of topics for artists and scholars.
CAA will regularly update the conference website in the months leading up to the four-day event, so please be sure to check back often. Averaging more than 40,000 unique visitors per month, the conference website is the essential source for up-to-the-minute updates regarding registration, session listings, and hotel and travel discounts. Visit the Advertising section to learn more about reaching CAA membership and conference attendees.
We look forward to seeing you in Washington, DC!
News from the Art and Academic Worlds
posted by Christopher Howard — October 07, 2015
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.
US Has Funded Artists and Intellectuals for Half a Century, but It’s a Perennial Fight
As the National Endowment for the Humanities and the National Endowment for the Arts celebrate their fiftieth anniversaries, they are still trying to climb out of the cellar, at least financially. While their endurance reflects an ongoing commitment to the arts and humanities, their struggles show that the government’s adherence to that promise can be fickle. (Read more from the Los Angeles Times.)
Does the Public Have a Right to Culture?
What do we mean when we say that artists and their heirs have a right to remuneration for the artist’s creativity? Conversely, what do we mean when we say that the public has a right to culture? Which public? Which culture? And is this “right” or “non-right” to be mediated solely through the law? (Read more from Colección Patricia Phelps de Cisneros.)
Museum Directors Release Plan to Help Provide Safe Havens for Endangered Antiquities
Amid the wanton destruction of antiquities in Syria and elsewhere, the Association of Art Museum Directors, a group that represents museum directors, proposed a set of protocols to help cultural institutions understand how they can provide safe haven for valuable works of art and archaeological relics that are at risk of being damaged, destroyed, or looted. (Read more from the New York Times.)
The Informal Economy and the Global Art Market
It is difficult to imagine a reason to keep artworks in a free port unless there is speculation going on. If you are a collector of fine art, you want to be able to see and to appreciate what you own. But if you are a speculator, all you need is storage since you are betting that the work is going to increase in value. (Read more from SFAQ.)
Solving the Solvents
Solvents are used in oil painting for various reasons. In the first layers they are frequently meant to make the paint washier—often a necessary step in the painting process for some artists. With thinner and more fluid paint, one is able to sketch or conjure the gesture that breathes life into a blank canvas and informs the subsequent layers. (Read more from Just Paint.)
Why the Visual Artists Rights Act Is Failing
The federal Visual Artists Rights Act (VARA), enacted in 1990 in the wake of the removal of Richard Serra’s Tilted Arc, was supposed to remedy a long series of conflicts between property owners and artists. The law grants artists the rights to prevent intentional modification to their art and the destruction of a work of “recognized stature.” But how effective is it? (Read more from Artsy.)
Humanities Majors’ Salaries
Major in English and expect to live with Mom and Dad for life. That’s the stereotype constantly reinforced by reports on the hot job prospects for nurses or code writers or various other positions for which practical training is seen as the route to economic success. But a new report shows that graduates with degrees in the humanities earn much more than the average for all American workers, challenging those who suggest that a degree in the humanities is a waste, at least financially. (Read more from Inside Higher Ed.)
On the Academic Job Market, Does Patience Pay Off?
How long am I marketable? It’s one of the most difficult questions an academic job seeker can face. And it’s one of the most important questions we hope our Academic JobTracker project can help answer. If you don’t get a job in your first year on the market, should you stay the course and take another swing next hiring season? Or is it already time to explore other career options? (Read more from the Chronicle of Higher Education.)
Participants Selected for 2016 CAA–Getty International Program
posted by Janet Landay, Program Manager, Fair Use Initiative — October 07, 2015
CAA is pleased to announce this year’s participants in the CAA–Getty International Program. In an effort to promote greater interaction and exchange between U.S. and international art historians, CAA will bring colleagues from around the world to its Annual Conference, this year to be held in Washington, D.C. from February 3–6, 2016. This is the fifth year of the program, which has been generously supported by a grant from the Getty Foundation since its inception. The participants—professors of art history, curators, and artists who teach art history—were selected by a jury of CAA members from a highly competitive group of applicants. In addition to covering travel expenses, hotel accommodations, and per diems, participants in the CAA–Getty International Program also receive complimentary conference registration and a one-year CAA membership.
The participants’ activities begin with a one-day preconference colloquium on international issues in art history, during which they meet with U.S.-based CAA members to discuss common interests and challenges. They are assisted throughout the conference by CAA member hosts, who recommend relevant panel sessions and introduce them to colleagues who share their interests. Members of CAA’s International Committee have agreed to serve as hosts, along with representatives from several of CAA’s Affiliated Societies.
CAA hopes that this program will not only increase international participation in the organization’s activities, but will also expand international networking and the exchange of ideas both during and after the conference. CAA currently includes members from 70 countries around the world; see the International Desk on CAA’s website for news about international activities and opportunities. The CAA–Getty International Program supplements CAA’s regular program of Annual Conference Travel Grants for graduate students and international artists and scholars. We look forward to welcoming the following participants at the next Annual Conference in Washington, DC.
2016 Participants in the CAA-Getty International Program
Sarena Abdullah, Senior Lecturer, School of the Arts, Universiti Sains Malaysia, Penang
Abiodun Akande, Principal Lecturer, Department of Fine and Applied Arts, Emmanuel Alayande College of Education, Oyo State, Nigeria
María Isabel Baldasarre, Associate Professor, Universidad Nacional de San Martin, Buenos Aires, Argentina
Danielle Becker, Lecturer in Art History and Visual Studies, University of Cape Town and Stellenbosch University, South Africa
Heloisa Espada, Postdoctoral Researcher, Museum of Contemporary Art of the University of Saõ Paulo, Brazil
Ildikó Fehér, Associate Professor, Art History Department, University of Fine Arts of Hungary, Budapest, Hungary
Peyvand Firouzeh, Post-doctoral Fellow, Museum fur Islamische Kunst, Berlin, Germany
Lev Maciel, Associate Professor, National Research University, Higher School of Economics, Moscow, Russia
Bui Thi Thanh Mai, Lecturer of Art History, Head of Department of Academic Research Management and International relations, Vietnam University of Fine Arts, Ha Noi, Vietnam
Emmanuel Moutafov, Associate Professor, Director, Institute of Art Studies, Bulgarian Academy of Sciences, Sofia, Bulgaria
Ceren Ozpinar, Lecturer, Isik University and Kadir Has University, Istanbul, Turkey
Horacio Ramos, Associate Professor, Pontificia Universidad Católica del Perú
Olaya Sanfuentes, Professor, Pontificia Universidad Católica de Chile
Paulo Silveira, Professor, Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil
Sandra Uskokovic, Assistant Professor, University of Dubrovnik, Arts & Restoration Department, Croatia
Presentation of CAA’s Fair-Use Code in New York
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.
50th Anniversary Message from President Obama
posted by CAA — September 30, 2015
President Obama joined the National Endowment for the Humanities (NEH) in celebrating the agency’s 50th anniversary, with the message that “The arts and humanities have always been central to the American experience.”
See a PDF of the White House message.
The full greeting reads as follows:
September 28, 2015
I am pleased to join in marking the 50th anniversary of the passage of the National Foundation on the Arts and the Humanities Act of 1965.
The arts and humanities have always been central to the American experience. Fifty years ago, President Lyndon B. Johnson helped lift up this legacy by establishing the National Foundation on the Arts and the Humanities, affirming: “The arts and the humanities belong to the people, for it is, after all, the people who create them.” Today, President Johnson’s vision—of a society that honors its artistic and cultural heritage and encourages its citizens to carry that heritage forward—endures as an essential part of who we are as a Nation.
Through their efforts to shape a future of opportunity and creativity for all, the National Endowment for the Arts and the National Endowment for the Humanities reflect a notion that has always driven America’s promise—that ours is a country where all things are possible for all people. If we join in common purpose and continue believing in the possibilities of tomorrow, I know that groundbreaking explorations and innovations—in the humanities, in the arts, and throughout our society—will always lie ahead.
As you reflect on a half century of progress, you have my best wishes.
—Barack Obama
About the National Endowment for the Humanities
Created in 1965 as an independent federal agency, the National Endowment for the Humanities supports research and learning in history, literature, philosophy, and other areas of the humanities by funding selected, peer-reviewed proposals from around the nation. Additional information about the National Endowment for the Humanities and its grant programs is available at: www.neh.gov.
News from the Art and Academic Worlds
posted by Christopher Howard — September 30, 2015
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.
Am I a Hack or a Budding Genius?
I’m an undergraduate in painting and approaching my final semester. While I feel like I’ve come so far over the last several years, I can’t get over the fact that deep down, when I look at my pieces, they seem so derivative. Should I quit painting? What can I do to be more original? (Read more from Burnaway.)
What Is Transformative?
There has been a recent surge in interest around fair use both in academia and in the trenches of artistic production. Several books and articles have been written on the subject of late, not to mention the Code of Best Practices in Fair Use for the Visual Arts that CAA released in early 2015. These publications have provided an alternative to the “sky is falling” copyright narrative that Lawrence Lessig, James Boyle, and other legal scholars propagated in the late 1990s and early 2000s. (Read more from the Enemy.)
Will Facebook’s “Dislike” Button Change the Art World as We Know It?
Facebook will soon start testing a “dislike” button, or something very close to it. But will you really be able to dislike something? And what will the repercussions be for the hypersensitive contingency of contemporary art worlders? We decided to look at—you guessed it—Facebook to see what art types were saying about it. (Read more from the New York Observer.)
“So, What Is a Postdoc?”
After six years of graduate school, I got pretty good at explaining my research in evolutionary genetics to friends, family, strangers sitting beside me on an airplane, and anyone else who made the mistake of expressing an interest. What I didn’t anticipate was that when I finally finished my PhD, I would have to start explaining my actual job description. “I’m what’s called a ‘postdoc,’” I find myself saying regularly these days. And then I flounder. (Read more from Vitae.)
From Cory Arcangel to Pac-Man: How Digital Art Curators Save Vintage Data and Hardware
The artist Alexander Taylor was recently awarded a grant from Rhizome to support a project called .3gp. He plans to build a web app using YouTube’s API to let visitors digitally channel surf through a collection of videos shot on Motorola Razr–era cellphones. The project comes as the art world is increasingly concerned with preserving digital and electronic works, from amateur digital videos to experimental pieces by international art stars such as Cory Arcangel and Nam June Paik. (Read more from Fast Company.)
Not Paying Artists Deeply Entrenched in Gallery Culture, Research Suggests
The image of the hard-up artist toiling away day and night for little or no reward is nothing new, but recently published research may still surprise. It shows that more than 70 percent of contemporary visual artists who took part in publicly funded exhibitions in the last three years received no fee. Almost as many are now saying no to galleries because they cannot afford to work for free. The figures are published as part of a new campaign called Paying Artists, which is seeking a more equitable system. (Read more from the Guardian.)
Slow Teaching
At some point on the first day of classes I am going to ask my students to answer some questions anonymously. In all honesty, why did you enroll in this course? What final grade you would be happy with? What about this class are you most concerned or anxious about? Exploring students’ responses over the years has led me to identify two prevailing suspicions: that art-history courses are based on rote memorization of names and dates, and that class time will consist of a battery of artworks crammed into a swiftly delivered lecture. (Read more from Art History Teaching Resources.)
Preventing Ethnic Fraud
Rachel Dolezal made headlines for claiming to be black even as her parents publicly insisted she was white. The case brought to light something that academe has dealt with for decades: faculty applicants claiming an ethnic affiliation they don’t actually possess, either to gain some kind of edge in the hiring process or to appear more expert in one’s field—or both. While a variety of ethnic and cultural groups have been the subject of such fraud, Native Americans might be the most consistently affected group. (Read more from Inside Higher Ed.)