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Apply to Join the CAA Council of Readers

posted by November 26, 2019

In preparation for the spring submission cycle for the 2021 Annual Conference in New York, the Annual Conference Committee will appoint up to 22 new members to the Council of Readers. Council members read and rate session and presentation proposals and serve a crucial role in the review process for the Annual Conference.

Over 950 proposals are submitted for review each year for selection to the conference program. Each proposal is read by three Council members. By providing their time, knowledge, and expertise of their fields, the council helps to shape the conference program.  Each member of the Council reviews up to 60 proposals per year from across CAA’s fields of study and as much as possible from within their self-identified scholarly focus and knowledge. Most proposals include one 250-word abstract, while complete session submissions can include 4-5 abstracts (1250 words). Each reader receives a similar amount of content.

Requirements for Readers

  • Current CAA membership
  • Time commitment to read and review no more than 60 proposals online in May 2020
  • Ability to participate as a Council of Readers member for up to three years
  • Readers are required to read and abide by CAA’s Statement on Conflict of Interest and Confidentiality
  • Abbreviated CV uploaded to online form
  • Completed online form

Application deadline: January 14, 2020

APPLY HERE

More details:

  • The Council of Readers is a group of 50 to 75 CAA members from Professional Committees, Affiliated Societies, and general membership overseen by the Annual Conference chair.
  • Readers will be asked to review proposals from across CAA’s fields of study, and as much as possible from within their self-identified scholarly focus. Readers with broad areas of interest are encouraged to participate.
  • The proposals will be distributed by May 11 and must be completed by June 8, 2020.
  • Readers will access abstracts and complete their reviews in our online system, with orientation and support from the Annual Conference Committee and CAA staff members.
  • Each proposal is read and reviewed in the online portal by three different Council members.
  • The majority of proposals include a single 250-word abstract, while complete session submissions can include 4-5 abstracts (1250 words).
  • Readers will review no more than 60 proposals each, with proportional share of abstracts.
  • For each proposal, Readers will use a scale of 1-5 to answer five questions and also enter a short comment for the Annual Conference Committee’s review.
  • Members of the Council of Readers serve a three-year term on a rotation so that each year, one third of the council is new.
  • The Council of Readers does not meet together in person or electronically.
  • After proposals are read and reviewed by the Council, the chair reports to the Annual Conference Committee on session topics, including identifying possible areas of content that are missing from the submissions received.
  • The chair finalizes the conference content based on the reviewed submissions.

Pleas email Mira Friedlaender, Manager of Annual Conference, mfriedlaender@collegeart.org, or Tiffany Dugan, Director of Programs and Publications, tdugan@collegeart.org, with any questions.

Filed under: Annual Conference, Service

Member Spotlight: Barbara Hoffman

posted by November 21, 2019

Up next in our Member Spotlight series, we are highlighting the work of Barbara Hoffman, founder and principal of The Hoffman Law Firm and a pioneer in the field of art law who served as CAA’s pro bono legal counsel for ten years. Joelle Te Paske, CAA’s media and content manager, spoke with Barbara over the phone to learn about her rich history with CAA. Read the interview, edited for length and clarity, below.

Image courtesy Barbara Hoffman.

Hi Barbara. I’m delighted to have the chance to speak with you. You are one of our esteemed lifetime members who has been a part of the organization in various capacities for more than 40 years. That’s incredible.

The pleasure is mine. I loved working with CAA during my tenure there.

Just looking over your bio on your website, I’m just amazed at how many different roles you’ve taken on over your career as an art lawyer. How did you first get involved with CAA?

I’ve always been interested in art, and I studied in Paris at the Académie Julian during my junior year when I majored in French and Art History. But I wasn’t very aware of the College Art Association.

After my studies, I was one of the early art lawyers. I had founded the Volunteer Lawyers for the Arts in the state of Washington, and continued to develop and write on the subject of art law, at a time when there were only a handful of people who were doing it.

Before then, I practiced civil rights law in New York. I’m from New York—I went to Columbia Law School—and was helping artists on the side when I was in my senior year. I volunteered as a lawyer for the first Volunteer Lawyers for the Arts in New York. I was then recruited to be a law professor in Seattle and I’d had so much fun with Volunteer Lawyers for the Arts that I thought I would join the Washington branch when I moved. When it didn’t exist, I ended up founding the statewide Washington Volunteer Lawyers for the Arts, and hosting an art law clinic at the law school.

Oh, interesting. So it started in New York and then you brought it over to the West Coast, in Washington.

Art Journal, Censorship I, Fall 1991, guest edited by Barbara Hoffman and Robert Storr

Yes. Then eventually I moved back to New York and I joined the New York City Bar Art Law Committee. I was also Chair of the Public Art Subcommittee. We drafted a balanced, annotated model contract to be made available to artists and administrators. Percent for Art was just starting, and most artists and bureaucrats had little knowledge of copyright and other issues in public art.

The National Endowment for the Arts put together a task force of artists and administrators in which I was invited to participate, alongside Joyce Kozloff, who was on the CAA Board of Directors at the time. Susan Ball was executive director at the time. There was a feminist uprising, and my name was put forward to replace Gil Edelson.

I was CAA’s pro bono outside counsel and member of the executive committee for ten years. Among many activities, I wrote a column for CAA on legal issues. My fondest memories are those of working with the different CAA committees and their chairs. Particularly memorable was the work I did with Albert E. Elsen, a professor of art history and a great scholar on Rodin. We revised the guidelines for the code of ethics for art historians. And I worked with several well-known artists too, many of whom are no longer with us.

I also advised all the CAA publications. This was an interesting time for the issues of fair use and copyright in images. Through me, CAA got involved in what was called the Conference on Fair Use, taking place under the US Patent and Trademark Office and the US Copyright Office, which dealt with bringing copyright law into the digital world.

Art Journal, Censorship II, Winter 1991, guest edited by Barbara Hoffman and Robert Storr

Before I came in to represent CAA, most of the people there were representing either libraries on one side, who were of course for fair use, or publishers, both trade book and academic publishers, who were of course for a stricter interpretation and enhanced copyright protection. But nobody was really talking about issues like images until we brought up to the subject.

On that issue I worked very hard, and CAA worked very hard. It was extremely controversial for the organization, because as you know, everybody at CAA wears multiple hats and the copyright issues involved both publishers and scholars. So I worked with the Copyright Committee and Fair Use and Christine L. Sundt, president of the Visual Resources Association and a member of CAA. She was a passionate devotee of legal issues there.

I imagine those are the fundamental building blocks for CAA’s Code of Best Practices in Fair Use that was published in 2015.

There are earlier versions of it, too. There was one during my tenure and then it evolved over time. We were never successful in terms of getting the government, the Conference on Fair Use, to be able to come together to develop official guidelines. I spent hours and hours and hours developing scenarios. We tried to get people’s agreement on the analysis and whether it was or wasn’t fair use. But at the end there was never a resolution of that and I think it continued on until 2015. It was a long-going effort. We were the first people to really address the whole issue in the late eighties, early nineties.

That’s fascinating. And especially now, with the emergence of the internet.

Another thing that we were really involved with during my tenure was the issue of freedom of expression. I represented CAA and was active in what we now call the Culture Wars, when Jesse Helms tried to ban the publication of [Robert] Mapplethorpe’s images. This was in 1989, and continued through the 1990s.

They were extremely active times. I’m most proud of the two-volume issue I did on censorship with Robert Storr for Art Journal. It was voted at the hundredth anniversary conference the best Art Journal that was published in the journal’s history.


To accompany this interview, we’ve brought the historic two-volume issue out from behind the paywall for readers to explore through the end of December 2019: Censorship I and Censorship II


For the double issue, I dedicated my statement to Justice Brennan of the Supreme Court. In my view, his decisions on the Supreme Court regarding the First Amendment and freedom of expression basically did more to provide contours of protection for artistic expression than any other Supreme Court Justice.

Then Rob Storr made his editor’s statement a full reprint of Mapplethorpe’s X Portfolio. He got permission from the Mapplethorpe Foundation because of his connections to publish them, but when we sent it to our normal printer, they were afraid to publish it because they thought they (or CAA) would be sued for pornography. They asked us to find a different printer. So we sent it around to all these places that might publish pornography. But the pornography magazines that we sent them to didn’t have the quality that we would require for the CAA journals! So we went to The Burlington Magazine and asked them if they would print it. It was much more expensive, but our usual printer paid the difference. So it was actually printed, by my recollection, by The Burlington Magazine.

 

There were two fall outs from the issue. The first fall out was a number of CAA members dropped their membership. Pretty amazing. They said the issue should have come with a warning label. You know, they got it in the mail, they left it on the table, and then their children saw it, with no warning.

Another spin off was because the CAA journal goes to every single university that’s a member for the library and art departments, the images that people had been talking about—but never saw—were suddenly available. As part of this I ended up participating in a panel at the University of Nashville, defending a professor who had brought that issue to his class of drawing and photography.

It was all a very meaningful experience. As a result, I was involved in authoring two friends of the court briefs, in the district court and the appellate court, on behalf of the College Art Association. Those were then quoted by the court defending Karen Finley and what they called the NEA Four [Karen Finley, Tim Miller, John Fleck, and Holly Hughes], who had their NEA grants declined because of the Helms amendment. So we introduced a friend of the court brief on behalf of College Art Association, and another one was on behalf of College Art Association and PEN America.

Later on, the organization’s centennial publication featured an image from Faith Ringgold’s French series that I licensed as her lawyer at the time. Faith was an active CAA member on the board and committee on diversity.

CAA’s centennial publication,The Eye, The Hand, the Mind: 100 Years of the College Art Association, with Faith Ringgold’s The Sunflower Quilting Bee at Arles (1996) on the cover.

The complexity of being an art lawyerit brings you into so many different issues. 

It was great. As I said, I worked with all the CAA Committees over that time. I still go to conferences from time to time and participate. And I just, you know, I’m happy to see so many artists that I’ve worked with being rewarded over time by the CAA. I’ve shown up for their presentations, the last ones being Howardena Pindell and Ursula von Rydingsvard for lifetime achievements.

Yes! Our 2019 honorees.

So I’m still keeping up and seeing how the organization has grown and changed. My legacy is these cases, my friends, and the guidelines. A wonderful opportunity for me to combine my passions—law and art history. As a member of the Executive Committee I attended all the CAA annual conferences, and when I wasn’t doing official business, I’d go to art history sessions. I have very happy memories of the wonderful people that I met there. I’m still in contact with many of them. That’s a part of my life that’s ongoing.

That’s wonderful.

And I’m still doing the same thing—still fighting for artists. Still fighting for the first amendment. Still doing public art. So, I feel very fortunate to be a life member.

Barbara Hoffman Biography

The Hoffman Law Firm continues as a preeminent global art and copyright boutique with a focus on Europe, Asia, Africa, and the United States. Author and editor of A Visual Artist’s Guide to Estate Planning (1996 and 2008), Barbara Hoffman also advises artists, galleries, and their estates on legacy planning, and endowed foundations.

Barbara has been recognized by her peers and clients with leadership posts and honor, including as Chair of the New York City Bar Association Committee on Art Law, Chair of the International Bar Association Committee on Art and Cultural Institutions and Heritage Law, and being selected to New York Super Lawyers, Best Lawyers in America, and Best Law Firms in art law and copyright law (2012-2020).

In addition to her service on the CAA executive committee, Barbara serves or has served on many boards, including ArtTable, Performa and the boards of several artists’ foundations. She was voted one of Art and Auction 51’s Power Women in the Art World 2016. www.hoffmanlaw.org

Annual Conference Committee Seeks Members

posted by November 12, 2019

CAA invites nominations and self-nominations for two at-large members of the Annual Conference Committee to serve a three-year term. Terms begin February 2020, immediately following the 108th Annual Conference.

The Annual Conference Committee, working with the CAA Programs Department, selects the sessions and shapes the program of the Annual Conference. The committee ensures that the program reflects CAA’s goals for the conference, namely, to make it an effective place for intellectual, aesthetic, and professional learning and exchange; to reflect the diverse interests of the membership; and to provide opportunities for participation that are fair, equal, and balanced.

The Annual Conference Committee meets during the conference and at the call of the program chair and vice president for Annual Conference. Committee members also serve to support sessions comprised of individual papers and projects where a formal chair has not been identified.

Please send a 150-word letter of interest and a CV to Mira Friedlaender (mfriedlaender@collegeart.org), CAA manager of annual conference.

Deadline: January 16, 2020

Filed under: Annual Conference, Service

Announcing New CAA Professional Committees

posted by August 08, 2019

CAA is pleased to announce the creation of two new professional committees: a Committee on Research and Scholarship, and a Services to Historians of Visual Arts Committee. The new committees were approved by the Board of Directors at their May 2019 meeting. Concurrent with our annual call for new committee members, we seek applicants to form the inaugural teams for these two new committees.

The deadline for these applications is October 1, 2019for new committee service to begin at the Annual Conference in February 2020.  

Discussion group at 2018 CAA Annual Conference. Photo: Rafael Cardenas

The formation of these new committees responds to requests from our membership and to a desire to be forward-looking in addressing the professional needs of our fields.

The Committee on Research and Scholarship will offer a resource to all members engaged in the production or consumption of scholarly research.

The Services to Historians of Visual Arts Committee will identify and address concerns facing the historian members of our organization (encompassing specialists in any facets of art, architecture, design, material culture, and visual culture). 

The Services to Historians of Visual Arts Committee is intended to recognize our organization’s enduring support for historians, offering them a presence and a voice similar to the role played by other profession-specific committees in our organization (such as the Services to Artists Committee and the Committee on Design). As noted in the committee charge, the Services to Historians of Visual Arts Committee “offers a forum for the discussion of issues of mutual interest across the discipline’s many diverse fields and methodologies. In a climate of great threat to the survival of history of art and history of visual arts programs, this committee provides a locus for advocacy issues particular to historians in these areas of interest.” It is understood that the committee will play an active role in the Annual Conference but is also intended to serve as a central hub and resource for communication among historians of the visual arts well beyond the chronology of conference programming. 

As stated in the committee charge, the Committee on Research and Scholarship is charged with gathering information, [and] assessing and proposing organizational advocacy for CAA on matters concerning the research and scholarship in visual arts and design, encompassing all facets of research regarding history, theory, education and practice.” Specialists in the visual arts—whether practitioners or historians—face unique challenges in the production of their scholarship, such as the cost of image permissions, the closures or reorganization of academic presses, and/or the misalignment of the multiyear workflow of exhibitions or excavations against the strictures of a tenure clock. A scholar’s type of institutional affiliation, or independent scholar status, has an enduring impact on the types of research and scholarship that can be produced—arguably in more profound ways than in other humanities or arts fields. The Committee on Research and Scholarship will provide a vital hub to our members interested in addressing any of these areas of concern—or advancing other concerns or questions concerning the area of research and scholarship.  

If you wish to apply for either of these new committees, send an email to Vanessa Jalet at vjalet@collegeart.org with a brief  statement of interest and attach a reduced résumé (no more than 2-3  pages). 

Kindly also enter in the subject line:  “Applicant for Committee on Research and Scholarship” or “Applicant for Services to Historians of Visual Arts Committee”

Deadline: October 1, 2019   

Committee on Research and Scholarship Charge

The Committee on Research and Scholarship is charged with gathering information, assessing trends, and proposing organizational advocacy for CAA on matters concerning the advancement of research and scholarship in visual arts and design, encompassing all facets of research regarding history, education, and practice.  Recognizing that professionals must navigate a rapidly-transforming field of options for conducting research and disseminating the results thereof, the committee is responsible for assisting the organization in engaging with current issues and serving its membership in this important facet of their professional life. 

Services to Historians of Visual Arts Committee Charge

The Services to Historians of Visual Arts Committee identifies and addresses concerns facing historians of art, architecture, design, material culture, and visual culture.  It creates and implements programs and events at the conference and beyond.  It offers a forum for the discussion of issues of mutual interest across the discipline’s many diverse fields and methodologies. In a climate of great threat to the survival of history of art and history of visual arts programs, this committee provides a locus for advocacy issues particular to historians in these areas of interest.  The Committee lends support and mentorship for both seasoned and emerging professionals.  It is also charged with maintaining dialogue with other professional organizations and affiliated societies focused on the history of art, architecture, design, material culture and visual culture.  

Filed under: Art History, Committees, Research, Service — Tags:

Join a CAA Professional Committee

posted by April 29, 2019

ARTexchange at CAA 2018 in Los Angeles. Image by Rafael Cardenas.

Call for applicants to CAA’s Professional Committees (for term 2020-2023)

The Professional Committees address critical concerns of CAA’s members set out in the goals of CAA’s Strategic Plan. CAA invites members to apply for service on one of these working groups.

Committee members serve three-year terms (2020-2023), with at least one new member rotating onto a committee each year. Candidates must be current CAA members and possess expertise appropriate to the committee’s work. All committee members volunteer their services without compensation. It is expected that once appointed to a committee, a member will involve himself or herself in an active and serious way.

The following vacancies are open for terms beginning in February 2020:

UPDATE (8/8/19): We’re pleased to announce the creation of two new professional committees: a Committee on Research and Scholarship, and a Services to Historians of Visual Arts Committee. Concurrent with our annual call, we’re seeking applicants to form the inaugural teams for these two new committees. Learn more.

CAA’s President, Vice President for Committees, and Executive Director review all candidates in the fall, and announce the appointments in late October, prior to the Annual Conference. New members are introduced to their committees during their respective business meetings at the Annual Conference.

Nominations and self-nominations should include a brief statement (no more than 150 words) describing your qualifications and experience and an abbreviated CV (no more than 2–3 pages). Please send all materials to Vanessa Jalet, CAA executive liaison at vjalet@collegeart.org.

Deadline: Wednesday, September 18, 2019

Kindly enter subject line in email: 2020 Professional Committee Applicant

 


Scroll down to learn about the charge of each of the Professional Committees, along with their current objectives and projects.

COMMITTEE ON DESIGN

The Committee on Design promotes and advances issues in design practice, design history/theory/criticism, and design education through advocacy, engagement, and a commitment to the diversity of practices and practitioners.

The Committee on Design invites you to join its current members in proposing programming for annual conference sessions, drafting best-practices guidelines, developing teaching resources for design and design history, and, in general, building infrastructures within CAA that serve the professional needs of designers and design historians.

COMMITTEE ON DIVERSITY PRACTICES

The Committee on Diversity Practices supports the development of global perspectives on art and visual culture. The committee promotes artistic, curatorial, scholarly and institutional practices that deepen appreciation of political and cultural heterogeneity, as educational and professional values. To that end, the committee assesses and evaluates the development and implementation of curricular innovation, new research methods, curatorial and pedagogical strategies, and hiring practices that contribute to the realization of these goals.

The Committee on Diversity Practices continues to address how CAA as an association can positively address diversity awareness, training and implementation and maintain a site for resources on diversity practices: http://www.collegeart.org/diversity/

COMMITTEE ON INTELLECTUAL PROPERTY

The Committee on Intellectual Property monitors and interprets copyright legislation for the benefit of CAA’s various constituencies. In so doing, it seeks to offer educational programs and opportunities for discussion and debate in response to copyright legislation that affects educators, scholars, museum professionals, and artists.

The Committee on Intellectual Property organizes conference sessions on the Fair Use Code and maintains a resource cite on intellectual property: http://www.collegeart.org/ip/

COMMITTEE ON WOMEN IN THE ARTS

The Committee on Women in the Arts (CWA) promotes the scholarly study and recognition of women’s contributions to the visual arts and to critical and art-historical studies; advocates for feminist scholarship and activism in art; develops partnerships with organizations with compatible missions; monitors the status of women in the visual-arts professions; provides historical and current resources on feminist issues; and supports emerging artists and scholars in their careers.

Inclusive and international, comprising members from all professional backgrounds, the Committee on Women in the Arts is dedicated to the study, visibility and support of women in the arts, as well as feminist art and scholarship, with an expansive combination of initiatives that include: organizing panels and interviews of feminist artists and the recipients of the Distinguished Feminist Award during the annual conference; collaborations and events that take place beyond the conference venue; the monthly selection of international highlights of exhibitions known as the CWA Picks: http://www.collegeart.org/committees/picks; and its support of two nominees for the Distinguished Feminist Award.

EDUCATION COMMITTEE

The Education Committee promotes the visual arts as essential human activity; as a creative endeavor and subject of cultural and historical inquiry and critical appreciative activity, and encourages excellence in teaching at all levels.  Its focus is on pedagogy at the higher education level in art history, visual culture, studio, aesthetics, and art criticism, and on the interface between arts teaching and learning research and practice.

The Education Committee supports initiatives that acknowledge the importance of teaching and learning to advance visual arts, design, and art history in higher education, and more broadly to the public. In addition to a podcast series, CAA Conversations, the EC works on projects that support educational development, effective pedagogy, scholarship of teaching and learning, and improved career pathways for students.

INTERNATIONAL COMMITTEE

The International Committee seeks to foster an international community of artists, scholars and critics within CAA; to provide forums in which to exchange ideas and make connections; to encourage engagement with the international student community; to develop relationships between CAA and organizations outside the United States with comparable goals and activities; and to assist the CAA Board of Directors by identifying and recommending advocacy issues that involve CAA and cross national borders.

The International Committee continues to promote international connections and discourse through organized conference sessions, solicited news and articles, collaborative events, and other vital programs such as the CAA-Getty International Program that brings global scholars to the annual conference.

MUSEUM COMMITTEE

The Museum Committee provides a bridge between scholars and arts professionals in the academic and museum fields.  It offers a forum for the discussion of issues of mutual interest and promotes museum advocacy issues within CAA.  The committee lends support and mentorship for both seasoned and emerging professionals to protect and interpret the arts within museums.

The Museum Committee strives to make the museum field more equitable and inclusive by critically examining the current and inadequate pipelines to the profession and questioning the practices and procedures by which museums operate. The committee is engaged in collaborative efforts to strengthen the relationship between art historians and museums, as well as in working creatively and constructively with other CAA committees and projects, including the Committee on Women in the Arts and RAAMP (Resources for Academic Art Museum Professionals).

PROFESSIONAL PRACTICES COMMITTEE

The Professional Practices Committee (PPC) responds to specific concerns of the membership in relation to areas such as job placement and recruitment, tenure and promotion procedures, scholarly standards and ethics, studio health and safety, and guidelines for degree programs in the visual arts. The committee oversees CAA’s Standards and Guidelines drawing on the expertise of committee members and by forming task-forces to draft, review and revise these statements on a regular basis.

Recently, the Professional Practices Committee has been working on updating guidelines for degree programs (Associate, Baccalaureate, and MFA), as well as the new Guidelines for Addressing Proposed Substantive Changes to an Art, Art History of Design Unit or Program at Colleges and Universities. The committee is currently working on statements addressing the work of curators, visual resource professionals and artists working in the public realm.

SERVICES TO ARTISTS COMMITTEE

The Services to Artists Committee (SAC) was formed by the CAA Board of Directors to seek broader participation by artists and designers in the organization and the Annual Conference. SAC identifies and addresses concerns facing artists and designers; creates and implements programs and events at the conference and beyond; explores ways to encourage greater participation and leadership in CAA; and identifies ways to establish closer ties with other arts professionals and institutions.  To this end, committee members are responsible for the programming of ARTspace and its related events.

The Services to Artists Committee continues to organize ARTspace conference programming (free and open to the public) and is investigating initiatives to identify and address concerns for artists and designers beyond the conference.

STUDENT AND EMERGING PROFESSIONALS COMMITTEE

Established in February 1998, the Student and Emerging Professionals Committee is comprised of CAA members who are students, recent graduates, and experienced arts professionals with the intention of better representing students and emerging professionals within the larger CAA and academic framework.

The Student and Emerging Professionals Committee provides CAA with a crucial voice for those in school, recently graduated, changing tracks, or getting back into the field. SEPC helps connect its constituents to CAA’s resources and advocates for students and emerging professionals within the organization. In 2019-2020, SEPC has begun writing guidelines for professional development training in graduate programs; SEPC is also working to make CAA more accessible to a future generation of artists, scholars, and beyond. At the Annual Conference, SEPC hosts an SEPC lounge space out of which is run a full programming track that includes workshops, roundtables, mock interviews, and more. SEPC is looking for members who can help run its programs, and, more importantly, bring new approaches and underrepresented perspectives to SEPC’s advocacy.

Filed under: Committees, Professional Development, Service — Tags:

CAA invites nominations and self-nominations for individuals to serve on our Professional Development Fellowship juries for three years (2019–22). Terms begin July 2019.

JURY VACANCIES FOR SPRING 2019

  • Professional Development Fellowship in Visual Art: two members
  • Professional Development Fellowship in Art History: one member

Duties and Qualifications

The fellowship juries award $10,000 each to one visual artist completing an MFA and one art historian completing a PhD in the coming year. Candidates for the art history jury must be actively publishing scholars with demonstrated seniority and achievement; candidates for the visual arts jury must be actively producing artists with a track record of exhibitions. Institutional affiliation is not required. Jury members review applications once per year and confer by conference call.

Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2019. CAA’s president and vice president for committees appoint jury members for service.

HOW TO APPLY

Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and a CV (an abbreviated CV no more than two pages may be submitted). Please send all materials by email to Cali Buckley, CAA grants and special programs manager; submissions must be sent as Microsoft Word or Adobe PDF attachments.

For questions about jury service and responsibilities, contact Tiffany Dugan, CAA director of programs and publications.

Deadline: May 13, 2019

CAA invites nominations and self-nominations for individuals to serve on our Millard Meiss Publication Fund jury for four years (2019–23). Terms begin July 2019.

JURY VACANCIES FOR SPRING 2019

  • Millard Meiss Publication Fund: two members

Duties and Qualifications

The Millard Meiss Publication Fund jury awards subsidies to support the publication of book-length scholarly manuscripts in the history of art and related subjects. Members review manuscripts and grant applications twice a year and meet in New York in the spring and fall to select the awardees. CAA reimburses jury members for travel and lodging expenses in accordance with its travel policy. Members volunteer their services to CAA without compensation. Candidates must be actively publishing scholars with demonstrated seniority and achievement; institutional affiliation is not required.

Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2019. CAA’s president and vice president for committees appoint jury members for service.

HOW TO APPLY

Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and a CV (an abbreviated CV no more than two pages may be submitted). Please send all materials by email to Cali Buckley, CAA grants and special programs manager; submissions must be sent as Microsoft Word or Adobe PDF attachments. For questions about jury service and responsibilities, contact Tiffany Dugan, CAA director of programs and publications.

Deadline: May 13, 2019

Filed under: Awards, Publications, Service

Serve on a CAA Award Jury

posted by March 28, 2019

CAA invites nominations and self-nominations for individuals to serve on ten of the fourteen juries for the annual Awards for Distinction for three years (2019–22). Terms begin in May 2019; award years are 2020–22.

CAA’s fourteen awards honor artists, art historians, authors, curators, critics, and teachers whose accomplishments transcend their individual disciplines and contribute to the profession as a whole and to the world at large.

Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2019. CAA’s president and vice president for committees appoint jury members for service.

Jury vacancies for spring 2019:

  • The Art Journal Award: two members
  • Alfred H. Barr Jr. Award: three members
  • Frank Jewett Mather Award for Art Criticism: one member
  • Charles Rufus Morey Book Award: two members
  • Arthur Kingsley Porter Prize: two members
  • CAA/AIC Award for Distinction in Scholarship and Conservation: one member
  • Distinguished Artist Award for Lifetime Achievement:  one member
  • Distinguished Lifetime Achievement Award for Writing on Art: two members
  • Distinguished Feminist Award: one member
  • Distinguished Teaching of Art Award: one member

Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and a CV (an abbreviated CV no more than two pages may be submitted). Please send all materials by email to Cali Buckley, CAA grants and special programs manager; submissions must be sent as Microsoft Word or Adobe PDF attachments. For questions about jury service and responsibilities, contact Tiffany Dugan, CAA director of programs and publications.

Deadline: May 13, 2019

Attendees at the 2019 Annual Conference in New York. Photo: Ben Fractenberg

Each spring, members have the opportunity to provide critical service to the field and gain an inside view by volunteering to work on a CAA editorial board, committee, or jury.

Any member may self-nominate for the following positions or (after ascertaining interest) nominate another member. For more information, please click on the links below.

CURRENT OPPORTUNITIES

All deadlines for 2019 have passed.

CLOSED OPPORTUNITIES

Art Journal Open—Editor-in-Chief
Deadline: April 1

caa.reviews—Editor-in-Chief
Deadline: April 1

caa.reviews—Four Field Editors
Design History, Eighteenth-Century Art, Architecture and Urbanism, Theory and Historiography
Deadline: April 15

The Art Bulletin—Editorial Board Members
Deadline: April 15

Annual Conference—CAA Council of Readers
New this year, we’re asking members to serve a crucial role in shaping conference content.
Deadline: April 18

Annual Conference—Annual Conference Chair
Deadline: April 29

Annual Conference—Awards for Distinction Juries
Deadline: May 13

Millard Meiss Publication Fund—Jury Members
Deadline: May 13

Professional Development Fellowships in Art History and Visual Art—Jury Members
Deadline: May 13

Professional Committees—Seeking New Members
Committees: Design, Diversity Practices, Intellectual Property, Women in the Arts, Education, International, Museum, Professional Practices, Services to Artists, Student and Emerging Professionals
Deadline: September 18

Annual Conference Committee Seeks Next Chair

posted by March 15, 2019

CAA invites nominations and self-nominations for the Annual Conference Chair. This at-large member of the Annual Conference Committee serves a two-year term, beginning February 2020, immediately following the 108th Annual Conference. The Annual Conference Chair Designate shall begin their orientation to the role in May 2019. They will be invited to meetings of the Annual Conference Committee as a non-voting ex officio member at that time.

The Chair oversees the Council of Readers and reports back to the Annual Conference Committee on session topics, including identifying possible areas of content and interest to members that are missing from the submissions received. With CAA staff, the Chair recruits Council of Readers members to read, review, and rank proposals. The Chair shapes the content to the Annual Conference from the submissions as reported back by the Council.

Deadline: April 29, 2019

As a member of the Annual Conference Committee the Chair:

  • Works with CAA staff and oversees the execution of the overall goals of the conference
  • Ensures that the Annual Conference reflects the goals of the Association
  • Makes the Annual Conference an effective place for intellectual, aesthetic, and professional learning and exchange
  • Reflects the diverse interests of the membership
  • Suggests conference content based on member interest
  • Assists in scheduling the variety of chosen sessions, workshops, talks, etc.
  • Proposes ways to increase conference participation and attendance
  • Proposes new initiatives for the conference
  • Proposes candidates for distinguished speakers

The Annual Conference Committee meets three times a year: February – in person at the Annual Conference to examine and discuss the operational aspects of the conference which recently concluded and ideas for the upcoming conference; May/June – on a conference call to review the recommendations by the Council of Readers for the upcoming Annual Conference; October – on a conference call to review final plans and any existing changes for the Annual Conference up to two years out.

Please send a 150-word letter of interest and a CV to Mira Friedlaender, CAA Manager of Annual Conference. Deadline: April 29, 2019.

Filed under: Annual Conference, Service