CAA News Today
CAA Presents a Fair Use Workshop in Richmond
posted Apr 10, 2017
Peter Jaszi speaks to participants at a fair use workshop in Richmond, Virginia, March 24, 2017.
On Friday, March 24, the University of Richmond Museums, Virginia, hosted a CAA Fair Use Workshop, co-sponsored with the Virginia Museum of Fine Arts Statewide Program, and made possible with a grant from the Andrew W. Mellon Foundation. Elizabeth Schlatter, CAA Vice President for the Annual Conference, and Deputy Director and Curator of Exhibitions at the University of Richmond Museums, led the planning effort to bring over 40 artists, museum professionals, archivists, professors, librarians, and communications experts to the daylong workshop.
The program was led by Hunter O’Hanian, CAA’s Executive Director, and Peter Jaszi, Professor of Law at American University, and one of the two lead principal investigators on the project. After a round of introductions by attendees, Jaszi began the day with an introduction to the doctrine of fair use, followed by a presentation by O’Hanian about CAA’s four-year fair use initiative and the methodology employed to develop the Code of Best Practices in Fair Use for the Visual Arts. The workshop continued with a focus on fair use in art museums, including when it can be invoked in exhibition projects, publishing, and online activities. During a working lunch, Jaszi and O’Hanian led discussions on reliance on fair use in teaching, publishing, and making art, and concluded the day with a discussion about fair use in libraries and archives.
Catherine G. OBrion, the Librarian-Archivist at the Virginia State Law Library, wrote afterwards, “I have a much better understanding of the legal standing of fair use, its intent, and how I can defend relying on it to my in-house counsel and others….One of the most useful workshops I’ve attended.” The workshop was followed by a reception at the University Museums for all CAA members in the local area.
CAA executive director O’Hanian also met with two University of Richmond classes the day before, one a museum studies seminar and the other a class on contemporary art and theory. The undergraduates benefited from O’Hanian’s advice on curating exhibitions, organizing public programs, surviving and thriving as a visual artist, and applying for artists’ residency programs.
New in caa.reviews
posted Apr 07, 2017
Matthew Hauske reviews Branding the American West: Paintings and Films, 1900–1950, edited by Marian Wardle and Sarah E. Boehme. This “lavishly illustrated exhibition catalogue” provides “a substantive conversation” about “the works and the legends of the Taos Society of Artists.” The book’s “spirit of scholarly collaboration and cross-pollination is perhaps its greatest strength.” Read the full review at caa.reviews.
Katharine Steidl reads Singular Images, Failed Copies: William Henry Fox Talbot and the Early Photograph by Vered Maimon. The author investigates the artist’s “connection to early photography” and, “with the help of postmodern critical theory . . . questions established genealogies and canonical histories of photography.” The volume is ultimately “highly recommended to Talbot scholars.” Read the full review at caa.reviews.Emma Chubb visits She Who Tells a Story: Women Photographers from Iran and the Arab World, organized by the Museum of Fine Arts, Boston. The “participating artists are all women” with ties to “the wide expanse of land between Morocco and Iran,” and the exhibition “contributes an important chapter to this history, one that centers on the rich conceptual, formal, and political engagements of these photographers.” Read the full review at caa.reviews.
Conference Submissions for CAA 2018
posted Apr 07, 2017
Projects and Proposal Deadlines April 17 and 24
The Annual Conference Committee invites proposals of interest to its members and varied audiences. Submissions that cover the breadth of current thought and research in art and art practice, art and architectural history, theory and criticism, studio art, pedagogical issues, museum and curatorial practice, conservation, design, new media, and developments in technology are encouraged.
To submit a proposal, individuals must be current CAA members. All session participants, including presenters, chairs, moderators, and discussants, must also be current individual CAA members. Please have your CAA Member ID handy as well as the member IDs of any and all participants as this is a required field on the submission form. Please note that institutional member IDs cannot be used to submit proposals. If you are not a current individual member, please renew your membership or join CAA.
All session participants must also register for the conference. Online registration for CAA 2018 will begin October 2, 2017. Early conference registration will end December 15, 2017 and advance conference registration will end on February 7, 2018. Early and advance conference registration fees will not change from CAA 2017, New York.
The Annual Conference Committee will accept the following proposals for review: Complete Sessions, Sessions Soliciting Contributors, and Individual Paper/Project proposals. All sessions will be 90 minutes in length at CAA 2018. Please plan accordingly. For full details on the submission process for the conference, please review the information below and on the individual submission pages.
PROPOSAL SUBMISSION TYPES
Session Soliciting Contributors
SUBMISSION DEADLINE: April 17, 2017
The Session Soliciting Contributors option allows a submission for a full session (90 minutes in length) with yet-to-be identified speakers and papers/projects. If selected, such sessions will be included in the call for participation (CFP) which opens June 30.
Individual Paper/Project
SUBMISSION DEADLINE: April 17, 2017
Individual Paper/Project proposals (15 minutes in presentation length) may be submitted for review. No specific theme is required. The Annual Conference Committee will review and select paper/project proposals based on merit and group approved submissions into Composed Sessions of up to four participants. A liaison from the Annual Conference Committee will be identified for each Composed Session to assist with the format and to help identify a session chair or moderator.
Complete Session
SUBMISSION DEADLINE: April 24, 2017
The Complete Session option allows a submission for a complete panel (90 minutes in length) pre-formed with participants and papers/projects chosen in advance by session chairs. This session requires advance planning and information gathering by the chair(s).
Affiliated Societies
SUBMISSION DEADLINE: April 24, 2017
Each Affiliated Society may submit either one Complete Session proposal (90 minutes in length) pre-formed with participants and papers/projects chosen in advance or one Session Soliciting Contributors proposal (90 minutes in length) to be included in the CFP which opens June 30. A note of approval from the Affiliated Society chair must accompany the submission. This session will be guaranteed and will be identified as an Affiliated Society session in all CAA publications.
Subsequent proposals by Affiliated Society members may be submitted separately by individuals, but are subject to peer review by the Annual Conference Committee and must be submitted via the Complete Session, Session Soliciting Contributors, or Individual Paper/Project submissions forms described above. These submissions are not guaranteed and, if selected, will not be labeled or identified as Affiliated Society sessions in CAA publications.
CAA PIPS Committees
SUBMISSION DEADLINE: April 24, 2017
CAA PIPS committees may submit either one Complete Session proposal (90 minutes in length) pre-formed with participants and papers/projects chosen in advance or one Session Soliciting Contributors proposal (90 minutes in length) to be included in the CFP which opens June 30. A note of approval from the committee chair must accompany the submission. This session will be identified as a committee session in all CAA publications.
Subsequent proposals by committee members may be submitted separately by individuals, but are subject to peer review by the Annual Conference Committee and must be submitted via the Complete Session, Session Soliciting Contributors, or Individual Paper/Project submissions forms described above. These submissions are not guaranteed and, if selected, will not be labeled or identified as committee sessions in CAA publications.
GENERAL SUBMISSION GUIDELINES
- All sessions will be 90 minutes in length at CAA 2018. Please plan accordingly.
- All session proposals must be completed and submitted online.
- To submit a proposal, individuals must be current CAA members. All session participants, including presenters, chairs, moderators, and discussants, must also be current individual CAA members. Please have your CAA Member ID handy as well as the member IDs of any and all participants as this is a required field on the submission form. Please note that institutional member IDs cannot be used to submit proposals. If you are not a current member, please renew your membership or join CAA.
- All session participants must also register for the conference. Online registration for CAA 2018 will begin October 2, 2017. Early conference registration will end December 15, 2017 and advance conference registration will end on February 7, 2018. Early and advance conference registration fees will not change from CAA 2017, New York.
- CVs are required for panel proposals where the chair and, if applicable, the co-chair are known.
- Session and paper/project abstracts should be no more than 250 words in length.
- The accuracy of information entered into the proposal form (e.g. spelling of names, affiliations, titles) is important as it will be pulled directly from this database for conference publications such as Abstracts 2018 and the conference website.
- The Annual Conference Committee makes its selections solely on the basis of merit and works to create a balanced program. Where proposals overlap, CAA reserves the right to select the most considered version or, in some cases, to suggest a fusion of two or more versions from among the proposals submitted.
- If their proposals are accepted, CAA members may participate in session panels in consecutive years.
- For more information about session proposals for the 2018 Annual Conference, please contact Katie Apsey, CAA manager of programs, at 212-392-4405 or Tiffany Dugan, CAA director of programs, at 212-392-4410.
KEY DATES
- February 27 – Call for Annual Conference session and paper/projects proposals begins
- Proposal Submission Deadlines for CAA 2018:
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- April 17 – Proposal submission deadline for Sessions Soliciting Contributors
- April 17 – Proposal submission deadline for Individual Paper/Projects
- April 24 – Proposal submission deadline for Complete Sessions
- April 24 – Proposal submission deadline for Affiliated Societies and CAA PIPS Committees
- May 15 – Call for Professional Development Workshop Proposals begins
- June 19 – Notifications sent regarding approved sessions for CAA 2018
- Key dates for approved Sessions Soliciting Contributors included in the Call for Participation (CFP):
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- June 30 – CFP for approved Sessions Soliciting Contributors announced (includes Poster Sessions)
- August 14 – Paper/Project submission deadline to chairs of Sessions Soliciting Contributors; deadline for Poster Session submissions
- August 28 – Session chairs send notifications to participants selected from CFP; Poster Session notifications sent
- September 18 – Deadline for all chairs to submit final abstracts and website listings to CAA
- October 2 – Online conference registration opens
- December 15 – Early conference registration closes
- February 7 – Advance conference registration closes
People in the News
posted Apr 07, 2017
People in the News lists new hires, positions, and promotions in three sections: Academe, Museums and Galleries, and Organizations and Publications.
The section 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.
April 2017
Academe
Ira Goldberg, executive director of the Art Students League in New York, has resigned from his post.
Cordula GreweCordula Grewe has accepted a position as associate professor with tenure in the Department of Art History at Indiana University Bloomington, where she will teach European art between 1700 and today.
Alex Kitnick has been given the title of Brant Foundation Fellow in Contemporary Arts at Bard College’s Center for Curatorial Studies in Annandale-on-Hudson, New York.
Jonathan MorganJonathan Morgan has become an adjunct professor of art at Lone Star College in the Woodlands, Texas.
Sheila Rae Neal has been named adjunct instructor at Munson-Williams-Proctor Arts Institute in Utica, New York.
Jennifer RisslerJennifer Rissler has been appointed dean and vice president of academic affairs at the San Francisco Art Institute in California.
Museums and Galleries
Esther Bell, previously curator in charge of European paintings at the Fine Arts Museum of San Francisco in California, has been named Robert and Martha Berman Lipp Senior Curator for the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts.
Makeda Best, formerly assistant professor in visual studies at the California College of the Arts in Oakland and San Francisco, California, has been named Richard L. Menschel Curator of Photography at the Harvard Art Museums in Cambridge, Massachusetts.
Connie H. ChoiConnie H. Choi, formerly assistant curator of American art at the Brooklyn Museum in New York, has been appointed associate curator of the permanent collection at the Studio Museum in Harlem, also in New York.
Joey Orr, formerly Andrew W. Mellon Postdoctoral Curatorial Fellow at the Museum of Contemporary Art in Chicago, Illinois, has been appointed Andrew W. Mellon Assistant Curator for Research for the Spencer Museum of Art at the University of Kansas in Lawrence.
James Merle Thomas, professor of global contemporary art at Temple University’s Tyler School of Art in Philadelphia, Pennsylvania, has been appointed executive director of Vox Populi, also in Philadelphia.
Organizations and Publications
Conny BogaardConny Bogaard has been appointed executive director of the Western Kansas Community Foundation in Garden City, Kansas.
Douglas Dreishpoon, chief curator emeritus for the Albright-Knox Art Gallery in Buffalo, New York, has been appointed director of the Helen Frankenthaler Catalogue Raisonné, a project organized by the Helen Frankenthaler Foundation in New York.
How to Submit a Sharp Proposal for CAA 2018
posted Apr 07, 2017
We are enjoying spring break as much as you are, but we also know that CAA has upcoming deadlines for proposing a session or paper for the 106th Annual Conference in Los Angeles, February 21–24, 2018.
In this video, Hunter O’Hanian, executive director of CAA, and Tiffany Dugan, director of programs, discuss what makes a great Conference proposal. We think your submission should contain clear writing, and your idea should be thoughtful. We want you to be accurate and complete when using the submission portal also.
The Annual Conference Committee, comprised of regional representatives, members of the Board, and CAA members at large, are in search of proposals that reflect the breadth and variety of our discipline and field, and demonstrate the expertise and curiosity of our membership also. Especially welcome are proposals from artists and on subjects in art before 1800.
The deadlines to propose a session or paper for the 2018 Annual Conference in Los Angeles are April 17 and April 24, 2017. Full details are available on the submissions website.
Exhibitions Curated by CAA Members
posted Apr 06, 2017
Check out details on recent shows organized by CAA members who are also curators.
Exhibitions Curated by CAA 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.
April 2017
Yoshio Ikezaki, The Earth Breathes–Mind Landscape no.12, 2008 (artwork © Yoshio Ikezaki)Jacki Apple. Yoshio Ikezaki: Elements 1991–2016. Alyce de Roulet Williamson Gallery, Art Center College of Design, Pasadena, California, March 16–May 28, 2017.
Elena Gritsenko, Landscape, 1976, oil on canvas. Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union (photograph by Jack Abraham)Anna Rogulina. A Vibrant Field: Nature and Landscape in Soviet Nonconformist Art, 1970s–1980s. Jane Voorhees Zimmerli Art Museum, Rutgers University, New Brunswick, New Jersey, March 4–July 30, 2017.
Jane A. Sharp. “Thinking Pictures”: Moscow Conceptual Art in the Dodge Collection. Jane Voorhees Zimmerli Art Museum, Rutgers University, New Brunswick, New Jersey, September 6–December 31, 2016.
Julie J. Thomson. Begin to See: The Photographers of Black Mountain College. Black Mountain College Museum and Arts Center, Asheville, North Carolina, January 20–May 20, 2017.
Invitation card for Social Fabric / Moral FiberMichaelann Tostanoski and Leila Daw. Social Fabric / Moral Fiber. Gallery West, Suffolk County Community College, Selden, New York, February 14–March 30, 2017.
Edward Weston, Two Shells, 1927, gelatin-silver print, Norton Simon Museum, Blue Four Galka Scheyer Collection, PH.1953.609bGloria Williams. Maven of Modernism: Galka Scheyer in California. Norton Simon Museum, Pasadena, California, April 7–September 25, 2017.
News from the Art and Academic Worlds
posted Apr 05, 2017
Each week CAA News summarizes eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Live Drawing Videos on Instagram Are Giving Users a Peek into the Creative Process
With the capability to create and share livestreams, sixty-second videos, and Stories, creatives have a new world of opportunity to demystify artmaking, to facilitate virtual studio visits, and to grow their followings. Moreover, artists can set themselves up for commissions and projects—and drawing is proving to be a ripe medium through which to accomplish this. (Read more from Artsy.)
The Exhilarating Return
Having recently returned from my own sabbatical, I wonder whether there are some downsides to the sabbatical’s luster—in particular, the larger view that it obscures. In our efforts to reverence sabbatical, we may fail to give proper due to its mighty counterpart, the return. This is a mistake. (Read more from Inside Higher Ed.)
The Community-College Side Hustle
“Side hustle” is a term I had never heard until a few months ago, and now suddenly I’m seeing it everywhere, most recently in an advertisement for Uber drivers. It refers to having a second source of income in addition to one’s main job. That’s a concept professors have embraced, probably ever since there have been professors. (Read more from Vitae.)
The Art of “No”
Early in my career, I struggled to say no. I was asked to serve on committee after committee, to evaluate fistfuls of manuscripts and grants, and to perform dozens of other tasks, large and small. I said yes, often because of genuine interest but other times out of a sense of guilt or obligation—and sometimes out of fear of reprisal if I refused. (Read more from the Chronicle of Higher Education.)
Penn Museum Shows Artifacts Curators Are Fighting to Save in Syria and Iraq
Many American museums have been closely monitoring the ongoing destruction of heritage sites in Syria and Iraq, but few have had boots on the ground. Curators and researchers at the Penn Museum have been on the frontlines of the battle to safeguard cultural heritage in conflict zones; they recently organized an exhibition illustrating how high the stakes are. (Read more from the Art Newspaper.)
A Hushed Departure at the Met Museum Reveals Entrenched Management Culture
The recent discovery of a looming $40 million deficit that forced the Metropolitan Museum of Art to cut staff, trim its exhibition schedule, and postpone a heralded $600 million expansion are signs that the system is showing cracks. Now, details about dysfunction in the digital-media department reveal additional consequences of the museum turning a blind eye to problems. (Read more from the New York Times.)
Paper Warping When Painting with Acrylics
When water is applied to paper, the fibers can soak up liquid and expand. This may create the infamous buckles and cockles that can be the bane—or joy—of those who paint with water media. (Read more from Just Paint.)
Was Banksy Caught on Camera at a Mall in Israel?
Several British tabloids ran stories last weekend showing footage captured with a mobile phone camera by an anonymous woman who claims to have caught the elusive Bristol-born artist in action, working on a show that’s slated to open to the public inside a mall in Herzlyia, Israel. (Read more from Artnet News.)
Books Published by CAA Members
posted Apr 04, 2017
Publishing a book is a major milestone for artists and scholars—browse a list of recent titles below.
Books Published by CAA Members appears 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.
April 2017
Flora Brooke Anthony. Foreigners in Ancient Egypt: Theban Tomb Paintings from the Early Eighteenth Dynasty (1550–1372 BC) (New York: Bloomsbury Academic, 2017).
Jacki Apple. Yoshio Ikezaki: Elements 1991–2016 (Pasadena, CA: Art Center College of Design, 2017).
Caroline Boyle-Turner. Paul Gauguin and the Marquesas: Paradise Found? (Pont-Aven, France: Éditions Vagamundo, 2016).
Shira Brisman. Albrecht Dürer and the Epistolary Mode of Address (Chicago: University of Chicago Press, 2016).
John Chaich and Todd Oldham. Queer Threads: Crafting Identity and Community (New York: AMMO Books, 2017).
Christine Filippone. Science, Technology, and Utopias: Women Artists and Cold War America (New York: Routledge, 2017).
Leonard Folgarait. Painting 1909: Pablo Picasso, Gertrude Stein, Henri Bergson, Comics, Albert Einstein, and Anarchy (New Haven: Yale University Press, 2017).
Elisabeth A. Fraser. Mediterranean Encounters: Artists between Europe and the Ottoman Empire, 1774–1839 (University Park: Pennsylvania State University Press, 2017).
Francesca Granata, Experimental Fashion: Performance Art, Carnival, and the Grotesque Body (London: I. B. Tauris, 2017).
Ray Hernández-Durán. The Academy of San Carlos and Mexican Art History: Politics, History, and Art in Nineteenth-Century Mexico (New York: Routledge, 2016).
Namiko Kunimoto. The Stakes of Exposure: Anxious Bodies in Postwar Japanese Art (Minneapolis: University of Minnesota Press, 2017).
Catha Paquette. At the Crossroads: Diego Rivera and His Patrons at MoMA, Rockefeller Center, and the Palace of Fine Arts (Austin: University of Texas Press, 2017).
Elizabeth Prettejohn and Peter Trippi, eds. Lawrence Alma-Tadema: At Home in Antiquity (New York: Prestel, 2016).
Sarahh E. M. Scher and Billie J. A. Follensbee, eds. Dressing the Part: Power Dress, Gender, and Representation in the Pre-Columbian Americas (Gainesville: University Press of Florida, 2017).
Jane A. Sharp, ed. Thinking Pictures: The Visual Field of Moscow Conceptualism (New Brunswick, NJ: Zimmerli Art Museum, 2016).
Tanya Sheehan, ed. Grove Art Guide to Photography (New York: Oxford University Press, 2017).
Victoria Surliuga. Ezio Gribaudo: The Man in the Middle of Modernism (New York: Glitterati, 2016).
Andrés Mario Zervigón. Photography and Germany (London: Reaktion Books, 2017).
Solo Exhibitions by Artist Members
posted Apr 03, 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.
April 2017
Mid-Atlantic
Jaz Graf, Traces of Absence (violet), 2014, monotype, faux feather plumes, pencil, and thread on paper, 15 x 15 in. (artwork © Jaz Graf)Jaz Graf. Paul Robeson Galleries, Engelhard Hall, Rutgers University, Newark, New Jersey, September 6, 2016–July 31, 2017, Articulations. Prints, handmade paper, and mixed-media drawings.
Midwest
Ken Gonzales-Day, The Lynching of “Spanish Charlie,” Santa Rosa, CA (Inverted), 2016, C-print (artwork © Ken Gonzales-Day)Ken Gonzales-Day. Minnesota Museum of American Art, Saint Paul, Minnesota, January 19–April 16, 2017. Ken Gonzales-Day: Shadowlands.
Northeast
Pat Adams. Bennington Museum, Bennington, Vermont, April 1–June 18, 2017. Gatherum of Quiddities: Paintings by Pat Adams. Painting.
Lucinda Bliss, Borders Over Pie: Passamaquoddy Bay, 2016, graphite pencil and watercolor on paper, 14 x 10 in. (artwork © Lucinda Bliss)Lucinda Bliss. Common Street Arts, Waterville, Maine, January 11–February 25, 2017. Tracking the Border: An Interrogation of Political, Natural, and Interior Borders.
Dear Volunteers (Tra Bouscaren and John Schlesinger). AC Institute, New York, March 7–31, 2017. Dear Volunteers. Neon, Styrofoam, painted photographs cast in resin, lab clamps, rebar, and interactive video.
2017 TERRA FOUNDATION FOR AMERICAN ART INTERNATIONAL PUBLICATION GRANT WINNERS
posted Apr 03, 2017
CAA is pleased to announce the 2017 recipients of the Terra Foundation for American Art International Publication Grant. This program, which provides financial support for the publication of book-length scholarly manuscripts in the history of American art, is made possible by a generous grant from the Terra Foundation for American Art. For this grant, “American art” is defined as art (circa 1500–1980) of what is now the geographic United States.
“This year’s publication grant recipients demonstrate once again how this program serves the mission of advancing and internationalizing scholarship on American art,” says Francesca Rose, Program Director for Publications at the Terra Foundation for American Art. “Whether by funding translations or supporting original research in languages other than English and publications by early-career U.S. scholars, the 2017 publication grants allow for the dissemination of important scholarship to the global Americanist community. In addition, providing for travel to the CAA Annual Conference facilitates participation by non-U.S. authors in U.S. professional networks.”
The six Terra Foundation grantees for 2017 are:
- Philippe Artières, Attica, USA, 1971, Le Point du Jour
- Emily Burns, Transnational Frontiers: The Visual Culture of the American West in the French Imagination, 1867–1914, University of Oklahoma Press
- Sophie Cras, The Artist as Economist: Art and Capitalism in the 1960s, Yale University Press
- Kenji Kajiya, Formless Modernism: Color Field Painting and 20th-Century American Culture, University of Tokyo Press
- Kate Lemay, Triumph of the Dead: The American War Cemeteries in France, University of Alabama Press
- ShiPu Wang, The Other American Moderns, Pennsylvania State University Press
Two non-US authors of top-ranked books have also been awarded travel funds and complimentary registration for CAA’s 2018 Annual Conference in Los Angeles; they also received one-year CAA memberships.
The two author awardees for 2017 are:
- Sophie Cras
- Kenji Kajiya
“The Terra Foundation award is unique in that it supports publishers in the United States and abroad and also provides funds for authors of award-winning books to attend the CAA Annual Conference,” says Betty Leigh Hutcheson, Director of Publications at CAA. “Scholars outside the United States who receive travel grants can expand their networks, gain exposure to new ideas, meet publishers at the Book and Trade Fair, and apply to present papers at the conference. The success of the Terra Foundation program is grounded in the high quality of manuscripts CAA receives each year and our ability to financially support these projects. CAA has played a vital role in this process for the past three years, which is particularly gratifying as we see awarded projects reach completion.”
About CAA
The College Art Association is the world’s largest professional association for artists, art historians, designers, arts professionals, and arts organizations. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, website, and other programs, services, and events. CAA focuses on a wide range of advocacy issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching.
About the Terra Foundation for American Art
Established in 1978, the Terra Foundation for American Art is dedicated to fostering the exploration, understanding, and enjoyment of the visual arts of the United States. With financial resources of more than $350 million, an exceptional collection of American art from the colonial period to 1945, and an expansive grant program, it is one of the leading foundations focused on American art, supporting exhibitions, academic programs, and research worldwide.