CAA News Today
CAA Seeks Award Jury Members
posted Mar 20, 2013
CAA invites nominations and self-nominations for individuals to serve on nine of the twelve juries for the annual Awards for Distinction for three years (2013–16). Terms begin in May 2013; award years are 2014–16. CAA’s twelve 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 be serving on another CAA committee or editorial board. CAA’s president and vice president for committees appoint jury members for service.
The following jury vacancies will be filled this spring:
- Charles Rufus Morey Book Award: 4 members
- Alfred H. Barr Jr. Award: 3 members
- Arthur Kingsley Porter Prize: 2 members
- Frank Jewett Mather Award: 1 member
- Art Journal Award: 2 members
- Distinguished Teaching of Art Award: 2 members
- Distinguished Artist Award for Lifetime Achievement: 1 member
- Distinguished Lifetime Achievement Award for Writing on Art: 2 members
- CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation: 2 members
Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and an abbreviated CV (no more than two pages). Please send all materials by email to Lauren Stark, CAA manager of programs; submissions must be sent as Microsoft Word attachments. Deadline: April 26, 2013.
News from the Art and Academic Worlds
posted Mar 20, 2013
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.
Biotechnology as Art Form
It’s natural that some artists spend as much time in the lab as they do in the studio. Over the last three decades, in fact, artists have cultivated human tissue, bred frogs, assembled DNA profiles, and used modified bacteria as electrical transmitters. Bio-art—as this type of work is called—has also begun to surface in museums and avant-garde art festivals, from the Museum of Modern Art in New York to the Biennale of Electronic Arts Perth in Australia. (Read more in ARTnews.)
What Do University Presses Do?
A book published by the University of Minnesota Press, begun as the author’s dissertation, had been discussed in the New Yorker. This journey, from dissertation to published book and beyond, provides a counter narrative to the rhetoric about scholarly publishers these days, rhetoric which paints us as parasites sucking profit and capital out of the work of scholars, structured around a “conflict” between publishers, libraries, and scholars often oversimplified into a binary. Publishers are interested in profit. Libraries and scholars are not. (Read more in the University of Minnesota Press Blog.)
What Do Cats Have to Do with It? Welcome to LACMA’s New Collections Website
Two years ago, we launched an experiment: an online image library where we made 2,000 high-resolution images of artworks that the museum deemed to be in the public domain available for download without any restrictions. This week, we’ve exceeded ourselves with the launch of our new collections website, giving away ten times the number of images we offered in the initial image library. Nearly 20,000 high-quality images of art from our collection are available to download and use as you see fit (that’s about a quarter of all the art represented on the site). (Read more in Unframed.)
What to Do with Artist’s Work after Death Can Be Vexing
Since the Oakland artist Thomas “Glen” Whittaker died last month, his longtime companion, Marcy Pitts, has faced the daunting task of deciding what to do with about thirty-five paintings and other works he left behind. More specifically, she has wrestled with how to catalog, value, transport, store, and market the works, some of which are several feet wide. At the forefront of Pitts’s mind is a desire to earn Whittaker, who was 62, recognition for his work. (Read more in the Pittsburgh Post-Gazette.)
Pre-Tenure Leadership
As the dean of a college whose faculty includes many assistant professors, I am frequently asked for advice on how much service they should undertake. The twin horns of their dilemma? They know that service counts for less than teaching or research in annual and promotion evaluations … but they also know that demonstrating leadership potential through community engagement is important. (Read more in Inside Higher Ed.)
Things I Didn’t Learn in Graduate School
For more than thirty years now, I have benefited in my professional practice in student affairs from having attended some terrific graduate programs. It’s important to say that explicitly, upfront, as I’m about to focus on the things I didn’t learn in graduate school. (Read more in the Chronicle of Higher Education.)
Help Desk: Lazy Art Critic
An art critic who writes for local newspaper recently approached me to review a recent show I installed at a local gallery. He is essentially asking me to provide him with my thoughts on my work and, after reading several of his articles, it seems as if he will just quote me at length rather than provide an actual review of my work. Should I indulge him in my eagerness to gain press attention or decline in hopes of a future proposal from a more attentive critic? (Read more in Daily Serving.)
Art without Market, Art without Education: Political Economy of Art
Since the early days of modernism, artists have faced a peculiar dilemma with regard to the economy surrounding their work. By breaking from older artistic formations such as medieval artisan guilds, bohemian artists of the nineteenth century distanced themselves from the vulgar sphere of day-to-day commerce in favor of an idealized conception of art and authorship. While on the one hand this allowed for a certain rejection of normative bourgeois life, it also required that artists entrust their livelihoods to middlemen—to private agents or state organizations. While a concern with labor and fair compensation in the arts, exemplified by such recent initiatives as W.A.G.E. or earlier efforts such as the Art Workers Coalition, has been an important part of artistic discourse, so far it has focused primarily on public critique as a means to shame and reform institutions into developing a more fair system of compensation for “content providers.” It seems to me that we need to move beyond the critique of art institutions if we want to improve the relationship between artists and the economy surrounding their work. (Read more in e-flux Journal.)
Recent Deaths in the Arts
posted Mar 20, 2013
In its regular roundup of obituaries, CAA recognizes the lives and achievements of the following artists, scholars, architects, photographers, and others whose work has significantly influenced the visual arts. The beginning of 2013 was marked by the loss of the artist Richard Artschwager and the critics Ada Louise Huxtable and Thomas McEvilley. Two longtime CAA members, Paul B. Arnold and Carl N. Schmalz Jr., also died recently.
- Paul B. Arnold, emeritus professor of fine arts at Oberlin College, died on July 2, 2012, at the age of 93. A CAA member since 1945 and president of the Board of Directors from 1986 to 1988, Arnold was an artist who began his career working in watercolor but later focused on printmaking
- Richard Artschwager, an American painter and sculptor who emerged during the Pop era but whose work embraced diverse media, passed away on February 9, 2013. He was 89 years old
- Bonni Benrubi, a photography dealer based in New York, died on November 29, 2012, at the age of 59. She was among the first gallery owners to specialize exclusively in modern and contemporary photography
- Daniel Blue, a Chicago-based sculptor who worked in metal, was found dead on January 2, 2013. He was 55 years old
- Simon Cerigo, an art dealer, curator, collector, and avid attendee of gallery openings in New York, died on January 20, 2013, at age 60. He operated an eponymous gallery in the East Village from 1985 to 1987
- Chinwe Chukwuogo-Roy, a Nigerian painter and illustrator based in the United Kingdom, passed away on December 17, 2012. She was 60 years old
- Thomas Cornell, an artist and longtime professor at Bowdoin College in Maine, died on December 7, 2012, at the age of 75. He helped to establish the Visual Arts Department at his school in 1962
- Burhan Doğançay, a Turkish artist who had lived in New York since the 1960s, died on January 16, 2013, at age 83. The Istanbul Modern Art Museum held a large survey of his abstract works of urban walls last year
- Tejas Englesmith, a former assistant director for Whitechapel Gallery in London during the 1960s who later settled in Houston, died on February 7, 2013. He was 71. Englesmith also served as a curator for the Jewish Museum and director of the Leo Castelli Gallery
- Leonard Flomenhaft, a lawyer and stockbroker who opened Flomenhaft Gallery in New York with his wife Eleanor, passed away on February 8, 2013. He was 90 years old
- Antonio Frasconi, a master woodcut artist from Uruguay who settled in Norwalk, Connecticut, died on January 8, 2013, at age 93
- Clarke Henderson Garnsey, professor emeritus of art history and former chair of the Department of Art at the University of Texas at El Paso, died on March 10, 2012. He was 98
- Raukura “Ralph” Hotere, a leading abstract artist from New Zealand who showed his work internationally, died on February 24, 2013, at the age of 81
- Ada Louise Huxtable, a celebrated architectural critic for the New York Times and the Wall Street Journal, died on January 7, 2013, at age 91. She won a Pulitzer Prize in 1970 for her writing
- George Kokines, an abstract artist based in Chicago, died on November 26, 2012. He was 82. Kokines had taught at several schools, including Northwestern University
- Balthazar Korab, a leading architectural photographer who captured buildings by Eero Saarinen on film, died on January 15, 2013. He was 86 years old
- Udo Kultermann, an internationally recognized scholar who taught for nearly thirty years at Washington University in Saint Louis, passed away on February 9, 2013. He was 85. CAA has published a special obituary on Kultermann
- Farideh Lashai, an Iranian artist known for her lyrical abstract painting and multimedia installations, died on February 24, 2013, at age 68. She helped found and was a member of the Neda Group, a collective of twelve female Iranian artists, in the late 1990s
- Alden Mason, a painter who lived and worked in Seattle and the Pacific Northwest, died on February 6, 2013. He was 93 years old
- Thomas McEvilley, a poet, scholar, and art critic based in New York, died on March 2, 2013. He was 73. Among his numerous books are Art and Otherness: Crisis in Cultural Identity (1992), Sculpture in the Age of Doubt (1999), and The Shape of Ancient Thought: Comparative Studies in Greek and Indian Philosophies (2002)
- Melanie Michailidis, a postdoctoral fellow in art history and archaeology at Washington University in Saint Louis, died on February 1, 2013. She was 46 years old
- Carl N. Schmalz Jr., an artist and art historian who taught for decades at Bowdoin College and Amherst College, died on February 22, 2013, at age 86. CAA has published a special obituary on Schmalz, who had been a CAA member since 1951
- William F. Stern, a Houston architect who was a principal at Stern and Bucek Architects, died on March 1, 2013, at the age of 66. He also served as an adjunct associate professor of architectural history at the University of Houston
- Michelle Walker, a former dancer and a Californian arts administrator, was found dead on January 29, 2013, at age 53. She had served as director of the Sacramento Metropolitan Arts Commission from 1992 to 2006
- Casey Williams, a Houston photographer known for his “found abstractions,” passed away on January 1, 2013. He was 65
- Bernard A. Zuckerman, an Atlanta businessman and philanthropist, died on February 22, 2013, at age 91. Kennesaw State University is scheduled to open the Bernard A. Zuckerman Museum of Art in September of this year
Read all past obituaries in the arts in CAA News, which include special texts written for CAA. Please send links to published obituaries, or your completed texts, to Christopher Howard, CAA managing editor, for the next list.
Udo Kultermann: In Memoriam
posted Mar 19, 2013
The following obituary was prepared by the family of the deceased and edited by CAA.
Udo Kultermann
Udo Kultermann, an internationally recognized scholar and Ruth and Norman Moore Professor Emeritus of Architecture in the Sam Fox School of Design and Visual Arts at Washington University in Saint Louis, died on February 9, 2013, in New York. He was 85 years old.
Born in Germany in 1927, Kultermann received his PhD from the University of Münster and served as the director of the City Art Museum in Leverkusen. He came to the United States in 1967, where he taught at Washington University for over thirty years. Kultermann wrote more than thirty-five books on a wide range of subjects—many of which have been translated into various languages—and published numerous articles in scholarly journals worldwide. His book The History of Art History (1993) is among his most original and cited works.
Kultermann’s specialty was twentieth-century architecture, with a groundbreaking focus on Africa and the Middle East. His interests also included European art and architecture as well as contemporary American art. Recognizing the importance of female performance artists, Kultermann was one of the first art historians to write about them. After retiring from Washington University, he and his wife, Judith Kultermann, moved to New York, where she still resides.
Read more about Kultermann in the Washington University Newsroom.
Carl N. Schmalz Jr.: In Memoriam
posted Mar 19, 2013
The following obituary was submitted by the brother of the deceased, Robert F. Schmalz, and edited by CAA.
Carl N. Schmalz Jr.
Carl N. Schmalz Jr., an artist and art historian who taught for many decades at Bowdoin College and Amherst College and a CAA member since 1951, died February 22, 2013. He was 86 years old.
Born in 1926 in Ann Arbor, Michigan, Schmalz was the son of the late Carl N. Schmalz and Esther (Fowler) Schmalz of Belmont, Massachusetts. he earned AB, AM, and PhD degrees in fine arts from Harvard University and was later awarded an honorary degree by Amherst College. He studied watercolor painting with Eliot O’Hara in 1943–44 and began a long teaching career while instructing at the O’Hara School at Goose Rocks Beach in 1946–47. As assistant professor at Bowdoin College from 1952 to 1962, he taught both the history and practice of art, while serving simultaneously as curator and ultimately as associate director of the Walker Art Museum (now the Bowdoin College Museum of Art). He moved to Amherst in 1962 and was made full professor seven years later.
In 1969 Schmalz inaugurated the popular summer Watercolor Workshops in Kennebunkport, Maine, which he ran for twenty years. He retired from Amherst at the end of 1994 but enjoyed teaching watercolor painting at Rock Gardens Inn in Sebasco Estates, Maine, since the early 1990s. He also taught at the Heartwood College of Art in Kennebunk until his recent hospitalization.
Schmalz was the author of several books on watercolor painting and of articles in professional journals. He taught classes, juried many exhibitions, and lectured on the subject of watercolor throughout the United States, as well as in Canada and Bermuda. His work won him election as a charter member of the Watercolor USA Honor Society and national and regional prizes. His artwork was handled by galleries in Maine, Florida, Bermuda, and Boston, and his paintings hang in numerous public collections and in hundreds of private homes. He painted landscapes in Britain and Europe—and loved Italy especially. Apart from the Indian subcontinent, he painted on every continent on the globe. In recent years his particular focus was still life.
Schmalz held a wide range of public-service positions in the communities in which he lived: vice president of the board of directors of the Portland Museum of Art; member of the executive board of Interfaith Housing Corporation in Amherst; president of the board of trustees of Amherst Day School; art consultant for the O’Hara Picture Trust; chairman of the board of assessors in Pelham, Massachusetts; member of the Pelham Arts Lottery Council; and consultant on undergraduate science education for the National Academy of Sciences.
Schmalz leaves his wife Dolores T. Schmalz; his son Mathew N. Schmalz and his wife Kristin; and his daughter Julia I. Schmalz and her partner Janice. He is also survived by two grandchildren, Anna Teresa and Katherine Dolores Schmalz; and two brothers, Robert F. Schmalz of State College, Pennsylvania, and David H. Schmalz of Amsterdam, Holland. His first son, Stephen Theodore Schmalz, predeceased him.
News from the Art and Academic Worlds
posted Mar 13, 2013
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.
NHA Annual Meeting and Humanities Advocacy Day
The National Humanities Alliance will hold its 2013 annual meeting on Monday, March 18, and Humanities Advocacy Day on Tuesday, March 19, both in Washington, DC. Premeeting sessions are tentatively scheduled to begin on Sunday afternoon, March 17. Events will take place on the George Washington University campus and Capitol Hill. (Read more from the National Humanities Alliance.)
Average Pay Increases for Professors on Tenure-Track Matched Inflation This Year
The median base salary for tenured and tenure-track faculty members increased this academic year by an average of 2.1 percent, matching the rate of inflation. That year-to-year increase was slightly higher than the growth last year, when the average increase was 1.9 percent, according to an annual report released by the College and University Professional Association for Human Resources. (Read more in the Chronicle of Higher Education.)
LACMA Moves to Take Over MOCA
The Los Angeles County Museum of Art has made a formal proposal to acquire the Museum of Contemporary Art in Los Angeles, which has been struggling with financial troubles and staff and board defections. LACMA Director Michael Govan and the two cochairs of his board made the offer in a February 24 letter to the MOCA board cochairs, laying out the rationale for an acquisition. (Read more in the Los Angeles Times.)
Art Emerges from DNA Left Behind
They are the faces of real people, portraitlike sculptures etched from an almost powdery substance. The eye colors are distinct, the facial contours sharp, even though the artist, Heather Dewey-Hagborg, has never met or seen her subjects. Instead of using photographs or an art model for her work, she scoops detritus from New York City’s streets—cigarette butts, hair follicles, gum wrappers—and analyzes the genetic material people leave behind. Dewey-Hagborg, a PhD student in electronic arts, makes the faces after studying clues found in DNA. (Read more in the Wall Street Journal.)
Can We Please Stop Drawing Trees on Top of Skyscrapers?
Just a couple of years ago, if you wanted to make something look trendier, you put a bird on it. Birds were everywhere. I’m not sure if Twitter was what started all the flutter, but it got so bad that Portlandia performed a skit named, you guessed it, “Put a Bird on It.” It turns out architects have been doing the same thing, just with trees. Want to make a skyscraper look trendy and sustainable? Put a tree on it. Or better yet, dozens. (Read more in Slate.)
Anthony Van Dyck Painting “Found Online”
A previously unknown painting by the seventeenth-century master Anthony Van Dyck has been identified after being spotted online. The portrait was previously thought to have been a copy and was in storage at the Bowes Museum in County Durham. But it was photographed for a project to put all of the United Kingdom’s oil paintings on the BBC Your Paintings website, where it was seen by an art historian. (Read more at BBC News.)
Can Art Forgers Be Artists Too?
Art forgeries are often decried for crime, but could they be considered art? Many young artists learn to copy the old masters before refining their own work, and contemporary artists often play with ideas of authorship. So can an art forger be considered a legitimate artist? Do they want to make a statement? What motivates art forgers to commit forgery? We spoke with Jonathon Keats, author of Forged: Why Fakes Are the Great Art of Our Age. (Read more in the Oxford University Press Blog.)
The End of the Creative Classes in Sight
To put it bluntly, it seems that high-skill occupations can be mechanized and outsourced in much the same way as car manufacturing and personal finance. In recent decades, we have become accustomed to the notion that manual labor has been rendered obsolete, uncompetitive, or poorly paid. But are we now prepared for the same thing to happen to skilled labor, to white-collar workers, to the creative classes? (Read more in the Guardian.)
Twenty International Travel Grant Recipients Attend CAA’s Annual Conference
posted Mar 12, 2013
Twenty recipients of CAA International Travel Grants, funded by the Getty Foundation, attended the Annual Conference in New York in February. For the second year, CAA’s International Committee, chaired by Ann Albritton, worked with Janet Landay, organizer of this project for CAA, to host a diverse group of art historians—scholars, teachers, and curators from nineteen countries around the world—in CAA’s endeavor to become more connected in our increasingly global art world.
CAA Executive Director, Linda Downs, explains the project in this way:
We developed the concept for a program that would:
- introduce individuals who have not had the means to participate in the annual conference to provide travel, hotel and stipends to attend;
- attempt to interest individuals who are teaching in relatively small or new art and art history departments to provide access to an international network of people in the visual arts;
- to do a good job of hosting them and connecting them to other members of similar sub disciplines and interests (be they US or international members) in order to provide the beginnings of networks that they can build on;
- to give them instruction on what is sought by the Annual Conference Committee for vetted session proposals so that they might propose sessions in the future in order to present their perspectives, critical concerns and resent research; and
- to start a dialogue with US art historians and artists on their methodology, research, networks and interests.
Each grantee was hosted by a colleague from CAA—members of the International Committee, Board members, or representatives of the National Committee on the History of Art (NCHA)—who introduced them to the conference and scholars in their fields, and also arranged meetings, museum visits and informal gatherings. This year, we were very grateful for a grant from NCHA to support the hosts’ activities.
On February 12, the day before the Annual Conference began, the grant recipients and their hosts met for a half-day preconference about issues in global art history. Beginning with short presentations by the grantees about their research and experiences, the afternoon included a panel discussion on global art history, moderated by Marc Gotlieb, the president of NCHA and professor of art history at Williams College, with representatives from the Getty Foundation (Joan Weinstein), the Getty Research Institute (Gail Feigenbaum), the Clark Research and Academic Program (Michael Ann Holly), and the Center for Advanced Study in the Visual Arts (Elizabeth Cropper). Exciting exchanges prompted by the panel discussion as well as the research projects of the grant recipients produced energy that enlivened our discussions for the remainder of the conference. Here’s how one grantee summarized it:
The pre-conference was probably the most useful aspect of this visit as it allowed each of us to get to know each other and to immediately identify people with whom we could network and set up reciprocal projects or research exchanges between our institutions. I have made some wonderful contacts and we are already busy with plans for invitations to speak at conferences and plans to arrange student/staff visits to linked institutions.
—Karen von Veh, South Africa
On Thursday, during a luncheon for the grantees and hosts, James Elkins, E.C. Chadbourne Chair of art history, theory, and criticism at the School of the Art Institute of Chicago, had lunch with the group and shared with them ideas and stories from his international study of the field. This, again, was a highlight for many. In fact, Elkins plans to visit some of them in the near future as he travels around the world.
A whole new range and scope of possibilities have entered my horizon. I think it will open up many opportunities for my students and colleagues as well. But on a personal and human level the conference was a great gathering for creating global understanding.
—Musarrat Hasan, Pakistan
Jean Borgatti, specialist in African Art, commented on her hosting activities for several of the grant recipients from African countries: Joseph Adande from Benin; Peju Layiwola of Lagos, Nigeria; Venny Nakazibwe of Uganda; Ohioma Pogoson of Nigeria, and Karen von Veh of South Africa (and also, at times, Marly Desir of Haiti). A week after the CAA conference, Jean flew to Africa for several months of study and wrote this:
I’m looking forward to actually visiting three of my five grantees in Lagos, Ibadan, and what I refer to as ‘the other’ Benin, since I am currently in Benin City, heart of the old kingdom. During CAA, we had three great outings together: on Monday, Yaelle Biro at the Metropolitan Museum graciously provided a tour of her exhibit on the reception of African art in New York in the 1930s, and then left us with the Met’s archivist who gave us an overview of the various media encompassed by the archive. On Wednesday, we were invited to a private reception for El Anatsui’s exhibition at the Brooklyn Museum and were stunned by the beauty of the objects and thrilled to meet with the artist himself. On Thursday, Susan Vogel, founding director of the Center for African Art, invited the group to her Soho loft for dinner, a nice way to unwind and extend our conversations about ongoing and upcoming projects. A good time was had by all.
In addition to the events Borgatti described, these recipients also attended several CAA sessions, exchanged ideas with other recipients, and met many other CAA members.
The International Committee is delighted with CAA’s travel grant program, not only for bringing international scholars to the Annual Conference, but for the opportunity for us to interact with them: to learn about each other’s research and discuss mutual interests and concerns. We are indeed grateful to the Getty Foundation and NCHA for making this program possible and hope the friends we made this year will come to future conferences to continue our conversations. As one of the grantees put it:
I will be an ambassador for the CAA henceforth and will advise art historians in my country and elsewhere to endeavor to attend their annual meetings.
—Ohioma Pogoson, Nigeria
First image: Parul Mukherji (India) and Ding Ning (China), two of this year’s recipients of CAA’s International Travel Grants.
Second image: Gail Feigenbaum, Elizabeth Cropper, Marc Gotlieb, Michael Ann Holly, and Joan Weinstein participated in a panel discussion on issues in global art history during the February 12 pre-conference for the International Travel Grant program.
Third image: James Elkins, professor at the School of the Art Institute of Chicago, met with the CAA International Travel Grant recipients during the conference. Pictured are Peju Layiwola, Ann Albritton, James Elkins, and Elaine O’Brien.
Fourth image: Jean Borgatti took five recipients of this year’s CAA International Travel Grant to the Metropolitan Museum of Art, where they received a tour from curator Yaelle Biro. Front row: Jean Borgatti, Venny Nakazibwe (Uganda) Back row: Ohioma Pogoson (Nigeria), Karen von Veh (South Africa), Yaelle Biro, Joseph Adande (Benin), Peju Layiwola (Nigeria).
CAA Committee on Intellectual Property 2013 Annual Conference Session: Developing a Fair Use Code for the Visual Arts
posted Mar 11, 2013
The CAA Committee on Intellectual Property sponsored a well-attended session at the 2013 Annual Conference, “Developing a Fair Use Code for the Visual Arts,” in support of CAA’s recently inaugurated fair-use project funded by the Andrew W. Mellon Foundation with additional funding from the Samuel H. Kress Foundation. Chaired by Christine Sundt (also the Committee’s chair), this panel included the two principal investigators engaged by CAA to research, write, and disseminate a code of best practices in the use of third-party copyrighted material by practitioners across the arts. Peter Jaszi, Professor of Law and Faculty Director of the Glushko-Samuelson Intellectual Property Clinic at the American University Washington College of Law, and Patricia Aufderheide, university professor in the School of Communication and co-director of its Center for Social Media, American University, were joined on the panel by Jeffrey Cunard, CAA Counsel and Partner, Debevoise & Plimpton LLP.
The discussion among panel members focused on the history of fair use and the background and schedule of CAA’s fair use project. The forthcoming code of best practices will assist individual scholars, artists, teachers, museum professionals, and other creators in analyzing what constitutes fair use of copyrighted works that they wish to employ. Answers to questions from the audience further delineated the scope of the project, which will address two types of users: scholars and museum professionals and those who use third party material in the making of art. The completed code will not constitute legal guidelines, but will document practice as it exists and will help the arts community understand the law regarding fair use. The code will provide a definition of a work of art as far-reaching and as including time-based and other multimedia forms.
Panelists for the session are also members of a Task Force on Fair Use, which oversees the project and is co-chaired by Cunard with Gretchen Wagner, former general counsel of ARTstor. Advisors on this project include Virginia Rutledge, art historian, and lawyer, and Maureen Whalen, associate general counsel for the J. Paul Getty Trust. The Committee on Intellectual Property will continue to support the project by hosting a session at the 2014 CAA Annual Conference on Jaszi and Aufderheide’s Issues Report, developed through interviews and focus groups, and a session to discuss the completed code at the 2015 Annual Conference in New York.
Additional work by the Committee on Intellectual Property included a restructuring of the Intellectual Property section of the CAA website, and presentation to and endorsement by the CAA Board of Directors of fair use guidelines written by the Association of Research Libraries and by the Visual Resources Association.
Take the 2013 Annual Conference Survey
posted Mar 11, 2013
In an effort to improve our services, we encourage you to complete the following survey about your experiences at the 101st Annual Conference in New York last month. This survey should take only a few minutes to complete. We appreciate your feedback and your support and hope to see you at the 102nd Annual Conference in Chicago, to be held February 12–15, 2014.
Survey link: http://www.surveymonkey.com/s/JXZPKTS
Please complete the survey by Friday, March 22, 2013. Thank you.
Recent Art Journal Features Lygia Pape Cover
posted Mar 11, 2013
The most recent issue of Art Journal features an unusual wraparound cover. The front-and-back image is an interior spread from The Book of Creation Re-Created, a 1983 artist’s book by the influential Brazilian artist Lygia Pape (1927–2004). The spread, from an essay on Pape by Adele Nelson, is essentially turned inside out for the cover.
The cover encloses a remarkably diverse issue, which also features essays by Chris Balaschak on the photographer Garry Winogrand, by Pamela N. Corey on the the Vietnamese American artist Tuan Andrew Nguyen, by Bill Anthes on Edgar Heap of Birds, by Melissa Sue Ragain on early ecological art, and by Adward A. Vazquez on the work of Fred Sandback. Reviews of four important books in the arts, including one on Agnes Martin, appear as well. The Art Journal website features free selected content from the issue.