CAA News Today
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.
Committee on Women in the Arts Picks for March 2013
posted Mar 10, 2013
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
March 2013
Jay DeFeo working on what was then titled Deathrose, 1960 (photograph by Burt Glinn and © Burt Glinn/Magnum Photos)
Jay Defeo: A Retrospective
Whitney Museum of American Art
945 Madison Avenue, New York, NY 10021
February 28–June 2, 2013
Organized by Dana Miller, this exhibition is the first major retrospective of the work of an important yet overlooked figure of American postwar art. Best known for her monumental painting The Rose, on which she labored from 1958 to 1966, Jay DeFeo (1929–1989) experimented wildly with collage, drawing, painting, sculpture, photography, and jewelry. Bringing together more than 130 objects, the presentation illuminates the idiosyncratic production of another neglected female artist of American art while shedding further light on her relationship with San Francisco’s beat scene. The exhibition was previously on view at the San Francisco Museum of Modern Art in 2012–13.
Lenore Tawney: Wholly Unlooked For
Maryland Institute College of Art
Decker Gallery, Fox Building, 1303 West Mount Royal Avenue; and Leidy Atrium, Brown Center, 1301 West Mount Royal Avenue, Baltimore, MD 21217
January 17, 2013–March 2, 2013
Lenore Tawney: Wholly Unlooked For
University of the Arts
Rosenwald-Wolf Gallery, 333 South Broad Street, Philadelphia, PA 19107
December 7, 2012–March 17, 2013
Wholly Unlooked For is a multivenue survey of the work of Lenore Tawney (1907–2007), illuminating her pioneering exploration of fiber art and her working methods. At the artist’s alma mater, Maryland Institute College of Art (MICA), an exhibition organized by Piper Shepard and Susie Brandt focuses on line-based objects that exemplify the artist’s loom production through nine weavings. At University of the Arts in Philadelphia, the Rosenwald-Wolf Gallery focuses on paper work, curated by Sid Sachs. Together, the two shows contextualize Tawney’s work with studio materials and personal belongings, shown in public for the first time.
The Leidy Atrium of MICA’s Brown Center showcases Tawney’s monumental Scripture in Stone, a fourteen-foot-square piece made of black canvas and white linen threads, and the Cloud Sculpture series of hanging works, each comprising of thousands of individually knotted threads. Distinguished for its circle-in-the-square design—a favorite motif of the artist—Scripture in Stone is exhibited for the first time in over two decades.
Joan Semmel: A Lucid Eye
Bronx Museum of the Arts
1040 Grand Concourse, Bronx, New York 10456
January 24–June 9, 2013
The camera has been an integral part of Joan Semmel’s artistic process since the 1970s. For the oil paintings in this exhibition, she turns the device on herself. Several large canvases show the artist nude, photographing herself through a mirror, the bold yet intimate works depicting not just her own image, but also how the image for the painting is constructed. In a series of smaller self-portraits, she focuses on her face. Beautifully rendered and hauntingly real, these paintings reveal Semmel’s strong character as well as the passage of time. The works in this exhibition—all made after 2001—are being shown publicly for the first time.
Affiliated Society News for March 2013
posted Mar 09, 2013
American Council for Southern Asian Art
The American Council for Southern Asian Art (ACSAA) invites proposals for papers for its sixteenth biennial meeting, to be held November 7–10, 2013, at the University of California, Los Angeles. In keeping with the organizing committee’s new format, proposals that correspond to the themes outlined by three panel chairs, as well as proposals for individual papers, are welcome.
Relevant paper proposals should be submitted directly to the panel chairs for the following sessions: “Beyond Painting: Other Histories of the Book in South Asia,” chaired by Yael Rice of Amherst College; “South and Southeast Asian Artists in the Western Scene: A Critical Look at Reception,” chaired by Sunanda K. Sanyaya from the Art Institute of Boston at Lesley University); and “The Built Environment of Death and Cremation in South and Southeast Asia,” chaired by Cathleen Cummings of the University of Alabama, Birmingham.
Individual paper proposals and other queries should be sent electronically to: Alka Patel in the Department of Art History and Visual Studies at the University of California, Irvine. Proposals for papers must be sent to the appropriate panel chairs or to Patel by March 31, 2013. For additional information about these panels and the symposium, please visit ACSAA’s website.
Art Libraries Society of North America
The Art Libraries Society of North America (ARLIS) is hold its forty-first annual conference in Pasadena, California, from April 25 to 29, 2013. The conference theme is “Crafting Our Future” and inspired by Pasadena’s renowned arts and crafts heritage. The event will emphasize the importance of building on organization’s past as it actively shapes the future of art librarianship. The program cochairs are Cathy Billings of the Brand Library and Art Center and Sarah Sherman of the Getty Research Institute.
Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey
The Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey (AMCA) announces three new members of its executive board: Salwa Mikdadi, Alexandra Dika Seggerman, and Patrick Kane, who will respectively succeed Sarah Rogers, Dina Ramadan, and Anneka Lenssen in the roles of president-elect, secretary, and treasurer. AMCA officially welcomed these new officers and acknowledged the invaluable service of the outgoing board members at its annual business meeting at the Middle Eastern Studies Association conference in November 2012.
At the CAA conference, AMCA presented a session, called “A Revolution in Art? The Arab Uprisings and Artistic Production.” The four participants—Saleem Al-Bahloly, Dina Ramadan, Christiane Gruber, and Jennifer Pruitt—presented new perspectives on the role of art in the recent uprisings of the Arab Spring.
Historians of Netherlandish Art
The Historians of Netherlandish Art (HNA) announces several new appointments for 2013. Amy Golahny of Lycoming College has been elected president, and Paul Crenshaw of Providence College has been appointed vice president. Dawn Odell of Lewis and Clark College will be the new treasurer, and Yao-Fen You from the Detroit Institute of Arts will join the board of directors. Mark Trowbridge of Marymount University succeeds Molly Faries as associate editor of the Journal of Historians of Netherlandish Art, the semiannual, open-access, refereed ejournal published by HNA. The journal welcomes submission of texts to its editor, Alison M. Kettering, at any time.
Italian Art Society
The Italian Art Society (IAS) has announced the speaker of the fourth annual Italian Art Society–Kress Foundation Lecture Series in Italy. Sarah Blake McHam of Rutgers University will speak on “Laocoön, or Pliny Vindicated” at the Fondazione Marco Besso in Rome in late May or early June. Felicia Else, an associate professor at Gettysburg College, has been awarded the first annual IAS Research and Publication Grant to help fund a trip to Florence this summer to complete research for her book, The Politics of Water in the Art and Festivals of Medici Florence: From Neptune Fountain to Naumachia.
The society would also like to congratulate the 2013 recipients of the IAS Travel Grants: Joanne Anderson, visiting lecturer at the University of Warwick, for her paper “Coloring the Magdalene in the Early Renaissance”; and Valentina Pugliano, a postdoctoral research fellow at the Max-Planck-Institut für Wissenschaftsgeschichte in Berlin, for her paper “‘Subjects which painting may serve’: How Botany Met Renaissance Art.” These talks will be presented at the Renaissance Society of America’sannual conference in San Diego in April 2013). IAS will sponsor four sessions at the RSA conference; see http://italianartsociety.org/?page_id=191 for details.
National Art Education Association
Spend four art-filled days in Washington, DC, with the National Art Education Association, exploring permanent collections, current exhibitions, and the museum itself as a work of art! Summer Vision DC, now in its fourth year, is a professional learning community for art and nonart educators, offered by NAEA in partnership with area art museums. The aim is to showcase best practices in critical response to art while enhancing creativity through visual journaling. Choose from two sessions: July 9–12, 2013, or July 23–26, 2013. Develop new leadership, pedagogical, and artistic skills for the classroom and beyond through this outstanding professional development opportunity. Go behind the scenes, explore sculpture gardens, examine artworks, and participate in studio and other hands-on learning as you connect with educators at these museums: the National Gallery of Art and Sculpture Garden; the Freer Gallery of Art and Arthur M. Sackler Gallery; the National Museum of African Art; the National Museum of the American Indian; the National Museum of Women in the Arts; the Phillips Collection; the National Building Museum; the Corcoran Gallery of Art; the Smithsonian American Art Museum; and the National Portrait Gallery. Registration is limited to twenty-five participants per session. Register and find details at www.arteducators.org/summervision.
New publications from NAEA include: The Heart of Art Education: Holistic Approaches to Creativity, Integration, and Transformation, edited by Laurel H. Campbell and Seymour Simmons III ($39 for members and $48 for nonmembers); and Conversations in Art: The Dialectics of Teaching and Learning, edited by Judith M. Burton and Mary Hafeli ($32 for members and $39 for nonmembers).
Public Art Dialogue
The eponymous journal of Public Art Dialogue (PAD) is now accepting submissions for its upcoming special issue on murals, guest edited by Sally Webster and Sarah Schrank. With this issue, Public Art Dialogue seeks to advance a twenty-first century understanding of wall art by soliciting papers on its history and status as it relates to the built environment, as an expression of community, or its function within the critical discourse of public art. Also welcome are studies on the documentation, conservation, and inventorying of mural painting, explorations of other kinds of wall art such as projections, and proposals for artist’s projects addressing related themes. Please see the journal website for guidelines and send inquiries to Public Art Dialogue’s editorial assistant at SamanthaEdenCataldo@gmail.com. The submission deadline is September 15, 2013.
Society for Photographic Education
The Society for Photographic Education (SPE) is accepting proposals for its 2014 conference, “Collaborative Exchanges: Photography in Dialogue,” through June 1, 2013. Topics are not required to be theme-based and may include, but are not limited to, image-making, history, contemporary theory and criticism, new technologies, effects of media and culture, educational issues, and funding. Membership in SPE is required to submit, and proposals are peer reviewed. There are five presentation formats: Graduate Student (short presentation of your own artistic work and a brief introduction to your graduate program); Imagemaker (presentation on your own artistic work, such as photography, film, video, performance and installation, multidisciplinary approaches); Lecture (presentation on a historical topic, theory or another artist’s work); Panel (a group led by a moderator to discuss a chosen topic); Teach (presentations, workshops, and demos that address educational issues, including teaching resources and strategies, curricula to serve diverse artists and changing student populations, seeking promotion and tenure, avoiding burnout, and professional exchange). Visit the SPE website for information on how to join and for full proposal guidelines.
Society of North American Goldsmiths
The Society of North American Goldsmiths (SNAG) will hold its forty-second annual conference May 15–18, 2013, in Toronto, Ontario, at the downtown historic Fairmont Royal York Hotel. Titled “Meta-Mosaic,” the event will celebrate the multiple industries within jewelry and metalsmithing in the twenty-first century. Toronto is a mosaic of peoples and cultures as well as the center of Canada’s jewelry industry. This conference will examine a fluid identity within art, craft, and design and inspire attendees to embrace our collective mosaic. Join SNAG for presentations and panels featuring industry luminaries from across the globe, rapid-fire presentations by international designers and artists, over twenty exhibitions, the Third Annual Member Trunk Show Sale, social events, and so much more! Registration opened on January 16. Receive low early-bird rates by registering before March 13 and make your hotel reservations by February 15 for a special rate on top of our already reduced room block rates. Visit the SNAG website for all the details.
March 2013 Picks from CAA’s Committee on Women in the Arts
posted Mar 07, 2013
Each month, CAA’s Committee on Women in the Arts produces a curated list, called CWA Picks, of recommended exhibitions and events related to feminist art and scholarship in North America and around the world.
The CWA Picks for March 2013 are composed of three important exhibitions on the East Coast of the United States. Organized by Dena Muller, Jay Defeo: A Retrospective will be on view at the Whitney Museum of American Art in New York through June 2, after its celebrated first presentation at the San Francisco Museum of Modern Art in California in 2012–13. Also in New York, the Bronx Museum of the Arts is presenting paintings created since 2001 by Joan Semmel. Finally, Maryland Institute College of Art in Baltimore and University of the Arts in Philadelphia are hosting Lenore Tawney: Wholly Unlooked For, a multivenue exhibition of work by this pioneering fiber artist.
Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
Image: Jay DeFeo working on what was then titled Deathrose, 1960 (photograph by Burt Glinn and © Burt Glinn/Magnum Photos)
News from the Art and Academic Worlds
posted Mar 06, 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.
Help Desk: Gallery Contract
I was invited to be in a group show outside my home state. I don’t know the owner (who found my work online), and I’d never heard of the gallery before, but it has a nice website and seems okay. I replied that I was interested and asked the owner for a copy of the contract, and he wrote me back and said he never uses one. I’d like to be in this show because my résumé is a little thin, but I am wary of just sending my work out. What should I do? Do most galleries work like this? (Read more in Daily Serving.)
Twelve Bloopers to Avoid in Job Interviews
In the course of my academic career, I’ve been interviewed for junior and senior faculty positions as well as for administrative posts like the provostship I now hold. I have also been on more search committees than I care to count. Over time, I’ve observed (at least) a dozen bloopers to avoid at all costs in job interviews. (Read more in the Chronicle of Higher Education.)
Finding the Right Context
Papers and books exist in the context of academic disciplines. As we work on projects, we are in conversation with those who have done similar research in the past. An important part of any writing is acknowledging work that came before it and placing the research in a relevant scholarly context. This serves several purposes, such as letting the reader know in what particular literature one is situating one’s work, clarifying what is motivating one’s specific questions, and also giving credit to others who have done work in the domain. (Read more in Inside Higher Ed.)
Does Increased Exposure to a Piece of Art Make Us Like It More?
The research challenges the idea that what people value in art is largely what they are used to, or that people will come to like any image if they see it enough times. Instead, the study’s findings suggest that increased exposure to artworks does not necessarily make people like them more and that the quality of an artwork remains at the heart of its evaluation. (Read more at Phys.Org.)
Lawyers Go to Cambodia over Statue
Two lawyers from the United States Attorney’s Office in Manhattan recently traveled into the Cambodian jungle to inspect an ancient, crumbling temple as part of their office’s effort to seize a tenth-century Khmer statue that Sotheby’s hopes to sell at auction. The unusual four-day trip is the latest development in a court case involving the auction house and US officials, who are trying to help Cambodia gain possession of the statue, which it contends was looted from the temple during the chaos of that country’s civil war. (Read more in the New York Times.)
Data Indicates Rapid Growth in Mobile Learning
Based on two interesting data sets shared by Apple and Cisco, it’s clear that learning on mobile devices—meaning smartphones and tablets—is gaining traction at a rapid pace. While the data shared by Apple is pretty straightforward and does not leave much room for interpretation, the data from Cisco is more general yet pretty astonishing. (Read more in Edcetera.)
Keeping an Eye on Online Test-Takers
Millions of students worldwide have signed up in the last year for MOOCs, short for massive open online courses—those free, web-based classes available to one and all and taught by professors at Harvard, Duke, MIT, and other universities. But when those students take the final exam in calculus or genetics, how will their professors know that the test-takers on their distant laptops are doing their own work, and not asking Mr. Google for help? (Read more in the New York Times.)
Digital Textbooks: Publishers and the Unrealized Promise
Is it any wonder that digital textbooks haven’t been widely embraced yet? Most digital textbooks are just overpriced, static versions of their printed counterparts. That hasn’t stopped the hype about digital textbooks. On one hand, it’s the promise of a new learning experience, with spinning molecules and interactive modules. On the other, it’s the long-awaited solution to the industry’s painful pricing practices. Maybe even both, if we dare to dream it. (Read more in Publishing Perspectives.)
Please Complete CAA’s Member Survey about Copyright and Fair Use
posted Mar 05, 2013
This Friday, March 8, you will receive an email with a survey about your professional experiences with copyright issues. Entitled “Creativity and Copyright,” the survey is part of CAA’s effort to develop a code of best practices to guide visual arts scholars, artists, teachers and museum professionals when they may use the copyrighted works of others under fair use. Please take the time to fill out this survey; it is crucial to the organization’s efforts to address an issue that affects all visual arts practitioners.
A description of the larger project is included in this week’s CAA News: https://www.collegeart.org/news/2013/03/05/caas-task-force-on-fair-use-meets-during-annual-conference/.
Sequestration: What It Means for Museums
posted Mar 05, 2013
The American Alliance of Museums (AAM) sent the following email on March 5, 2013.
Sequestration: What It Means for Museums
On Friday, March 1, $85 billion in across-the-board federal spending cuts were triggered, a process commonly called “sequestration,” which is now affecting nearly every agency throughout the government. For most agencies that support museums, (including IMLS, NEA, NEH and NSF) this means a five percent cut in their annual funding, including a reduction in grant-making activities for the year ahead.
While Congress may still undo or restructure sequestration, federal agencies are now determining how to absorb these severe cuts. The National Endowment for the Humanities expects to make fewer new awards at lower award amounts. The National Science Foundation is expecting to award 1,000 fewer new research grants.
“The Alliance will continue to fight for federal museum funding in the days and weeks ahead, but we must be sure the current decrease in federal grants is not compounded by a reduction in charitable giving incentives,” said Alliance President Ford W. Bell. “I was pleased to submit testimony to the House Ways and Means Committee last month, but members of Congress also need to hear from their constituents about how charitable giving limitations would affect museums.”
While Congress’s inability to reach agreement on spending issues has complicated and slowed the federal budget process this year, interest is also picking up on comprehensive tax reform. The House committee with jurisdiction over the tax code held a hearing on February 14 on proposals to reform charitable contribution tax incentives, many of which could have a devastating impact on giving to museums and other nonprofits.
Do your legislators know how important charitable giving is to your museum? Tell them right now.
P.S. If you appreciate these Advocacy Alerts, please consider making a tax-deductible contribution to support our year-round advocacy efforts.
CAA’s Task Force on Fair Use Meets during Annual Conference
posted Mar 05, 2013
CAA is now moving ahead with its Fair Use project, which will culminate in developing and disseminating a code of best practices intended to guide visual arts scholars, artists, teachers and museum professionals when they may use the copyrighted works of others under fair use. The project is funded by a major grant from the Andrew W. Mellon Foundation. An announcement of the grant can be found here: https://www.collegeart.org/news/2013/01/14/caa-receives-major-mellon-grant/
Last year, CAA’s Board established a Task Force to guide the Fair Use project. The Task Force is co-chaired by Gretchen Wagner, former general counsel of ARTstor, and me. Its other members include CAA President Anne Goodyear, CAA Executive Director Linda Downs, Committee on Intellectual Property Chair as well as members of the Board, and CAA members at large. During this year’s Annual Conference, the Task Force held its first meeting and the Committee on Intellectual Property sponsored a session that described the background of the project, its goals, and the projected timeline.
CAA’s Fair Use project has four phases. First, a hundred visual arts professionals, representing the broad spectrum of CAA’s membership and the field as a whole, will be interviewed on the use of third-party copyrighted materials in scholarly and artistic works. We also will survey CAA’s membership, so, within the next week, members can expect to see an email with a survey about copyright and the visual arts. Please take the time to fill it out: your participation is critical to the success of the project. This research phase will culminate in an Issues Report, which will be reviewed by a Community Practices Advisory Committee and, prior to the next Annual Conference, will then be made public.
In the second phase, we will convene a series of discussion groups across the country to focus on the issues raised by the Issues Report. These, too, will represent a wide range of CAA members. In these discussions, CAA members will discuss the most common situations identified in the Issues Report, and how they understand fair use to be important to accomplishing the professional goals of CAA members. During the third phase, that consensus will be reflected in a draft code. The draft will be reviewed by a Legal Advisory Committee, to ensure that it is consistent with the current law on fair use, and will be presented to the CAA Board for its approval. In the fourth and final phase, CAA will disseminate the code by making presentations at visual arts conferences around the country and posting webinars on CAA’s website and those of related organizations.
Patricia Aufderheide, University Professor in the School of Communication at American University and co-director of its Center for Social Media, and Peter Jaszi, Professor of Law and faculty director of the Washington College of Law’s Glushko-Samuelson Intellectual Property Clinic, co-principal investigators on the project, are conducting the research. They have considerable experience in developing codes of best practice for a large number of communities, including documentary filmmakers, dance archivists, poets, research librarians, and journalists. Their methodology and experience is described in their book, Reclaiming Fair Use: How to Put Balance Back in Copyright, University of Chicago Press, 2011. We are also grateful for the expert input of project advisors Virginia Rutledge, an art advisor, art historian, and lawyer who practices in the areas of both copyright and art law, and Maureen Whalen, associate general counsel for the J. Paul Getty Trust.
Throughout CAA’s Fair Use project, we will post updates in CAA News. We hope you will follow our progress.
Please take time to complete the CAA Creativity and
Copyright Survey, arriving by email on Friday, March 8.
Reflections on the Annual Conference, the Year Past, and the Year to Come
posted Mar 05, 2013
Anne Collins Goodyear is president of the CAA Board of Directors.
CAA’s Annual Conference was typically lively and rewarding. With nearly six thousand participants, representing all fifty states—and the District of Columbia—and fifty-three countries, CAA hosted well over two hundred sessions addressing a broad range of topics, including contemporary art practice, criticism, pedagogy, issues in museums, and the history of art. As participation in the conference by colleagues from around the world continues to grow, we were pleased to welcome twenty recipients of CAA International Travel Grants, generously supported by the Getty Foundation, and further discussed by Ann Albritton, Chair of CAA’s International Committee, in an article that will soon be published on the CAA website.
The conference took advantage of new technologies, providing, for the first time, wireless internet access free of charge to conference goers throughout the conference rooms, and making possible the broad spread use of Skype to involve panelists and respondents unable to be in New York. CAA also hosted its first ever THATCamp (The Humanities And Technology) on February 11 and 12, fully subscribed with seventy-five scholars, just before the official start of the conference. A follow up session held during the conference continued a stimulating discussion about the promise and current role of new technologies for art historians.
New technologies are shaping CAA’s publications, two of which celebrate major milestones this year. The Annual Conference enabled us to mark the centennial of The Art Bulletin and the fifteenth anniversary of caa.reviews—both of which were toasted with cake and champagne following our Annual Members’ Business Meeting. In connection with this, each publication, thanks to a $20,000 grant from the Alliance for Networking Visual Culture, has undertaken open-access online projects using the Scalar platform. Thelma Thomas, chair of the Art Bulletin Editorial Board, graciously demonstrated her online compilation “Publishing The Art Bulletin: Past, Present, and Future,” (http://scalar.usc.edu/anvc/the-art-bulletin/index) at the meeting. A forthcoming Scalar project by the caa.reviews editor-in chief, Sheryl Reiss, will address the exhibition Bernini: Sculpting in Clay at the Kimbell Art Museum.
As the terrain of scholarly publishing continues to evolve, the high cost of scholarly publications, due in large part to the necessity of obtaining copyright and other clearance permissions for reproductions, concerns all of us. CAA is thus deeply appreciative of a one-year Meiss/Mellon Author Grant for $69,698 to offer subventions to emerging scholars who are publishing monographs in art history and visual studies and to advertise the award. Applications for the first round of the Meiss/Mellon Author’s Book Award are now being accepted. The deadline for spring submissions is March 15, 2013. Fall applications are due October 1, 2013. For more information see: http://www.collegeart.org/meissmellon/.
The larger question of when copyrighted material may be used without licensing in accordance with the principles of fair use is at the heart of a major initiative by CAA to establish Fair Use Best Practice Guidelines, undertaken with the assistance of generous support from the Kress and Mellon Foundations. The project is addressed in greater depth in Jeffrey Cunard’s article, published today. See: https://www.collegeart.org/news/2013/03/05/caas-task-force-on-fair-use-meets-during-annual-conference/.
As the Strategic Plan for 2010–2015 draws to its conclusion (available at http://www.collegeart.org/about/plan), the Board of Directors has now embarked, having convened a task force for the purpose, on the development of a 2015–2020 Strategic Plan. We are eager for your input into the plan and to hear from you about what you feel is working well within the organization and where our services could be strengthened. A related survey will be distributed later this year, and key issues will be discussed with the CAA membership next February at the 2014 Annual Members’ Business Meeting.
As always, CAA welcomes input from its membership on any topic of interest to the field. Please feel free to consult directly with the staff and board and/or to take advantage of CAA’s Facebook page to share your views. See: https://www.facebook.com/collegeartassociation.
Board of Directors’ Meeting
posted Mar 05, 2013
Anne Collins Goodyear and Linda Downs
Sunday, February 17, 2013
The CAA Board of Directors convened its regularly scheduled meeting after the conference and welcomed Abigail Van Slyck, President, Society of Architectural Historians and Dayton Professor of Art History and Associate Dean of the Faculty, Connecticut College; and Pauline Saliga, Executive Director, Society of Architectural Historians as guests. Van Slyck presented the latest initiatives of the SAH and extended an invitation to CAA to explore projects of mutual interest. The latest collaboration was on the development of the CAA authors’ grants funded for one year by the A.W. Mellon Foundation.
President, Anne Collin Goodyear, announced the election results for the new CAA Board members—Constance Cortez, Jennifer Milam, Sheila Pepe and John Richardson—and thanked everyone who ran for these positions. She also thanked Board members rotating off: Patricia Matthews, Barbara Nesin, Past President; and Randall Griffin, outgoing Vice President for Publications. She then congratulated staff and Board members on the Annual Conference, and presented her annual report, providing updates on major Board initiatives and CAA accomplishments. (See, in this issue of CAA News, Goodyear’s “Reflections on the Annual Conference, the Year Past, and the Year to Come,” https://www.collegeart.org/news/2013/03/05/reflections-on-the-annual-conference-the-year-past-and-the-year-to-come/.
The officers of the Board of Directors and the Senior Staff presented their annual reports to the Board (coming soon).
Jeffrey P. Cunard, CAA Counsel and cochair of the Task Force on Fair Use, presented the method and procedure being followed in this four-year project to develop a code of fair use in creative work and scholarly publishing in the visual arts.
The Executive Director, the Senior Staff, and officers of the Board of Directors presented their annual report to the Board (coming soon).
Consistent with CAA practice, the Vice President for Committees presented three triennial reviews of three of the nine Professional Interests, Practices, and Standards Committees (PIPS). This year the Diversity Practices Committee, Education Committee, and Museum Committees were reviewed and renewed.
The Professional Practices Committee updated and submitted for adoption by the board, the Standards for Sculptural Reproduction and Preventive Measures to Combat Unethical Casting in Bronze. It was adopted with one abstention. See: http://www.collegeart.org/guidelines/sculpture.
Jacqueline Francis, Vice President for Annual Conference, presented the final report of the Task Force on Annual Conference Technologies and announced that many of the recommendations will be implemented at the 2014 Annual Conference in Chicago. See: https://www.collegeart.org/news/2013/03/05/final-report-of-the-task-force-on-annual-conference-technologies/.
Francis reported on the success of THAT Camp (The Humanities and Technology Camp) held in conjunction with the CAA Annual Conference in New York and coorganized by Columbia University Libraries, Smarthistory at Khan Academy, The Samuel H. Kress Foundation, Macaulay Honors College, Roy Rosenzweig Center for History and New Media at George Mason University. Seventy five people attended and shared their online publications, discussed issues in online publishing, constructed an online survey textbook in one hour, and exchanged ideas for networking and gathering information on art history databases. Plans are to hold THATCamp at the 2014 Annual Conference in Chicago.
The annual election of officers took place. The new officers are:
Vice President for External Affairs – Maria Ann Conelli
Vice President for Committees – DeWitt Godfrey
Vice President for Annual Conference – Jacqueline Francis
Vice President for Publications – Suzanne Preston Blier
Secretary – Patricia McDonnell
The following Board members were elected to the Nominating Committee: Leslie Bellevance, Denise Mullen, and Sabina Ott.
The subject of fees charged by universities to apply for university faculty positions was discussed. CAA has posted a comment on the Online Career Center stating that the association does not condone this practice.