CAA News Today
Google Book Settlement Filing Deadline Extended
posted Mar 18, 2011
The official Google Book Settlement website recently posted an update that extends the deadline to file for an upfront payment in the Google Book Search Copyright Class Action Settlement. Authors whose works were scanned by Google on or before May 5, 2009, may be entitled to claim a cash payment once the amended settlement is approved. The former deadline was March 31, 2011. The new deadline is one year after the approval of the settlement—a date yet to be determined.
The lawsuit, titled Authors Guild, Inc., et al. v. Google Inc. (Case No. 05 CV 8136, S.D.N.Y.), was brought by authors and lawyers who claim that by scanning books still under copyright for the Google Books Library Project, Google violated the creators’ rights. The federal court originally approved a settlement to the lawsuit in November 2008, and then preliminarily approved an amended settlement in November 2009.
A second class-action suit for copyright infringement was brought against Google in April 2010 by visual artists excluded as plaintiffs in the first suit, including the American Society of Media Photographers, several other photography associations, the Graphic Artists Guild, and independent photographers and illustrators. The outcome of this case (No. 10 CV 2977, S.D.N.Y.) will be determined after the settlement of the first case.
What does the extended deadline mean for authors and publishers? According to the Google Book Settlement website, if “you did not previously opt out of the Original Settlement and do not opt out of the Amended Settlement, you are ‘in’ the Amended Settlement,” and you can claim your copyrighted material. The website contains all documents related to the settlement and forms and instructions for registering your work. The Authors Guild also publishes updates about the settlement.
CAA will publish an additional notice once the new deadline is established.
CAA Seeks Jury Members for the Awards for Distinction
posted Mar 18, 2011
CAA invites nominations and self-nominations for individuals to serve on ten of the twelve juries for the annual Awards for Distinction for three years (2011–14). Terms begin in May 2011; award years are 2012–14. 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: 1 member
- Alfred H. Barr Jr. Award: 1 member
- Arthur Kingsley Porter Prize: 1 member
- Frank Jewett Mather Award: 2 members
- Distinguished Teaching of Art Award: 1 member
- Distinguished Teaching of Art History Award: 1 member
- Distinguished Feminist Award: 2 members
- Artist Award for a Distinguished Body of Work: 2 members
- Distinguished Artist Award for Lifetime Achievement: 2 members
- Distinguished Lifetime Achievement Award for Writing on Art: 1 member
No jury members are needed this year for the Art Journal Award and the CAA/Heritage Preservation Award.
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 15, 2011.
CAA Welcomes Four New Affiliated Societies
posted Mar 17, 2011
At its February 2011 meeting, the CAA Board of Directors approved applications from four organizations to become affiliated societies, which are groups of art professionals and other organizations whose goals are generally consonant with those of CAA, with a view toward facilitating intercommunication and mutual enrichment.
Art, Literature, and Music in Symbolism and Decadence
Established in 2010, Art, Literature, and Music in Symbolism and Decadence (ALMSD) focuses on European culture from the late nineteenth to early twentieth century. Working to demonstrate the philosophical connection between arts in different countries that were affected by Symbolist ideas, the organization facilitates the exchange of ideas among scholars through an annual newsletter and a conference held every four years at the Allerton Park and Retreat Center in Monticello, Illinois, or at other international locations.
Asian American Women Artists Association
The Asian American Women Artists Association (AAWAA), founded in 1989, is dedicated to the visibility and documentation of Asian American women in the arts. Through exhibitions, publications, and educational programs, the organization offers thought-provoking perspectives that challenge societal assumptions and promote dialogue. AAWAA activities include a resource portal; regular lectures in art, ethnic, and Asian American studies classes; thought-provoking exhibitions, panel discussions, literary readings, and workshops; and books and catalogues on Asian American women artists.
The Curator’s Network
A new organization established last year by Independent Curators International, the Curator’s Network brings together curators from around the world who want to share their work and exchange information with other professionals in the field. Among the sponsored activities are an online Curator’s Index; a forum for members to share information, called the Network Directory; and Dispatch, a bimonthly newsletter. More than one hundred curators have joined the network.
National Alliance of Artists from Historically Black Colleges and Universities
Founded in 2000, the National Alliance of Artists from Historically Black Colleges and Universities (NAAHBCU) brings art and art education to the forefront of member institutions. It also provides comprehensive activities that offer opportunities for professional artists employed at member institutions. In addition, NAAHBCU highlights the artistic achievements of artists through exhibitions; provides scholarships for promising art majors; meets annually to confront issues that affect art departments at historically black colleges and universities; shares information on current technology, art history, and art trends; and disseminates employment opportunities.
CAA’s Directory of Affiliated Societies is currently accepting updates. If you are an officer or the official CAA contact for an organization, please send an updated text, in the same format as your current listing, to Lauren Stark, CAA manager of programs, either as a Word attachment or pasted in the body of an email.
Report from the March 2011 Board of Directors Meeting
posted Mar 16, 2011
The CAA Board of Directors held its first meeting of the year in New York on Sunday, February 13, 2011. Twenty-four board members attended in person at the Hilton New York in midtown Manhattan.
The board welcomed its first appointed director, Anne-Imelda Radice, a senior consultant for the Dilenschneider Group who has a strong record of public service. The director of the Institute of Museum and Library Services from 2006 to 2010, she also served in the National Endowment for the Humanities and the National Endowment for the Arts and worked as a museum curator and director. Radice earned a PhD in art and architectural history from the University of North Carolina, Chapel Hill.
Rick Asher, president of the National Committee for the History of Art (NCHA), summarized the relationships among his organization, CAA, and the Comité International d’Histoire de l’Art (CIHA). For example, NCHA includes two CAA representatives on its board—currently Nicola Courtright and Paul Jaskot, both past CAA board presidents. Asher reminded the CAA board about the upcoming CIHA conference, to be held in Nuremberg, Germany, in July 2012. He also expressed a desire to foster more regional participation and will look to CAA for assistance in the future.
Barbara Nesin, CAA president, and Linda Downs, CAA executive director, thanked the board and staff for an outstanding Annual Conference and Centennial Kickoff. Drawing a record seven thousand attendees this year, the conference presented new approaches to sessions, such as bringing together leaders in the field for the Centennial Sessions, and the use of new technologies. Nesin and Downs commended the Services to Artists Committee for outstanding programming in ARTspace.
The newly elected board members were announced: Leslie Bellavance, Alfred University; Denise Mullen, Oregon College of Art and Craft; Saul L. Ostrow, Cleveland Institute of Art; and Georgia K. Strange, University of Georgia. These four will begin their four-year terms at the next board meeting in May 2011. Nesin thanked five directors who will rotate off the board at the end of April for their dedicated service: Sue Gollifer, University of Brighton; Ken Gonzales-Day, Scripps College; Andrea Kirsh, independent scholar and curator; Amy Ingrid Schlegel, Tufts University; and William E. Wallace, Washington University in St. Louis. The entire board joined Nesin in extending a heartfelt appreciation for the dedication of Paul Jaskot of DePaul University, who joined the board in 2004 and served as president from 2008 to 2010.
In the past eighteen months, CAA has made progress on accomplishing a third of the tasks described in the 2010–2015 Strategic Plan, particularly in communications, membership, and Centennial publications. Andrea Kirsh, vice president for external affairs, reported on an increase in student and artist members and thanked the board for its involvement in solicitations for the Centennial Campaign.
Maria Ann Conelli, vice president for committees, presented the annual review of CAA’s Professional Interest, Standards, and Practices Committees. She commended the Committee on Women in the Arts, the Education Committee, the Museum Committee, the Professional Practices Committee, the Services to Artists Committee, and the Student and Emerging Professionals Committee for their outstanding work this year.
Michael Fahlund, deputy director, announced the recipients of the 2010–11 Professional Development Fellowships: Alma Leiva, Virginia Commonwealth University; Sheryl Oring, University of California, San Diego; Brittany Ransom, University of Illinois, Chicago; Mina T. Son, Stanford University; and Amanda Valdez, Hunter College, City University of New York. Fahlund also discussed the recently launched podcasts series on career-development topics.
Sue Gollifer, vice president for Annual Conference, confirmed the record attendance of seven thousand attendees and applauded the great success of the Centennial Sessions. She also thanked Jean Miller, a fellow board member, for helping her organize the first Strategic Plan Focus Group Discussion, which was devoted to technology and communications.
Anne Collins Goodyear, vice president for publications, presented the Resolution and Recommendations on Editorial Safeguards and Procedures, which represented the results of an eighteen-month review of CAA publications and research into similar scholarly publishers. After a thorough analysis of the editorial practices of The Art Bulletin, Art Journal, and caa.reviews, the task force concluded that CAA is among the leaders in addressing safeguards and editorial practices. The Recommendation on Editorial Safeguards and Procedures will soon be published on the CAA website.
Patricia McDonnell presented a preliminary report from the Task Force on Practical Publications, which she heads. The board convened the task force to address the expressed need for publications on pedagogy and professional development, and the final recommendations will be presented to the board at its May meeting. (Read the task force’s previous report from September 2010.)
Officer elections were held, and the following members will begin their one-year terms in May: Patricia McDonnell, vice president for external affairs; Maria Ann Conneli, vice president for committees; Anne Collins Goodyear, vice president for Annual Conference; Randall Griffin, vice president for publications; and DeWitt Godfrey, secretary. In addition, three board members have been elected to the 2011 Nominating Committee: Jay Coogan, Jacqueline Francis, and Patricia Matthews.
The board approved applications from four organizations to become CAA affiliated societies: Art, Literature, and Music in Symbolism and Decadence (ALMSD); the Asian American Women Artists Association (AAWAA); the Curator’s Network at Independent Curators International; and the National Alliance of Artists from Historically Black Colleges and Universities (NAAHBCU).
The board welcomes your thoughts on the above issues and more in preparation of its next full-day meeting, scheduled for Sunday, May 1, 2011. Send your ideas and suggestions to Vanessa Jalet, CAA executive assistant. You may also read about the previous board meeting, held in October 2010.
Take the 2011 Annual Conference Survey
posted Mar 16, 2011
Last week, CAA sent an email blast to 2011 Annual Conference attendees, asking for feedback on all aspects of last month’s event. Please complete the survey, which has several fields for open-ended answers, by Friday, March 25, 2011.
The survey asks you to identify yourself (e.g., artist, art historian, or student) and your type of affiliation and then to rate your experiences with various conference events and services—from online registration and the conference hotels to session content and Career Services activities. If you attended the Book and Trade Fair or used your conference badge for free museum admission, let CAA know. The survey also asks your thoughts about the conference website and how CAA can better deliver conference information.
March 2011 Issue of The Art Bulletin Features Essays on the Bocca della Verità and on German Painting and Czech Cubism
posted Mar 15, 2011
Articles in the March 2011 issue of The Art Bulletin, the leading publication of international art-historical scholarship, examine a range of topics that include the Bocca della Verità in Rome and German painting and Czech Cubism. Two additional essays and a collection of important book reviews round out the issue, which has been mailed to all individual CAA members who elect to receive the journal, and to all institutional members.
In “The Mouth of Truth and Forum Boarium,” Fabio Barry evaluates the Bocca della Verità in Rome from numerous perspectives to recover its origin as an antique drain cover in the form of the god Oceanus, relating the Bocca to the myth of the Romanized Hercules from the reign of Hadrian. Moving to modern times, Eleanor Moseman uses the case study of Ernst Ludwig Kirchner and Bohumil Kubiša to explore the relation of German painting and Czech Cubism, revealing “style” as a central issue in the international dialogue of the visual arts of early-twentieth-century Central Europe.
Two essays focus on historical Chinese art and culture. In “The Buddha’s Finger Bones at Famensi and the Art of Chinese Esoteric Buddhism,” Robert H. Sharf argues that the “finger bone” relics of the Buddha, discovered in 1987 in a crypt beneath the Famensi (Dharma Gate Monastery) in Shaanxi Province, China, could be considered as “art.” For her contribution, Jeehee Hong examines the peddler as a skeletal puppeteer in Li Song’s thirteenth-century painting, The Skeletons’ Illusory Performance, to unveil a midimperial Chinese visual commentary on the relations among performance, the everyday world, and death.
In the Reviews section, Robert S. Nelson surveys several books on art, architecture, and urbanism in the Turkish capital from the fifteenth to the twentieth century, including Shirine Hamadeh’s The City’s Pleasures: Istanbul in the Eighteenth Century and Murat Gül’s The Emergence of Modern Istanbul. Stephen J. Campbell examines the understudied field of Renaissance portrait medals through a recent book and a two-volume catalogue, while Sheila S. Blair and Jonathan M. Bloom consider the implications of Finbarr Barry Flood’s Objects of Translation: Material Culture and Medieval “Hindu-Muslim” Encounter, a book about the material culture of the region from western Afghanistan to northern India from the eighth to the thirteenth century. Last, Kirk Ambrose reviews the English translation of Friedrich Kittler’s Optical Media: Berlin Lectures 1999, a theoretical study of visuality and technology that considers such topics as Renaissance perspective, photography, film, and television, and the computer.
Please read the full table of contents for more details. The next issue, to be published in June 2011, will feature essays on Pieter Bruegel the Elder, Jean-Honoré Fragonard, Edgar Degas, and Philip Guston.
CAA Salutes Donors in the Acknowledgments Section
posted Mar 14, 2011
Membership fees cover less than half of CAA’s operating costs; thus voluntary contributions from members significantly help to make possible the wide range of programs and services that the organization offers. In a new website section called Acknowledgments, CAA recognizes the distinguished contributors for each of the following:
- The Centennial Campaign celebrates CAA’s one hundredth anniversary, a celebratory landmark for any organization but particularly so given the organization’s dynamic influence in shaping the study and practice of the visual arts
- The Annual Campaign helps CAA maintain affordable membership dues and Annual Conference fees, implement its myriad programs and publications, and serve the international community of professionals in the visual arts
- The Donors Circle of Patron, Sponsoring, and Sustaining Members includes individuals who contribute to CAA above and beyond their regular dues
- Life Members are individuals who make one-time payments of $5,000 and remain active CAA members for life
- The Art Bulletin Publication Fund supports the production of CAA’s preeminent scholarly journal covering all areas and periods of art history
- The Art Journal Publication Fund supports the production of CAA’s cutting-edge quarterly of contemporary art and ideas
- The caa.reviews Publication Fund supports the production of CAA’s online journal devoted to critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies
- The Annual Conference Travel Grants help cover expenses for graduate students in art history and studio art, and for international artists and scholars, who attend the CAA Annual Conference
CAA offers additional ways to contribute to the organization. Through Planned Giving, you can include CAA in your will. You can also purchase Benefit Prints by the artists Willie Cole and Buzz Spector or a collection of Art Journal Artists’ Projects by Barbara Bloom, Clifton Meador, Mary Lum, and William Pope.L. For general inquiries on CAA’s campaigns and funds, please contact Sara Hines, CAA development and marketing manager, at 212-691-1051, ext. 216.
Committee on Women in the Arts Picks for March 2011
posted Mar 10, 2011
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following artists’ conversation and three exhibitions 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 2011
Margarita Cabrera, contents of Backpack (Green), 2006, vinyl, thread, fabric, and mixed media, 16 x 13 x 4 in. (artwork © Margarita Cabrera; photograph provided by the artist, Walter Maciel Gallery, and the Sweeney Art Gallery)
Margarita Cabrera: Pulso y Martillo (Pulse and Hammer)
Sweeney Art Gallery
Culver Center of the Arts, University of California, Riverside, 3834 Main Street, Riverside, CA 92501
February 5–April 2, 2011
For years, Margarita Cabrera has worked on a number of collaborative projects that combine contemporary art practices, indigenous Mexican folk art and craft traditions, and relations between the United States and Mexico. These projects have actively investigated the creation of fair working conditions and the protection of immigrant rights. This exhibition includes a survey of past works from 2003 to 2008; a performance, called Florezca Board of Directors: Performance; and a new installation, Pulse and Hammer.
Taking place on Saturday, March 5, Florezca Board of Directors: Performance will be the first meeting of the “leaders” of Florezca Inc., a multinational corporation founded by Cabrera for undocumented people in the US. Consisting of Cabrera, students, and others, the performance will mix rehearsed statements with improvisation. Also a collaboration with Juan Felipe Herrera, a creative-writing professor at Riverside, Florezca Board of Directors: Performance is part of daylong series of events exploring issues around the border, undocumented workers, and a maquiladora-based economy.
For Pulse and Hammer, Cabrera will install approximately one thousand copper butterflies in Culver Center’s North Atrium Gallery, creating a swarmlike environment that represents the manic transformation of the Mexican economy.
Yoko Ono and Kara Walker in Conversation
Museum of Modern Art
11 West 53 Street, New York, NY 10019
March 8, 2011
In conjunction with the exhibition Contemporary Art from the Collection, the artists Yoko Ono and Kara Walker will discuss their art and how social, political, and gender issues inform their work. Glenn Lowry, director of the museum, will moderate the conversation, which takes place on Tuesday, March 8, at 6:30 PM.
Maira Kalman and Rick Meyerowitz’s cover of the New Yorker
Maira Kalman: Various Illuminations (of a Crazy World)
Jewish Museum
1109 Fifth Avenue, New York, NY 10128
March 11–July 31, 2011
The illustrator, author, and designer Maira Kalma is perhaps best known for the cartoon map of New York City that she created with Rick Meyerowitz for a New Yorker cover from December 10, 2001. Organized by the Institute of Contemporary Art in Philadelphia, this retrospective exhibition includes works on paper from a thirty-year period and highlights lesser-known photographs, textiles, and performances.
Color Moves: Art and Fashion by Sonia Delaunay
Cooper-Hewitt National Design Museum, Smithsonian Institution
2 East 91st Street, New York, NY 10128
March 18–June 5, 2011
With her husband Robert Delaunay, Sonia Delaunay founded the early-twentieth-century movement, Orphism. This exhibition focuses on her work with fashion and textiles that display the same strong colors and geometric shapes as her paintings. Included are designs from her fashion line, Atelier Simultané, created in Paris during the 1920s, and textiles she designed in the 1930s for the Metz & Co., a department store in Amsterdam.
CAA Gives Four Centennial Awards at the 2011 Annual Conference
posted Mar 09, 2011
The CAA Board of Directors has selected five extraordinary individuals as the distinguished recipients of CAA’s four Centennial Awards in recognition of the extraordinary time and expertise they have contributed to the visual arts in New York and across the nation. The honorees are:
- Philippe de Montebello, Centennial Award for Leadership
- Agnes Gund, Centennial Award for Service to the Field
- Dorothy and Herbert Vogel, Centennial Award for Patronage
- Stuart E. Eizenstat, Centennial Award for Protecting Art as a Cultural Product
Special guests presenters gave the Centennial Awards during Convocation at the 99th Annual Conference and Centennial Kickoff at the Hilton New York on Wednesday evening, February 9, 2011.
Affiliated Society News for March 2011
posted Mar 09, 2011
American Council for Southern Asian Art
The American Council for Southern Asian Art (ACSAA) has elected three new officers. Stephen Markel, curator and head of the South and Southeast Asian Art Department at the Los Angeles County Museum of Art in California, is the new president. Serving as vice president will be Deepali Dewan, curator in the Department of World Cultures at the Royal Ontario Museum and assistant professor in the Department of Art at the University of Toronto. Last, John Cort, professor in the Department of Religion at Denison University in Granville, Ohio, has become a board member.
Association of Academic Museums and Galleries
The University of Houston will host the 2011 AAMG annual conference. Clockwise from top left: the Blaffer Art Museum, the Moores Opera House, and the Roy G. Cullen Building (photographs provided by the University of Houston)
The Association of Academic Museums and Galleries (AAMG) will hold its next annual conference, “Who’s Muse? Challenges to the Curatorial Profession in Academic Museums,” on May 21, 2011, at the University of Houston’s Blaffer Art Museum in Texas. Curatorial practices in academic museums and galleries are sometimes highly experimental. Faculty members from a wide variety of fields and with limited curatorial experience periodically recommend and help lead exhibition projects. The organization of exhibitions likewise engages both graduate and undergraduate students, museum-education professionals, librarians, and even area school classes in project leadership roles. Exhibitions thus generated offer unorthodox approaches to curatorial planning and execution. Appropriate to a scholarly mission, they can stretch disciplinary boundaries, cross-fertilize disciplinary methodologies, and generate wholly new paradigms for knowledge. Academic museums and galleries thus become vital centers of original research, interdisciplinary dialogue, and participatory learning. While this democratic and laboratory approach to curatorial practice contributes in significant ways to the groundbreaking research and all-important teaching missions of universities and colleges, it can also challenge conventional standards of the curatorial profession. Through the presentation of outstanding case studies and lively roundtable discussions, the 2011 conference will explore the pros and cons of the broad curatorial approaches found in academic museums and galleries.
Association of Historians of American Art
The Association of Historians of American Art (AHAA) seeks to sponsor a scholarly session for CAA’s 2013 Annual Conference in New York. The scholarly session, lasting two-and-half hours and part of the regular conference program, tends to be similar to the type of sessions generally held at CAA, although sometimes more topical issues are addressed. Please read the submission guidelines and send your session proposal by April 1, 2011, for notification by June 1.
Foundations in Art: Theory and Education
Foundations in Art: Theory and Education (FATE) and the Mid-America College Art Association, another CAA affiliated society, will present a joint conference, called “ON STREAM,” at the Ball Park Hilton in St. Louis, Missouri. Taking place March 30–April 2, 2011, the conference will explore how artists and teachers develop and foster creativity in the second decade of the third millennium. For more details, visit the FATE website or contact Jeff Boshart, conference coordinator.
Historians of Eighteenth-Century Art and Architecture
The Historians of Eighteenth-Century Art and Architecture (HECAA) congratulate the recipients of the Mary Vidal Memorial Fund for graduate student travel. Georgina Cole, a PhD student at the University of Sydney in Australia, will present a paper, “Eavesdropping: Rethinking Space and Subjectivity in the Eighteenth Century,” at the American Society for Eighteenth-Century Studies meeting in Vancouver, British Columbia, The second recipient, Susan Wager, a doctoral student at Columbia University in New York, presented a paper, “Madame de Pompadour’s Indiscreet Jewels: Boucher, Reproduction, and Luxury in Eighteenth-Century France,” at CAA’s 2011 Annual Conference in New York.
Historians of German and Central European Art and Architecture
The Historians of German and Central European Art and Architecture (HGCEAA) have announced the results of its recent board election: Marsha Morton is president; Rose-Carol Washton Long is treasurer; Eva Forgacs is secretary; Emily Pugh is newsletter editor; and Jay Clark, James van Dyke, Keith Holz, and Juliet Koss are at-large board members.
Historians of Netherlandish Art
Jan van Eyck, Virgin and Child with Saints Catherine and Michael and a Donor (the Dresden or Giustiniani Triptych), 1437, oil on oak panel, 33.1 x 27.5 cm (center), 33.3 x 13.6 cm (wings) (artwork in the public domain)
The Historians of Netherlandish Art (HNA) have published the Winter 2011 issue of its open-access, online peer-reviewed, Journal of Historians of Netherlandish Art, which features articles by Noëlle L. W. Streeton on Jan van Eyck, Jürgen Müller on Albrecht Dürer, Stephanie Porras on peasant imagery, and Alexandra Onuf on Claesz Visscher’s landscape prints.
The HNA Fellowship for Scholarly Research, Publication, and Travel for 2011 has been awarded to Christopher D. M. Atkins of Queen’s College and the Graduate Center, City University of New York, for his book Frans Hals’s Signature Style: Painting, Subjectivity, and the Market in Early Modernity (forthcoming from Amsterdam University Press).
Italian Art Society
The Italian Art Society (IAS) has selected Alison Luchs, curator of early European sculpture at the National Gallery of Art in Washington, DC, to present the 2011 Italian Art Society–Kress Foundation Lecture. Her talk, entitled “The Wake of Desiderio: His Impact on Sculpture of the Late Quattrocento,” will take place at the historic Accademia delle Arti del Disegno in Florence at 4:00 PM on June 8, 2011.
Leonardo/The International Society for the Arts, Science, and Technology
Leonardo/The International Society for the Arts, Science, and Technology (Leonardo/ISAST) has partnered with the Cultural Programs of the National Academy of Sciences to present DC Art and Science Evening Rendezvous (DASER), a monthly discussion forum on art and science projects in or near Washington, DC. Historically, the artist has communicated, educated, and preserved the ideas of science. But how does the creative processes of artists inform the work of scientists, engineers, physicians, and experts from other disciplines? Each DASER will feature presentations by such practitioners along with time for discussion and socializing. The monthly series began on February 16 at the Keck Center in Washington, DC. The next events take place on March 16 and April 21.
National Council of Arts Administrators
The National Council of Arts Administrators (NCAA) has announced the names and affiliations of its 2011 board officers and members. Officers for the coming year are: Carolyn Henne, Florida State University, Executive Director; Jim Hopfensperger, Western Michigan University, President; Cora Lynn Diebler, University of Connecticut, Secretary; Andrea Eis, Oakland University, Treasurer. Board members for 2011 are: John Kissick, University of Guelph; Sally McRorie, Florida State University; Kim Russo, Ringling College of Art and Design; Sergio Soave, Ohio State University; and Georgia Strange, University of Georgia.
The next NCAA annual meeting, entitled “Push: The Artistic Engine of Innovation,” will take place November 2–5, 2011, at the Savannah College of Art and Design in Georgia. The NCAA board seeks proposals for presentations, sessions, and/or panels for the annual Arts Administrators Workshops, scheduled for Wednesday, November 2. Initial proposals should be no more than 350 words. Topics may include but are not limited to: leadership and management; promotion and tenure; interpersonal communication; succeeding with external constituencies; budget management; personnel evaluation; personal growth; career paths; and case studies (in any area related to arts administration). Please send proposals and inquiries to Sergio Soave by May 16, 2011. Selected entries will be asked to submit a 1,000-word abstract by June 20. The NCAA board will formally acknowledge the presenters, whose names will be posted to the NCAA website.
Society for Photographic Education
The Society for Photographic Education (SPE) seeks proposals for its forty-ninth national conference, called “Intimacy and Voyeurism: The Public/Private Divide in Photography” and taking place March 22–25, 2012, in San Francisco, California. Topics, which need not be theme based, 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. The conference offers six presentation formats: (1) Lecture: presentation on historical topic, theory, or another artist’s work; (2) Imagemaker: presentation on your own artistic work (photography, film, video, performance and installation, multidisciplinary approaches); (3) Panel: a moderator-led group discussing a chosen topic; (4) Demonstration: a how-to presentation; (5) Graduate Student: short presentation of your own artistic work and a brief introduction to your graduate program (you must be enrolled in a graduate program at the time of submission); and (6) Academic Practicum Workshop: lectures and panels that address educational issues. SPE membership is required to submit; proposals are peer reviewed. Visit the SPE website for information on membership and to read the full proposal guidelines. Deadline: June 1, 2011.
Society of Architectural Historians
On March 1, 2010, a multimedia edition of the Journal of the Society of Architectural Historians (JSAH Online), led by the editors Hilary Ballon and David Brownlee with the stewardship of the University of California Press, became available to individual members of the Society of Architectural Historians (SAH). As part of the Current Scholarship Program at JSTOR, JSAH Online has begun publishing papers that incorporate images, video, and geographic information system (GIS) technologies, enabling readers to engage in new ways and better understand their arguments. SAH has also mounted a campaign to encourage submissions of this kind and is working with other societies in the arts to do the same. Read more on the Resource Shelf blog and view a sample multimedia article in JSAH Online. SAH also offers instructional videos about how to prepare multimedia content for JSAH Online and other internet-based journals.
In addition, SAH will hold its sixty-fourth annual meeting in New Orleans, April 13–17, 2011. The meeting will focus on new research in the history of architecture, landscapes, and urbanism in 150 papers delivered by historians, preservationists, and architects from around the world. Additional offerings at the meeting include evening receptions, networking opportunities, and a vast array of architecture and landscape tours of the city and region. This year, SAH will offer attendees the opportunity to perform community service at the Priestly School, a charter high school devoted to architecture and the arts.
Southeastern College Art Conference
The Southeastern College Art Conference (SECAC) will hold its sixty-seventh annual meeting at the Savannah College of Art and Design (SCAD) in Georgia this fall. Taking place November 9–12, 201, the conference theme is “Text + Texture: an intersection of academics and the arts.” The conference headquarters will be the DeSoto Hilton Hotel, located in the heart of historic Savannah. Featuring extensive panels and sessions for the exchange of ideas and concerns relevant to the practice and study of art, the conference will include the annual awards luncheon and the fourteenth annual members’ exhibition, as well as offer a rich array of tours, workshops, and evening events. Dan Cameron, founding director of Prospect New Orleans, will present a plenary address and jury the SECAC members’ exhibition, to be held at one of SCAD’s premier venues.
The conference website offers PDFs of both the call for papers and the call for entries. Please download and review the documents and follow the instructions for proposals on the website. The deadline for papers is April 20; the deadline for entries is April 1. For more information, write to secac@secollegeart.org or secac2011@scad.edu. All are welcome to SECAC membership, which is required for exhibitors.
Southern Graphics Council International
For a panel called “Coaction: Innovative Printmaking Collaborations” for the 2012 CAA Annual Conference in Los Angeles, the Southern Graphics Council International (SGCI) invites proposals from artists, curators, and historians who have participated in or have written about innovative community print projects that contribute to social change, the environment, communications, and technology. Historically, printmakers are artists who enjoy the sense of community that a print shop creates by sharing their images, ideas, and techniques. They also produce multiples, thus increasing their reach to individuals outside their immediate community in the practice of exchanging prints. The use of the multiple, the shared history of fine art printmaking with commercial graphics, and the need for printmakers to share equipment and expertise have encouraged the propagation of community print projects—many that have redefined the role of printmaking as a vehicle for social innovation. This panel focuses on printmaking collaborations that extend beyond the traditional print exchange or work that is done in the print shop, hence examining partnerships between printmakers and the communities they live in; the impact that collaborations have in these communities; and the innovations in printmaking that have resulted. Please email your proposal—which must include a one-page abstract; 1–4 JPEGs of referenced images (no more than 1.5 MB each); and short CV—to Candace Nicol. Deadline: May 1, 2011.
Visual Resources Association
The Network Development and MARC Standards Office of the Library of Congress, in partnership with the Visual Resources Association (VRA), is now hosting the VRA Core, a data standard for descriptions of works of visual culture and images that document them. VRA has also published user support materials, such as VRA Core examples, FAQs, and presentations.
VRA’s Data Standards Committee formed the Embedded Metadata Working Group (EMwg) to explore use of embedded metadata in images of artworks and other cultural resources. EMwg is developing guidelines and tools to make embedded metadata easy to create and use. The group’s first product is a free custom File Info Panel (beta) for use with Photoshop and Bridge in Adobe’s Creative Suites 4 and 5. This panel allows users—including students, faculty, and image-collection assistants—to enter rich descriptive metadata that can then be ingested into a database or used on a local computer to find and organize images. You can download the info panel and user guide, which contain instructions for installing and using the panel.