NEWS NEWSLETTER OF THE COLLEGE ART ASSOCIATION Volume 27, Number 6 OCTOBER 2002 PHOTO CREDIT:JULIE GRABER/THE NEW MEXICAN Diane Karp, director of the Sante Fe Art Institute, created the Emergency Residency Relief Program NATIONAL STUDY OF ONE RESPONSE TO ART-HISTORY CAREER PATHS SEPTEMBER 11 Was the Ph.D. Worth the Effort? n September 11, 2001, Diane Karp, publisher of the art jour- nal New Observations, was driv- 4% 1% Oing to New Mexico to assume her new 1% 2% position as director of the Santa Fe Art 20% 14% Institute when she heard the catastrophic news about two planes crashing into the Women Men World Trade Center in New York. Soon after arriving at her new post, she 75% 83% responded by initiating the Emergency Residency Relief Program at the Art Institute, which provided living space and studios to artists in New York Definitely Probably Probably not Definitely not whose lives had been deeply affected by the devastation. According to Karp, Source: “Ph.D.s in Art History—Over a Decade Later,” study, University of California, Berkeley, and CIRGE, June 2002 “There was a crying need for these artists not only to have a place to work, ore than ten years after completing their doctorates, roughly three-quarters of the but also to find some emotional refuge.” respondents to a survey of art-history Ph.D. holders said the degree was “defi- She gathered conceptual and financial nitely” worth the effort. However, fewer women (75 percent) said that the art- support for her project from her depart- Mhistory Ph.D. was “definitely” worthwhile than did men (83 percent). ment at the College of Santa Fe, where Why this difference? Do men and women have a different career path? And if so, why? How satisfied are men and women with their postdoctoral jobs? These and other CONTINUED ON PAGE 23 questions were pursued as part of a national study, “Ph.D.s in Art History—Over a Decade Later,” conducted by a research team from the University of California, Berkeley, and the University of Washington in Seattle. Researchers Maresi Nerad, Renate Sadrozinski, and IN THIS ISSUE Joseph Cerny surveyed nearly all art historians who received their Ph.D.s between 1985 and 1991 from art-history doctoral programs in the United States. Participants filled out a From the Executive Director questionnaire either on the Internet or on paper. 2 The response rate was high: 68 percent (511 respondents) from nearly all of the doc- 2002 CAA Fellows Named toral programs. About 90 percent of the respondents were white and more than two-thirds 3 were women, reflecting the low participation of nonwhites and the high participation of Conference Registration women in the field. The average age at which they earned the Ph.D. was thirty-eight. 6 Changes “Ph.D.s in Art History—Over a Decade Later” is funded by the J. Paul Getty Trust Grant Program and endorsed by the American Council of Learned Societies, the College Thanks to Members Art Association, the American Association of Museums, and the Society of Architectural 7 Historians. The ten-member advisory board includes CAA Executive Director Susan Ball Join A CAA Committee and former CAA Board members E. Bruce Robertson and Lowery Stokes Sims. 8 Books Published by CAA CONTINUED ON PAGE 23 16 Members INSIDE: AFFILIATED SOCIETIES DIRECTORY. See Insert 17 People in the News FROM THE EXECUTIVE DIRECTOR THE ART BULLETIN NAMES NEW BOOK- THE ART BULLETIN AND ART JOURNAL: PUBLIC FACES OF CAA REVIEWS EDITOR wo of CAA’s decades. The percentage of articles deal- ariët Westermann, director of public faces, ing with non-Western art has also risen, the Institute of Fine Arts, New the covers of and a series of popular, challenging state- York University, has been TThe Art Bulletin and of-the-field essays has been reinstated. An Mappointed to a three-year term as book- Art Journal, are as art historian myself, I read The Art reviews editor of The Art Bulletin. She excitingly different Bulletin not only to gain new insights into takes over from Christopher Wood of PHOTO CREDIT: ANDREI RALKO as ever this fall, my own and other areas of specialization, Yale University, whose term ended in July. Susan Ball, CAA showing, respec- but also to follow the careers of col- Until recently, Westermann, a scholar of Executive Director tively, a witty draw- leagues and their students. early modern Netherlandish art, was asso- ing by Bartolomeo Art Journal has gone through several ciate director of research and academic Passerotti (1529–92) and the comic-strip transformations in its sixty-one-year his- programs at the Sterling and Francine art of Ben Katchor (b. 1951). tory. Its Editorial Board, writing in the Clark Art Institute in Williamstown, MA. As most members know, The Art summer 1998 issue, noted that among Art Westermann writes, “As new forms of Bulletin publishes articles in all periods Journal’s goals were “to provide a serious electronic publishing proliferate, most of and subfields of art history, while Art forum for scholarship and visual explo- them with a commitment to brevity, the Journal focuses on art of the twentieth ration in the visual arts; to be a unique genre of the scholarly book, with its sus- and twenty-first centuries. Both quarterly voice in the field as a peer-reviewed, pro- tained argumentation and detailed histori- journals are dedicated to serving the fessionally mediated forum for the arts; to cal texture, may par- fields of art and art history through a col- operate in the spaces among commercial adoxically become laboration of CAA’s publications depart- publishing, academic presses, and artist more vital to the dis- ment with editors and Editorial Boards presses; to be pedagogically useful by cipline of art history. made up of committed volunteers. making links between theoretical issues Although academic The majority of CAA’s individual and their use in teaching at the college book reviewing has members choose to receive one of the two and university levels; to explore relation- come under pressure journals as a benefit of membership. ships among art making, art history, theo- Mariët Westermann for a range of poten- About 2,000 members pay an additional ry, and criticism; to give voice and publi- tial abuses, I remain fee to receive both magazines. This sug- cation opportunity to artists, art histori- committed to rigor- gests, unsurprisingly, that a number of art ans, and other writers in the arts; to be ous peer analysis of significant books and historians (not just those specializing in responsive to issues of the moment in the catalogues as a vehicle for furthering criti- contemporary art) have an interest in the arts, both nationally and internationally; cal discourse. In recent years The Art art of today and a number of artists and to focus on topics related to twentieth- Bulletin’s book-review section has been a others have an interest in scholarly writ- and twenty-first-century concerns; [and] model of such incisive and pluralistic ing about the art of other times and to prompt dialogue and debate.” engagement, for it has produced construc- places. Janet Kaplan, who oversaw this tive critiques across the boundaries of art Published since 1913, The Art major shift from the magazine’s old for- history’s subspecialties and through the Bulletin is almost as old as CAA itself. It mat of historically based, thematically discipline’s porous borders with disci- remains the publication of record for art- organized issues (each compiled by a plines such as aesthetics, visual culture, historical research in English. Under the guest editor) to a program concentrating and anthropology. I look forward to work- present Editor-in-Chief, H. Perry on the exploration of current ideas, criti- ing with the editors of The Art Bulletin, Chapman, who began her term in 2000, cal theory, and recent art, stepped down Art Journal, and CAA.Reviews to maintain the journal has displayed a striking ener- in July as Executive Editor of Art the current strengths of The Art Bulletin’s gy. The number of four-color reproduc- Journal. Having completed her second book-reviews feature and to conceptualize tions has greatly increased, thanks in part three-year term, she has turned her abun- an optimal form and role for it within the to the generous support of the Samuel H. dant energies to new curatorial and constellation of CAA publications.” Kress Foundation, which has been assist- Wood, a scholar of Renaissance art, ing The Art Bulletin in many ways for CONTINUED ON PAGE 23 will be spending the 2002–3 academic year at the American Academy in Rome as Volume 27, Number 5 Material for inclusion should be sent via email to a National Endowment for the Humanities Christopher Howard at [email protected]. Black- CAA News is published six times per year by the College and-white photographs may be submitted to the above Postdoctoral Rome Prize Fellow. CAA and Art Association, 275 Seventh Avenue, New York, NY street address for consideration. They cannot be returned. the Art Bulletin Editorial Board take this 10001; www.collegeart.org All advertising and submission guidelines can be found at www.collegeart.org/caa/news/index.html opportunity to congratulate him, to thank Editor-in-Chief Susan Ball Managing Editor Christopher Howard Printed on recycled paper him warmly for his excellent, scrupulous, Graphic Designer Tom Brydelsky © 2002 College Art Association energetic work as book-reviews editor, and to welcome his successor. 2 CAA NEWS SEPTEMBER 2002 help them make the most of the confer- Jason Weems is the Terra Foundation CAA NAMES ence’s resources and provide advice as Pre-1940 American Art Fellowship recipi- they pursue their professional goals during ent.