NEWS
Newsletter of the College Art Association Volume 31, Number 2 March 2006
2006 CAA Awards for Distinction
y honoring outstanding member achievements through its annual Awards for Contents Distinction, CAA reaffirms its mission to encourage the highest standards of scholar- Bship, practice, connoisseurship, and teaching in the arts. With these awards, which were presented this year by President Ellen K. Levy at Convocation during the 94th Annual 2 From the Executive Director Conference in Boston, CAA honors individual artists, art historians, authors, conservators, 3 Artist Residency Guides curators, and critics whose accomplishments transcend their individual disciplines and con- Published tribute to the profession as a whole and to the world at large. caa.reviews Surveys the Surveys While reading the following award citations, keep in mind that CAA members can help decide award recipients each year by nominating colleagues and professionals or by serving 4 Nominations Requested for on an award jury (see pages 13–14 for more information). With your nominations and serv- 2007–11 CAA Board ice, CAA can continue its mission and celebrate the dynamic individuals in our field. Advocacy Update 6 Feminist Art Project at 2007 Distinguished Artist Award for Lifetime Achievement CAA Conference The jury for 2006 honors the dis- 7 Annual Conference Update tinguished artist Elizabeth CAA News Murray for her lifetime of 10 New Institutional Membership achievement. Through works that Categories and Benefits strikingly endow the familiar with Affiliated Society News unexpected forms, Murray has 11 revitalized the tradition of paint- 13 CAA Seeks Award Nominations ing and contributed a major origi- 14 Join a CAA Award Jury nal vision to contemporary art. Solo Exhibitions by Artist Murray has exhibited widely in 20 Members New York and nationally, from her first exhibitions at the Paula 21 Books Published by CAA Cooper Gallery in the 1970s to her Members recent retrospective at New York’s Obituaries Museum of Modern Art (MoMA). 22 People in the News Her work is included in the collec- tion of MoMA as well as in those Grants, Awards, & Honors of the Art Institute of Chicago, the 23 Institutional News Baltimore Museum of Art, the Opportunities Hirshhorn Museum and Sculpture
Photo: Ellen Labenski Garden of the Smithsonian 25 Classifieds Elizabeth Murray, The Sun and the Moon, 2005, oil on canvas on Institution, the Metropolitan 26 Datebook wood, 117 x 107.5 in. (297.2 x 273 cm). Artwork © Elizabeth Museum of Art, the Museum of Murray. 27 CAA Thanks Donors Contemporary Art, Los Angeles, the Solomon R. Guggenheim Museum, and the Whitney Museum of American Art, among
CONTINUED ON PAGE 12 From the Executive Director Service to the Profession
s many of devote themselves to CAA. Roughly sev- ated societies, among them, for example, you know, enty-five percent of CAA members work the Japan Art History Forum and the ACAA is in higher education, full- or part-time. As National Council of Art Administrators, greatly dependent you know, service to the profession is one are also volunteer-driven organizations; on the generosity of three criteria on which tenure and pro- active involvement in these groups also of its members, motion decisions are based, the other two count toward academic service. For more who voluntarily being teaching and publications. Many information about CAA’s affiliated soci- give their time and faculty handbooks claim that the three are eties and to see the full list of organiza-
Photo: Andrei Ralko expertise to help equally weighted, but many professors, tions, please visit www.collegeart.org/caa/ Susan Ball produce the pro- especially at research universities, report aboutcaa/affsocieties.html grams, publica- that a record of publications is the highest And last, but certainly not least, your tions, and services the organization offers. priority, followed by teaching. However, participation in advocacy efforts helps not Authors and reviewers, Annual Confer- service should never be discounted. only CAA but also the larger arts and ence presenters, and members of the Board Networking is another benefit of profes- humanities, higher-education, publishing, of Directors, Professional Interests, sional service. One quarter of our mem- and library communities. CAA’s advocacy Practices, and Standards (PIPS) commit- bers are employed not in the academy but work is ongoing, but twice a year we par- tees, editorial boards, and award juries, in instead in museums, galleries, and arts ticipate in organized campaigns in conjunction with a thirty-person staff, all nonprofits. Others are independent artists, Washington, D.C.—Arts Advocacy Day have made CAA what it is today. Some critics, curators, and scholars. Our various and Humanities Advocacy Day, both of cynics may say that those who contribute boards and committees allow these mem- which take place this month (see page 4). do so for personal gain—that there is an bers to make contacts with art profession- The CAA staff can help you to learn more expected quid pro quo. To that I would als nationally and internationally, outside about these advocacy efforts, and we respond: Of course we want to give some- each individual’s own immediate circle. encourage you to join us in Washington. thing back to the people who contribute! This kind of networking often leads to Advocacy in your home districts is also Here are two ways in which we do. professional opportunities, and CAA of effective, and at times even more so. To be sure, service to the profession is course values the diverse professional Contact Rebecca Cederholm, CAA direc- one reason why members are willing to points of view of all who volunteer their tor of governance and advocacy, at time and expertise, strengthening CAA and [email protected] for more infor- the arts profession as a whole. mation. Volunteer recruiting is underway right In closing, I want to thank the hundreds Volume 31, Number 2 now. CAA’s Nominating Committee is of members for their participation, past accepting nominations for the Board of and present, and encourage those who CAA News is published six times per year by the College Art Association, 275 Seventh Avenue, Directors to serve from 2007 to 2011 (see have yet to serve to get involved. 18th Floor, New York, NY 10001; page 4). The committee will interview —Susan Ball, CAA executive director www.collegeart.org. possible candidates over the summer and in September select the slate for election Editor-in-Chief Susan Ball Editor Christopher Howard by the general membership. Any member Designer Steve Lafreniere can nominate and/or self-nominate. One of the Nominating Committee’s Material for inclusion should be sent via e-mail to many criteria is previous service to CAA, Christopher Howard at [email protected]. Photographs and slides may be submitted to the and there are many opportunities to gain above street and e-mail addresses for considera- this experience! For example, we have tion; they cannot be returned. All advertising and current searches underway for an editor-in- submission guidelines can be found at chief for The Art Bulletin, an Art Journal www.collegeart.org/news. reviews editor, and an Art Journal editori- Copyright © 2006 College Art Association al-board member (see pages 9–10). Furthermore, CAA News publishes a call Founded in 1911, the College Art Association pro- for service on our nine PIPS committees motes excellence in scholarship and teaching in the history and criticism of the visual arts and in every September. Volunteering for our creativity and technical skill in the teaching and many career-development activities is practices of art. another good way to get involved. In addi- tion, most of CAA’s more than sixty affili-
2 CAA NEWS MARCH 2006 Andy Warhol Foundation for the Visual Park, and Women’s Studio Workshop. Artist Workspace Arts, notes, “With fewer funding opportu- Funding for the New York State Artist Residency Guides nities available to individual artists, support Workspace Consortium is provided by the for artists’ careers through artist workspace Visual Arts Program of the New York Published programs becomes even more strategic. State Council on the Arts, the Andy These new guides illuminate opportunities Warhol Foundation for the Visual Arts, the for artists, organizations and funders alike.” Ford Foundation, and the National he New York State Artist Work- In conjunction with the release of the Endowment for the Arts. space Consortium (NYSAWC), a guides, NYSAWC offered its first Artist consortium of ten artist-centered LyndaAbraham-PatriciaWilsonAdams-MarcusAhlers-SeongminAhn-MarleneAlt-DesiréeAlvarez-GhadaAmer-GarthAmundson-JudithAnderson Workspace T BarbaraAndrus-IgorAntic-StephanApicellaHitchcock-ShohamArad-TomieArai-ClaudiaAranovich-KensethArmstead-MichaelAshkin AnnAspinwall-PatBacon-SusanBaker-IsabelBarbuzza-CarolJuneBarton-JahjehanBath-AmyBay-J.CatherineBebout-RachelBeck nonprofit organizations located throughout JarrodBeck-PattieLeeBecker-JoshuaBeckman-SarahBedford-MiriamBeerman-MichaelBeitz-RoberleyBell-MildredBeltre-PiBenio SylviaBenitez-MarcinBerdyszak-CarloBernardini-KarlBeveridge-TraceyBey-MattBlackwell-EmilyBlair-ChristineN.Blair-MiriamBloom TimothyBlum-NancyBlum-AliBlum-JudithBlumberg-ErikaBlumenfeld-SerenaBocchino-MelBochner-M.J.Bole-SabraBooth-NinaBovasso Mentorship SusieBrandt-BetsyBrandt-DeborahBright-ZanaBriski-CharlesBrowning-DanielBruce-JamesBrown-MatthewBurke-KellyButtolph caa.reviews Surveys LuisaCaldwell-RobertCaldwell-BethCampbell-KeithCampbell-GaryCardot-MaryCarothers-JamesCasebere-JillCasid-ShaunCassidy the State of New York, has published a JiyoungChae-IreneChan-PaulChan-JamesChinneck-WeiJaneChir-SaemiCho-ByungwangCho-AlbertChong-TheresaChong-YaQin BettyChou-AnneChu-MarciaCiro-JamesClark-RobeyClark-SharonE.Clarke-JohnClement-ChuckClose-GregoryCoates-MargaretCogswell AndreaCohen-NancyCohen-EllenColeman-AllysonComstock-CaroleConde-MJConnors-LinusCoraggio-ColleenCorradi-RobertCottingham Project grant MarshaCottrell-JohnCraigFreeman-CurtisCravens-JeannieCrosby-GaryCruz-AdaPilarCruz-PatrickCuffe-MaureenCummins-KarenCunningham SaraCushing-AmyCutler-ElisaD’Arrigo-StevenJohnDavies-LisaCorinneDavis-LeilaDaw-SylviadeSwaan-JeffdeCastro-DaniellaDeeg pair of handbooks for artists and arts Maria Deguzman - Penny Dell - Claudia DeMonte - Brendan deVallance - Nancy Diessner - Isaac Diggs - Peggy Diggs - Lesley Dill - Ben Diller StephanieDinkins-RedasDirzys-TennesseeRiceDixon-DeborahDohne-TomaszDomanski-DaniellaDooling-JeanneDunkle-RachelEchenberg program, with the Surveys CarriageHouseattheIslipArtMuseum,Islip-CenterforPhotographyatWoodstock,Woodstock-CEPAGallery,CenterforExploratory and Perceptual Art, Buffalo - Dieu Donné Papermill, New York - Harvestworks, New York - Lower East Side Printshop, New York- organizations designed to share the com- SculptureSpace,Utica-SmackMellon,Brooklyn-SocratesSculpturePark,LongIslandCity-Women’sStudioWorkshop,Rosendale THE ARTIST WORKSPACE RESIDENCY a call for pro- mon benchmarks of successful multidisci- A GUIDE FOR ARTISTS posals for a naugurating a new feature in CAA’s plinary workspace residency experiences HachiviEdgar-MelvinEdwards-LeslieEliet-DaleEmmart-AmzeJamesEmmons-ChristaErickson-GeraldineErman-BarbaraEss-NicolásDumitEstévez PeterEudenbach-MaicaEvers-MingFay-EliseFerguson-RosemarieFiore-Lars-ErikFisk-KarenFitzgerald-SusanFleminger-PeterForbes CarsonFox-CaoimhghinFraithile-LizFrank-DeborahFrederick-GarthFreeman-VictoriaFuller-PhilipGalgiani-EllieGalligano-AnnetteGates New York Cheri Gaulke - Dawn Gavin - Matthew Geller - Keith Gemerek - Ann George - Camille Geraci - April Gertler - Erik Geschke - Dina Ghen - Kate Gilmore Kathleen Gilrain - Joan Giroux - Michele Godwin - Maximilliam Goldfarb - Susan Goldman - Leon Golub - Jesse Good - Joe Goodwin - Sandy Graham online reviews journal, caa.reviews, and to contribute to the development of the JoanneGreenbaum-BrianGustafson-ZakHadlock-JaneHammond-WendyHanson-SarahHauser-LisaHecht-JamesHegge-LisaHein ElanaHerzog-UlrikeHeydenreich-AlisonHiltner-TomasHlavina-JimHodges-CarterHodgkin-AnnHolcomb-MaryHong-MeiLingHom Eric Hongisto - Wen Yi Hou - Bing Hu - Wennie Huang - Douglas Huebler - Rand Huebsch - Ellen Huie - Hawley Hussey - Michelle Illuminato - Simeen Ishaque State pilot IantheJackson-DianeJacobs-JeanneJaffe-TimJag-TeresaJaynes-SueJohnson-BrennaJohnson-PeterJoseph-MaryJudge-IrenaJuzova MargueriteKahrl-KamlaKakaria-AdamKalinowski-JohnKalymnios-AlexisKarl-LeandroKatz-TamikoKawata-AnnMarieKennedy- the noted art historians Larry Silver WilliamKentridge-KathrynKenworth-MinjiKim-JihyeKim-SusanKing-JamesKnittle-KumiKorf-KarenKosasa-JenniferKrauss-PeterKreider workspace field itself. AnnKresge-MartinKruck-BarbaraKruger-HeidiKumao-CrystalleLacouture-ThomasLail-MargaretLanzetta-GeraldineLau-PrawatLaucharoen RuthLauer-MatthewLawrence-DihnQ.Le-GeorgeLeGrady-MattsLeiderstam-Leone&MacDonaldJaniceLevy-AnyaLewin-RobLicht-AdamLicht I program. GlennLigon-Ligorano/Reese-JoanLinder-AnaLinnemann-CynthiaLollis-CarolLong-HilaryLorenz-MargotLovejoy-PatriciaLuck-NathanLyons IainMachell-ElizabethMackie-ShawneMajor-RoseMarasco-StephanMarc-JudithCohenMargolis-KarenMargolis-RainerMaria-MarisolMartinez and David A. Levine have written an MichelleMay-ZdenoMayercak-KimMayhorn-ValerieMaynard-MichaelMazur-BrianMcClave-LizaMcConnell-MissyMcCormick-BrianMcCutcheon The guides, published in PDF format, are JoyceMcDaniel-MikeMcFalls-DominicMcGill-MichaelMcKean-CharlesMcQuillen-Komar&Melamid-VojtechMica-SeikoMikami-CristinMillet SusanMills-YongSoonMin-LucasMonaco-AyanahMoor-HiroharuMori-CarrieMoyer-KellieMurphy-JanNagle-ShadiNazarian-RayNeufeld SusanNewmark-PhuongNguyen-SamualNichols-MarkNicholson-MasanoriNishimura-RyujiNoda-JanetNolan-ValerieNolan-Zarina-LaraOdell Emergent LudwikaOgorzelec-YokoOhashi-RuneOlsen-GeraldineOndrizek-SarahOppenheimer-JuanOrmaza-RobertOrtbal-KarenOstrom-LaurieOurlicht JoeOvelman-PamOwens-JudithPage-RoxyPaine-TimothyL.Palmer-DavidPardoe-CarolannaParlato-DebraPearlman-SheilaPepe extended review of the major art-history available free of charge at www.nysawc.org. Jennifer Pepper - Juan Perdiguero - Sarah Peters - Gary Petersen - Jane Philbrick - Horea Phoenix - Lyman Piersma - Felix Plaza - Amy Podmore JennyPolak-BarbaraPollack-JimPomeroy-CynthiaPorter-DennisPotami-Mir2Project-HelenQuinn-WalidRa’ad-PaoloRadi-RayRapp LeslieRech-SueRees-AnnReichlin-DanielReiser-LaurieRiccadonna-RobinRice-RosalynRichards-JudyRichardson-ClaudiaRoberts artist work- ThomasRoberts-SueAnnRobinson-DorotheaRockburne-LeslieRoitman-GiselaRomero-KaraRooney-RochelleRubenstein-LydiaRubio JamesSadek-AlisonSafford-AkikoSakaizumi-SaraSaltzman-JuanSánchez-AlyceSantoro-JoyanSaunders-ClaudiaSbrissa-CarrieScanga introductory survey texts, including the Diane V. Espaldon of the LarsonAllen MiriamSchaer-AmySchmeirbach-MiriamSchnitzer-BarbaraSchwartz-TimScofield-DreadScott-AnaliaSegel-QuidoSen-RobertSeng BeckyShaw-ArleneShechet-SusanShutan-BarbaraSiegel-AmySillman-FrancescoSimeti-EveSinger-YellerSkeltin-AlisonSlein-ClarissaSligh Richard Sloat - Kiki Smith - Allison Smith - E.E. Smith - Takashi Soga - Indigo Som - Annie Leah Sommers - Pitiwat Somthai - Jane South - Lori Spencer space pro- DevorahSperber-NancySpero-StevenSpretnjak-AndreaStanislav-SusannaStarr-SteveStaso-EddySteinhauer-OonaStern-JulianneSwartz IstvanSzilasi-PhilipTaaffe-YasufumiTakahashi-JudeTallichet-YasuyoTanaka-TashTaskale-JoyTaylor-RonTaylor-DannielleTegeder-MerleTemkin “Big Three” Public Service Group is the consultant, KateTemple-NancyChalkerTennant-CynthiaThompson-MichaelTice-PatriciaTinajero-Baker-MaryTing-NickTobier-ErinTohill-RichardTsao SandraTurley-SachaTwarog-PattyTyrol-RadhikaVaidyanathan-RobVanErve-EricaVanHorn-KateVanHouten-ToniVandegrift-JoseVanegas EmmaVarley-MarkDeanVeca-RalVeroni-TedVictoria-ViljaVirks-Lee-AlexanderViscio-NorwoodViviano-AprilVollmer-JossVulto-MerrillWagner grams across NancyMeliWalker-ConnieWalsh-NicholasWarner-RachelWatson-ThomasWeaver-CarrieMaeWeems-WilliamWegman-RainierWehner AnnetteWeintraub-DebraWeir-RobertWelch-FritzWelch-JamesWelling-BarbaraWestermann-AnitaWetzel-BillWheelock-AlisonWiese —H. W. facilitator, and author of the guides. JodyWilliams-GloriaE.Williams-DavidWilson-MarionWilson-JosephineWithers-PaulWong-BenWoodeson-PattyWouters-SueWrbican JimmyWright-MoonchingWu-LynneYamamoto-ElizabethZanis-ThereseZemilin-EmnaZghal-NolaZirin-SusanZoccola-LiszzieZucker the state will The Artist Workspace Residency: A Guide A PUBLICATION OF THE NEW YORK STATE ARTIST WORKSPACE CONSORTIUM Janson’s be able to History of for Artists primes artists so that they arrive benefit from the opportunity to learn from ready to work, make the most of the resi- Art, Fred S. peer organizations through site visits, tech- Kleiner and dency, and understand how the workspace nical assistance, and participation in a two- model advances their careers. The Artist Christin J. day conference. Mamiya’s Workspace Residency: A Guide for Arts Founded in 2000, NYSAWC is a collec- Organizations offers tips on how to design Gardner’s Art tive whose members pool resources and through the residencies that furnish artists with the work together to deepen their service to environment and tools they need to create Ages, and individual artists and raise the profile of Marilyn new work. Through the collection of best the artist LyndaAbraham-PatriciaWilsonAdams-MarcusAhlers-SeongminAhn-MarleneAlt-DesiréeAlvarez-GhadaAmer-GarthAmundson-JudithAnderson Stokstad’s Art practices and interviews with past resi- BarbaraAndrus-IgorAntic-StephanApicellaHitchcock-ShohamArad-TomieArai-ClaudiaAranovich-KensethArmstead-MichaelAshkin AnnAspinwall-PatBacon-SusanBaker-IsabelBarbuzza-CarolJuneBarton-JahjehanBath-AmyBay-J.CatherineBebout-RachelBeck JarrodBeck-PattieLeeBecker-JoshuaBeckman-SarahBedford-MiriamBeerman-MichaelBeitz-RoberleyBell-MildredBeltre-PiBenio workspace SylviaBenitez-MarcinBerdyszak-CarloBernardini-KarlBeveridge-TraceyBey-MattBlackwell-EmilyBlair-ChristineN.Blair-MiriamBloom TimothyBlum-NancyBlum-AliBlum-JudithBlumberg-ErikaBlumenfeld-SerenaBocchino-MelBochner-M.J.Bole-SabraBooth-NinaBovasso History—along with other prominent text- SusieBrandt-BetsyBrandt-DeborahBright-ZanaBriski-CharlesBrowning-DanielBruce-JamesBrown-MatthewBurke-KellyButtolph dents, the guides provide practical infor- LuisaCaldwell-RobertCaldwell-BethCampbell-KeithCampbell-GaryCardot-MaryCarothers-JamesCasebere-JillCasid-ShaunCassidy JiyoungChae-IreneChan-PaulChan-JamesChinneck-WeiJaneChir-SaemiCho-ByungwangCho-AlbertChong-TheresaChong-YaQin field through BettyChou-AnneChu-MarciaCiro-JamesClark-RobeyClark-SharonE.Clarke-JohnClement-ChuckClose-GregoryCoates-MargaretCogswell AndreaCohen-NancyCohen-EllenColeman-AllysonComstock-CaroleConde-MJConnors-LinusCoraggio-ColleenCorradi-RobertCottingham books used in introductory art-history MarshaCottrell-JohnCraigFreeman-CurtisCravens-JeannieCrosby-GaryCruz-AdaPilarCruz-PatrickCuffe-MaureenCummins-KarenCunningham mation and advice on the residency from SaraCushing-AmyCutler-ElisaD’Arrigo-StevenJohnDavies-LisaCorinneDavis-LeilaDaw-SylviadeSwaan-JeffdeCastro-DaniellaDeeg Maria Deguzman - Penny Dell - Claudia DeMonte - Brendan deVallance - Nancy Diessner - Isaac Diggs - Peggy Diggs - Lesley Dill - Ben Diller StephanieDinkins-RedasDirzys-TennesseeRiceDixon-DeborahDohne-TomaszDomanski-DaniellaDooling-JeanneDunkle-RachelEchenberg information courses. Written with both professors and inception to completion, as well as tips on CarriageHouseattheIslipArtMuseum,Islip-CenterforPhotographyatWoodstock,Woodstock-CEPAGallery,CenterforExploratory and Perceptual Art, Buffalo - Dieu Donné Papermill, New York - Harvestworks, New York - Lower East Side Printshop, New York- SculptureSpace,Utica-SmackMellon,Brooklyn-SocratesSculpturePark,LongIslandCity-Women’sStudioWorkshop,Rosendale exchange and sustaining benefits beyond the program. THE ARTIST WORKSPACE RESIDENCY textbook publishers in mind, “Quo Vadis, A GUIDE FOR ARTS ORGANIZATIONS peer learning Hagia Sophia? Art History’s Survey Texts” NYSAWC has identified artist work- HachiviEdgar-MelvinEdwards-LeslieEliet-DaleEmmart-AmzeJamesEmmons-ChristaErickson-GeraldineErman-BarbaraEss-NicolásDumitEstévez PeterEudenbach-MaicaEvers-MingFay-EliseFerguson-RosemarieFiore-Lars-ErikFisk-KarenFitzgerald-SusanFleminger-PeterForbes CarsonFox-CaoimhghinFraithile-LizFrank-DeborahFrederick-GarthFreeman-VictoriaFuller-PhilipGalgiani-EllieGalligano-AnnetteGates sessions, Cheri Gaulke - Dawn Gavin - Matthew Geller - Keith Gemerek - Ann George - Camille Geraci - April Gertler - Erik Geschke - Dina Ghen - Kate Gilmore Kathleen Gilrain - Joan Giroux - Michele Godwin - Maximilliam Goldfarb - Susan Goldman - Leon Golub - Jesse Good - Joe Goodwin - Sandy Graham judiciously weighs the pros and cons of spaces as different from artist residency JoanneGreenbaum-BrianGustafson-ZakHadlock-JaneHammond-WendyHanson-SarahHauser-LisaHecht-JamesHegge-LisaHein ElanaHerzog-UlrikeHeydenreich-AlisonHiltner-TomasHlavina-JimHodges-CarterHodgkin-AnnHolcomb-MaryHong-MeiLingHom Eric Hongisto - Wen Yi Hou - Bing Hu - Wennie Huang - Douglas Huebler - Rand Huebsch - Ellen Huie - Hawley Hussey - Michelle Illuminato - Simeen Ishaque technical IantheJackson-DianeJacobs-JeanneJaffe-TimJag-TeresaJaynes-SueJohnson-BrennaJohnson-PeterJoseph-MaryJudge-IrenaJuzova MargueriteKahrl-KamlaKakaria-AdamKalinowski-JohnKalymnios-AlexisKarl-LeandroKatz-TamikoKawata-AnnMarieKennedy- individual textbooks and evaluates the programs: workspaces actively engage WilliamKentridge-KathrynKenworth-MinjiKim-JihyeKim-SusanKing-JamesKnittle-KumiKorf-KarenKosasa-JenniferKrauss-PeterKreider AnnKresge-MartinKruck-BarbaraKruger-HeidiKumao-CrystalleLacouture-ThomasLail-MargaretLanzetta-GeraldineLau-PrawatLaucharoen RuthLauer-MatthewLawrence-DihnQ.Le-GeorgeLeGrady-MattsLeiderstam-Leone&MacDonaldJaniceLevy-AnyaLewin-RobLicht-AdamLicht assistance GlennLigon-Ligorano/Reese-JoanLinder-AnaLinnemann-CynthiaLollis-CarolLong-HilaryLorenz-MargotLovejoy-PatriciaLuck-NathanLyons IainMachell-ElizabethMackie-ShawneMajor-RoseMarasco-StephanMarc-JudithCohenMargolis-KarenMargolis-RainerMaria-MarisolMartinez overall field of art-history survey books. artists by providing space, time, technical MichelleMay-ZdenoMayercak-KimMayhorn-ValerieMaynard-MichaelMazur-BrianMcClave-LizaMcConnell-MissyMcCormick-BrianMcCutcheon JoyceMcDaniel-MikeMcFalls-DominicMcGill-MichaelMcKean-CharlesMcQuillen-Komar&Melamid-VojtechMica-SeikoMikami-CristinMillet SusanMills-YongSoonMin-LucasMonaco-AyanahMoor-HiroharuMori-CarrieMoyer-KellieMurphy-JanNagle-ShadiNazarian-RayNeufeld grants, and SusanNewmark-PhuongNguyen-SamualNichols-MarkNicholson-MasanoriNishimura-RyujiNoda-JanetNolan-ValerieNolan-Zarina-LaraOdell LudwikaOgorzelec-YokoOhashi-RuneOlsen-GeraldineOndrizek-SarahOppenheimer-JuanOrmaza-RobertOrtbal-KarenOstrom-LaurieOurlicht Despite the prominence of textbooks in assistance, equipment, resources, and JoeOvelman-PamOwens-JudithPage-RoxyPaine-TimothyL.Palmer-DavidPardoe-CarolannaParlato-DebraPearlman-SheilaPepe JenniferPepper-JuanPerdiguero-SarahPeters-GaryPetersen-JanePhilbrick-HoreaPhoenix-LymanPiersma-FelixPlaza-AmyPodmore JennyPolak-BarbaraPollack-JimPomeroy-CynthiaPorter-DennisPotami-Mir2Project-HelenQuinn-WalidRa’ad-PaoloRadi-RayRapp collaborations LeslieRech-SueRees-AnnReichlin-DanielReiser-LaurieRiccadonna-RobinRice-RosalynRichards-JudyRichardson-ClaudiaRoberts ThomasRoberts-SueAnnRobinson-DorotheaRockburne-LeslieRoitman-GiselaRomero-KaraRooney-RochelleRubenstein-LydiaRubio survey courses, comparative reviews of JamesSadek-AlisonSafford-AkikoSakaizumi-SaraSaltzman-JuanSánchez-AlyceSantoro-JoyanSaunders-ClaudiaSbrissa-CarrieScanga support, and they provide stipends for Miriam Schaer - Amy Schmeirbach - Miriam Schnitzer - Barbara Schwartz - Tim Scofield - Dread Scott - Analia Segel - Quido Sen - Robert Seng BeckyShaw-ArleneShechet-SusanShutan-BarbaraSiegel-AmySillman-FrancescoSimeti-EveSinger-YellerSkeltin-AlisonSlein-ClarissaSligh Richard Sloat - Kiki Smith - Allison Smith - E.E. Smith - Takashi Soga - Indigo Som - Annie Leah Sommers - Pitiwat Somthai - Jane South - Lori Spencer on artistic DevorahSperber-NancySpero-StevenSpretnjak-AndreaStanislav-SusannaStarr-SteveStaso-EddySteinhauer-OonaStern-JulianneSwartz them are relatively rare. To remedy this IstvanSzilasi-PhilipTaaffe-YasufumiTakahashi-JudeTallichet-YasuyoTanaka-TashTaskale-JoyTaylor-RonTaylor-DannielleTegeder-MerleTemkin artists to enable them to concentrate on KateTemple-NancyChalkerTennant-CynthiaThompson-MichaelTice-PatriciaTinajero-Baker-MaryTing-NickTobier-ErinTohill-RichardTsao SandraTurley-SachaTwarog-PattyTyrol-RadhikaVaidyanathan-RobVanErve-EricaVanHorn-KateVanHouten-ToniVandegrift-JoseVanegas EmmaVarley-MarkDeanVeca-RalVeroni-TedVictoria-ViljaVirks-Lee-AlexanderViscio-NorwoodViviano-AprilVollmer-JossVulto-MerrillWagner projects and NancyMeliWalker-ConnieWalsh-NicholasWarner-RachelWatson-ThomasWeaver-CarrieMaeWeems-WilliamWegman-RainierWehner AnnetteWeintraub-DebraWeir-RobertWelch-FritzWelch-JamesWelling-BarbaraWestermann-AnitaWetzel-BillWheelock-AlisonWiese situation, caa.reviews plans to publish a their creative process. JodyWilliams-GloriaE.Williams-DavidWilson-MarionWilson-JosephineWithers-PaulWong-BenWoodeson-PattyWouters-SueWrbican JimmyWright-MoonchingWu-LynneYamamoto-ElizabethZanis-ThereseZemilin-EmnaZghal-NolaZirin-SusanZoccola-LiszzieZucker exhibitions. “Through workspace residencies, artists A PUBLICATION OF THE NEW YORK STATE ARTIST WORKSPACE CONSORTIUM series of informative essays critiquing the In addition to available textbooks used to teach various have the freedom to experiment and the reaching a broad public, consortium mem- support of a community actively involved art-historical periods and subjects. As the bers serve nearly three thousands local, first in this series, Silver and Levine’s in their creative process, while organiza- regional, and national artists each year tions further their missions and truly review casts its net at the most encom- through residencies, workshops, public passing of these volumes. engage with diverse artists,” says Kerry exhibitions, and publications. McCarthy, NYSAWC project director. Silver is Farquhar Professor of the History Members of the New York State Artist of Art at the University of Pennsylvania in “These guides will allow artists and organ- Workspace Consortium are: Carriage izations in all disciplines to understand Philadelphia, and Levine is professor of art House at the Islip Art Museum, Center for history at Southern Connecticut State Uni- what each can offer so that they can Photography at Woodstock, CEPA Gallery, embark on a mutually rewarding work- versity in New Haven. Dieu Donné Papermill, Harvestworks, Visit www.caareviews.org and click on space residency experience.” Lower East Side Printshop, Sculpture Pamela Clapp, program director of the “Essays” to read this important and Space, Smack Mellon, Socrates Sculpture provocative review.
CAA NEWS MARCH 2006 3 below. Please forward nominations and federal support for research and education Nominations self-nominations to: Alexis Light, Govern- in the humanities. Requested for ance and Advocacy Assistant, CAA, 275 Arts Advocacy Day takes place March Seventh Ave., 18th Floor, New York, NY 13–14, 2006. Also held in Washington, 2007–11 CAA Board 10001; [email protected]. Deadline, D.C., this event brings together a broad April 8, 2006. cross-section of America’s national cultural organizations to underscore the importance ant to help shape the future of of developing strong public policies and CAA? Tell us whom you appropriating increased public funding for W would like to see on CAA’s Advocacy Update the arts, the humanities, and arts education, Board of Directors. Nominations and as well as other programs within the feder- self-nominations are sought for individu- al government that have an impact on the als interested in serving on CAA’s Board For more information on CAA’s advocacy visual and performing arts. for the 2007–11 term. The Board is efforts, visit www.collegeart.org/advocacy responsible for all financial and policy or write to Rebecca Cederholm, CAA matters related to the organization. It director of governance and advocacy, at Center for Arts and Culture promotes excellence in scholarship and [email protected]. Closes teaching in the history and criticism of the visual arts, and it encourages creativ- The Center for the Arts and Culture, a non- ity and technical skill in the teaching and Arts Advocacy Day and profit, bipartisan resource for news and practice of art. CAA’s Board is also Humanities Advocacy Day information on policies affecting the arts, charged with representing the member- has shut down its operations. Formed in ship on issues affecting the visual arts CAA is a national cosponsor of Arts 1994 by a consortium of foundations in and humanities. Advocacy Day and Humanities Advocacy Washington, D.C., the center had became Nominations should include the follow- Day. We encourage all members to partici- known for its public listserv, website ing information: the nominee’s name, affil- pate in both events. (www.culturalpolicy.org). and research iation, e-mail address, and telephone num- Humanities Advocacy Day takes place reports that provided news about arts and ber, as well as the name, affiliation, and e- March 1–2, 2006. Held in Washington, culture. mail address of the nominator, if different D.C., this event provides a unique oppor- However, Americans for the Arts has from the nominee. You may use the form tunity for concerned citizens to communi- announced that it will take over the cen- cate to Congress the vital importance of
NOMINATION FOR CAA BOARD OF DIRECTORS 2007 MAIL TO: CAA Nominating Committee FAX TO: Alexis Light c/o Alexis Light 212-627-2381 College Art Association 275 Seventh Avenue, 18th Floor New York, NY 10001
NAME:
TITLE:
AFFILIATION:
ADDRESS:
PHONE: FAX: E-MAIL:
PERSON SUBMITTING THIS NOMINATION:
PHONE: FAX: E-MAIL:
DEADLINE: APRIL 8, 2006
4 CAA NEWS MARCH 2006 ter’s operations. For more information, Emergency Management Agency (FEMA) areas: Conservation Grants are designed to please visit www.artsusa.org. to other agencies. About $11.5 billion of assist the city’s cultural institutions to care the unused funds were devoted to for their art collections and archives, his- U.S. Colonel to Lead Antiquities Community Development Block Grants toric buildings, and landscapes; and (CDBG) for affected states. CDBG can be Transition Planning Grants will strengthen Antitheft Unit a source of funding for arts institutions nonprofits as they respond to the changed and programming, at the discretion of environment for the arts following the Robert Morgenthau, the Manhattan dis- local mayors and planning authorities. storm. trict attorney, has established a task force So far, Mississippi announced that they The city’s cultural economy has been dedicated to investigating and prosecut- will use its portion to give financial assis- threatened by the hurricane, and the Getty ing antiquities theft and trafficking. Col. tance to citizens whose homes were recognizes that increasing cultural tourism Matthew Bogdanos, who as a Marine destroyed or damaged. Louisiana, with far is an important part of the recovery effort. reservist led investigations into the loot- more people affected, has not yet decided While this fund has been designed to pro- ing of the Baghdad Museum and helped how it will spend its CDBG funding. Due vide concentrated assistance in New recover more than five thousand artifacts, to the size and scale of the destruction, it is Orleans, the foundation will also consider will head the taskforce. unlikely that any big portion of CDBG support through its regular grant categories Bogdanos is currently assistant district money will be used as a source of funding attorney in Manhattan. For more informa- for the arts. for other organizations in the region hurt tion on his work in Iraq, see the September by Hurricane Katrina. Getty staff members will also lend their expertise to selected 2003 CAA News cover story, available at Getty Grants to Assist New www.collegeart.org/news/archives.html. conservation or transition planning projects. Orleans Cultural Institutions This is not the first time that the founda- Hurricane Katrina Federal tion has lent its support to the Hurricane- The Getty Foundation has established a $2 damaged Gulf Coast region. Shortly after Funding Update million fund to assist visual-arts institu- the storm, the foundation funded the tions in New Orleans recover from Hurri- launch of the National Trust for Historic In the aftermath of Hurricane Katrina, cane Katrina. The foundation’s Fund for Preservation’s recovery and outreach Congress approved legislation that redi- New Orleans will enable nonprofit arts efforts in the devastated region. The grant rects funds not used by the Federal organizations to apply for support in two covered the expenses necessary to organ-
CLARK CONFERENCE ASIAN ART HISTORY IN THE TWENTY-FIRST CENTURY
APRIL 27–29, 2006
In collaboration with the Asia Society, the Sterling and Francine Clark Art Institute presents its spring conference, first in New York and then in Williamstown. Some of the most important voices in the discipline—curators, art historians, historians, and cultural critics from Asia, Europe, and the United States—will discuss fundamental questions about the nature and the future of Asian art history.
Speakers include Frederick Asher, Melissa Chiu, Vishakha Desai, Oleg Grabar, Wu Hung, Yukio Lippit, Partha Mitter, Rana Mitter, Alexandra Munroe, and Gennifer Weisenfeld.
For more information and registration materials please visit www.clarkart.edu
CAA NEWS MARCH 2006 5 ize and deploy volunteer teams of archi- Art, and Intellect, curated by Leslie King- Feminism, Women, and Museum tects, conservators, and engineers to Hammond of the Maryland Institute Elizabeth Mansfield, University of the Alabama, Louisiana, and Mississippi to College of Art, Ceres Gallery, 547 W. 27th South assess the damage caused to historic build- St., Ste. 201, in Chelsea’s gallery district. 10:10–11:10 AM ings and districts by the storm and flood- The influence of feminism on the practice of ing. This work served as an essential first Saturday, February 17, 2007 art history in the academy has been—and step in preserving and rebuilding the area’s continues to be—well charted. Yet few towns and neighborhoods. A day of panels will be held in the scholars or commentators have evaluated the See www.getty.edu/foundation for details. Feminist Art Project space at the CAA interaction between feminism and museum Annual Conference site. practices. This roundtable discussion aims to One Percent Rescissions for NEA promote a sustained consideration of the his- tory and future of feminism in American art and NEH Are We There Yet? The Status and Impact of Second- and Third-Wave museums. Participants will discuss the rela- tionship between feminism and the art muse- As part of hurricane relief efforts, Congress Feminism, Women’s Art, the Women’s um, addressing general themes as well as has approved a 1 percent across-the-board Art Movement, and “Feminist Art” specific problems or cases. rescission (or reduction) to all fiscal year Arlene Raven, Maryland Institute College 2006 appropriations, except for emergency of Art, and Anne Swartz, Savannah As the Feminine Became Public (or) spending and veterans programs. Thus, College of Art and Design Regendering Public Art programs with approved budgets, such as 9:00–10:00 AM Suzanne Lacy, Otis College of Art and the National Endowment for the Arts and This session explores issues of genera- Design the National Endowment for the Humani- tional, ethnic, racial, and gender crosscur- 11:40 AM–12:40 PM ties, will see a retroactive budget cut of 1 rents, contextual obstructions, and The writer and artist Suzanne Lacy has percent. indomitable spirit, as they shaped this movement and suggest a paradigmatic shift advanced the possibility that the feminist of contemporary cultural expectations. art project as developed in the 1970s was Feminist Art Project at 2007 CAA Conference
he Feminist Art Project will present a two-day series of events, organ- T ized by the art historians Arlene Raven and Anne Swartz, in conjunction with CAA’s 2007 Annual Conference in New York. In addition to panels and pre- sentations featuring renowned and emerg- ing visual-arts professionals, the program includes opening and closing receptions at two Chelsea galleries, which are hosting group exhibitions of feminist art. For more information about the project, visit http://feministartproject.rutgers.edu. The schedule for this series of activities is as follows:
Thursday, February 16, 2007
Reception for The Changing Room: Object and Metaphor, new work by Daria Dorosh, A.I.R. Gallery, 511 W. 25th St., Ste. 301, in Chelsea’s gallery district. Sylvia Sleigh, A.I.R. Gallery Group Portrait, 1977, oil on canvas, 76 x 82 in. Artwork © Sylvia Sleigh. From left to right, back row: Daria Dorosh, Nancy Spero, Dottie Attie, Mary Grigoriadis, Blythe Bohnen, Friday, February 17, 2007 Loreta Dunkelman, Howerdena Pindell, Sylvia Sleigh, Patsy Norveli; second row: Sari Dienes, Anne Healy, Agnes Denes, Laurace James, Rachel Bas Cohain, Louise Kramer; third row: Pat Lasch, Maude Boltz, Clover Vail, Kazuko; front row: Mary Beth Edelson, Donna Byers. Reception for Agents of Change: Women,
6 CAA NEWS JANUARY 2006 both activist and identity-driven, and that these two themes led to the development, over the next two decades, of vastly differ- 4HE&EMINIST!RT0ROJECT ent forms of art. This panel explores the possible heritage of feminist theoretical 4HE&EMINIST!RT0ROJECT INVITES YOU TO PARTICIPATE IN ACTIVITIES THAT CELEBRATE WOMENS CON and strategic notions in activist and com- TRIBUTIONS TO ART AND THE &EMINIST !RT -OVEMENT /UR PURPOSE IS TO BRING PUBLIC ATTENTION TO THEIR SIGNIlCANT IMPACT ON CONTEMPORARY ART PRACTICE HIGHLIGHTING THEIR INTERNATIONAL INmU munity-based public-art trends today, both ENCE AND GUARANTEEING INCLUSION IN THE CULTURAL RECORD PAST PRESENT AND FUTURE 3TARTING IN national and international. MUSEUMS UNIVERSITIES AND OTHER INSTITUTIONS NATIONALLY ARE PLANNING TO COMMEMORATE SEVERAL HISTORIC ANNIVERSARIES IN THE !MERICAN 7OMENS !RT -OVEMENT OF THE S AND Back to the Front LAUNCH NEW INITIATIVES TO DEMONSTRATE THE ONGOING SIGNlCANCE OF WOMENS CONTRIBUTIONS TO Helena Reckitt, Toronto-based independ- ART 0LEASE JOIN IN THIS CELEBRATION BY MOUNTING ACTIVITIES TO SUPPORT THIS MISSION ent critic and curator ! .ATIONAL #OMMITTEE FACILITATED BY 2UTGERS 5NIVERSITY IS COORDINATING ACTIVITIES AND 12:50–1:50 PM CONDUCTING A NATIONWIDE CAMPAIGN TO PUBLICIZE ALL PROGRAMS RELATED TO THE MISSION OF Lamenting feminism’s absence from 4HE&EMINIST!RT0ROJECT7E WILL INCLUDE PROJECTS ALREADY PLANNED AND OTHERS THAT WILL recent art has become customary, but what BE INITIATED IN RESPONSE TO THIS CALL7E LOOK FORWARD TO RECEIVING YOUR COMPLETED FORM if contemporary feminist art isn’t so much absent as different? Might today’s context 0LEASE RETURN THE #ALL FOR 0ARTICIPATION FORM TO 4IFFANY #ALVERT 0ROJECT -ANAGER 4HE&EMINIST mean that expressions of sexual politics by !RT0ROJECT &OSTER #ENTER$OUGLASS ,IBRARY #HAPEL $RIVE 2UTGERS 5NIVERSITY .EW "RUNSWICK younger artists inevitably diverge from .* earlier paths? Moreover, how are third- OR FAX TO &OR FURTHER INFORMATION PLEASE CALL EXTENSION 4HE DEADLINE FOR SUBMISSION IS *UNE wave feminists, lesbians, transgender per- sons, and cyberfeminists, who are all 4HIS INFORMATION WILL BE LISTED ON THE 0ROJECTS WEBSITE FEMINISTARTPROJECTRUTGERSEDU influenced by feminist art of the 1970s and CALENDARS AND PUBLICITY 1980s but might only have experienced it second-hand, making work that responds .AME OF 0RIMARY #ONTACT 0ERSON ???????????????????????????????????????????? to this legacy—implicitly, explicitly, %MAIL ?????????????????????? and/or with parody? 4ELEPHONE ?????? ??????????????????????? %XTENSION ?????????? Occupying Our Hearts: Performing Self- Transformation through Feminist Art &AX ?????? ???????????????????????????? Joanna Frueh, University of Nevada 2:00–3:00 PM )NSTITUTION OR ORGANIZATION Transformation is the ostensible goal of !DDRESS ????????????????????????????????????????????????????????????????? social revolution. A radically transforming #ITY ????????????????????????????????????? 3TATE ???????? :IP ?????????????? revolution can grow only from self-trans- formation, which requires deep living in 4ITLE OF 0ROJECT ??????????????????????????????????????????????????????????? the heart. Whatever occupies our hearts determines our capacity to transform soci- ,OCATION OF 0ROJECT 0LEASE INCLUDE FULL CONTACT INFORMATION AND ADDRESS IF DIFFERENT FROM ety and culture. Using performance, schol- ABOVE arly presentation, conversation, and open !DDRESS ????????????????????????????????????????????????????????????????? dialogue with the audience, session partici- #ITY ???????????????????????????????????? 3TATE ???????? :IP ?????????????? pants will delve into feminist art created during the past forty years that performs 4ELEPHONE ????? ??????????????????? %XTENSION ???????????? self-transformation. The point is to explore the occupation of the heart, within a line &AX ????? ????????????????????????? of feminism and as that line expands into a larger world: Is feminist self-transforma- %XHIBITION ??????? #ONFERENCE ????? 0ROGRAM ??????? #OURSE ??????? /THER ??????? tion a truly revolutionary beacon? $ATE OR IF AN EXHIBITION SEVERAL DAY CONFERENCE OR COURSE PLEASE GIVE BEGINNING AND ENDING DATES ????????????????????????????????????????????????????????? “Life of the Mind, Life of the Market”: A Reevaluation of the Contribution of %XHIBITION GALLERY DAYS HOURS ??????????????????????????????????????????????? Theory to Feminist Art from 1980 to 2006 Mira Schor, painter and writer #OURSE DAYS ?????????????????? HOURS ??????????????? 3:10–4:10 PM !DMISSION FEES ??????????????????????????????????????????????????????????? This panel reexamines the role that critical theory played in the 1980s in promoting a 7EBSITE HTTP ????????????????????????????? more thoughtful and critical approach to art. Focusing primarily on art by women, 0LEASE GIVE A BRIEF DESCRIPTION OF THE PROJECT INCLUDING NAMES OF CURATORS SPEAKERS how might we develop similar strategies in ARTISTS INSTRUCTORS AND SPONSORS ETC ON A SEPARATE PAGE
CAA NEWS MARCH 2006 7 relation to the current market-driven art describes many of next year’s panels and or authority. discourse and its preference for primarily presentations. CAA and session chairs • A detailed exhibition budget for expenses expressive or decorative approaches to art invite your participation: please follow the and income, showing other anticipated making? Looking back at the positive instructions in the booklet to submit a pro- sources of funding or in-kind support. impact of theory on feminist art in the posal for a paper. This publication also Please send your proposal by e-mail to 1980s, artists and scholars must reconsider includes a call for Poster Session propos- [email protected]. Written inquiries the value of intellectual rigor and political als and describes the Open Forms sessions, may be addressed to: Emanuel Lemakis, analysis for art today, and the possibilities a new Annual Conference feature. Director of Programs, Re: Exhibitions for reconciling and articulating such con- In addition to attending and participating Committee, CAA, 275 Seventh Ave., 18th cerns in relation to the current focus on in the wide-ranging panels on art history, Floor, New York, NY 10001. materiality and visual pleasure. studio art, contemporary issues, and pro- fessional and educational practices, 2007 American Art and Sexual Trauma conference attendees can look forward to CAA News Vivien Fryd, Vanderbilt University four days of ARTspace programming, 4:20–5:20 PM events at local museums and galleries, and This panel considers how American artists postconference trips to nearby museums For more information on CAA activities, either exploit or condemn sexual trauma. and art centers. Convocation, program visit www.collegeart.org. How did artists working prior to the 1970s sessions, the Career Fair, and other events deal with themes of sexual violence, rape, will be held at the New York Hilton. We New Committee Members and incest? Did they silence or exploit the look forward to your contributions. subject; if so, how and why? How do Deadline for proposals for papers: May 1, The following individuals have been artists after the 1970s overtly expose the 2006. appointed to serve on CAA’s Professional sexism involved in sexual violence, rape, Interests, Practices, and Standards (PIPS) committees beginning February 2006. and incest against women and men when Curatorial Proposals Sought for the rape-crisis movement ended the silence Committee on Diversity Practices: about these subjects? How do artists per- 2008 and 2009 Conference Mary Ann Calo, Colgate University. form an act of memory that is potentially Committee on Intellectual Property: CAA invites curators to submit proposals healing, recognizing the traumatized Helen Ronan, independent consultant for exhibitions whose openings will coin- party’s predicament by creating narratives (reappointed). cide with the Annual Conference. The through representational form? How can Committee on Women in the Arts: upcoming conferences are: we consider art, gender, sexuality, religion, Diane Burko, independent artist; Noreen • Dallas, February 20–23, 2008. Deadline: and race in an effort to expose, understand, Dean Dresser, liaison from the Women’s September 1, 2006. and reinsert subjects that are both a prod- Caucus for Art (reappointed); Mindy • Los Angeles, February 25–28, 2009. uct and a source of textual and visual anxi- Nancarrow, University of Alabama. Deadline: Open. ety, contradiction, or censorship in Education Committee: Robert D. There are no limitations on the theme or American culture? Bersson, liaison from the National Art media of work to be included in the exhi- Education Association (reappointed); Eddie bition, except that it must be a group show Shanken, Savannah College of Art and of contemporary art. CAA’s Exhibitions Design; Richard Tichich, East Carolina Committee reviews and judges the propos- University. Annual Conference als based on merit. CAA provides support International Committee: Christiane for the exhibition with a grant of up to Andersson, Bucknell University; Trebor Update $10,000. An additional grant of $5,000 is Scholz, University at Buffalo, State available for an exhibition catalogue to be University of New York. printed in sufficient numbers for distribu- For more information about the 2007 CAA Museum Committee: Sally Block, liai- tion to all Annual Conference attendees. Annual Conference in New York, please son from the American Association of Proposals must be submitted electroni- visit www.collegeart.org/conference or Museum Curators (reappointed); Katherine cally and should include the following write to Susan DeSeyn, CAA manager of Crum, independent curator and consultant information: programs, at [email protected]. (reappointed); Nancy Mowll Mathews, • Name(s) of curator(s) or organizer(s), Williams College Museum of Art; Richard affiliation(s), c.v.(s). Saunders, Middlebury College Museum of 2007 Call for Participation Mailed • A brief statement of no more than 250 Art. words describing the exhibition’s theme Professional Practices Committee: Leo The next CAA Annual Conference takes and explaining any special or timely Morrissey, Winston-Salem State place February 14–17, 2007, in New York. significance. University; Maxine Payne, Hendrix Listing more than 120 sessions, the 2007 • Identification of the designated venue, College. Call for Participation will arrive in the including a brief description of the exhi- Services to Artists Committee: Brian mailboxes of all CAA members this bition space, its staffing and security Bishop, University of Alabama; Ann month; it will also be available online at features, and the approval for this exhi- Sperry, independent artist; Reva Wolf, www.collegeart.org. This publication bition by the venue’s appropriate officer State University of New York, New Paltz.
8 CAA NEWS MARCH 2006 Student and Emerging Professionals The Art Bulletin publishes scholarly incoming reviews editor designate from Committee: Hilary Batzel, Indiana essays and documentation on the history September 1, 2006, to June 30, 2007). Art University of Pennsylvania; Margarita of visual art of all periods and places. The Journal, published quarterly by CAA, is Berg, University of Minnesota; Elizabeth editor-in-chief is responsible for the con- devoted to twentieth- and twenty-first-cen- Wages, University of Oregon. tent and character of the journal. Each tury art and visual culture. For a complete list of committee mem- issue has approximately 150 editorial Working with the editorial board, the bers and recent activities, please visit pages (135,000 words), not including book reviews editor is responsible for the com- www.collegeart.org/committees. A call for and exhibition reviews, which are the missioning of all book and exhibition nominations to serve on CAA’s commit- responsibility of the reviews editor. The reviews in Art Journal. He or she selects tees appears annually in the September editor-in-chief reads all submitted manu- books and exhibitions to be reviewed, issue of CAA News. CAA’s president and scripts, refers them to appropriate expert commissions reviewers, and determines vice president for committees review nom- referees for scholarly review, provides the appropriate length and character of inations in December and make appoint- guidance to authors concerning the form reviews. The reviews editor also works ments that take effect in February of each and content of submissions, and makes with authors and CAA’s manuscript editor year. final decisions regarding acceptance or in the development and preparation of rejection of articles for publication. review manuscripts for publication. He or Wyeth Publication Grant In addition to working with authors, the she is expected to keep abreast of newly editor-in-chief attends the three annual published and/or important books and Winners meetings of The Art Bulletin editorial recent exhibitions in the fields of twenti- board—held in the spring and fall in New eth-century and contemporary art, criti- CAA is pleased to announce three inaugu- York and in February at the CAAAnnual cism, theory, and visual culture. This is a ral recipients of the Wyeth Foundation for Conference—and submits an annual report three-year term, which includes member- American Art Publication Grant. Thanks to to the CAA Board of Directors and editori- ship on the Art Journal editorial board. a generous three-year grant from this al board. CAA reimburses the editor-in- The position includes an annual honorari- organization, these awards are given annu- chief for travel and lodging expenses for um of $2,000, paid quarterly. ally (through fall 2007) to publishers to the spring and fall meetings in accordance The reviews editor attends the three support the publication of one or more with its travel policy, but the editor-in- annual meetings of the Art Journal editori- book-length scholarly manuscripts in the chief pays these expenses to attend the al board—held in the spring and fall in history of American art, visual studies, and Annual Conference. The editor-in-chief New York and in February at the CAA related subjects. also works closely with the CAA staff in Annual Conference—and submits an The grantees are: M. Elizabeth Boone, New York, where production for the publi- annual report to CAA’s Publications Vistas de España: American Views of Art cation is organized. This is a half-time Committee. CAA reimburses the reviews and Life in Spain (Yale University Press); position. CAA provides financial compen- editor for travel and lodging expenses for Clair Farago and Donna Pierce, Trans- sation to the editor’s institution, usually in the spring and fall meetings in accordance forming Images: Locating New Mexican the form of course release or the equiva- with its travel policy, but the reviews edi- Santos in between Worlds (Pennsylvania lent, for three years. The editor is not usu- tor pays these expenses to attend the State University Press); and Julia ally compensated directly. Annual Conference. Rosenbaum, Visions of Belonging: Art, New Candidates must be CAA members. England, and the Making of American Nominators should ascertain their nomi- Identity (Cornell University Press). nee’s willingness to serve before submit- CAA ANNOUNCES Books eligible for the Wyeth grant are ting a name; self-nominations are also NEW PUBLICATION GRANTS those that have been accepted by a publish- welcomed. All nominations must be er on their merits but cannot be published accompanied by a c.v., a statement by the in the most desirable form without a sub- The College Art Association now offers three grant nominee of interest in the position, and at sidy. Authors must be current CAA mem- programs to publishers to support publication of least one letter of recommendation and scholarly art and art-history books: bers. Application criteria and guidelines are support. These materials should be sent to: available at www.collegeart.org/wyeth or CAA Publication Grant Director of Publications, The Art Bulletin from [email protected]. Deadline: March 1 Editor-in-Chief Search, CAA, 275 Seventh For eligibility and application guidelines and forms: Deadline: October 15, 2006. Ave., 18th Floor, New York, NY 10001; or www.collegeart.org/pubgrant e-mail to [email protected], with Millard Meiss Publication Fund Grant The Art Bulletin Seeks Editor-in- “The Art Bulletin Editorship” in the sub- Deadlines: March 15 and October 1 each year ject line. Deadline: June 30, 2006. For eligibility and application guidelines and forms: Chief www.collegeart.org/meiss
Wyeth Foundation for American Art Grant The Art Bulletin editorial board invites Art Journal Seeks Reviews Editor nominations and self-nominations for the Deadline: October 15 For eligibility and application guidelines and forms: position of editor-in-chief of The Art The Art Journal editorial board invites www.collegeart.org/wyeth Bulletin, for a term of office from July 1, nominations and self-nominations for the 2007, to June 30, 2010 (preceded by a Or visit www.collegeart.org/publications position of reviews editor for the term July for general information. year as editor designate, from September 1, 2007–June 30, 2010 (with service as 1, 2006 through June 30, 2007).
CAA NEWS MARCH 2006 9 Candidates must be current CAA mem- New Institutional Membership Categories bers. Nominators should ascertain their nominee’s willingness to serve before sub- and Benefits mitting a name; self-nominations are also welcomed. A c.v., a statement by the nomi- nee of interest in the position, and at least AA is unveiling a new trilevel institutional-membership structure, which has one letter of recommendation should been created to better serve our institutional members. No matter the size or accompany a nomination. Please mail to: Cstructure of your organization, CAA offers a membership level designed to Director of Publications, Art Journal suit your specific needs. Reviews Editor Search, CAA, 275 Seventh Some of the exciting new benefits available to your institution include discounts on Ave., 18th Floor, New York, NY 10001; or employment listings in our Online Career Center, discounts on CAA’s limited-edition e-mail to [email protected]. Deadline: prints, discounts on advertising in CAA publications, and much more. June 15, 2006. If your institutional membership is current, you will continue to receive benefits under the previous “Basic” or “Premium” membership structure. When that member- ship expires, you may take advantage of the new benefits structure. Art Journal Seeks Editorial-Board The new institutional membership structure and benefits are listed below. We have Member your needs in mind and are sure you will find a membership level that is most bene- ficial to your organization. If you have questions about the new structure, please con- CAA invites nominations and self-nomi- tact CAA Member Services at [email protected] or 212-691-1051, ext. 12; or nations for one individual to serve on the visit www.collegeart.org/membership/institution.html. Art Journal editorial board for a three- year term, beginning July 1, 2006. Art Primary Membership ($300) Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first- The following benefits: century art and visual culture. • Four issues of The Art Bulletin. Candidates are individuals with a broad • Four issues of Art Journal. knowledge of modern and contemporary • Six issues of CAA News. art; institutional affiliation is not required. • Access to caa.reviews. The editorial board advises the editor-in- • Complimentary Annual Conference Abstracts. chief and assists him or her to seek authors, articles, artist’s projects, and Library/Department/Museum Membership ($450) other content for the journal; guides its editorial program and may propose new All above benefits plus: initiatives for it; performs peer reviews • Annual Conference registration for up to ten faculty/staff at the reduced individual- and recommends peer reviewers; and may member rate. support fundraising efforts on the journal’s • 50 percent discount on one thirty-day Online Career Center job listing. behalf. Members also assist the editor-in- • Member rate on additional Online Career Center job listings. chief to keep abreast of trends and issues • Free reception room at the Annual Conference. in the field by attending and reporting on • 25 percent discount on interview tables at the Annual Conference. sessions at the CAA Annual Conference • 25 percent discount on CAA limited-edition prints. and other academic conferences, sym- • Discounts on subscriptions to more than twenty art magazines. posia, and events in their fields. The editorial board meets three times a Academic/Corporate Membership ($750) year (twice in New York in the spring and fall and once in February at the CAA All above benefits plus: Annual Conference). CAA reimburses • Up to two additional complimentary subscriptions to The Art Bulletin and Art members for travel and lodging expenses Journal. for the spring and fall meetings in accor- • Complimentary individual membership for one staff member. dance with its travel policy, but members • 20 percent discount on advertising with CAA (The Art Bulletin, Art Journal, CAA pay these expenses to attend the Annual News, and Annual Conference Program). Conference. • 15 percent discount on mailing-list rentals. Candidates must be current CAA mem- • 15 percent discount on Book and Trade Fair booths at the Annual Conference. bers. Nominators should ascertain their • Acknowledgment in CAA publications. nominee’s willingness to serve before sub- • Invitations to special events at the Annual Conference. mitting a name; self-nominations are also welcomed. Please send a letter of interest, Institutional membership is not transferable among departments, libraries, or muse- c.v., and contact information to: Chair, Art ums within a college or university, or transferable to individuals. Journal Editorial Board, CAA, 275 Seventh Ave., 18th Floor, New York, NY 10001. Deadline: April 17, 2006.
10 CAA NEWS MARCH 2006 tion paid to the materiality and technical be available for travel to several communi- Affiliated Society aspects of art by a historian in reconstruct- ty colleges. The exhibition would have its News ing the meaning, function, and reception of first showing at the Community College of artworks. The author deftly explores pig- Rhode Island in Warwick during fall 2006. ment sources, trading routes, and workshop If you are interested in participating, sub- For more information on CAA’s affiliated practices surrounding the circulation and mitting work, reviewing, or hosting the societies, please visit www.collegeart.org/ use of colors. exhibition, please contact Tom Morrissey affiliated or write to Emmanuel Lemakis, This award, sponsored by the Arvey at [email protected]. CAA director of programs, at elemakis Foundation, is given annually to an out- @collegeart.org. standing work of scholarship in any field Historians of Netherlandish Art of Latin American art. Nominations for Association of Art Editors books for the 2006 competition should be The Historians of Netherlandish Art forwarded to Jeanette Peterson at (HNA) will hold its conference November In February, the style guide produced in [email protected]. 8–12, 2006, in Baltimore, Maryland, and 2005 by the Association of Art Editors Washington, D.C. Entitled “From Icon to (AAE) was published on the group’s web- Art Libraries Society of North Art in the Netherlands,” the conference site, www.artedit.org. Aimed at authors and America coincides with two important area exhibi- editors of all types of art texts, the guide is tions of Netherlandish art: Prayers and intended as an efficient key to various The Art Libraries Society of North Portraits: Unfolding the Netherlandish accepted styles rather than a definitive man- America (ARLIS/NA) will convene its Diptych at the National Gallery of Art and, ual. Begun by the late Virginia Wageman, it thirty-fourth annual conference—entitled at the Walters Art Museum, a new installa- was completed by Lory J. Frankel and vet- “Transcontinental Perspectives: ARLIS/ tion of the old-master galleries based on a ted by a members’ committee. NA in the Canadian Rockies”—in Banff, provocative, contextual approach featuring Formed in 1994, AAE focuses on helping Alberta, Canada. The conference takes a Collections of Art and Wonders belong- authors, publishers, museums, and art gal- place May 5–9, 2006, at the historic ing to a seventeenth-century nobleman in leries produce texts that seamlessly inte- Fairmont Banff Springs Hotel in Banff Flanders and the Cabinet Galleries of a grate art-historical writing with illustra- National Park; the 1,100-member organi- Dutchman in the circle of William and tions and that reflect sensitivity to both zation expects 400 attendees and 40 Mary circa 1700. Sessions and workshops scholarship and graphic design. Created in exhibitors. are in Baltimore; events in Washington 2001, the AAE website provides contact The programs features sessions on digiti- feature a preview of Prayers and information and an expertise summary for zation and image management, “green” Portraits. A call for papers is open until each of its eighty-two members, an index architecture, preservation of art and archi- March 15, 2006. For information, includ- cross-referencing members’ skills, a job- tecture materials, decorative arts, national ing a preliminary program, see “HNA opportunities page, grammar, usage, and art libraries, and graphic-novel and comics Conferences” at www.hnanews.org. other style links, and more. collections, as well as workshops on stan- dards for the description of photographs, Society of Architectural Association for Latin American Art artists’ books, resources for architecture Historians teaching, collection assessment and devel- The sixth opment, and film resources. Also offered is The Society of Architectural Historians annual a one-day, preconference workshop, (SAH) will hold its fifty-ninth annual meet- Association “Copying Right in the Canadian Context: ing April 26–30, 2006, in Savannah, for Latin Looking at the Arts and Images,” present- Georgia. In addition to featuring new American Art ed by the Canadian Heritage Information research on the history of the built environ- (ALAA) Book Network and the Canadian Association of ment in twenty-five scholarly-paper ses- Award was College and University Libraries. sions, the meeting includes a day-long given to For information about registration and preservation colloquium, “Gentrification Gabriela accommodation, descriptions of sessions, and Racial Issues in Neighborhood Siracusano for workshops, and tours, and biographical Preservation,” on April 26. The rich history El poder de notes about participants, visit the conference of Savannah and its unique urban plan will los colores: website, www.arliscanada.ca/banff2006. For be presented in an extensive series of archi- De lo material additional information about ARLIS/NA, tectural tours, including a trip to Frank a lo simbólico see www.arlisna.org. Lloyd Wright’s Auldbrass Plantation in en las prácti- Yemassee, South Carolina. The meeting cas culturales andinas (siglos XVI–XVIII) Community College Professors will culminate with receptions at seven (Buenos Aires: Fondo de cultura económi- of Art and Art History nineteenth-century houses clustered on ca de Argentina, 2005). This intriguing Monterey and Calhoun Squares and a two- study bridges the divide between science Community College Professors of Art and day tour heading south along the Atlantic and art, or, as Siracusano puts it, between Art History (CCPAAH) is organizing a coast to Jekyll Island, Georgia, and to St. praxis and disegno. Refreshing is the atten- members’ exhibition in 2006–7 that could Augustine, Florida. For further information,
CAA NEWS MARCH 2006 11 visit www.sah.org; to request a meeting Society for Photographic psychological urgency and vernacular brochure, contact the SAH office at 312- Education poetry. While she has engaged objects 573-1365 or [email protected]. directly through their fragmentation and The Society for Photographic Education reassembly on shaped canvases and Southeastern College Art (SPE) is accepting proposals from all pho- through three-dimensional modeling, her Conference / Mid-America tographers, writers, educators, curators, recent works distill and sublimate these College Art Association historians, and professionals from other experiences into freely drawn composi- fields for its forty-forth national confer- tions that pulse with luminous energy. The Southeastern College Art Conference ence, “Look Out: Photography and the Murray has often been a mentor to and the Mid-America College Art Worlds of Contemporary Art,” taking younger artists; her generosity has manifest- Association seek proposals for papers from place March 15–18, 2007, in Miami, ed itself most notably in her recent return to art and architectural historians, studio Florida. Proposals should explore the cen- teaching at Brooklyn College. Perhaps more artists, visual-resource professionals, art tral role of photography, video, and instal- significant, though, has been her inspira- educators, and museum professionals for a lation within contemporary art and draw tional role, particularly for women artists joint conference, to be held October attention to international artists and their but also more widely, for the unpretentious 25–28, 2006, at Vanderbilt University in practices. A 2007 proposal form can be pleasure with which she responds to paint- Nashville, Tennessee. Please check the downloaded from www.spenational.org. ing. In the spirit of the popular imagery she conference websites, www.secollegeart.org Deadline: June 1, 2006. often appropriates, her stance is down-to- and www.macaart.org, during March and earth, open, and inclusive. April 2006 for detailed information about the Many artists have delved into popular sixty-plus sessions. For more information, 2006 CAA Awards for culture in efforts to bridge the gap between contact Michael Aurbach, conference coordi- Distinction high and low art, but few if any have suc- nator, at [email protected]. CONTINUED FROM PAGE 1 ceeded as Murray has in maintaining both Deadline: May 15, 2006. the vitality of the one and the sophistica- others. She is the recipient of many awards, tion and psychological complexity of the Southern Graphics Council including a prestigious MacArthur other. She taps deeply into the sources of Foundation fellowship. modernism and the energy of American The upcoming Southern Graphics Council By combining California Funk with New everyday life. Just as her subjects mutate (SGC) international conference, entitled York Minimalism in her works of the and adopt shifting references, her influence “Genetic ImPrint” and taking place April 1970s, Murray revivified an abstract paint- promises to take unexpected and various 5–9, 2006, at the University of Wisconsin ing that had become formulaic; she also turns. What is certain is that her paintings in Madison, will examine the scope and brought fresh energy to the cool irony of and the example of her career will continue breadth of contemporary printmaking by Pop. As Louise Hamlin wrote in her letter to bring joy and inspiration to future gener- considering issues surrounding genetics of nomination, “She has changed both the ations of artists and viewers. through the framework of prints. SGC will face of painting and the understanding of honor professional printmakers who have it, for the general public and artists alike.” Jury: Hearne Pardee, University of California, made a lasting impact on our field as well Her early images of the Empire State Davis, chair; Georgia Strange, Indiana University; Leo Morrissey, Winston Salem State University; as the most promising young artists. Sue Building, with their offhand appropriation Gosin, founder and director of Dieu Robert Berlind, Purchase College, State University of New York’s most potent masculine of New York Donné Papermill in New York, will be icon, exempli- named Printmaker Emeritus; Warrington fy her humor Distinguished Body of Work Colescott, renowned etcher and longtime as well as the Award professor at the University of Wisconsin self-assurance in Madison, will receive the Lifetime that inspired Andrea Zittel has produced an excep- Achievement Award; and Lynwood her to warp tionally creative body of work that illu- Kreneck of Texas Tech University will the conven- minates emerging currents of exchange receive the Excellence in Teaching Award. tions of geo- between collective and personal spaces, Student fellowships will be awarded to metric sculpture and design, and architecture and Richard Gamble, an undergraduate at the abstraction. geography. Most widely known for her Memphis College of Art in Tennessee, and Minimalism functional reconstructions of everyday Sherry Black, a graduate student at the Photo: Elizabeth Page Wilson encouraged living spaces, Zittel’s production includes Elizabeth Murray University of Nebraska in Lincoln. Murray to large-scale public art projects, furniture, The SGC session at the CAA Annual focus on sim- clothing, travel trailers, performance, and Conference in Boston conducted a round- ple structures, on the painting as object, communal sites for artistic production. table discussion on the widespread use of often involving deviations from symmetry, These artworks emerge as serial investi- multiplicity, indexing, repetition, and in ways that lend her work formal com- gations of an acutely contemporary desire accumulation in contemporary art. plexity. By applying these structures to for both personal autonomy and collec- domestic objects, she endows them with tive experience in Western societies. This
12 CAA NEWS MARCH 2006 CAA Seeks Award Nominations
ant to recognize someone who has made extraordinary contributions to the fields of art and art history? Nominate him or her for a CAA Award for W Distinction. Awards juries consider your personal letters of recommenda- tion when making their selection. In the letter, state who you are; how you know (of) the nominee; how the nominee and/or his or her work or publication has affected your studies and the pursuit of your career; and why you think this person (or, in a Andrea Zittel collaboration, these people) deserves to be recognized. We urge you to contact five to ten colleagues, students, peers, collaborators, and/or coworkers of the nominee to conflicted desire plays out, as she demon- write letters as well. The different perspectives and anecdotes from multiple letters strates, in psychic encounters with vari- of nomination provide the juries with a clearer picture of the qualities and attributes ous forms of spatial habitation, nostalgic of the candidates. evocations of modernist utopias, and All nomination campaigns should include one copy of the nominee’s c.v. (limit: two dreams about life on a frontier. Zittel’s pages). Nominations for book awards and exhibition awards should be for authors of production engages forms of interactivity books published or works exhibited or staged between September 1, 2005, and August aligned with subliminal experiences con- 31, 2006. No more than ten letters per candidate will be considered. For more infor- structed with computers, especially her mation, please write to [email protected] or consult www.collegeart.org/awards. embrace of individualized fantasies as Deadline: August 31, 2006. content and her hybrid conceptions of sculpture, fashion, architecture, and design. Her work also illuminates a cor- Annual Awards for Distinction ner of contemporary feminism with its dual focus on domestic spaces and an The Charles Rufus Morey Book Award honors an especially distinguished book in industrial formalism that references the history of art, published in the English language. (To give the jury the full oppor- Minimalism and the Bauhaus. Zittel said, tunity to evaluate each submission fairly, please send in your nomination well before in a 2005 interview: the deadline.) One of the most important goals of this work is to “illuminate” how we attribute The Alfred H. Barr, Jr. Award for museum scholarship is presented to the author or significance to chosen structure or ways authors of an especially distinguished catalogue in the history of art, published in the of life, and how arbitrary any choice of English language under the auspices of a museum, library, or collection. (To give the structure can be. I do not mean to deny jury the full opportunity to evaluate each submission fairly, please send in your nomi- how oddly meaningful these structures nation well before the deadline.) can be. Instead, I use my work to try to comprehend values such as “freedom,” The Arthur Kingsley Porter Prize is awarded for a distinguished article published in “security,” “authority” and “expertise.” I The Art Bulletin by a scholar of any nationality who is under the age of thirty-five or am interested in how qualities we feel who has received the doctorate no more than ten years before the acceptance of the are totally concrete and rational are article for publication. often subjective, arbitrary or invented. Since I think that “Art” is often seen as The Art Journal Award is presented to the author of the most distinguished contribu- an area of expertise, a field requiring a tion (article, interview, conversation, portfolio, review, or any other text or visual vast body of knowledge in order to project) published in the Art Journal. understand, I hope my work ultimately bridges the most basic human concerns The Frank Jewett Mather Award is awarded to an author of art criticism that has with those of contemporary artistic con- appeared in whole or in part in North American publications. cerns. Zittel is the 2005 winner of the Smith- The Distinguished Teaching of Art Award is presented to an individual who has sonian American Art Museum’s Luciela been actively engaged in teaching art for most of his or her career. Award, granted to a United States artist under the age of fifty for exceptional cre- The Distinguished Teaching of Art History Award is presented to an individual ativity and production of a significant who has been actively engaged in teaching art history for most of his or her career. body of work “emblematic of this period in contemporary art.” Her midcareer retro- The Artist Award for a Distinguished Body of Work is given to a living artist of spective opened this year at the Contemp- national or international stature for exceptional work through exhibitions, presenta- orary Arts Museum, Houston, and is trav- tions, or performances. eling to the New Museum of Contempo- rary Art, New York (on view until May CONTINUED ON PAGE 27
CAA NEWS MARCH 2006 13 27); the Museum of Contemporary Art, on the Herculaneum mansion as it was the display of sculpture, the history of Los Angeles; the Albright-Knox Art known from eighteenth-century plans but restoration, museum history, and the mar- Gallery, Buffalo, New York; and the also displays modern reproductions of ket for reproductions of antique statuary Vancouver Art Gallery, British Columbia. many of the works discovered there. The in plaster and bronze. book reveals a remarkably broad knowl- The core of the book is a meticulous Jury: Margot Lovejoy, Purchase College, State edge of a diverse array of subjects, rang- study of a first-century collection of University of New York, chair; Margo Machida; ing from the architectural and social histo- sculptures and its afterlife. In the cata- Patricia Failing, University of Washington; Richard Kalina, Fordham University ry of Roman villas and the early modern logue and technical discussion, Mattusch rediscovery of antiquity to the creation of and her collaborator, Henry Lie, compre- Charles Rufus Morey Book a mythology hensively examine every statue discov- Award for the geo- ered in the villa’s ruins, augmenting their logically texts with drawings, old engravings, sta- The Villa dei Papiri at Herculaneum: Life active land- tistical tables, and photographs that reveal and Afterlife of a Sculpture Collection scapes of the subtlest details of ancient marble- (Los Angeles: Getty Publications, 2005), Naples carving and bronze-casting techniques, as by Carol Mattusch, with Henry Lie, is through artis- well as later restorations and “improve- an eminently readable and beautifully pro- tic and novel- ments.” The authors have seamlessly inte- duced book that provides a broad histori- istic means. grated these meticulous technical analy- cal overview of the collection of marble The text flows ses into their work, thereby placing scien- and bronze sculptures excavated at the effortlessly tific and conservation issues squarely in Carol Mattusch Villa dei Papiri at Herculaneum after it from the first the center of the presentation and strongly was discovered in the eighteenth century. century CE to the present, with engaging affirming the value of collaboration in The book was written to coincide with the and often surprising excurses into such art-historical scholarship. reopening of the Getty Villa in Malibu, fields as villa design, bronze casting, the Historians and art historians will find California, which not only was modeled European Grand Tour, modern tourism, much in this rich examination of the cre- ation, life, and afterlife of an Join a CAA Award Jury important sculpture col- lection to illem de Kooning and Joan Mitchell, Louise Bourgeois and Miriam prompt further Shapiro, John Baldessari and Hans Haacke—these are not just the great study. In addi- Wartists of the twentieth century, but they are also recipients of CAA’s tion to the Distinguished Artist Award for Lifetime Achievement. This award is one of eleven unusually that honor artists, art historians, authors, curators, critics, and teachers whose accom- close and plishments transcend their individual disciplines and contribute to the profession as a detailed tech- whole and to the world at large. Recipients are chosen by a jury of CAA members. nical analyses CAA seeks jury members to serve three-year terms (2006–9), beginning May 2006. of the sculp- Candidates must possess expertise appropriate to the jury’s work and be current tures them- CAA members. CAA’s president and vice president for committees appoint jury selves, the authors’ broad historical and cul- members for service. tural sweep provides a window onto both Nominations and self-nominations should include a brief statement (no more than first-century tastes and eighteenth- and 150 words) outlining the individual’s qualifications and experience and an abbreviat- nineteenth-century understanding of classi- ed c.v. (no more than two pages). Please send all materials to: Vice President for cal art. The book will remain an important Committees, c/o Susan DeSeyn, Manager of Programs, CAA, 275 Seventh Ave., resource for scholars in both periods as well 18th Floor, New York, NY 10001. Materials may also be sent to as an inspiration for further research into [email protected]; all e-mail submissions must be sent as Microsoft Word the history of collecting. attachments. Deadline extended: March 22, 2006. Jury: Jonathan M. Bloom, Boston College, chair; The following jury vacancies will be filled this spring: Charles Rufus Morey Book Anne Dunlop, Yale University; Nancy G. Heller, Award: at least two members; Alfred H. Barr, Jr., Award: at least one member; University of the Arts; Benjamin C. Withers, Arthur Kingsley Porter Prize: at least one member; Art Journal Award: at least two University of Kentucky members; Distinguished Teaching of Art Award: at least two members: Distinguished Teaching of Art History Award: at least two members: Distinguished Alfred H. Barr, Jr., Award Body of Work Award: at least one member; Distinguished Artist Award for Lifetime Achievement: at least two members: CAA/Heritage Preservation Award: at least two The Colonial Andes: Tapestries and members; Distinguished Lifetime Achievement Award for Writing on Art: at least Silverwork, 1530–1830 (New York: one member. Metropolitan Museum of Art, in associa- For more information on each award, see page 13 or visit www.collegeart.org/awards. tion with Yale University Press, 2004), edited by Eleana Phipps, Johanna
14 CAA NEWS MARCH 2006 Hecht, and and seeming- Pulkau Altarpiece’s complex program of Cristina to-adopt- painting and sculpture, arguing that it can Esteras while-sub- be understood in terms of processes Martín, rep- verting as “wherein anti-Jewish persecutions and resents the well as the mythmaking became interlocked with permanent development otherwise normative features of Christian record of an of a hybrid shrine construction.” Merback deploys his exhibition Catholicism, argument with a commanding level of comprising it suggests historical detail, but ease and elegance 160 objects methods and carry the multiple narrative threads of his Photo: Alan Finkel drawn from approaches profoundly moving story. His article is as Eleana Phipps collections in that will be of much a work Europe and South America, held last year interest to art of historical at the Metropolitan Museum of Art in historians working in a wide variety of reconstruc- New York. Bringing together works of fields. Our congratulations to the editors, tion and art ranging Eleana Phipps, Johanna Hecht, and interpretation from fif- Cristina Esteras Martín, to Thomas B. F. as it is a teenth-centu- Cummins, Sabine MacCormack, and monument of ry Inca man- Frank Salomon, who together with the remem- tles and editors wrote the catalogue essays, to the brance, of the women’s eleven additional scholars who provided bloodshed of dress pins to catalogue entries, and to the Metropolitan cultic anti-
silver Museum and Yale University Press for Mitchell B. Merback Judaism in Eucharist this exemplary contribution to the litera- the four- vessels craft- ture of art history. teenth-century community of Pulkau. He ed in eigh- reminds us that these tragic historical Photo: Eileen Travell teenth-centu- Jury: Alan Wallach, College of William and Mary, episodes have unexpected later resonance. Johanna Hecht ry Peru, the chair; Elizabeth Childs, Washington University in As Merback concludes: “It is culture that St. Louis; Beth Holman, Bard Graduate Center; exhibition demonstrated the remarkable Carol S. Ivory, Washington State University, marks the site of sacrilege, the site of vio- richness of Andean colonial art in media Pullman; Forrest McGill, Asian Art Museum of lence, the site of trauma, the site of mira- that were of great importance to Andean San Francisco cle, first and foremost as the site of col- culture but lective memory’s ongoing reconstruction, have not often Arthur Kingsley Porter Prize for the perpetrators as much as for the been featured victims.” in major The Arthur Kingsley Porter Prize is museum pre- awarded to an outstanding article pub- Jury: Jonathan M. Reynolds, University of Southern sentations. lished in The Art Bulletin by a scholar California, chair; Carmen C. Bambach, Metropoli- who is under the age of thirty-five or who tan Museum of Art; Petra ten-Doesschate Chu, The cata- Seton Hall University; logue, which has received the doctorate no more than extends and ten years before the acceptance of the Art Journal Award amplifies its article for publication. Since its establish- parent exhibi- ment in 1957, authors of forty-seven arti- Established in Christina Esteras Martín tion, is a cles have been honored with this award, 2000, the Art model of coordination and international and many of these essays are now consid- Journal scholarly cooperation, with contributions ered classics of art-historical writing. The Award is pre- from seventeen scholars from North and latest prize winner in this distinguished sented to the South America and Europe. Clearly writ- series is Mitchell B. Merback’s “Fount author of the ten and beautifully illustrated, with seven of Mercy, City of Blood: Cultic Anti- most distin- fascinating essays covering such topics as Judaism and the Pulkau Altarpiece,” guished con- “Garments and Identity in the Colonial which appeared in the December 2005 tribution (arti- Andes,” “Religion and Society in Inca issue of the journal. cle, interview, and Spanish Peru,” and “Indigenous Ideas This is an impressive work of original conversation, about Wealth in Colonial Peru” and with research, presented with an extraordinary Mark Cheetham portfolio, extensive catalogue entries for each poignancy, a staggering breadth of knowl- review, or any other text or visual project) object, The Colonial Andes makes the edge, a judicious framing of the argument published in Art Journal during the pre- three-hundred-year history of a rich and within the context of previous scholar- ceding calendar year. This year the award varied culture accessible to both scholars ship, and a tremendous depth of interpre- goes to Mark Cheetham for his essay and the general public. In addition, by tation. Layer by layer, Merback builds a “Matting the Monochrome: Malevich, taking up issues of adoption, adaptation, complex and nuanced reading of the
CAA NEWS MARCH 2006 15 Klein, and Now,” which appeared in the Frank Jewett Mather Award for cultural history from ACT-UP’s early Winter 2005 issue. Art Criticism days to the last decade’s ambivalent com- Cheetham is a professor in the Graduate bination of medical breakthrough with Department of History of Art and the The Frank Jewett Mather Award goes to ideological opposition to the current pan- director of the Canadian Studies Program an author of art criticism that has demics. The jury is pleased to present at the University of Toronto. His awards appeared in whole or in part in North him with the Mather Award for a book include a John Simon Guggenheim American publications. This year, the jury that is as admirably thoughtful and Memorial Fellowship and a Sterling and selected two winners, Gregg Bordowitz charismatic as its author. Francine Clark Art Institute Fellowship. and Okwui Enwezor. The Mather jury is also pleased to recog- His book, Abstract Art against Autonomy: In the 1980s, the resistance to under- nize the critical achievement of Okwui Infection, Resistance, and Cure since the standing the AIDS crisis encouraged the Enwezor. In a series of exhibitions and 1960s, was recently published by virulence of the epidemic. Today, willed essays devel- Cambridge University Press. ignorance in the face of what we’ve oped during The award jury congratulates Cheetham learned makes AIDS a leading cause of the last for a contribution that contemporizes and death among young North American men decade, therefore advances the terms in which we and a devastating force in large parts of Enwezor has understand an icon of modernism. In a the second and third worlds. These per- done much to discussion centered on Yves Klein’s cate- sistent conditions mean that artists and transform the gory-shattering engagements of the writers who were gay twenty years ago or field of con- monochrome as a theme, Cheetham illu- are HIV-positive now have their themes temporary art minates its potency and relevance for more or less thrust upon them. In such and its recep- more contemporary practitioners, such as times, those who cannot be represented Photo: Jeff Weiner tion beyond a General Idea and Olafur Eliasson, situat- must represent themselves. Okwui Enwezor Euro- ed at a significant remove from modernist Gregg Bordowitz was among those American concerns. In this way, he considerably who embraced this imperative in the mid- focus. It is no overstatement to say that lightens the monochrome’s historical 1980s, inventing himself as passionate, Enwezor’s curatorial activity has changed obligation to speak exclusively to polemi- articulate, witty, and intelligent. The the landscape of contemporary art. As the cal aesthetic debates; now it addresses essays in The curator of such exhibitions as The Short what he calls the “culture’s uses of color AIDS Crisis Century: Independence and Liberation and perception.” Cheetham’s analysis Is Ridiculous Movements in Africa, 1945–1994; understands the monochrome not as a sig- and Other In/Sight: African Photographers, 1940 to nature or a clever proof of art’s self-suffi- Writings, the Present; and Trade Routes: History ciency, but as a variable response to the 1986–2003 and Geography (the second Johannesburg problem of desiring continuous vision in (Cambridge, Biennale), Enwezor has brought unprece- a continually shifting world. Mass.: MIT dented attention to African and African In “Matting the Monochrome,” Cheet- Press, 2004) diasporic practice, and to such forms as ham examines Klein’s refusal to separate are an impor- contemporary African photography and the the spiritual from the physical and the tant aspect of projected doc- artist’s “spongelike penchant for finding Greg Bordowitz his efforts to umentary. As inspiration beyond a narrowly artistic con- argue for the formation and maintenance the artistic text.” Through nuanced readings of the of this collective consciousness and then director of senses behind his phrase “matting the to record it. Identifying a compelling Documenta monochrome,” Cheetham argues effec- topic is, though, only part of writing good XI, he devel- tively that Klein’s “martial- and fine-art criticism. How one writes matters as oped an inno- activities should not be sequestered in our much as what one writes, and the match- vative con- attempt to understand him.” With art-his- ing of fluency to urgency is one of this cept of “plat- torical and stylistic brilliance, Cheetham book’s most noteworthy traits. With forms” locat- cautions us to “be wary of the Hegelian impressive ed in five drumbeat that claims Klein’s art overtook articulacy, cities, trans- his incarnation of judo principles. Artists Bordowitz forming and art do not need to be seen to progress, uses a range Documenta into a truly international show especially not from an external interest to of voices— and intellectual forum. a concentration on art.” exposition, Enwezor’s activity as a writer and edi- critique, remi- tor has been inextricable from his curato- Jury: Joanna Roche, California State University, niscence—to rial efforts. Recognizing the importance Fullerton, chair; Deborah Willis, New York of critical debate in shaping art’s recep- University; Darby English, University of Chicago; gather togeth- Elizabeth Kotz, University of Minnesota er crucial tion, he has placed discourse at the fore- strands of front of his work. In such essays as contemporary “Between Two Worlds: Postmodernism
16 CAA NEWS MARCH 2006 and African Artists in the Western Metropolis” and “The Enigma of the Rainbow Nation: Contemporary South African Art at the Crossroads of History,” he has developed a clear analy- sis of contemporary African art and its reception in a predominantly Western art world. As a founding editor of Nka, the first journal dedicated to contemporary African art, and a coeditor of Reading the Contemporary: African Art from Theory to the Marketplace (Cambridge, Mass.: MIT Press, 1999), he has nurtured the burgeoning field of contemporary African art criticism. We present the Mather Award to Enwezor in recognition of these varied and important efforts.
Jury: James Meyer, Emory University, chair; Charles Hagen, University of Connecticut; Catherine Lord, University of California, Irvine; Charles Reeve, Ontario College of Art and Design Lester Van Winkle, detail of Don’t Let the Bastards Get You Down, painted wood, 65 in. tall. Artwork © Lester Van Winkle.
eloquent jointly drafted letter, three con- Van Winkle has enjoyed an illustrious Distinguished Teaching of Art temporaries wrote, “For thirty-five years career as not only an educator but also an Award Mr. Van Winkle was an indispensable artist. He has received prestigious com- member of this department. His human- missions in Richmond, Virginia, and two Lester Van ism and intelligence were crucial to the fellowships from the National Winkle is an foundation on which the department’s Endowment for the Arts. His record of exceptional nationally recognized program has been exhibition is impressive: his works are in teacher and built. His core strengths, an orientation numerous public and private collections, mentor who toward wonder, a deep respect for the including the Fine Arts Museum of taught sculp- individual, and the determined search for Mobile, Alabama; the National Collection ture at the depth of things are woven into the of American Arts, Washington, D.C.; and Virginia department’s academic mission.” Vigor- the Louise Bourgeois collection, New Common- ously illustrated in these thoughtful com- York. He has been a frequent participant wealth ments is the impact that Van Winkle has in CAA panels and presentations, consis- University made not only on the VCU Sculpture tently from 1990 through 2003. (VCU) in Lester Van Winkle Department but also on the Art Depart- A fellow artist writes, “He is a brilliant Richmond for ment as a whole. Through his efforts at formalist. He understands with invested more than VCU, he has made a major contribution passion the impact of the tiniest visual three decades. He joined the Art to the greater dialogue of sculpture on a choices, and his students inherit both his Department at VCU in 1969, nurturing national level. knowledge and his passion.” An impas- the Sculpture Department into one of the One of the most challenging aspects of sioned artist who constantly challenges most renowned and nationally recognized teaching art will always be the critique. himself in his own studio, Van Winkle sculpture programs in the United States. Van Winkle’s students speak of the has done what all great teachers must do: From Lester’s Laws: Van Winkle’s Serious strength of his critiques and the impact he has selflessly and ardently shared of Musings on Making and Critiquing his sincere, thoughtful, and cogent criti- himself to inspire his students. Sculpture, 23 Laws to Learn and Live By cisms have had on their ability to think The last of Lester’s Laws is the simple in the VCU Sculpture Department: about their work. One student wrote, wisdom we should all hear at some time “Van Winkle’s critiques are renowned; his from a trusted and respected professor: 1. The only thing worse than a bad discussions are frank, insightful, and dis- “23. Trust your intuition.” piece of sculpture is a big bad piece of cerning. He asks big questions, guiding sculpture. Even worse, a big bad red each of his students with a deft touch and Jury: Michael Krueger, University of Kansas, chair; piece of sculpture. sensitivity that unleashes their innate tal- Michael Aurbach, Vanderbilt University; Yong Soon Min, University of California, Irvine; Wayne ent and determination, qualities of the Colleagues at VCU wrote with heartfelt Potrantz, University of Minnesota; Muriel Magenta, self that enable a student to one day Arizona State University enthusiasm on Van Winkle’s behalf. In an become his or her own teacher.”
CAA NEWS MARCH 2006 17 Distinguished Teaching of Art States and abroad and has held prestigious where he teaches in the Restoration History Award visiting professorships at the University of Design Studio. He has published on Chicago, the University of Michigan, the Charles Rennie Mackintosh and his con- The recipient of the Distinguished University of Delaware, and the University temporaries and on Frank Lloyd Wright’s Teaching of Art History Award for 2006 of Pittsburgh. The honors and opportuni- work in Madison, Wisconsin. is Annemarie Weyl Carr. She is ties Carr has received throughout acade- Thorpe is a widely respected restoration University Distinguished Professor of Art mia have been suitably matched by simi- architect and a principal in the award-win- History at Southern Methodist University larly distinguished acknowledgment of her ning firm of John Thorpe and Associates. (SMU) in Dallas, Texas, where since vocation as a teacher at her home institu- He has been a prominent practitioner in 1972 she has tion. At SMU, she has been the recipient the field of taught the of the Methodist Church Award for an historic interaction of Outstanding Teacher/Scholar, the preservation cultures, Meadows Foundation Distinguished in Chicago Christian and Teaching Fellowship, the Phi Beta Kappa since the Islamic, in Perrine Prize for Teaching and Research, 1970s. He is the medieval and the Faculty Award for Excellence in the architect and early Teaching. These honors have been of record for modern bestowed on Carr in a career at SMU that the restora- Mediter- has also seen her serve with distinction in tion of many ranean world. various and numerous administrative important Annemarie Weyl Carr Carr is a posts, including chair of the Division of John Thorpe buildings in model of the Art History and graduate advisor in art the Midwest, scholar-cum-teacher whose intense and history. Carr was further honored by her including houses by Frank Lloyd Wright enthusiastic life in her discipline and with institution when she was invited to deliver in Illinois, Indiana, Ohio, and Nebraska. her professional colleagues is inseparable its seventy-fifth anniversary address. He served as an advisor for restorations of from her rigorous and passionate engage- It with satisfaction that the jury for the H. H. Richardson’s Glessner House in ment with teaching and her students. Her Distinguished Teaching of Art History Chicago and Ernest Hemingway’s boy- stellar career in teaching, scholarship, and Award announces Carr as the recipient for hood home in Oak Park. Thorpe was also dedicated service to the profession has 2006 of this significant honor. Her career a consultant on the recent restoration of brought her the wide and well-deserved has been model of remarkable distinction Wright’s Fallingwater in Bear Run, recognition, admiration, and gratitude of in teaching and corresponding devotion to Pennsylvania, and is involved in the institutions, colleagues, and, above all, students, their learning, and their future. restoration of the architect’s Frederick C. students at both the undergraduate and Robie House in Chicago. graduate levels. As a teacher, she is Jury: Roger Crum, University of Dayton, chair; Kalec and Thorpe first joined forces in David Rosand, Columbia University; Martha Ward, the early 1970s to oversee the restoration respected, celebrated, and clearly held in University of Chicago; Eva Hoffman, Tufts University awe as much for her keen intelligence of Wright’s earliest home and studio, one and vast learning as for the boundless joy CAA/Heritage Preservation of the most important architectural land- and ready graciousness with which she marks in the United States. Using histori- Award for Distinction in cal photographs, drawings, written gives of herself to others. “Annemarie Scholarship and Conservation Weyl Carr is an exemplar,” writes one records, physical evidence, and inter- former student, “an impeccable scholar, views, the two architects, along with a The CAA/Heritage Preservation Award an inspiring teacher, and a guardian angel team of other volunteers, painstakingly for Distinction in Scholarship and to her students.” documented the numerous changes that Conservation recognizes an outstanding A renowned expert on Byzantine art with had been made to the property. Wright, contribution by one or more persons who, an emphasis on the cross-cultural com- who used the structure as an architectural individually or jointly, have enhanced the plexity of Cyprus, Carr is the recipient of laboratory, carried out many of these understanding of art through the applica- numerous honors and awards, has pub- alterations himself. Kalec and Thorpe’s tion of knowledge and experience in con- lished three books and has three others in innovative work led to the publication of servation, art history, and art. This year progress, is the author of scores of articles, several books, most notably The Plan for Don Kalec and John Thorpe have been is a regular convener at professional collo- Restoration and Adaptive Use of the selected to receive this award for their quia, has an impressive number of confer- Frank Lloyd Wright Home and Studio sensitive approach to architectural preser- ence papers to her credit, and has served (Chicago: University of Chicago Press, vation and specifically for their roles in her discipline in many influential capaci- 1978), which served as the master plan the groundbreaking restoration of Frank ties. These include her service on the edi- for the thirteen-year restoration of the Lloyd Wright’s home and studio in Oak torial board of The Art Bulletin, her editor- property. As the architectural historian Park, Illinois. ship of Gesta, and her recent tenure as Kevin Harrington has noted, Kalec and Kalec is the cofounder and first director president of the International Center of Thorpe’s “publication documenting the of the Historic Preservation Program at Medieval Art. She has received invitations restoration of the Home and Studio the School of the Art Institute of Chicago, to lecture and teach throughout the United remains the standard of excellence for
18 CAA NEWS MARCH 2006 such work around the world.” Their to identify canonical texts in the history University will soon be published, giving meticulous approach to the restoration of art; these include Realism (1971); us another opportunity to appreciate the has been so thoroughly integrated into the Women Artists, 1550–1950 (1976), with way she brings her subjective responses curriculum of historic-preservation pro- Ann Sutherland Harris; her important to life—to issues of age, death, anxiety, grams that most people have forgotten compilation of sources and documents in and, simultaneously, joy—to bear on the where it originated. Realism and Tradition in Art, 1848–1900 rigorous analysis of visual culture and its Kalec and Thorpe continue to support (1966); and The Body in Pieces: The role in shaping knowledge in its cultural the preservation of Wright’s architecture. Fragment as a Metaphor for Modernity moment. This is a perfect moment to They were closely involved in the cre- (1995). honor Nochlin for her contributions to the ation in 1989 of the Frank Lloyd Wright As a writer on art, Nochlin has brought field, and to recognize her immense con- Building Conservancy, a national non- to bear her interest in language as such, tributions to art history and criticism. profit organization that supports the for she is a published poet and an avid Few writers in our field have had a preservation of the remaining structures and voracious reader of fiction. From the greater impact than she. designed by Wright through education, earliest of her publications, she has been advocacy, easements, and technical serv- willing to imbue her text with her own Jury: Katherine Manthorne, City University of New ices. To generate broad support for the voice: if “Why Have There Been No York, chair; Suzanne Preston Blier, Harvard University Art Museums; John Beldon Scott, University of Iowa; preservation of America’s architectural Great Women Artists?” reads like a lec- Larry Silver, University of Pennsylvania landmarks, Kalec and Thorpe generously ture transcript, it is not because the essay share their knowledge and expertise lacks form or structure, nor because it Special Award for Lifetime beyond the academy by presenting public abandons the rigor of academic analysis, Achievement on Behalf of the talks and serving as lecturers for docent but, on the training programs. contrary, Arts and Humanities because it CAA honors the Honorable Edward M. Jury: Jay Krueger, National Gallery of Art, chair; articulates Kennedy, United States Senator from Andrea Kirsh, University of Oregon; Rustin form, struc- Levenson; Lisa Schrenk, Norwich University; Massachusetts, for his career-long advo- ture, rigor, Rebecca Rushfield cacy on behalf of the arts and humanities. and analysis Kennedy’s service on the Health, in a fluid Distinguished Lifetime Education, Labor, and Pension prose free of Achievement Award for Writing Committee includes oversight of the the distant, nation’s two cultural agencies, the on Art dry locu- National Endowment for the Arts and the tions so Linda Nochlin receives the 2006 National Endowment for the Humanities. common in Distinguished Lifetime Achievement He was an original cosponsor of the leg- our disci- Award for Writing on Art. Her role in islation creating these agencies and pline. The text is in Nochlin’s distinctive introducing feminist analysis into the remains one of their strongest advocates. voice, and that is no inconsiderable thing. field is well Over the Perhaps the most remarkable instance of known; what years, he has this is her essay on Courbet’s Studio, a art historian broadly sup- painting that, just before the appearance today does ported First of her catalogue text for the Brooklyn not know the Amendment Museum’s Courbet exhibition, had been appearance of protections “deciphered” by a French art historian: her 1972 for creative the figures positively identified and the essay “Why artists; on the embedded allegory unraveled. Nochlin Have There Judiciary did not disagree with the identifications Been No Committee, nor, ultimately, with the proposed politi- Great Women he is a strong Photo: Matthew Begun cal allegory; but she objected to the idea Artists?” as supporter of Linda Nochlin that meaning could be closed off so defin- Edward M. Kennedy the founding artists’ intel- itively, that a painting as complex as this moment of lectual-prop- could be “solved.” Her approach was to this methodological shift? Perhaps over- erty rights. He authored the Visual Artists read the painting “as a woman,” a task shadowed by this monumental achieve- Rights Act and backed the Copyright that placed her subjective responses to the ment is the place that writing has always Term Extension Act, sponsoring the painting in the center (quite literally) of held in her work—writing, not simply as “Casablanca” amendment, to urge negoti- her essay, introducing a type of voice into a functional vehicle for the articulation of ations for creative artists to expand their the writing of art history that had rarely her thought, but as central to its concep- economic interests for the extended term been heard before. tion. The fluency of Nochlin’s ideas is in of copyright. He and Senator Michael B. Of late, Nochlin’s writing has focused no small part due to the fluency of her Enzi are cochairs of the newly formed on contemporary art and on poetry. Her prose. To list even some of her books is recent Norton Lectures at Harvard CONTINUED ON PAGE 27
CAA NEWS MARCH 2006 19 SOLO EXHIBITIONS Midwest
BY ARTIST MEMBERS Robert Berlind. Alexandre Hogue Gallery, University of Tulsa, Tulsa, Only artists who are CAA members are Okla., November 3–December 2, 2005. included in this listing; group shows are Robert Berlind: Recent Works. Painting. not published. Please send your name, member number, venue, city and state, Charles Matson Lume. University dates of exhibition (no earlier than 2005), Gallery, University of Wisconsin, La title of show, and medium(s). You may Crosse, Wisc., October 28–November also send digital images of the work in 23, 2005. Breaths’ Burials (for Gustaf the exhibition; include the title, date, Sobin, 1935–2005). Installation; Gallery medium, and dimensions. E-mail to X, Hite Art Institute, University of [email protected]. Louisville, Louisville, Ky., September 8–October 23, 2005. Articles of Light and Elation (for Gustaf Sobin, Abroad 1935–2005). Installation.
Yueh-mei Cheng. Kyoto Cultural Chitra Ramanathan. Indianapolis Museum, Kyoto, Japan, December 21–25, Artsgarden, Indianapolis, Ind., January 2005. Echo Exhibition. Painting. 2–26, 2006. Solo Exhibition of Paintings. Nina F. Martino. Whitfield Gallery, San Miguel de Allende, Gto., Mexico, January Northeast 1–March 30, 2006. San Miguel Streets and Philadelphia Townscapes. Painting. Douglas Anderson. Blue Mountain Creighton Michael. Galerie Egelund, Gallery, New York, January 3–28, 2006. Copenhagen, Denmark, January 20– New Old Robots. February 17, 2006. Creighton Michael: Mary Bucci McCoy, Poros 5, 2003, acrylic on mdf, 24 x 24 in. Arwork © Mary Bucci Paintings. Susan Bee. A.I.R. Gallery, New York, McCoy. February 7–March 4, 2006. See Double: Mid-Atlantic New Paintings. Holly Lane. Forum Gallery, New York, West April 19–May 20, 2006. The Benefits of Anne Beresford. Judi Rotenberg Gallery, Pond Wading and Other Musings. Mixed- Sidney Lawrence. District Fine Arts, Boston, Mass., February 2–27, 2006. media sculpture. Lucy Arai. Ren Brown Collection, Bodega Washington, D.C., October 14–Decem- Entwined. Painting and work on paper. Bay, Calif., March 19–June 1, 2005. Lucy ber 3, 2005. Sidney Lawrence: Flat and Julie Langsam. Michael Steinberg Fine Arai – Sashiko and Sumi-e: Tradition and 3D. Painting, drawing, and mixed-media Robert Berlind. Tibor de Nagy Gallery, Art, New York, November 17–December Transformation. Mixed media. wall relief. New York, June 2–July 8, 2005. Robert 23, 2005. From Here to Modernity. Berlind. Painting. Charles Matson Lume. Nightingale Ben Schachter. Special Projects Room, Mary Bucci McCoy. Carol Schlosberg Gallery, Eastern Oregon University, La Brew House Space 101, January 6–29, Richard Hamwi. Prince Street Gallery, Alumni Gallery, Montserrat College of Art, Grande, Ore., February 4–25, 2006. 2006. The Electrician’s Nightmare. New York, August 2–20, 2005. Works on Beverly, Mass., October 10–27, 2005. Luminous Debris (for Gustaf Sobin, Sculpture and installation. Paper. Drawing, watercolor, and collage. Mary Bucci McCoy: Oblique 1935–2005). Installation. Perspectives. Painting. Frank McCauley. Receiver Gallery, San Michael Rich. George Billis Gallery, Francisco, Calif., November 5–December New York, January 24–February 25, 5, 2005. New Works. Mixed media. 2006. Michael Rich. Teresa Scarpulla. Sierra Arts Gallery, Reno, Nev., November 28, 2005–January South 20, 2006. Bianco, Blanc, e Blanca. Painting.
Lucy Arai. Gallery on Greene, Key West, Fla., March 12–20, 2005. Gilded Sashiko: Japanese Running-Stitch Embroidery on Handmade Paper by Lucy Arai. Mixed media.
Scott Betz. University Art Gallery, Performing Arts Center, University of South Carolina Upstate, Spartanburg, S.C., October 3–November 3, 2005, 40/40. Drawing, painting, sculpture, and audio.
Marcia R. Cohen. Callanwolde Fine Art Center, Atlanta, Ga., November 10– December 16, 2005. Un-Seen Color. Painting and work on paper.
Barbara Nesin. Mason Murer Fine Art, November 18–December 31, 2005. Art in a Time of War. Mixed media and work on paper. Ben Schachter, Electric Chair, 2005, out- Yueh-mei Cheng, Echo–Mirage, 2005, acrylic on paper, 26 x 26 in. Artwork © Yueh-mei lets, coverplates, and electrical boxes, 33 Cheng. x 18 x 18 in. Artwork © Ben Schachter.
20 CAA NEWS MARCH 2006 ini (Verona, Italy: Cierre Edizioni, 2005). Réalistes, a group of artists that included Arman, Yves Klein, Daniel Spoerri, and Laura Ruby, Jean Tinguely, among others, which was ed. Mo‘ili‘ili – championed by the critic Pierre Restany. The Life of a Hains’s best-known works are his décol- Community lages—layered, distressed advertising (Honolulu, posters that he took from the streets and Hawai‘i: placed in art galleries—which he pro- Mo‘ili‘ili duced from 1949 to 1961 (some in col- Community Center, 2005). laboration another Nouveau Réaliste, Jacques Villeglé). Hains, Villeglé, and André Salmon. André Salmon on French two more artists making similar work, Modern Art: La Jeune Peinture Française François Dufresne, and Mimmo Rotella and La Jeune Sculpture Française. (see obituary below), came to be known Translated, annotated, and introduced by as Les Affichistes. Beth S. Gersh-Nesic (New York: Born in St. Brieuc, Britanny, Hains Cambridge University Press, 2005). attended the School of Fine Art in Rennes for sculpture but then took up photogra- Magda Salvesen and phy, using mirrors and transparencies to Diane Cousineau, eds. make what he called “hypnagogic photo- Artists’ Estates: graphs.” These distorted, experimental Reputations in Trust works were shown at the Colette Allendy (Piscataway, N.J.: Gallery in Paris in 1948, his first solo Rutgers University exhibition. His later work involved instal- Press, 2005). lations of found objects and sculptures of blown-up matchbooks and matchboxes. James Christen Steward, ed. Betye Recently Hains had been creating Frank McCauley, Nocturnes and Symphonies, 2005, mixed media, 40 x 40 in. Artwork Saar: Extending the Frozen Moment “Macintoshages,” montages of images © Frank McCauley. (Berkeley: University of California Press, made on a computer. In addition to 2005). numerous gallery exhibitions, Hains took Molly Springfield. Steven Wolf Fine Arts, China, 1279–1368 AD (Lewiston, N.Y.: part in international exhibitions, including San Francisco, Calif., February 2–March Edwin Mellen Press, 2005). Tristan Weddigen, Martin Gaier, and The Art of Assemblage at the Museum of 25, 2006. They Go On Telling You Just the Bernd Nicolai, eds. Der unbestechliche Modern Art in New York in 1961; the Same Thing Forever. Drawing. Marianne Ficarra, Isabel Nazario, and Blick: Festschrift zu Ehren von Wolfgang 1964 Venice Biennale; and Documenta 4 Jeffrey Wechsler, eds. Transcultural Wolters / Lo sguardo incorruttibile: (1968) and 10 (1997). Bernadette Y. Vielbig. Lorinda Knight New Jersey: Diverse Artists Shaping Festschrift in onore di Wolfgang Wolters (Trier, Germany: Porta Alba, 2005). John Latham, an influential British artist Gallery, Spokane, Wash., February 1–25, Culture and Communities, vol. 2 (New and teacher, died January 1, 2006, in 2006. Domesticated. Sculpture. Brunswick, N.J.: Office of the Associate Vice President for Academic and Public Magdalen Wong. i.e. (Chicago: Bellas London, England. He was 84. Partnerships in the Arts and Humanities Artes, 2005). Latham sought to connect art practice and the Jane Voorhees Zimmerli Art and scientific theory. Much of his work BOOKS PUBLISHED Museum, Rutgers, the State University of explored forms of knowledge, and books New Jersey, 2005). often served as raw material in his art. BY CAA MEMBERS OBITUARIES Never satisfied to work in one medium, Eunice D. Howe. Art and Culture at the Lathan expressed his ideas in performance, Only authors who are CAA members are Sistine Court: Platina’s “Life of Sixtus Ernest Crichlow, a painter who created painting, assemblage, film, and video. included in this listing. Please send you IV” and the Frescoes of the Hospital of politically and socially charged works, Born in Livingstone, Northern name, member number, book title, pub- Santo Spirito (Vatican City: Biblioteca died November 10, 2005, in Brooklyn, Rhodesia (now Zambia), Latham served lisher’s name and location, and the year Apostolica Vaticana, 2005). N.Y., at age 91. in the Royal Navy during WWII, ending published (no earlier than 2005) to Crichlow is known for paintings with a lieutenant commander with his own [email protected]. Barbara Larson. The Dark Side of political subject matter, which often MTB. In 1946, he attended Regent Street Nature: Science, Society, and the depicted images of the black experience Polytechnic and, a year later, trained as a Anthony Alofsin, ed. Prairie Skyscraper: Fantastic in the Work of Odilon Redon in America during the Civil Rights painter at Chelsea College of Art and Frank Lloyd Wright’s Price Tower (New (University Park: Pennsylvania State movement, as well as for his lyrical por- Design until 1950. Latham taught fine art York: Rizzoli, 2005). University Press, 2005). traits. He studied commercial art in at St. Martin’s School of Art, earning a Manhattan. Unable to find enough work reputation for his antiestablishment view Begoña Alonso, María Cruz de Carlos, Larry List, ed. The to make a living, he taught art and creat- of art. In 1951 he married the artist and Felipe Pereda. Patronos y colec- Imagery of Chess ed murals for the WPA federal arts pro- Barbara Steveni. The two founded the cionistas: los condestables de Castilla y Revisited (New York: gram during the Depression until the Artist Placement Group, which placed el arte (siglos XV–XVII) (Valladolid, Isamu Noguchi 1940s, when he began showing his work artists in industry, science, and govern- Spain: Universidad de Valladolid, 2005). Foundation and Garden in galleries in the northeastern U.S. In ment positions in order to bring creativity Museum, in association 1958, Crichlow helped to found and alternate viewpoints to what the Kyra Belán. The Virgin with George Braziller, Brooklyn’s Fulton Art Fair, an annual Latham and Steveni saw as divisive sys- in Art: From Medieval 2005). event that exhibits the work of renowned tems of power. The couple was working to Modern (New York: and emerging visual artists from the on an updated version, Organisation and Barnes and Noble Therese Martin and Julie A. Harris, U.S., Africa, and the Caribbean. In 1969, Imagination, when he died. Books, 2005). eds. Church, State, Vellum, and Stone: he established the Cinque Gallery, which Essays on Medieval Spain in Honor of showcased work by African American Mimmo Rotella, an Italian artist who Donna M. Cassidy. John Williams (Leiden, the Netherlands: artists, with fellow artists Romare was a member of the French Nouveaux Marsden Hartley: Race, Brill, 2005). Bearden and Norman Lewis. President Réalistes group, died January 8, 2006, in Region, and Nation Jimmy Carter honored Crichlow and 9 Milan, Italy. He was 87. (Hanover, N.H.: University Press of New Robert Mills. Suspended Animation: other black artists in 1980. He was one of four artists known col- England, 2005). Pain, Pleasure, and Punishment in lectively as Les Affichistes. Along with Medieval Culture (London: Reaktion, Raymond Hains, a French artist who François Dufrêne, Raymond Hains (see Diana Yeongchau Chou. A Study and 2005). was a member of the Nouveaux Réalistes his obituary at left), and Jacques Villeglé, Translation from the Chinese of Tang group, died October 28, 2005, in Paris, he created “décollages” from urban Hou’s Huajian (Examination of Paola Modesti. Il convento della Carità e France, at age 78. posters and advertisements taken directly Painting): Cultivating Taste in Yuan Andrea Palladio: storie, progetti, immag- In 1960, Hains joined the Nouveaux from wall. In the early 1950s, Rotella
CAA NEWS MARCH 2006 21 attached these posters to canvases and colored fabric on gallery walls, in defiance Service, has been appointed program chair Korean art at the Philadelphia Museum further altered the images by tearing off of painting and craft traditions. Later she for an art-education degree program to be of Art in Pennsylvania. sections and creating patterns and compo- staged performances in which she would developed and launched at the Corcoran sitions. The early décollages were peel away layers of brightly colored dress- College of Art in Washington, D.C. Organizations abstract, but the later works, created in es of her own creation until she reached the early 1960s after Rotella joined the only a black leotard or a rubber suit. This Museums Nouveax Réalistes group via the French theme also led to her best-known work, Ashton Hawkins, a lawyer who served critic Pierre Restany, became more Electric Dress (1956), a wearable sculpture as executive vice president and counsel to Poplike, with images of movie stars and of colored lights. After the 1960s, she cre- John E. Buchanan, Jr., formerly direc- the trustees at the Metropolitan Museum consumer goods making appearances. ated abstract paintings and drawings; the tor of the Portland Art Museum in of Art in New York, has been named Rotella also worked with photographic cords and colored bulbs of the Electric Oregon, has been selected director of the chairman of Alliance for the Arts, a New and other reproduction processes, sculp- Dress initially inspired the lively, colorful Fine Arts Museums of San Francisco in York–based organization that researches tural assemblages, and experimental pho- compositions of circles and lines in the California, succeeding Harry S. Parker and advocates for the arts. netic poetry newer work. III, who led the city-owned institution Born in Catanzaro, Italy, he studied at Born in Osaka, she studied at the Osaka for 18 years. Barbara Hunt, formerly executive direc- the Academy of Fine Arts of Naples. Municipal Museum of Art beginning in tor of Artists Space in New York, has After serving reluctantly in WWII, he 1950; there she met the future Gutai Jan Debbaut, director of the collections been appointed director of the Judd lived in Rome and had his first solo exhi- artists Akira Kanayama, whom she mar- at the Tate Gallery in London, England, Foundation, based in New York and bition of painting at Gallery Chiurazzi in ried in 1965, and Kazuo Shiraga. She par- has resigned. Marfa, Tex. 1951. In 1951–52, he was at the ticipated in a dozen Gutai group exhibi- University of Kansas City in Missouri on tions before landing her first solo show in Ann Demeester, formerly director of a Fulbright grant, which culminated in an 1963 at Gutai Pinacotheca in Osaka. She W139, an art space in Amsterdam, the exhibition at the William Rockhill Nelson was also included in The New Japanese Netherlands, has been named general GRANTS, AWARDS, Gallery in Kansas City. Rotella showed Painting and Sculpture, a group show at director of De Appel Foundation, also in & HONORS his work in numerous exhibitions of the Museum of Modern Art in New York Amsterdam. Nouveax Réalistes art across Europe and in 1966. Her first museum retrospective represented Italy in the 1964 Venice took place at the Ashiya City Museum of Heather Ecker, formerly assistant cura- Only CAA members are included in this Biennale. His work was included in Art and History in 2001. In 2004, New tor at the Museum of Islamic Art in listing. Please send your name, member shows in New York, including High and York University’s Grey Art Gallery host- Doha, Qatar, has been appointed curator number, and information to Low at the Museum of Modern Art in ed Electrifying Art, an exhibition of her of Islamic art and head of the Depart- [email protected]. 1990 and The Italian Metamorphosis at work from the 1950s and 1960s, concur- ment of Middle Eastern, Islamic, and the Guggenheim Museum in 1994. rent with a show at Paula Cooper Gallery Asian Art at the Detroit Institute of Arts Lucy Arai has been nominated for a 2005 of more recent paintings and drawings. in Michigan. Louis Comfort Tiffany Biennial Award by Roger Shattuck, a scholar, writer, and the Louis Comfort Foundation. She also professor, died December 8, 2005, in Allison Hunter has been appointed received an AsiaAlive Artist residency at Lincoln, Vt. He was 82. PEOPLE IN THE executive director of the Houston Center the Asian Art Museum in San Francisco, Although Shattuck never earned a mas- for Photography in Texas. She had Calif., from December 28, 2005, to ter’s or doctoral degree, he taught French, NEWS served as interim executive director January 29, 2006. English, and comparative literature at there since March 2005. Harvard University, the University of Timothy J. Clark, George C. and Helen Please send your name and listing to Texas, the University of Virginia, and Simon Kelly, formerly Andrew W. N. Pardee Chair and professor of modern [email protected]. Boston University; he retired from the Mellon Post-Doctoral Curatorial Fellow art at the University of California in latter school in 1997. He was a staunch at the Walters Art Museum in Baltimore, Berkeley, has received a Distinguished critic of postmodernism, deconstruction, Academe Md., has joined the Nelson-Atkins Achievement Award from the Andrew W. and semiotics, though always a witty, Museum of Art in Kansas City, Mo., as Mellon Foundation. associate curator of European painting engaging opponent. He heralded classic Carmen Colangelo, writers and literature, and his own writing and sculpture. Sam Durant, an artist and faculty mem- formerly director of ber at the California Institute of the Arts celebrated the Western tradition. He wrote the Lamar Dodd Phillip C. Long, (CalArts) in Valencia, was a finalist for 16 books, including 6 translations. School of Art at the director of the Taft the 2005 Ordway Prize, which recognizes Among them are: The Banquet Years: The University of Museum of Art in midcareer individuals who have made Origins of the Avant-Garde in France, Georgia in Athens, Cincinnati, Ohio, important contributions to the field of 1885 to World War I (1958); Proust’s has been named has announced his contemporary arts and letters. Binoculars (1963); Marcel Proust (1974), dean of the Sam Fox a biography that won a National Book retirement. School of Design Jean A. Givens, associate professor of art Award in 1975; The Forbidden and Visual Arts at Carmen Colangelo Timothy Rub, for- history at the University of Connecticut in Experiment: The Story of the Wild Boy of Washington Univer- merly director of Storrs, has been awarded a 2006–7 Aveyron (1980); Forbidden Knowledge: Photo: Tony Walsh sity in St. Louis, Mo. National Endowment for the Humanities From Prometheus to Pornography Phillip C. Long the Cincinnati Art Museum in Ohio, fellowship for her project, “Picturing the (1996); and Proust’s Way: A Field Guide Sara Nair James has been appointed director of the Healing Arts: Word, Image, and the to In Search of Lost Time (2000). In addi- has been promoted Cleveland Museum of Art, also in Ohio. Illustrated Tractatus de herbis, 1280–1526.” tion to critical studies of literature, art, to professor of art and music, Shattuck wrote poetry (Half history at Mary Joel Smith, former- Judith W. Godwin, an Abstract Tame, 1964) and short stories. Baldwin College in ly curator at the Expressionist artist, has received the Staunton, Va. Atsuko Tanaka, an important Japanese Frances Lehman Professional Achievement Alumni Award Loeb Art Center at from the School of the Arts at Virginia avant-garde artist, died December 3, Gary A. Keown has Vassar College in Commonwealth University in Richmond. 2005, in Nara, Japan, at age 73. been promoted to Poughkeepsie, N.Y., Tanaka was a member of Gutai, a professor of visual Sara Nair James has been appointed Elzbieta (Elka) Kazmierczak, an inde- group of Japan artists. Founded in arts at Southeastern curator of photogra- pendent artist, has received 2 awards—a 1954, Gutai advocated a radically non- Louisiana University in Hammond. traditional, experimental play with non- phy at the Princeton Mini Grant from the Illinois Humanities University Art Council and a Public Access Project representational materials, reacting Heather Hyde Minor has been appointed Joel Smith Museum in New Award from Carbondale Community Arts against Abstract Expressionism and assistant professor of the history of archi- Informel art. Tanaka, who joined the Jersey, succeeding Peter C. Bunnell. and Illinois Arts Council—for the produc- tecture at the University of Illinois in tion of her book, Art of Survival: Women, group in 1955, became widely known Urbana-Champaign. for works that combined sculpture, Hyunsoo Woo, formerly interim director Healing, and the Arts. The edition of of gallery affairs at the Japan Society in 1,000 copies will be distributed free of electric sound and light, and perform- Annie Van Fossen Storr, formerly a prin- New York, has been appointed to the charge throughout Illinois. ance. cipal of Museum Projects in Public In the mid-1950s, Tanaka cut and hung new position of associate curator of
22 CAA NEWS MARCH 2006 Center College of Design in Pasadena, Calls for Papers Calif., and Spelman College in Atlanta, Ga.; for educational/professional and institutional development, the University The Southeast Chapter of the Society of Southern California in Los Angeles. of Architectural Historians will hold its 2006 annual meeting September 28–30, The San Francisco Art Institute in 2006, at Auburn University. The confer- California has restructured its academic ence committee invites abstracts for indi- programs. The School of Studio Practice vidual papers on any aspect of the history consists of the painting, sculpture, film, of the built environment; proposals for photography, design and technology, print- session panels, consisting of 3 papers and making, and new-genres departments. The a chair and focused on a particular theme, School of Interdisciplinary Studies offers are also welcomed. Abstracts (300-word new degree programs in the history and max) should be clearly labeled with the theory of contemporary art, urban studies, applicant’s name, professional affiliation, and exhibition and museum studies. contact information, and title of the pro- posed paper and should be accompanied by a brief c.v. Send all materials as PDF or Word attachments to Nina Lewallen at OPPORTUNITIES [email protected]; www.sesah.org. Deadline: April 1, 2006. To read more listings or to submit your own, please visit www.collegeart.org/ Intermarriage in American Indigenous Charles Matson Lume, What You Wrote About (for Gustaf Sobin, 1935–2005), 2005, opportunities. History: Explorations in Power and mirrors, dimensions variable. Artwork © Charles Matson Lume. Intimacy is a special issue of Frontiers: Awards, Grants, A Journal of Women Studies that will consider the long and varied history and Pam Longobardi, associate professor of Fellowships experiences of intermarriage between drawing, painting, and print at Georgia INSTITUTIONAL American Indians and non-Indians as a State University in Atlanta, has received site of cultural contact and negotiation. NEWS The Clay Studio is pleased to offer the the 2005 Outstanding Faculty Achievement Using these intimate relationships as our Evelyn Shapiro Foundation Fellowship, an Award from her school, the first time the lens for social and political analysis, we annual 1-year residency that includes stu- award has been given to an artist. Only CAA institutional members are will broadly consider how intermarriage dio space, kilns, materials and firing included in this listing. Please send your has shaped the sovereignty of American allowance, teaching opportunities, and a Charles Matson Lume was selected the name, member number, and news item to Indian Nations, the course of European $500/month stipend. A solo exhibition in first artist-in-residence at the Science [email protected]. and American empires, the growth of fall 2007 with a small catalogue is also Museum of Minnesota in St. Paul. From societies, and the lives of individual men provided. The fellowship alternates annual- July to December 2005, he completed 3 The Academy of Visual Arts, launched and women. An inter- and multidiscipli- ly between artists who create sculpture or installations for the museum addressing in January 2006, is the first government- nary journal, Frontiers welcomes submis- installation work (odd years) and function- the topic “Managing Light.” supported art school in Hong Kong. sions of creative works such as artwork, al- or vessel-oriented work (even years.) Offering bachelor’s degrees in commer- fiction, and poetry as well as scholarly This year only the latter kind of work will Robert C. Morgan has been awarded a cial and fine art, the academy allows stu- papers. Submissions should be sent as be considered. The complete program Fulbright Scholar grant to lecture and dents to study Eastern and Western e-mail attachments to [email protected] description and application are available at conduct research at Chosun University in approaches to studio-art practice and to or [email protected], along with 3 hard www.theclaystudio.org; by sending an SASE Gwangju, South Korea, during the apply these skills to the large creative copies addressed to: Editors, Frontiers: A to: The Clay Studio, 139 N. Second St., 2005–6 academic year. His work will industry in Hong Kong or pursue a career Journal of Women Studies, Dept. of Philadelphia, PA 19106; or by calling focus on the emergence of a Korean as a fine artist. History, Arizona State University, P.O. Artistic Director Jeff Guido at 215-925- avant-garde and on the impact of global- Box 874302, Tempe, AZ 85287-4302. 3453, ext. 18. Deadline: March 31, 2006. ization on tradition arts in Korea. The Sterling and Francine Clark Art Deadline: June 1, 2006. Institute in Williamstown, Mass., has The American Friends of the Julie Umerle received a monetary award inaugurated a new award, the Clark Prize The Medieval Academy of America’s Mauritshuis offers grants in the field of from the Arts Council England in for Excellence in Arts Writing, that will Graduate Student Committee seeks art history to support an academic project December 2005. recognize those writers whose work papers for “Across the Pond: devoted to the study of Dutch art from the advances understanding of the world of Transatlantic Perspectives on the Job 16th to 18th centuries. Applicants must Matthew Weber has been awarded a visual art in a way that is grounded in Market,” a panel on transatlantic diver- hold an MA in art history and must be 2006 New Boston Fund Individual Artist scholarship yet appeals to a broad range sity for the 2006 International Medieval working toward a PhD. Grants range from Fellowship from the Greater Hartford of audiences. Three individuals will Congress in Leeds. We hope to provide $3,000 to $10,000, depending on the Arts Council in Hartford, Conn., for his receive the prize in April 2006. The jury not only overviews of the administrative financial requirements and merits of the work in sculpture. includes: Iwona Blazwick, Thelma structures and processes most prevalent project. Applicants are invited to submit a Golden, David Joselit, Steven Lavine, in North American and European insti- letter with a detailed description of the The Getty Research Institute in Los and Robert Storr. tutions, but also answers to certain rele- project and 2 letters of recommendation Angeles has named their 2005–6 schol- vant questions. We hope the discussion The Corcoran College of Art and to: Otto Naumann, American Friends of ars, including the following CAA mem- will foster a productive dialogue among Design in Washington, D.C., has created the Mauritshuis, 22 E. 80th St., New York, bers: Yannis Hamilakis and Susan students and scholars about the ways in a new five-year combined bachelor of NY 10021. Deadline: April 1, 2006. Siegfried are Getty scholars; Ann Jensen which cultural expectations and dissimi- fine arts (BFA) and master of arts in Adams, Frederick Bohrer, Whitney larities can affect the hiring process. To teaching (MAT) program, which permits The American Institute of Indian Davis, Jerzy Miziolek, Spyros that end, we seek prospective panelists students to begin work on their MAT Studies welcomes applications for fel- Papapetros are visiting scholars; and who can speak from their experience of degrees in their sophomore year. The lowships to conduct research in India. Nina Dubin is a predoctoral fellow; and hiring and interviewing international Corcoran will also offer a stand-alone Fellowships are available to scholars Jonathan Alexander is a museum guest candidates or from being hired or inter- MAT degree in fall 2006. holding the PhD degree and graduate stu- scholar. viewed by an institution abroad. dents working toward the PhD. Short- Contributions from continental The Getty Research Center in Los and long-term fellowships are available. European universities are especially wel- Angeles, Calif., has awarded grants to the For information and applications, contact: comed. Write to patrick.hornbeck@theolo- following CAA institutional members: for American Institute of Indian Studies, gy.oxford.ac.uk. Deadline: September 20, research resources and publications, the 1130 E. 59th St., Chicago, IL 60637; 773- 2006. Metropolitan Museum of Art in New 702-8638; [email protected]; www York and the University of Cambridge .indiastudies.org. Deadline: July 1, 2006. in England; for conservation, the Art
CAA NEWS MARCH 2006 23 The Archives of American Art is present their recent research on a wide Stony Brook, NY 11794-2800. Fore more film, and book arts. It seeks work for accepting submissions for its quarterly range of art-historical topics. The Friday information, contact: Keith Miller or Past is Present, an exhibition at the publication, Archives of American Art afternoon session will be held at the insti- Joanna Asvestas at 631-632-4312 or Visual Studies Workshop Gallery in Journal. Articles must focus on some ele- tute, and the Saturday sessions will take [email protected]. Deadline: March September–October 2006. The exhibition ment of American art and be based in part place at the Frick. All interested graduate 31, 2006. is open to anyone working predominantly on materials in the archives’ collection. students, faculty members, and museum with historic or alternative photographic Articles should be 2,000–5,000 words in professionals are invited to attend the Burlington County College invites processes. Printmaking, sculpture, instal- length. Please include photocopies of symposium and its related events. No reg- sculptors over 18 years of age to submit lation, and book arts using any historic images and caption information. (Fees for istration is necessary; seating is available work for the 19th Annual Sculpture photographic process are eligible. image reproductions and permissions/ on a first-come, first-served basis. For Garden Exhibition. Work must be free- Submission fee is $40 for up to 8 images rights clearance are the responsibility of more information and the program of standing and able to withstand changing on slides or CD; checks will be returned the author.) Also include a brief cover speakers, please visit www.frick.org or weather conditions. Entry fee is $10 for 3 with submission materials if the work is letter containing the author’s name, www.nyu.edu/gsas/dept/fineart. pieces; artists may submit up to 3 views not accepted into show. For prospectus, institutional affiliation, contact informa- of each work. Selected sculptures will be send an SASE to: The Laboratorium, c/o tion, and an abstract. All submitted The 33rd Annual Saint Louis exhibited for a period of 1 year, with Visual Studies Workshop, 31 Prince St., materials are accepted on a speculative Conference on Manuscript Studies installation in August 2006. Artists Rochester NY 14607; www.thelaboratori- basis only; payment of $300 is made takes place October 13–14, 2006, at Saint receive a $250 stipend plus travel expens- um.org. Deadline: April 22, 2006. only upon publication. The author is Louis University in Missouri. Sponsored es; sales of works are encouraged. An given a byline and 5 complimentary by the Vatican Film Library and exhibition catalogue will be printed. Phoenix Gallery seeks work for its 2006 copies of the issue. Please send submis- Manuscripta, the conference features the Michael Taylor, curator of modern art at National Juried Competition, to be held sions to: Darcy Tell, Editor, Archives of guest speaker Lilian Armstrong. Inquiries the Philadelphia Museum of Art, is the June 21–July 15, 2006. Tricia Yunjoo American Art Journal, Smithsonian may be addressed to: Vatican Film competition judge. For prospectus, con- Paik, curatorial assistant in the Dept. of Institution, P.O. Box 37012, MRC 937, Library, Pius XII Memorial Library, Saint tact: Leslie Kaufman, Burlington County Drawings at the Museum of Modern Art Ste. 2200, Washington, DC 20013-7012. Louis University, 3650 Lindell Blvd., St. College, 601 Pemberton – Browns Mills in New York, is the juror. All media are Deadline: December 31, 2006. Louis, MO 63108-3302; 314-977-3090; Rd., Pemberton, NJ 08068; 215-413- accepted, and awards include a solo [email protected]; www.slu.edu/libraries/vfl. 9126; [email protected]. and/or group show. For prospectus, send The 12th Congress of the International Deadline: April 3, 2006. an SASE to: Phoenix Gallery, 210 Eleventh Courtly Literature Society (ICLS), tak- Exhibition Opportunities Ave., #902, New York, NY 10001; ing place July 29–August 4, 2007, will be The Laboratorium is dedicated to the [email protected]; hosted by the Universities of Geneva and advancement, dissemination, and promo- www.phoenix-gallery.com. Deadline: Lausanne. The congress theme, “Courtly The SAC Gallery at the State University tion of historic photographic processes, April 29, 2006. Mythologies,” will be developed through of New York, Stony Brook, invites artists, four lines of thought: 1) exemplary fig- curators, or theorists to develop proposals ures; 2) gender definitions and courtly for a show in celebration of Black mythologies; 3) rites and performances of History Month (February 2007), address- power; and 4) questions of style and ing the topic of “Reparations.” The pro- Rhode Island School of Design, rewriting. The official languages of ICLS posal should indicate how the contact are French, English, and German. Please Person(s) plan to execute the show (i.e., Division of Fine Arts submit a title and a 250-word abstract to shipping, installation, publicity, etc.). The Full-Time Faculty/Assistant Professor [email protected]; www.unil.ch/icls2007. gallery has a limited budget and will Deadline: December 31, 2006. work with the contact person(s) to get Department of Ceramics necessary additional funding. Proposals should include: letter of introduction; Rhode Island School of Design seeks applications for an Conferences & Symposia description of the show, including title Assistant Professor of Ceramics. Applicants should demonstrate and artist(s); resumé of the contact a commitment and proficiency in the Ceramic Arts with a The Symposium on the History of Art, person(s); 3 references (including professional focus in sculpture as well as knowledge in a broad an annual event sponsored by the Frick telephone and e-mail; budget and sources range of ceramic concept and craft. It would be desirable to have Collection and the Institute of Fine Arts, of funding; CD or DVD, no slides; and an experience and skill in some, or all, of the following: clay and glaze New York University, will be held April SASE. Send to: SAC Gallery, Student formulation, specialized glazing techniques, model and mold 7–8, 2006. Graduate students from 15 Activities Center, Rm. 222, State making, wheel work, pressing, extruding, jiggering, large scale northeastern colleges and universities will University of New York, Stony Brook, work, installation, figuration, digital technology, ceramic history, and contemporary and critical issues. Applicants should have a MFA or equivalent professional DRAWING & PAINTING INSTRUCTOR Associate Development Director, : experience and a minimum of two years teaching at the college Membership, needed by Manh museum. MiraCosta Community College level.Applicants should be committed to teaching and working Direct dvlpmt, promotion & admin of mem- in coastal San Diego County, with both undergraduate and graduate students who have a keen bership schemes. Work on strategy & mktg California, invites applications desire to make personal work of high technical caliber in a variety plans for opening new facility. Manage for a tenure-track instructor posi- of forms. Full-time faculty are also responsible for mentoring annual fund campaign & other fund raising tion beginning in August 2006. prgms. Dvlp & manage cultivation strate- and advising students, contributing to the development of the The successful candidate must curriculum, and serving on school-wide committees.This position gies to increase membership/income. be an active, contemporary art- Dsgn & manage d/base of membership will commence September 2006. info & constituent transactions. Plan, pro- ist able to instruct in all aspects Applicants should send a letter of application, statement of mote & host domestic & int'l art study of drawing and painting; the du- teaching philosophy, detailed curriculum vitae, slides or digital tours; educ'l, stewardship & retention ties will include teaching courses images of personal and your students’ work, along with three prgmg; & concurrent prgms of events. Fos- in traditional and contemporary letters of recommendation to: ter personal relationships with indiv/corp two-dimensional art. The applica- Ceramics Search Committee, Office of Academic Affairs, patrons, artists & art world prof'ls. tion deadline is March 14, 2006. Research & steward capital campaign Rhode Island School of Design, 2 College Street, Please visit the college website at Providence, RI 02903. donors, trustees & high-level members. http://www.miracosta.edu for gen- Coord & dvlp standard operating proce- eral information about the college. The Search Committee will begin reviewing dures/policies for stewardship & member For information about the position, applications beginning February 1, 2006 and mgmt. Dvlp & coord range of membership continue until the position is filled. application procedure, and salary, mktg & retention materials. Manage & facil- RISD is an AA/EO employer and educator strongly committed itate board of directors. Must have MA in visit http://www.miracosta. to maintaining a climate supporting equality of opportunity and edu/info/admin/HR/jobs respect for difference based on gender, culture, ethnicity, Art History or Museum Studies or equiv & . Or, disability, sexual orientation, marital status, race, color, religion, 2 yrs exp in position offd. Resume to: A. leave a message on the MiraCosta national origin or ancestry, age, and lawful activities. We particularly encourage applications from individuals who would enhance and Arias, New Museum of Contemporary Art, job line 760-795-6868 or toll free 1- diversify our workforce. 210 11 Av., NY, NY 10001 888-201-8480, ext. 6868. EOE
24 CAA NEWS MARCH 2006 SPACES, an artist-run, alternative 2006. This juried exhibition is open to technical issues, and collaborate with the bitions, registering artworks, helping with gallery in northeastern Ohio, is accepting any student currently enrolled in a gradu- artist in the fabrication and drying of the art classes, developing educational pro- applications for its 2006–7 season. We ate program and whose primary medium work. For applications and information, see gramming, and organizing catalogues. are seeking artists in all media, including is clay. Applications are available at www.dieudonne.org or call 212-226-0573. Students should be entering their final digital, installation, and web art, as well www.theclaystudio.org; by sending an Deadline: May 15, 2006. year of undergraduate work, be recent as curatorial proposals for exhibitions. All SASE to: The Clay Studio, 139 N. Second graduates, or be enrolled in an arts-relat- themes are welcomed, and 3 are high- St., Philadelphia PA, 19106; or by calling The Jentel Foundation awards 1-month ed graduate program. Internships run lighted for 2006–7: Artists collaborating Artistic Director Jeff Guido at 215-925- residencies throughout the year to visual June 1–August and require 20–25 hours with scientists to produce art along the 3453, ext. 18. Deadline: May 19, 2006. artists in all media and writers in all gen- a week. Applicants must submit a lines of scientific experimentation and/or res. The residency is located on a working résumé and statement of interest to invention; artists working within the pub- Residencies, cattle ranch in the foothills of the Big [email protected]. Early appli- lic realm, integrating art into civic proj- Horn Mountains, 20 miles from Sheridan, cations are encouraged. For more informa- ects and/or discourse; and artwork of an Workshops, Exchanges Wyo. The award includes accommoda- tion, visit www.arlingtonartscenter.org. obvious tactile nature. In addition, artists, tions, a separate private studio, and a $400 Deadline: April 15, 2006. including students, are eligible for the Dieu Donné Papermill seeks applications stipend. Residents are invited to share SPACELab program, which focuses on from New York State artists for its their work through various outreach smaller, experimental, timely exhibitions Workspace Program, which gives emerging opportunities in the community. For more CLASSIFIEDS or installations. All selected artists and artists from all disciplines the opportunity information, send a self-addressed mailing curators are paid honoraria. To request an label and $0.62 postage to: Jentel Artists to produce new projects in handmade To place a classified ad in CAA News, application form, contact: SPACES, 2220 Residency Program, 130 Lower Piney paper. Three artists will be selected by visit www.collegeart.org/news or write to Superior Viaduct, Cleveland, OH 44113; Creek Rd., Banner, WY 82832; 307-737- panel and interview process to participate [email protected]. 216-621-2314; [email protected]. in the 2006–7 program. Each artist will 2311; www.jentelarts.org. Deadline: Applications are available online at receive a $700 honorarium, advance prepa- September 15, 2006. www.spacesgallery.org. Deadline: May ration of materials, and professional assis- For Rent 12, 2006. tance during a 7-day collaboration. The The Split Rock Arts Program is the staff consults with each artist to strategize a University of Minnesota’s summer series Florence. Unique small penthouse, historic The Clay Studio will host the 3rd logical approach in realizing the proposed of workshops in creative writing, visual center, spectacular terrace, sleeps three- Annual Marge Brown Kalodner Graduate work; they will also prepare the pulp, solve art, and design. Held on the Twin Cities’ plus, furnished, elevator, washing machine, Student Exhibition, June 29–July 30, campus and at the university’s Cloquet references required. 508-877-2139. Forestry Center in northern Minnesota, Applications Invited the program offers intensive study with House for rent. South of France. Charming outstanding artists and writers from stone house, sleeps 8, modern kitchen, 3 around the world. Participants select baths, pool, terraced property with olive workshops that are most appropriate to trees, magnificent views. 401-789-0468. their needs and interests, and all work- shops allow for significant one-to-one Paris. Apartment to rent, 9eme. 2-bdrm contact between participant and instruc- duplex. Fully furnished. Available sum- tor. No prerequisites are required. mer and/or academic year ‘06–07. For Graduate and undergraduate credit and full description and details contact scholarships are available. Registration [email protected]. begins February 2006. For details, con- The College Art Association seeks qualified candidates for the tact: 612-625-8100; [email protected]; Paris apartment. Marais. Ideal for www.cce.umn.edu/splitrockarts. position of Executive Director, and invites applications. sabbatical. 212-367-7641. Unpaid Internships Opportunities CAA is an umbrella arts organization and scholarly society with 15,000 member The Saint Louis Art Museum offers 12 The Creative Alliance’s Patterson scholars, artists, and other visual-arts professionals, with offices in New York City. summer internships for students to work Residency Program provides a highly with curators and professional staff to visible, intense, and creative environment document, research, and catalogue works The ideal candidate will have a demonstrated ability to lead the Association, for the production of artwork in all in the museum collection and to help media. The Program is located in a for- working collaboratively with staff, a board of directors, volunteer committees, with exhibition projects. Twenty hours mer movie palace in Baltimore MD, now and partner organizations. He or she will have expertise in program per week is required for a minimum of 8 a thriving, community-based art center weeks. Interns are selected based on management and development, providing services to members, and fundraising, with theater, 2 galleries, classrooms, and their qualifications and how well their media lab. Accommodating 8 artists for and the skills to strengthen CAA's position as leader in cultural policy and skills match available projects. terms of one to three years, it is intended advocacy for the fields of art scholarship and practice. Applicants must send: a statement of for emerging artists, and mid-career professional goals and how an internship artists whose goal is to reinvigorate their at the Saint Louis Art Museum serves work in an intensive atmosphere. Candidates should have at least five to ten years' experience in upper-level those goals; a list of all courses taken; a Studios range 950–1,150 sf (including management of a nonprofit organization and a knowledge of, and passion for, listing of job experience; languages spo- loft), and feature kitchen, bath, high ceil- the visual arts and art scholarship. ken and/or read; the names of 3 refer- ings, exposed beams, and ample natural ences; and a writing sample (e.g., a light. Rents average $685/month; sepa- research paper, so we can get an idea of rate utilities. Application deadline: an applicant’s research skills). March 24; terms begin July 1. Visit A full job profile is posted at www.collegeart.org/ed/ Applicants will be notified by April 21, www.creativealliance.org or contact 2006; program begins June 6. Contact: Jed Dodds at 410-276-1651 or Janet Hawkins in Human Resources [email protected] for details. Please send inquiries and letters of interest to: Dept. at [email protected]; www.slam.org. Deadline: March 31, Egg Tempera Instructional DVD. 2006. Management Consultants for the Arts Breaking Eggs; Making Paint, a 70- minute film produced by the Brandywine 132 East Putnam Avenue The Arlington Arts Center, a leading River Museum featuring Professor Hilton Cos Cob, CT 06807 contemporary visual arts center in the Brown, provides a thorough introduction Washington, D.C., area, is accepting or [email protected] to egg tempera. From advice on handling applications for curatorial and arts-educa- eggs to notes about rare pigments and Attn: Gregory Kandel tion interns for summer 2006. Projects special brushes, artists and students will include coordinating and preparing exhi-
CAA NEWS MARCH 2006 25 gain invaluable insights. The DVD also cept of the program, please visit: Prints; Art in the ‘Toon Age; Chaim March 22, 2006 features a rare interview with Andrew www.pallas.leidenuniv.nl. Gross: Works on Paper; Josef Albers; Deadline for nominations and self-nomina- Wyeth who speaks briefly the unique Modern and Contemporary African tions for candidates to the Awards for qualities of egg tempera. The film retails Georgia O’Keeffe Museum Research American Art; and others. Landau Distinction juries for $24.95 and is supported in part by the Center announces symposium in celebra- Traveling Exhibitions – 310-397-3098, National Endowment for the Arts. Call tion of its 5-year anniversary: “Painting [email protected]. April 8, 2006 610-388-8326 or order online at and Photography in American Art: Ideas, Deadline for nominations and self-nomina- www.brandywinemuseumshop.org. Sources and Influences, 1890 to the tions for candidates to the 2007–11 Board Present.” Santa Fe, New Mexico. 6–8 DATEBOOK of Directors For Feminist Archive Project / NYFAI. July, 2006. For information contact: Trying to locate painter Catherine Allen www.okeeffemuseum.org; 505-992-8687 April 17, 2006 March 1, 2006 who was at the NY Feminist Art Institute (phone); 505-946-1093 (fax). Deadline for nominations and self-nomi- Deadline for submissions to the CAA in the 1980s and who moved to Mexico nations for the Art Journal editorial board and California. Also any other students, Seeking Traveling Exhibitions – Do you Publications Grant faculty members, friends of NYFAI, have an exhibition or collection you May 1, 2006 March 10, 2006 please be in touch with Nancy Azara: would like to circulate? Contact: Landau Deadline for submission of preliminary Deadline for submissions to the May 212-925-5777 or [email protected]. Traveling Exhibitions – 310-397-3098, proposals to session chairs for the 2007 2006 issue of CAA News [email protected]. Annual Conference Formulating a Response: Methods of March 15, 2006 Research on Italian and Northern Traveling Exhibitions Available – May 10, 2006 Deadline for spring submissions to the European Art, 1400–1600. April www.a-r-t.com – Goya: Los Caprichos; Deadline for submissions to the July 2006 Millard Meiss Publication Grant 20–23, 2006. Leiden University, Rembrandt’s Beggar Etchings; Picasso: issue of CAA News Netherlands. To view the complete con- Edition Ceramics; Jacob Lawrence June 15, 2006 Deadline for nominations and self-nomi- #!! IS YOUR LEADING VISUAL ARTS nations for the position of Art Journal reviews editor AND EDUCATION RESOURCE June 30, 2006 Deadline for nominations and self-nomi- 9OUR CONTRIBUTION WILL HELP US nations for the position of The Art Bulletin editor-in-chief s %NHANCE #!!S CAREER DEVELOPMENT SERVICES s %XPAND THE !NNUAL #ONFERENCE AND EXHIBITIONS July 10, 2006 Deadline for submissions to the s !DD EXHIBITION REVIEWS TO CAAREVIEWS September 2006 issue of CAA News s 'ATHER RESEARCH DATA ON HIRING AND TENURE TRENDS August 31, 2006 s 5PDATE AND EXPAND OUR INmUENTIAL 0ROFESSIONAL Deadline for nominations for the 2007 3TANDARDS AND 'UIDELINES Awards for Distinction #/,,%'% !24 !33/#)!4)/. September 1, 2006 7E WELCOME YOUR SUGGESTIONS FOR ISSUES Deadline for curatorial proposals for the !..5!, YOU WOULD LIKE ADDRESSED 9OU MAY CONTRIBUTE 2008 Annual Conference in Dallas # ! - 0 ! ) ' . TO #!!S 'ENERAL &UND OR DIRECTLY TO September 10, 2006 Deadline for submissions to the s 3ERVICES TO ARTISTS November 2006 issue of CAA News s 3ERVICES TO ART HISTORIANS s 3ERVICES TO THE MUSEUM lELD October 1, 2006 s 3ERVICES TO INTERNATIONAL MEMBERS Deadline for fall submissions to the Millard Meiss Publication Grant
October 15, 2006 "Y CONTRIBUTING TO THE Deadline for submissions to the Wyeth Foundation for American Art !NNUAL #AMPAIGN Publication Grant s #ONTRIBUTORS WILL BE LISTED IN #!! .EWS November 10, 2006 Deadline for submissions to the January s #ONTRIBUTORS WILL RECEIVE AN INVITATION TO A SPECIAL 2007 issue of CAA News EVENT DURING THE "OSTON !NNUAL #ONFERENCE January 10, 2007 s #ONTRIBUTORS OF n WILL RECEIVE A #!! Deadline for submissions to the March TRAVEL UMBRELLA 2007 issue of CAA News s #ONTRIBUTORS OF OR MORE WILL RECEIVE ONE OF February 14–17, 2007 #!!S ART HISTORY MONOGRAPHS 95th CAA Annual Conference in New York s #ONTRIBUTIONS ARE TAX DEDUCTIBLE TO THE EXTENT ALLOWED BY LAW March 15, 2007 Deadline for spring submissions to the Millard Meiss Publication Grant 4O CONTRIBUTE 6ISIT WWWCOLLEGEARTORG OR SEND A CHECK TO February 20–23, 2008 #OLLEGE !RT !SSOCIATION 96th CAA Annual Conference in Dallas 3EVENTH !VENUE .EW 9ORK .9 February 25–28, 2009 /R CALL EXT 97th CAA Annual Conference in Los #/.42)"54% 0,%!3% Angeles
26 CAA NEWS MARCH 2006 2006 CAA Awards for Michael Leja, Looking Richard F. Townsend and has had an impact nationally Distinction Askance: Skepticism and Robert V. Sharp, eds., Hero, and internationally on the field. American Art from Eakins to Hawk, and Open Hand: CONTINUED FROM PAGE 19 Duchamp (Berkeley: University American Indian Art of the The CAA/Heritage of California Press, 2004); Ancient Midwest and South Senate Cultural Caucus. Preservation Award for Alison Wright, The Pollaiuolo (Chicago: Art Institute of Kennedy is a member of the Distinction in Scholarship Brothers: The Arts of Florence Chicago, in association with Board of Trustees of the John and Conservation honors out- and Rome (New Haven: Yale Yale University Press, 2004); F. Kennedy Center for the standing contributions by one University Press, 2005); Wendy Kaplan, ed., The Arts Performing Arts. or more persons who, individ- Xiaoneng Yang, New and Crafts Movement in ual or jointly, have enhanced Morey and Barr Award Perspectives on China’s Past: Europe and America (New understanding of art through Finalists Chinese Archaeology in the York: Thames and Hudson, the application of knowledge Twentieth Century (New 2004). and experience in conserva- Haven: Yale University Press, CAA warmly recognizes the tion, art history, and art. in association with the Nelson- 2006 finalists for both the Atkins Museum of Art, 2004). Charles Rufus Morey Award CAA Seeks Award The Distinguished Lifetime Alfred H. Barr, Jr., Award: and the Alfred H. Barr, Jr., Nominations Achievement Award for Robert Thomson, Philip Writing on Art celebrates the Award for their distinctive CONTINUED FROM PAGE 13 Dennis Cate, and Mary achievements: career of an author of note, and Weaver Chapin, Toulouse- Charles Rufus Morey Book The Distinguished Artist includes art criticism, art histo- Lautrec and Montmartre Award: D. Medina Lasansky, Award for Lifetime ry, art biography, and/or art (Washington, D.C.: National The Renaissance Perfected: Achievement celebrates the theory. Gallery of Art, and Chicago: Architecture, Spectacle, and career of an artist who has Art Institute of Chicago, in Tourism in Fascist Italy demonstrated particular com- association with Princeton (University Park: Pennsylvania mitment to his or her work University Press, 2005); State University Press, 2004); throughout a long career and
A. Listopad, William C. Loerke, Deborah H. Loft, Rose-Carol Washton CAA THANKS DONORS Long, Robert Lopatin, William Low, Beauvais Lyons, Muriel Magenta, Tod A. Marder, Victor Margolin, Sara L. Marion, Joan M. Marter, Neil E. Donors to the 2006 Annual Campaign Matthew, Joyce H. Mayer, William A. McIntosh, Kellen K. McIntyre, Leatrice G. Mendelsohn, Sarah E. Michael, Mary-Ann Milford-Lutzker, CAA thanks the following individuals and organizations for their gen- Arianne Miller, Cynthia M. Millis-Horton, Elizabeth L. Milroy, Willard E. erous support of the association and its programs (July 1, Misfeldt, Gabriella R. Miyamoto, Alfred Moir, Penny C. Morrill, Andrea 2005–January 17, 2006): Pat Adams, Ingrid Alexander-Skipnes, Basil Kirsh and Andrew Morrogh, Raffaella Morselli, Patricia A. Morton, Robert Alkazzi, Linda Lee Alter, Kimberly A. Arleth, Paul B. Arnold, Frederick D. Mowry, Eleanor Munro, Ann H. Murray, Minerva Navarrete, Morton M. and Catherine B. Asher, Donnette H. Atiyah, Nancy E. Bacci, Susan Needelman, Annegreth Nill, Francis O’Connor, Diane M. O’Donoghue, Ball, Susan Benfrado Bakewell, Helen D. Baldwin, Carmen C. Bambach, Ferris Olin, Angelika Pagel, Satoko I. Parker, Marjorie Pearson, David I. Mary Lee Baranger, Stephanie Barron, Victoria Beck-Newman, Laura H. Platzker, Louise Pliskin, Alison C. Poe, Ljubica D. Popovich, Marcelle H. Beiles, Annette Blaugrund, David F. Boffa, Bruce A. Boucher, Judith K. Pour, Leopoldine H. Prosperetti, Arlene Raven, Sandra J. Reed, Mysoon Brodsky, Robert E. Brooker, Barbara C. Buenger, Elizabeth M. Burin, Rizk, Charlotte J. Rollman, Vivien J. Romoff, Helen A. Ronan, Anne Diane Burko, Sarah Burns, Jody Burstein-Gorton, James Cahill, Virginia Rorimer, David Rosand, Betsy Rosasco, Deborah M. Rothschild, Ksenija A. and William A. Camfield, Madeline H. Caviness, Melissa L. Chaney, S. Rozman, Angelica Z. Rudenstine, Wendy Ruth Salmond, Norie Sato, Hollis Clayson, Theresa R. Coco, Kevin Concannon, Maria Ann Conelli, Stephen Scher, Carl L. Schmalz Jr., Peter Schultz, John F. Scott, Helen M. Mildred Constantine, Kat C. Cope, Nita G. Corinblit, Dario A. Covi, Kyle Shannon, Joyce Cutler Shaw, Angela Sheng, Alan Shestack, Roger R. Crocker, Charles D. Cuttler, Jadwiga Irena Daniec, Whitney M. Davis, Shimomura, Sandra Sider, Kathryn A. Smith, Terence E. Smith, Harold Carol Neuman de Vegvar, Maria DeGuzman, Barbara Argento Dennig, Spencer, Brian D. Steele, Roger B. Stein, Gloria Steinberg, Marilyn Elizabeth J. DeRosa, William J. Dewey, Eleanor Dickinson, Therese A. Stokstad, Christine L. Style, Yongsun Suh, Judy E. Sund, Carolyn E. Tate, Dolan, Timothy W. Drescher, Noreen Dean Dresser, David C. Driskell, Elizabeth and Duncan Tebow, Wayne Thiebaud, Robert Farris Thompson, Martina S. Droth, Alice J. Dubiel, Sally Anne Duncan, Francesca M. Bob Tomolillo, Joan Carpenter Troccoli, William Tronzo, Jason A. Eastman, Vivian L. Ebersman, Sheila Edmunds, Lauren Eldred, Martha G. Tselentis, Ann Tsubota, Nola H. Tutag, Mario Valente, Jane A. Van Elton, Pamela and Michael Fahlund, Diana P. Fane, Sarah C. Faunce, Nimmen, Serena A. Vascik, Michele Vishny, Evelyn C. Voelker, Walter O. Alicia Craig Faxon, Alan M. Fern, Marianne Ficarra, Susan B. Finnegan, Wagner, Alice Walker, Larry M. Walker, Roslyn A. Walker, Alan Wallach, Angela D. Fish, Margaret Flansburg, Jaroslav Folda, Fredericka Foster, Guy E. Walton, Ann Kirk Warren, Sarah E. Webb, Idelle Weber, Ruth I. Kathleen A. Foster, Elisabeth A. Fraser, Eva Frojmovic, Clarke H. Weidner, Gabriel P. Weisberg, Volker Weiss, Elizabeth B. Welles, Fred H. Garnsey, Mary D. Garrard, Ann E. Gibson, Elvira Giraldez, Anne Collins Werner, Judith C. Wester, Susan Wilmarth-Rabineau, Chris B. With, Susan Goodyear, Thomas H. Gretton, Marianne C. Grey, J. Eugene Grigsby, Hans Wood, Joyce Zemans. Haacke, Colleen Hall, Michael D. Hansel, Hilary A. Helfant, Eric E. Hirshler, Edith M. Hoffman, Christine Huber, Constance Hungerford, W. Gifts have been received in honor of the following people: Susan Ball. Sheldon Hurst, Joel Isaacson, Simeen M. Ishaque, Sara N. James, Paul B. Jaskot, Brian C. Kelly, Norman Kleeblatt, Helen L. Kohen, Janet Koplos, Gifts have been received in memory of the following people: Rona Alice Kramer, Carol Hershelle Krinsky, Jane Kristof, Mernet R. Larsen, Goffen, Peg Weiss. David and Ellen K. Levy, Samella Lewis, Elizabeth Amy Liebman, John
CAA NEWS JANUARY 2006 27 Nonprofit Organization NEWS U.S. Postage Paid MARCH 2006 Ephrata, PA College Art Association of America Permit No. 102 275 Seventh Avenue New York, NY 10001 www.collegeart.org
BOARD OF DIRECTORS
Ellen K. Levy, President Nicola Courtright, Vice President for Publications Dale Kinney, Vice President for Annual Conference Diane Edison, Vice President for Committees Virginia M. Mecklenburg, Vice President for External Affairs Christine Sundt, Secretary John Hyland, Jr., Treasurer Jeffrey P. Cunard, Counsel Susan Ball, Executive Director
Kaucyila Brooke Joan Marter Coco Fusco Mary-Ann Milford-Lutzker Susan Grace Galassi W. Jackson Rushing III Dennis Y. Ichiyama Duane Slick Paul Jaskot Buzz Spector Thomas DaCosta Kaufmann William Tronzo