newsletter Volume 13, Number 2 Summer 1988

1989 ANNUAL MEETING--STUDIO SESSIONS Aimouncement and Call for Participation

The 1989 annual meeting will be held in San Francisco from Thurs­ tent had been a focus of attention among abstract painters prior to day, February 16 through Saturday, February 18. The Studio Sessions 1950, it was superseded by fonnal issues in the abstract expressionist have been planned by Ruth Weisberg, professor of fine arts, University period. Recent criticism has, however, returned attention to content, of Southern California, Los Angeles and Sylvia Lark, professor of art, with many critics arguing that first- generation abstract expressionism University of California, Berkeley. represented a regression in social consciousness. The newer generation of abstract painters represents a more diverse base of cultural expe­ PARTICIPATION AND DEADLINES rience, and includes a greater number of recognized women painters_ To what extent does the work of this generation enable an expansion of Your proposal for participation should be sent directly to the appro­ content beyond the accomplishments of the 1950's? Presentations are priate session chair. If a session is cochaired, then a copy should be sent invited which address issues of content in abstract painting, either in to each chair. Every proposal should include the following items: A let­ the work of the presenter or among other artists who have emerged in ter that explains your interest and expertise in the topic. A c,V. with the past twenty-five years. home and office addresses and telephone numbers, as well as details on where you can be reached during the summer. It is recommended that The Memorial Redefined/New Dimensions of Public Memory a stamped, self-addressed postcard be enclosed for confirmation that Linda Cunningham, Art Department, Franklin and Marshall your proposal was received. College, Lancaster, PA 17604- 3003. The deadline for sending proposals is September 1. Chairs will de­ In the tradition of western art, memorials have revered statesmen, termine the speakers and respondents for their sessions by October 1. dramatized conquests, and symbolized the power of the state and its patriarchs. Artists are currently redefining and extending concepts of GUIDELINES this major public art form to memorialize human and environmental tragedies, and to question the very political and social structures which Please note the following general guidelines for participation: I) If you formerly this art fonn aggrandized. This panel will address issues such write to chairs of different sessions, you must inform each chair of the as: What and who is remembered? What are the intentions and effects multiple submission. 2) A person may not participate in the same of the public memorial and how does it define and shape public capacity two years in a row. 3) A person may not participate in more memory? than one session. 4) Acceptance in a session implies a commitment to All artists, whether chosen to participate in the panel or not, who attend the meeting and participating in person. All those officially are working in this direction are invited to submit a black and white taking part in sessions will be listed in the conference program. photograph or photographs and statement (verbal or visual) arranged for printing on an 8y'! X II page. Include on a separate page minimal SESSIONS identifying infonnation: name, address, current employment, and a 100 word resume typewritten ready for publication. The session would The Idea of the Moral Imperative in Contemporary Art Mel Pekar­ like to publish a booklet containing all of these submissions which sky, professor of art, Department of Art, State University of New would serve as a reference for artists, historians and curators interested York at Stony Brook, Stony Brook, New York 11794-5400. in the topic. This panel will begin with the premise that the first decision that an artist makes when starting to work in this postmodern, pluralist end of Elemental Concerns Judith Stein, associate curator, Pennsylvania the 20th century is a moral one; that is, if you can paint whatever you Academy of the Fine Arts, Broad and Cherry Streets, Phila­ want (since nobody cares what you paint or if you paint at all until delphia, PA 19102. you're a commodity), the first decision is what to paint. This is diamet­ The natural environment is one of the most abiding themes in the history of art. Separated into the elements of earth, fire, water, and air rically opposed to pre-modern art, which was preceded by "need" and "commission," with style usually universal and content pre-ordained. the natural world as subject matter has been treated both symbolical­ The use of "moral" is intentionally provocative here, and meant to ap­ ly, as in William Blake's engravings of a figure in a landscape, and ply to fonnal as well as contextual issues, e.g., abstract expressionism directly, as in the Earth Art of the sixties and seventies. This elemental can be described as a movement of moral strength and conviction. The content is embedded in Leonardo's wind studies, Turner's conflagra­ question of a moral imperative may imply political imperatives in a tions, Church's sublime mists and Monet's shimmery ponds. Nearly similarly wide sense, questioning values (individual) and standards twenty years ago the Boston Museum mounted a major exhibition (societal) and indicating a possible individual vs. public moral impera­ entitled "The Four Elements," to investigate the themes in the diverse tive. media of Happenings, Environments, process and conceptual Art. Are contemporary artists who are concerned with the elements today, The Content of Abstraction Dan Nadaner, professor of art, Dept. of more likely to address them representationally, using traditional for­ Art, California State Univ., Fresno, Fresno, CA 93740. mal means, or do they prefer the direct utilization of the landscape The panel will explore the significance of the most recent generation of itself? Artists and curators who have addressed these issues are invited abstract painting, with particular attention to content. Although con- to write. Continued on p. 2, col. 1 /1989 ANNUAL MEETING-STUDIO SESSIONS

tional aspects of role, construction in the artworld. These construc­ The Women Question Taking Positions/Taking Positions Apart panel will also include artists who have expanded traditional tech­ make. The seen arts are unique in the way they stop time- presenting tions present or represent self, mediating between individuals and Suzanne Lacy, dean, School of Fine Arts, California College of niques and used experimental media. The session will question the images that may continue, release, or relieve grief; allowing for others their life situations. Roles appear in art based on appropriation, Arts and Crafts, 5212 Broadway at College, Oakland, CA contemporary and historical definitions of drawing which oppose si~ll'­ to share loss; perpetuating feelings that the individual must relinquish 94618-1487; Arlene Raven, 105 Eldridge Street, New York, NY qualities such as intimacy versus monumentality and spontaneity ver­ lation, performance and gender. They include role-models, auth():'x-ity to take up the threads of life. Both the study and the making of art can 10002. sus "finish." figur:s, martyrs a?d heroines: with an individual often embodrng help us come to terms with some aspects of reality; illusion can addres~ multIple roles. ThIS complex dIscourse often deconstructs the relaHon Artists, critics and others speak out, taking positions on current issues need. By talking together about loss we may aid one another in dealing between the artist and art institutions such as the museum, gallery, a'rt in art and criticism as they pertain to women's roles, gender identity, West Coast Painting Now Mary Priester, associate curator, Portland with the inevitable. press, and university. Discussion topics may include studies in psychol­ art practice and politics. In a spirited fashion we will surface the ques­ Museum, 1219 S.W. Park Avenue, Portland, OR 97205. ogy, linguistics, theatre, and stereotypes in gender, race and class. The tions, prejudices and passions uppermost in our minds regarding "The The work of the artists of the Pacific Northwest including Oregon, chairs encourage the interaction of contentious positions that use Women Question." Washington and British Columbia, like the work of artists everywhere, The Role of Lost Art Techniques in the Postmodern Era Cynthia either traditional or performance/ video presentations. The format will be five minute-Dr-less presentations from the floor, shows a complex of influences. Defying categorization, it can only be Kukla, assistant professor, Northern Kentucky University, Fine including performances, statements, readings and diatribes, from a said that the word tends not to reflect the fluctuations of the New York Arts Center 211, Highland Heights, Kentucky 41076. diverse number of pre-selected participants. Those wishing to partici­ art scene but. rather to express each artist's own individual quest. Traditionally, artists worked within a time-honored framework, devel­ pate are asked to submit a proposal or a complete script for their five Removed from the system of high stake rewards, it has an integrity that West Coast Painting Now or Post Death-of Pa'inting, Painting oping techniques and aesthetic principles slowly over centuries, with minutes (time will be strictly adhered to). comes from inner motivation and long hours of unpressured research. Josine lanco Starrels, senior curator, Long Beach Museum, much emphasis given to painstaking techniques. Modernist strate­ 2300 East Ocean Boulevard, Long .. Beach, CA 90803, 8754 gies presupposed working anew, such that each generation of artists The Political Artist Henry Klein, professor of art, Art Department, Karen Tsujimoto, 98 Dudley Avenue, Piedmont, CA 94611. Arlean Terrace, Los Angeles, C1-,90046. worked in a state of continual breakthroughs. In the Postmodern era, Los Angeles Valley College, 5800 Fulton Avenue, Van Nuys, Northern California, particularly the Bay Area, has since the fifties Step right up folks ... behold our phualism ... the assortment is truly the collapse of this unending spiral of avant garde activity has been CA 9140l. been able to boast of a strong painting tradition. The pervasive phil­ awesome: Feast your eyes ... w~/h'ave realists-neo classical, photo, replaced by "appropriating" prior Modernist forms or other forms of The political activist artist who seeks to harness his or her artistic pro­ osophy at that time, which stressed personal exploration and the open­ magic and painterly-serious or frivolous. expression. duction to a political agenda encounters a variety of impediments to ended nature of the painting process, laid the foundation for the We have passionate and, ,angry expressionists; platonic/geometric In this climate, there is potential for a fuller use of the range of im­ realization of that goal. It is the intention of this session to address the diverse inquiries into subject matter, media, and style that continue to abstractionists; abstras~/expressionists; contemplative reductivists; ages, styles, strategies and methods employed by artists through time. pragmatic issues around political communication beyond the "art this day. Whether figurative or abstract, violently expressive or lyric­ conceptual populists; c'ool minimalists and elitist Marxists. What is the role of lost art techniques in this Postmodern era? As ghetto." These might include, but need not confine themselves exclu­ ally subdued, the work of Northern California painters underscores a Some aspire to a meaningful relationship with the marketplace­ we push forward with increasingly complex computer and video sively to, means of communication, strategies of public access, resis­ distinctive and vigorous tradition of independence and a predilection others work devotedly and modestly in dialogue with the world around machinery to create and combine art forms, is there any point in tance to despair and co·optation, and support structures. To this end, toward personal experience over the supposed imperatives of art them. / simultaneously pushing backward toward techniques, nearly lost, that we invite proposals not only from "fine" artists but from designers, car­ history and pure form. Our artists live in industrial spaces and in store-fronts-in splendi­ formed the basis of traditional studio techniques? Further, are artists toonists, art historians, critics and others whose expertise might ferous studios designed by Frank Gehry or in shacks, hidden in green currently employing such techniques as fresco, egg tempura, encaus­ deepen our understanding of the issues and suggest solutions to them. Josine lanco Starrels, senior curator, Long Beach Museum, canyons or silent deserts. Take your pick folks ... we've got them all. tic, silverpoint, guilding and illuminating, platinum-palladium print­ 2300 East Ocean Boulevard, Long Beach, CA 90803, 8754 ing, etc. working with Postmodern strategies in mind, or in contrast to Computers and Art: Issues of Content Terry Gips, professor of art, Arlean Terrace, Los Angeles, CA 90046. them? There may also be demonstrations of techniques in relation to Department of Housing and Design, 1401 Marie Mount Hall, Step right up folks ... behold our pluralism ... the assortment is truly ..' .. - .. _Lh.is~~~l!~LoIl,:. College Park, MD 20742. awesome: Feast your eyes ... we have realists-neo classical, photo, JOINT ART HISTORY-STUDIO SESSIONS When conversation among artists turns to computers, the tone of the magic and painterly-serious or frivolous. exchange can range from fear, to disdain, to true- believer enthu­ The Word and Image in Twentieth-Century Art Judi Freeman, We have passionate and angry expressionists; platonic/ geometric BOARD-SPONSORED SESSIONS siasm. There is often feverish tallying of technical prowess: how many abstractionists; abstract expressionists; contemplative reductivists; associate curator of Twentieth-Century Art, Los Angeles colors, how many manipulations, and how fast? This panel will focus County Museum of Art, 5905 Wilshire Boulevard, Los Angeles, conceptual populists; cool minimalists and elitist Marxists. What do Artists Want From theCAAAnyway? Referees: Joyce Koz­ instead on the issues of content, particularly the computer's relation­ CA 90036. Some aspire to a meaningful relationship with the marketplace­ loff, ]52 Wooster Street, New York, NY 10012; Faith Ringgold, ship with photography and the associated concerns of authenticity, One of the most provocative critical issues in modern art is the interre­ others work devotedly and modestly in dialogue with the world around 345 West 145th Street, New York, NY 10031. simulation and appropriation. lationship between word and image. This session will address specific them. Air your opinions, suggestions, grievances, pronouncements, hidden Assessing these concerns as well as the risks and advantages of the moments in this century when words and images create composite Our artists live in industrial spaces and in store-fronts-in splendi­ agendas, and future fantasies. Three to five minutes will be given to computer as artist's tool is not done in a vacuum. Rather, current ferous studios designed by Frank Gehry or in shacks, hidden in green meanings in art and utterly transform how we perceive the word or the image in isolation. Artists' integration of the word and the motif accel­ each person. Speakers must be artists; any artist related issue is rele­ aesthetic practice is seen against a historical, theoretical and critical canyons or silent deserts. Take your pick folks ... we've got them all. vant. backdrop. Although the common appearance of the computer in the erated dramatically in the first half of this century, as words, letters, collaged extracts of writings surface in the fine arts. In the second half studio or classroom is a very recent phenomenon, the history of artists Exhibitions: Who Decides and Why? Elaine King, associate profes­ Teaching Art History in the Boondocks. Annabelle Simon Cahn, of the century artists of the Pop era through those involved with con­ experimenting with computer technology goes back nearly three sor, History of Art and director of the Carnegie Mellon Univer­ California State Summer School for the Arts; James McManus, ceptualism and a linguistically-tied art of the 1980s incorporate this decades. These same decades have witnessed a discourse on photog­ sity Art Gallery, Carnegie Mellon University, College of Fine California State University, Chico. Send abstracts to: James into their imagery in varied and provocative ways. raphy, representation and appropriation which leads directly to the Arts, Pittsburgh, PA 15213. McManus, Art Dept., CSU/Chico, Ayres Hall, Chico, CA This session examines the word-image and its sources, its icono­ most critical issues of electronic art today. This session will examine the state of contemporary art exhibitions be­ 95929. graphic content, its relationship to titles of works of art, to artists' ing organized by major fine art museums and university galleries. Many art historians teach students who not only have had little experi­ writings, to contemporary concerns with linguistics and theory, and its California Sculpture Brian Wall, professor, Department of Art, Papers are sought which will focus on issues affecting the selection of ence with the subject and may not be schooled in the visual arts, but parallels with contemporary literary forms. Art historians, artists, and University of California, Berkeley, CA 94720. artists for either retrospective exhibitions or thematic shows. It ap­ are also without access to works of art and/ or live in communities scholars in related fields are invited to propose papers for presentation. The panel will discuss the following questions: Is there a regional Cali­ pears that a type of "pork-barreling" is on the rise; and increasingly where there are few monuments and original objects tied to the Great fornia style in sculpture? If not, why has California produced so many fewer artists are considered. Are curators today largely influenced by Cultures of the World (Graeco-Roman and later European, African, sculptors of note? Has the boom in the art scene in L.A. had an impact gallery trends or current philosophical, aesthetic concepts? Has decon­ Facing the Loss: Images of Death, Disease and Deprivation. Judith Oriental or other historical styles). on the quality or stylistic cohesiveness of the sculpture produced there? structionism and revisionist art history replaced connoisseurship and K. Brodsky, Dept. of Visual Art, Mason Gross School of the Papers (fifteen minutes each) should offer methodologies used to Has the distance from the major art market in New York had an effect educated judgment? Arts, Rutgers, The State University of New Jersey, New Bruns­ make the discipline's concerns understandable and meaningful to on sculpture produced here? Is there a relationship between the Cali­ It is hoped that this session will cover a wide range of viewpoints. wick, NJ 08903; Colin Eisler, New York University Institute of students when limited cultural resources are available, and/ or address fornia lifestyle and intellectual climate and the creative process? Can Papers and proposals for presentations and discussants are solicited Fine Arts, 1 East 78th Street, New York, NY 10021. questions related to shifting student populations, academic prepared­ one extrapolate the experience of California sculpture to other particularly from curators, critics, art historians, and artists (who have The session will focus upon past and present representations of illness ness and cultural biases and their impact on teaching art history to the regional centers such as Chicago, Texas and Kansas City? been involved with exhibition curating). and mortality. Artists and art historians will participate, their talks general studies student as well as the more advanced undergraduate limited to ten minutes so that there may be disctission among them and student interested in the discipline. Drawing as a Major Medium Susan Schwalb, 10 Winsor Avenue, Construction, Reconstruction, Deconstruction Margaret Lazzari, with the audience. Emphasis will be upon personal confrontation and Check the Annual Meeting Update in the Fall newsletter for more Watertown, MA 02172, or 223 East 21st Street #3, New York, assistant professor, University of Southern California, School of perpetuation of loss as found in art upon the way in which the image board sponsored sessions. .. NY 10010. Fine Arts, Watt Hall 104, Los Angeles, CA 90089-0292; Clay­ can share, release, and commemorate individual human experience This panel will focp.s on artists for whom drawing is not a tool for ton Lee, University of California, Los Angeles, Department of rather than on monuments to collective loss or the Vanitas theme. Art sketching preliminary ideas, but rather a primary mode of expression Art and Design, 405 Hilgard Avenue, Los Angeles, CA and medicine, are closely allied, in depictions of age and illness; often and significant component of their work. A broad range of media will 90024-1615. images provide a special visual "diagnosis" t~at only the artist can be represented (pencil, silverpoint, charcoal, graphite, etc.), but the This panel of artists and critics will examine dominant and opposi- Summer 1988 2 CAA newsletter 3 1990: RETURN TO NEW YORK!

1990 annual meeting announcement of program chairs and call for session proposals more sessions of varying lengths and struc­ tures to encourage a greater variety in both the format and content of the sessions. One of the aims of the 1990 annual confer­ The 1990 annual meeting will be held in New ART HISTORY PROGRAM lands of Chiapas, Mexico. ence will be to explore the common reciprocal York. The headquarters hotel will be the New CO-CHAIRS He is the Editor and co-Founder of RES--~ boundaries of art historical scholarship and York Hilton; sessions will start Thursday, Feb­ Art History sessions will be chaired jointly by journal oj Anthropology and Aesthetics, related fields of inquiry. We hope to encour­ ruary 15 and run through Saturday, February Patricia Mainardi and Francesco Pellizzi. dedicated ;:0 the multidisciplinary study of age a radical broadening of topics, an expan­ 17th. Patricia Mainardi, professor of art history artifacts from all cultures. He has also served sion of art historical boundaries and a recon­ at Brooklyn College and the Graduate School as Adjunct Professor of Art History at the sideration of the kinds of questions we can of the City University of New York, received Cooper Union for the Advancement of Sci­ fruitfully ask of art and artmaking. In addi­ her Ph.D. in art history from CUNY; she also ence and Art and is a Director of the Meni! tion to sessions focusing on more traditional Proposal Submission Guidelines: holds a B.A. in English and anthropology Collection and the Rothko Chapel, in Hou­ art historical pursuits, the 1990 meeting will Proposals should be submitted to the pro­ from Vassar College, an M.F. A. in studio art ston, Texas. attempt to focus attention on aspects of cur­ gram co-chairs (a copy to each co-chair) in from Brooklyn College, and an M.A. in art Pellizzi has written essays on contemporary rent research that reveal interconnections the form of a short (one to two page) leuer­ history from Hunter College. She has been artists (e.g., W. De Maria, B. Marden, F. between art history, social history, anthropol­ essay framing the topic of the session/ panel teaching at CUNY since 1985. Prior to that Clemente, E. Fischl), on Primitivism (Adven­ ogy, comparative religions, the 'history of and explaining any special or timely signif­ Mainardi taught at Harvard University and at tures ofthe Symbol, Magic afthe Sake ojArt, consciousness,' and philosophy, among other icance it may have for your particular field Goddard College where she was director of New York, Cooper Union, 1986), and on fields. and/ or discipline. For Studio panels in par­ the MFA Visual Arts Program. native American religion, politics and ethnic­ ticular, please outline potential panelists and Mainardi has written extensively on 19th ity, (co-- editing Ethnicities and Nations, Pat­ STUDIO PROGRAM CO-CHAIRS procedures. Explanatory or supportive mate­ and 20th century European and American terns oj Interethnic Relations in Latin Amer­ Studio sessions will be chaired jointly by rials may be included with the proposal. art, having recently published the highly ica, South East Asia and the Pacific, Austin, Kellie Jones and Robert Storr. Please include a c.v. or biographical state­ acclaimed Art and PoNties oj the Second Univ. of Texas Press, 1988). Kellie Jones has been working profession­ Kellie Jones, 1990 Studio Program Co-Chair Robert Storr, 1990 Studio Program Co-Chair ment, preferred mailing address, and both Empire. The Universal Expositions oj 1855 He is currently the Editor of RES, a journal ally in the field of visual arts since 1981. For Photo: Lorna Simpson © 1985 Photo: Lorie Novak © 1986 work and home telephone numbers. We rec­ the last two years she has been Visual Arts and 1867 (Yale 1987), in addition to numer­ of Anthropology and Aesthetics dedicated to Art/Press (Paris) and Parkett (Zurich & New about the relation of critical inquiry to the ac­ ommend that you include a self- addressed Director of Jamaica Arts Center in Queens ous articles and reviews in A rt in A merica, Art the multidisciplinary study of artifacts and York). In addition he has written for The Vil­ tual practice of art making, the continuity, or stamped postcard so that the chairs can ac­ where she organizes between 18 to 21 exhibi­ journal, Art News, Arts Magazine, Gazette art from all cultures, which he co- founded at lage Vot'ce, New York Newsday, Arts Maga­ lack of it, between 1970s "pluralism" and the knowledge receipt of your proposal, and a tions per year. She has also worked at The des Beaux Arts, October, journal oJthe Soci­ Peabody in 1981. He is also adjunct professor zine, and The Harvard Advocate, and made 1980s investigation of "difference," and the S.A.S.E. if you wish any material returned. Studio Museum and The Broida Museum ety oj Architectural Historians, etc. She is a of art history at Cooper Union. interview- tapes for the Video Data Bank of opportunities and problems created by the To summarize briefly our procedures: (1) both in New York. Jones is also an active free­ former editor of the Feminist Artjoumal and Chicago. He is the author of books on Philip demographic explosion, geographic decen­ Art History co- chairs will consider proposals lance curator and writer. She has organized currently associate director of Arts Magazine Guston (Abbeville) and Louise Bourgeois tralization and economic and institutional only from CAA members; Studio co-chairs ART HISTORY PROGRAM exhibitions for SoHo 20, Caribbean Cultural and Reviews Editor of the Art journal. (Timken), co- author of a monograph on transformation of the art world in that will give preference to members. (2) No one CO-CHAIRS STATEMENT: Center and Artists Space in New York and Francesco Pellizzi studied the Classics and Chuck Close (Rizzoli) and has written catalog period. Not to mention why people are com· may chair a session more than once every Art History as a discipline has expanded into Boston's Artists Foundation among other Comparative Religion at the University of essays on Nancy Spero, Louise Bourgeois, pelled to make art and why they choose what three years, i.e. session chairs in 1990 will not many allied fields in the last several years venues. Her writing credits include the Vil­ Rome (D. Litt, 1966), then anthropology in Dorothea Rockburne and BettyGoodwin. His they choose to make it with. have chaired in 1988 or 1989. (3) Program co­ resulting in new methodologies, areas, and lage Voice, Real Life Magadne, Rutgers Uni­ Paris and at Harvard University (as a Hark­ paintings have been exhibited at the Jack Til­ chairs will make their selection from among issues being brought into the mainstream. As versity and Garland Press. A native of New In soliciting proposals, therefore we urge ness Fellow, M.A., 1969). He is Associate in ton Gallery, New York, the Contemporary those eligible proposals purely on the basis of a result, annual conferences have found it in· York, Jones attended the High School of potential moderators to consider panels with Middle American Ethnology at Harvard's Arts Center, New Orleans, and at Radcliffe merit; however, if essentially the same propo­ creasingly difficult to accommodate ade­ Music and Art and received her B.A. from fewer rather than more participants - ideally Peabody Museum of Archaeology and Eth­ and Harvard, where he was formerly an Art sal is received from two or more individuals, quately all the areas of study represented by Amherst College in Massachusetts (1981, 3--5 speakers - with clear agendas, brieJ writ­ nology, and for the past twenty years has been Tutor. Storr was Associate Dean of the New preference may be given to the individual our membership. To address this problem, in Magna Cum Laude) with an interdisciplinary ten statements by all participants, and ses­ doing research among the Maya of the High- York Studio School (1987-,88) and has taught from the region in which the meeting will be 1990 we are revising our program to include major in Fine Arts, Black Studies, and Latin sions of varying lengths. Moreover, we urge at S.U.N.Y. Purchase, Rutgers, Cooper held. (4) Where studio proposals overlap, the American Studies. moderators to consider speakers who do not Union, School of Visual Arts, Philadelphia studio co-chairs also reserve the right to select Robert Storr, a painter and critic living in nonnally confront each other and the inclu­ College of the Arts, Montclair State College the most considered version or may in some New York, attended Swarthmore College sion of points of view not necessarily "on and Tufts. cases suggest a fusion of the two or more ver­ (B.A.), the School of the Art Institute of Chi­ record" with respect to the topic. We offer an sions before them. (5) In addition to selecting cago (M.F.A.), and the Skowhegan School of STUDIO PROGRAM CO-CHAIRS open invitation to anybody to think up a for­ sessions from among the proposals submitted, Painting & Drawing. A Contributing Editor STATEMENT: mat other than a panel to air, enact, depict or the program co-' chairs may invite submis­ to Art in America as well as a member of the 1990 marks the beginning of the final decade otherwise engage the matters that concern sions from people who have not submitted Editorial Board of the CAA's Art journal. of this century. Yet a great many of the issues them. Please remember, this is a "come-as­ proposals, but whose experience, expertise, Storr has also been Boston Editor of the New raised during the previous ten years remain in you - are affair," but come prepared. • and out-reach would, in the co-chairs' opin­ Art Examiner, and a frequent contributor to a state of confusion; among them questions ions, be important to shaping an interesting and balanced program. In doing so, program co-chairs will consider a number of factors, directory of affiliated societies and call for papers including which topics were not covered in re­ cent CAA annual meetings. As above, all other things being equal, preference may be This directory is published annually on the basis of inJormation provided by the societies. The societies listed below have met specific standards given to artists/scholars from the region in Jor purpose, structure, range oj activities, and membership enrollment required Jor Jormal aJfiliation. which the meeting will be held. American Committee for South Asian Art Sri Lanka, and Southeast Asia. ACSAA pub­ regular, $7.50 students. General Secretary: Please submit proposals to the Art History (ACSAA), founded 1966. Membership: 200. lishes a biannual newsletter, supports a con­ Suzanne Stratton, The Spanish Institute, 684 and/ or Studio Program Co-Chairs by Octo­ Annual dues: $20 regular; $10 student and tinuing slide project, and holds a major sym­ Park Avenue, New York, NY 10021. Phone: ber 1, 1988. Art History: Patricia Mainardi, unemployed; $25 institutional; $100 contrib­ posium every two years. (212) 628-0420. Purpose: the encouragement 602 Carlton Ave., Brooklyn, NY 11238; Fran­ uting. Secretary: Louise Cort, 1209 Indepen­ and advancement of studies and research in cesco Pellizzi, 12 East 74th St., New York, NY dence Avenue S.E., Washington, DC 20003. The American Society for Hispanic Art the history of the arts of Spain and Portugal, 10021. Studio: Kellie Jones, 39 East 17th St., Purpose: to promote the understanding of the Historical Studies (ASHAHS), founded promoting interchange of information and 2J, Brooklyn, NY 11226; Robert Storr, 39 Pat Mainardi, 1990 Art History Program Francesco Pellizzi, 1990 An History Program arts of South Asian and related areas, in­ 1975. International membership: 150. An­ ideas among members through meetings, Rutland Rd., Brooklyn, NY 11225. Co· Chair Co-Chair cluding India, Pakistan, Nepal, Bangladesh, nual dues: $17.50 institutional, $12.50 Continued on p. 6, col. 1

4 CAA newsletter Summer 1988 5 / directory of affiliated societies and call for papers artists for tax equity update

The AFTE coalition has been busy organizing publications, and other means it deems ap­ history. F. A. T. E. aims to promote discussion, Women's Caucus for Art (WCA) , founded propriate. Newsletter published each spring across the country, but there is still a signif­ analysis, focus, strategies, goals and under­ 1972. Membership: 3,500. Annual dues: $50 and fall. icant amount of work to be done. The IRS has standing in this area of the art curriculum. A institutions; .$20-40 members-at-large plus issued a "safe harbor" exemption for artists, further objective is the promotion of excel­ chapter dues individuals. PresideIlt: Chris­ Art Libraries Society of North America but it is not a complete solution. Artists lence in the initial undergraduate learning tine Havice, Department of Art, University of (ARLIS/NA), founded 1972. Membership: among others, still end up losing 50% of their experience in art and to help foster the cre­ Kentucky, Lexington. National office: WCA, 1,250. Annual dues; $45 individual; $20 stu­ deductions; moreover, the IRS can change its ative process. The F. A. T E. newsletter, jour­ Moore College of Art, 20th and the Parkway, mind at any time. Tom Downey, Representa· dent; $75 institutional and business affiliate. nal (RA. TE. in Review) and regional con· Philadelphia, PA 19103, Phone, (215) 854- Executive Director: Pamela Jeffcott Parry, tive from New York has introduced a bill ferences provide a platfonn and vehicle for 0922. Purpose: dedicated to promoting the 3900 E. Timrod Street, Tucson, AZ 85711. (HR44 7 3) exempting all artists from the capi· exchange and publication. Services also in­ professionalism of women in the visual arts. Phone: (602) 881-8479. Purpose: to promote talization law, which was discussed in com· clude sessions and participation at national Members include: artists, art historians, jour­ the development, good management, and en­ mittee on 13 June. It has not yet been deter­ conferences. nalists, museum and gallery personnel, lightened use of all art libraries and visual mined exactly when the bill will go in front of agents, art librarians, publishers, administra· resources collections, and to further the inter­ the whole House: it is imperative, therefore, Historians of Netherlandish Art (HNA), tors, conservators, art educators, collectors, ests and goals of all professionals involved to continue to lobby your representatives­ founded 1983. Membership: 215. Annual students and friends of art. Annual confer· WTite, telephone and most importantly set up with the organization and retrieval of art dues: .$15 individual; $50 institutional. Secre­ ence; exhibitions; national publications: an­ information. The Society holds an annual meetings with them to discuss the issue face· tary-treasurer: Ann M. Roberts, Center for nual exhibition catalogue of honor awards, conference, sponsors two annual awards for to-face. AFTE is still attempting to convince Renaissance Studies, The Newberry Library, quarterly newsletter, local or regional news­ excellence in art-related activities, and Patrick Moynihan, Sen. NY, to introduce a 60 W. Walton St., Chicago, IL 60610. Pur­ letters and announcements. National net· bill into the Senate. For further information publishes Art Documentation quarterly, pose: to foster communication and collabora­ work of 31 chapters. ARLISI NA Update quarterly, an annual tion among historians of northern European or guidance call or WTite Carol Grape at the Handbook and List of Members, and an art. Society holds an annual meeting and pro­ CAA office. III irregular series of occasional papers. gram in conjunction with the CAA annual meeting; publishes two newsletters per year CALL FOR PAPERS AT Arts Council of the African Studies Associ­ opportunities and a Directory of Members; holds scholarly 1989 CAA Annual Meeting: Sessions of ation (ACASA), founded 1982. Membership: conferences every 3-4 years. Affiliated Societies 209. Annual dues: $20 regular and institu­ Attention all Potential Applicants 1 t I tional; $5 student, retired, and unemployed. READER'S DIGEST ARTISTS AT GIV· The International Center of Medieval Art Islamic Architecture in India or Secretary,-Treasurer: Mary Kujawski, Muse­ ERNY, applications should be in the mail to (leMA), founded 1956. Membership: llOO. Indian Islamic Architecture? um of Art, University of Michigan, 525 South The American Committee for South Asian all artist'members of CAA around the 1st of A meeting with Senator Bradley of New Jersey State Street, Ann Arbor, MI 48109. Purpose: Annual dues: $30 active (U.S. only); $35 ac­ July. This year's application deadline is 30 tive (all other countries); $15 students (all Art (ACSAA) invites papers for a session on Left LO right: Jackie Clipsham, College Art Association, Women's Caucus for Art, Artists Equity; to encourage and promote the highest stan­ September 'for a 6 morith stay in Giveiny countries); $50 institutional; $100 contrib· two contrasting approaches to the same mate­ Deborah Sperry, Pres. New Jersey Chapter of The Women's Caucus for Art: Janet Manning, Pres. Self­ dards of ethical and professional behavior in starting 1 April1989.,The phone number for Employed· Writers & Artists; George Altomare, Director Special Projects, American Federation of uting; $500 sustaining; $1,000 benefactor. rials: should these be viewed as foreign build­ the expansion of research and scholarship tnisprogram is 2I2c691- 3893, Teachers; Senator Bill Bradley, Democrat, New Jersey; Karen Guandone, Self· Employed· Writers & Secretary: Linda Morey Papanicolaou, ings on Indian soil or as Islamic buildings that about African arts. ACASA holds periodic use Indian motifs, techniques, and! or con· Artists; Nancy Hoffman, Vice Pres. Graphic Artists Guild. ICMA, The Cloisters, Fort Tryon Park, Photo: Greg Guarinclli-Swan © 1988 meetings within the framework provided by cepts of space? Submit a single-page abstract N.Y.C. 10040. Phone, (212) 928·1146. Pur· "NO FRAMES OR PEDESTALS," a national meetings of learned societies and other organ­ to: Robert]. Del Bonta, 209 PostSt., #803, San pose: ICMA is dedicated to the study of medi­ juried exhibition sponsored by S.I.T.E., izations for the purpose of reporting and dis­ Francisco, CA 94108. Deadline: October 1. cussing research and other matters affecting eval art and civilization between 325 A.D. Seeking It Through Exhibitions, is open to nominations invited for caa awards and 1500 A.D. ICMA publishes a scholarly U.S~ artists working in all media. Show: Sep· the field and publishes the ACASA Newslet­ Artists and Patrons in Spain and journal, Gesta; a newsletter (including disser­ tember 15 through October 22, 1988. Juror: ter. The Arts Council also organizes the Tri­ Portugal to 1700 Nominations from the membership are in­ size that this is a peer award - artists nomi­ tations on medieval art); a monograph series, Josine lanco Starrels. Award: Exhibition at ennial Symposium on African Art. The American Society for Hispanic Art vited for the DISTINGUISHED TEACH­ nating and a committee of artists selecting the Romanesque Sculpture in American Collec· S.I.T.E. Fees: Free to all members ofS.I. T.E. Historical Studies (ASHAS) invites both ING OF ART and the DISTINGUISHED most outstanding individual. The committee tions; has begun a Census of Gothic Sculpture Membership: $25 for artists residing within Design Forum: History, Criticism and The­ members and non-members to propose TEACHING OF ART HISTORY invites your thoughtful and thought provok­ in North American Collections; organizes 250 mile radius of S.I.T.E., $10 to artists ory (DF), founded 1983. Membership: 200. papers that will explore how works of Spanish AWARDS. ing nominations. Send a minimum of 6 and a symposia; and supports excavations. residing outside 250 mile radius of S.I.T.E. Annual dues: $10. Chair: John Montague, and Portuguese art and architecture created Letters of recommendation and supporting maximum of 20 slides, a catalogue if appli­ Slide Deadline: August 13, 1988. Limit: 6 Design Department, S.U.N.Y., College at before 1700 were intended to express the materials should be sent to CAA, Teaching cable, as well as the invitation or announce· slides. For prospectus, write S.1. T. E., 8723 Buffalo, 1300 Elmwood, Buffalo, NY 14222. Visual Resources Association (VRA), foun­ ideals and aspirations of the individuals and Award Nominations, 275 7th Ave., New ment of the exhibition or event to the Award W. Washington Boulevard, Culver City, CA Membership c! o Clayton Lee, Department of ded 1982. Membership: 759. Annual dues: institutions that commissioned them. This York, NY 10001 by 1 November. The names Committee for a Distinguished Body of 90230, or call 213-839-3682. Design, U.C.L.A., 405 Hilgard, Los Angeles, $25 North America; $40 foreign. President: session is intended to complement the CAA and letters of nomination for any candidates Work, CAA, 275 7th Ave., New York, NY CA 90024-1615. Purpose: to nurture and en­ Eleanor E. Fink, The Getty Art History Infor· session on "Art and Patronage at the Spanish The Interpretive Research Program of the who are strong contenders but not the recip­ 10001. No self-nominations allowed. Dead­ courage the study of design history, criticism mation Program, 401 Wilshire Blvd., Suite Bourbon Court 1700-1808." One-page Division of Research Programs, the National ient in any given year will be passed on to the line I October. and theory; and to provide through its various llOO, Santa Monica, CA 90401-1455. Pur­ abstracts (to be prepared in the same format Endowment for the Humanities, announces award committees for the following year. events, better communication among its pose: to establish a continuing forum for com· as abstracts for regular CAA sessions) should the annual application deadline of I October members, the academic and design commu­ munication of information and ideas and to be submitted to: Steven Orso, School of Art (postmarked), for projects beginning on or The Board of Directors also invites nomi· DISTINGUISHED ARTIST AWARD nity, and the public at large. The Design further research and education in the profes­ and Design, University of Illinois, 408 East after 1 July 1989, and of 15 October, for proj­ nations from the membership for the follow­ FOR LIFETIME ACHIEVEMENT by a Forum holds an annual meeting in conjunc­ sion of visual resources administration. VRA Peabody Drive, Champaign, IL 61820. ects beginning on or after 1 July 1990. Fund· ing awards: living artist who is a citizen or permanent resi­ tion with the CAA annual meeting and a sym­ publishes a quarterly newsletter, Interna­ Deadline: September 30. ing is available for up to three years of collab­ AWARD FOR A DISTINGUISHED dent of the United States, its possessions, posium on Design. The DF will be publishing tional Bullett'n for Photographic Documenta­ orative research in any field or fields of the BODY OF WORK, EXHIBITION, PRE­ Canada, or Mexico. The award will be based a newsletter twice a year. tion of the Visual Arts (formerly MACAA Cultural Objectivity: Teaching Art humanities. Draft applications may be sent to SENTATION OR PERFORMANCE, on the recommendation of a national selec­ Slide and Photograph Newsletter); a scholar­ Values within the Multi-Ethnic Classroom the program for staff comments any time up mounted in the year preceding the award, tion committee selected with attention to Foundations in Art: Theory and Education ly journal, Visual Resources: An Interna­ F. A. T. E. (Foundations in Art, Theory and to 15 August. For more information about (1987-88 academic year for 1989 award), bya geographic representation as well as media or (F.A.T.E.), founded 1977. Membership: tional Journal of Documentation; and has Education) invites papers for an open session the projects category, please write or call Dor· living artist who is a citizen or permanent resi­ disciplinary representation. Awards must 200. Annual dues: $10. president: Stephen taken over sponsorship and production of the on topics relevant to foundations courses and othy Wartenberg or David Wise at 202/786- dent of the United States, its possessions, Can­ have national credibility. Send nominations Sumner, Art Department, Potsdam College former MACAA-VR Guide Series, starting curriculum. Please submit a one-page 0210; Interpretive Research Program, Room ada, or Mexico. The award will be based on and appropriate documentation' to Distin· S.U.N.Y., Potsdam, NY 13676. Phone: (315) with Slide Buyers' Guide, 5th edition (pub­ abstract to: Stephen Sumner, President 318 lR, National Endowment for the Hu­ the recommendation of a national selection guished Artist Award Committee, CAA, 275 265-2609, 267-2251. Purpose: A national lished by Libraries Unlimited, Inc.). The F.A.T.E., Art Dept. Potsdam College manities, Washington, DC 20506. committee in consultation with regional com­ 7th Ave., New York, NY 10001. No self organization concerned with introductory Association sponsors and organizes confer­ S.U.N.Y., Potsdam, NY 13676. Deadline: mittees. The committee would like to empha· nominations allowed. Deadline 1 October. II college level art courses in both studio and art ence programs, workshops, and tours. October 1. • Contl'nued on p. 9, col. 2

Summer 1988 6 CAA newsletter 7 CAA honorary counsel CAA statements art bulletin editor-in-chief and guidelines We are delighted to welcome Barbara Hoff­ Walter Cahn, professor of art history, Yale man as the new CAA Honorary CounseL University, is the new Editor-in-Chief of The Hoffman has been appointed interim Honor­ Art Bulletln. Cahn was appointed Editor-Des­ ary Counsel, pending offtcial election at the The CAA office frequently receives requests ignateJuly 1,1987; he will succeed Richard 1989 Annual Members Business Meeting in for copies of its Standards for Studio Faculty: E. Spear as Editor-in-Chief effective 1 July San Francisco. A Resolution and for The Art Bulletin's Notes 1988, for a term of three years. Hoffman received a B.A. from Boston Uni­ Jor Contributors and Style Sheet; and most Cahn received his BFA from Pratt Institute versity in French Literature and Art History, institutional chairs are familiar with the Stan­ and his MA and PhD from New York Univer­ an M.A. in International Relations from dards Jor Professional Placement. In addition sity. He has taught at Ravensbourne College Johns Hopkins SAIS, and aJ.D. from Colum­ to these, the CAA has adopted several state­ of Art, England; Columbia Univ., NYC; and bia University School of Law. She has been a ments, resolutions, and guidelines, which our Yale Univ. practicing arts lawyer and law professor for readers may find just as useful and informa­ A specialist in medieval art. Cahn is author over fifteen years, representing artists, cura­ tive. Following is a list of these statements and of Romanesque Wooden Doors of Auvergne tors, dealers and cultural institutions. She has guidelines. If requesting one statement only, (CAA Monograph), 1974; co-author, Sculp­ also worked extensively with non-profit arts please enclose a self-addressed stamped enve­ ture in the Isabella Stewart Gardner Muse­ institutions, most recently serving as a mem­ lope. If requesting The Art Bulletin Style um, 1978; Romanesque Sculpture in Amer­ ber of the Art Law Committee of the Associ­ Sheet, please enclose $1.00 to cover postage ican Collections. I. New England Museums ation of the Bar of the City of New York and and handling. If requesting more than four (with Linda Seidel), 1979; Masterpieces. the chair of its Public Art Subcommittee. statements, please enclose $2.00. Chapters on the History of an Idea, 1979; Hoffman has been a consultant to the NEA, Romanesque Bible lllumtnation, 1982; Radi­ Visual Arts Program and has lectured fre­ ance and Reflection: Medieval Art from the quently throughout the country on public art The Art Bulletin-Notes for Contributors Raymond Pitcairn Collection, exh. catalogue and Style Sheet and other art issues at the forefront of art law. Metropolitan Museum of Art, co-author, Her recent pUblications include a book on the Art journal-Style Sheet 1982. A Code oj Ethics for Art Historians and Gilbert S. Edelson Barbara Hoffman Richard Serra controversy entitled, Titled He has received several fellowships includ, Guidelines Jor the Professional Practice of Gilbert S. Edelson, who has served tirelessly and Colin, dedicates a great deal of time and A rts on Trial." ing a Fulbright and a Guggenheim. Cahn has Art History (adopted 11/3/73, revised and faithfully as CAA Honorary Counsel, expertise to various pro bono activities in the Hoffman is also active in the field of higher been very active in the CAA, serving on the 1123/74, 11/1/75) member of the Executive Committee, and arts, among them serving on the boards of the education, serving as a member of the Amer­ Morey Awards Committee, Distinguished Walter B, Cahn. Art Bulletin Editor-in-Chief Fa£r Use of Visual Materials: Reproduction member of the Board of Directors for more Archives of American Art, the American Fed­ ican Civil Liberties Union Academic Free­ Teaching of Art History Committee, Meiss photo: J. D. Levine/ Yale University Rights in Scholarly Publishing (adopted than twenty years chose not to stand for re­ eration of Arts and as Administrative Vice dom Committee which reviews current Civil Awards Committee, and the Art Bulletzn Directors of the CAA in 1985; in his candi­ 10/25/86) election in 1988. With customary generosity President and Counsel of the Art Dealers Liberties issues in the context of the university editorial board. He has also been a speaker at dates statement he wrote "I would wish the Grievance Procedures (adopted 1/25178) and graciousness he has been serving as active Association of America, environment. Furthermore, Hoffman is her­ several CAA annual meetings and has chaired Art Bulletin more readable." The ball, as A Gut'de to the New York Print and Photo­ Honorary Counsel since February, It is with regret that CAA says farewell to self a part-time professor, teaching a course a session. Cahn was elected to the Board of they say, is now in his courtl graph Law (of 1977) Gil Edelson, in addition to being a senior Gil in his official capacity. We take comfort in at the School of Visual Arts on "Art and • Guidelines for Part- Time Employment partner in the New York law firm, Rosenman the fact that, as a life member of CAA, Gil Law." (adopted 211176) / opportunities will retain certain ties. Welcome Barbaral • Millard Meiss Publication Fund Guidelines and application forms Juried competition to be held in Dallas City academic year 1989-90. Fellows newly ap­ Prtntmakers' Contracts (adopted 10/28/78) Hall, Nov. I-Dec. 3, inviting women artists pointed for 89- 90 must have received a PhD solo shows by artist members Professional Practt'ces for Artists (adopted from Texas and its border states. Slide dead­ between 1 January 1986 and I July 1989, For 10/22177) line: I September, cash awards. Send SASE application write to: Director, Society of Fel­ Emery Clark. Gillman Stein Gallery, Jacqueline Lima. Blue Mountain Gal­ A Qut'ck Guide to Artists' Rights under the for prospectus: Dallas Women's Caucus for lows in the Humanities, Heyman Center for Tampa, Fla., April 22-May 22. Recent work. lery, N.Y.C., April 15-May 4, Paintings & A listing oj exhibitions by artists who are New Copyright Law (of 1977) Art, Dept. CAA, 3425 Swanson, Plano, TX the Humanities, Box 100 Central Mail Room, drawings. members of the CAA. Those sendtng infor­ Daniel Collins. Pameran Seni Arca Mu­ Resolution Concerntng the A cquisition of 75023. Columbia Univ., NY, NY 10027. Deadline: 15 mation should lnciude name of artist, gallery zium Dan Galeri Universiti Sains Malaysia, Joseph Mann. University Press Books/ Cultural Properties Origtnating in For­ The Print Club's 64th ANNUAL INTERNA­ October. or museum, city, dates oj exht:bition, and NY at the New School, N, Y. C., February March 24-AprilI6. Face To Face. eign Countries (adopted 4/28/73) TIONAL COMPETITION of PRINTS and The National Humanities Center offers 35- medium. Please indicate CAA membership if 23-March 13. Paintings & drawings, Robert Cronin. Klonaridis, Inc., Toron­ Resolution Concerntng the Sale and Ex­ PHOTOGRAPHS. For prospectus: SASE to 40 fellowships for advanced study in history, sendtng gallery invitation or press release. to, March 26-ApriI23. Washington Art Asso­ Florence Putterman. Museum of Fine change of Works of Art by Museums the Print Club, 1614 Latimer Street, Phila­ philosophy, languages and literature, class­ ciation, Washington Depot, Conn., May 7- An, University of Arizona, Tucson, May 20- (adopted 11/3/73) delphia, PA 19103. Deadline: 3 September. ics, religion, history of the arts and other Pat Adams. AddisonlRipley Gallery, Standards for the BA and BFA Degrees tn 29, Sculpture. July 3. MacLaren/Markowitz Gallery, Boul­ Turbin Bannister Ch~pter of the Society of fields in the liberal arts. Scholars from any Washington, D.C., April 19-May 14. Recent Studio Art (adopted 1/31/79) Larry Day. Gross McCleaf Gallery, Phila­ der, Col., May 20-July 3. Architectural Historians announces two nation may apply. Applicants must hold doc­ works. Standardsfor Professional Placement (adopt­ delphia, April 27 - May 16. Recent drawings. Allen Schill. SoHo Photo Gallery, prizes in local architectural history. The Isaac torate or have equivalent professional accom­ ed 10/22177) McCrady Axon, Broadway Windows, The Hunt Room Gallery, Philadelphia, April N. Y. C., March 8-April 9. Panoramas, Perry Prize of $1000 will be awarded to the plishments. Application deadline for the aca­ New York University, N.Y.C., June 10-July Standards Jor Studio Faculty: A Resolution demic year 1989-90 is 15 October 1988. For 30-May 23. Drawings & Watercolors 1953- Michael Tang. Breckenridge Gallery, best original work of professional quality. The 24. "Political Circles." (adopted 1/30170) and Standardsfor the application write: Kent Mullikin, Assistant 1988. San Francisco, April 5-30, Recent paintings $250 Phillip Hooker Prize will be awarded for MFA Degree (Visual Art) (adopted 41 Director, National Humanities Center, 7 Joseph Bartscherer. Museum of Contem­ Edward Gnirke. Midge Karr Art Centre, & the best original student work. A paper sub­ masks. 16/77)~[these are printed together] porary Photography, Chicago, March 12- mitted for either prize must deal with a struc­ Alexander Drive, p, O. Box 12256, Research New York Institute of Technology, Glen Mihaela Teodorescu. Lehma~ College A Statement on Standards for Sculptural Re­ April 23. Pioneering Mattawa. ture or structures in the following geograph­ Triangle Park, NC 27709. Cove, N,Y., June 1988, Sculpture. Library, Bronx, N.Y., April 4-27. Paintings production and Preventive Measures to ical area: New York State except New York Robert Berlind. Ruth Siegel Ltd., Tobi Kahn. Mary Ryan Gallery, N.Y.C., & drawings. Combat Unethical Casting in Bronze The Institute for Advanced Study: School of City and suburbs within 25 miles of Times N.Y.C., April30-May 25. Recent paintings. March 16·-ApriI16. Recent works on paper. (adopted 4/27174) Historical Studies announces fellowships for Ruth Weisberg. Alice Simsar Gallery, Square, western Massachusetts including Annabelle Simon Cahn. Artspace, New Status of Women tn Ph.D. Granting Institu­ research in the history, though't, and culture Don Kimes. Prince Street Gallery, Ann Arhor, Mich., March 26-April 27. Springfield, Vermont. Deadline: 30 Septem­ Haven, Conn., AprillO-May 14. Urban Rub­ tions (Repon of the Committee on the of the western world. The PhD (or equivalent) N.Y.C., March 4-23. Collage/Paintings. Drawings & prints. ber. For application write to: Perry and bings, Status of Women, 1980) • and substantial publications are required. Cal Kowal. The Chicago Public Library, Wayne Zebzda. Artspace, San Francisco, Hooker Prizes, School of Architecture, Green Applications for 1989-90 are due before 15 Charles Cajori. Washington Art Associ­ Cultural Center, Chicago, May 21-July 9. March 22-ApriI30. Installation & sculpture. Bldg. Rensselaer Polytechnic Institute, Troy, October 1988. For details, write the Admini­ ation' Washington Depot, Conn., May 7-29. Photographs, "Japanese Diptychs: A Personal Karin Zimmerman. Warrington Gallery, NY 12180. strative Officer, School of Historical Studies, Paintings. View." Pensacola Junior College, Pensacola, Fla., The Columbia Society of Fellows in the Hu­ Institute for Advanced Study, Olden Lane, Judi Church. SoHo20, N.Y.C., May 24- Tony LaGreca. Jadite Galleries, N.Y.C., March 15 .. ApriI16. Wall Paper, A Sculptural manities will appoint a number of post-doc­ Princeton, NJ 08540. June 18. Paintings & drawings. October 7 -21. Stone sculptures. Installation. • toral fellows in the humanities for the Contlnued on p. 10, col. 1

8 CAA newsletter Summer 1988 9 / opportunities / sustaining members

The Michigan Society of Fellows will offer 1989 to 30June 1990. Application deadline 1 category of support for architectural conser­ Margaret Johnson, Boston; Aldona Jonai­ R. Neuberger, N.Y.C.; Clifton C. OIds, Slive, Cambridge, Mass.; P. Sloane, Brook­ three-year, postdoctoral fellowships at the November 1988. For information write: Prof. vation. For details on eligibility requirements tis, Stony Brook, N. Y.; Mitchell D. Kahan, Brunswick, Me.; Beverly O'Neill, Valencia, lyn, N. Y.; Richard and Athena Spear, Ober­ University of Michigan to begin September Lewis Lockwood, Harvard Univ., Music and application guidelines write to the Getty Akron, Ohio; Madlyn Kahr, N.Y.C.; Julius Calif.; Melvin Pekarsky, Stony Brook, N. Y.; lin, Ohio; Allen Staley, N.Y.C.; Theodore 1989. Candidates should be near the begin­ Bldg., Cambridge, MA 02138. Grant Program, Architectural Conservation D_ Kaplan, Los Angeles; Joseph L. Karmel, Ruth R. Philbrick, Washington, D.C.; Ed­ E. Stebbins, Jr., Brookline, Mass.; Wendy ning of their professional careers, not more Grants, 401 Wilshire Blvd., Suite 1000, Santa N.Y.C.; Sandra C. Kasper, N.Y.C.; Garry mund Pillsbury, Fort Worth, Texas; John A. Stein, N. Y. C.; Gerald G. Stiebel and N. Kennedy, Halifax, Canada; Maurie P. than three years beyond completion of their The NEH has awarded grants to the Council Monica, CA 90401. Pinto, Northampton, Mass.; Jessie J. Penelope Hunter-Stiebel, N.Y.C.; Julien Kerrigan, Philadelphia; Mark Andrew degrees. The PhD or comparable professional for Basic Education to support a program of Poesch, New Orleans; Cynthia Polsky, M. Stock, London; Marjory S. Strauss, Nor­ Kline, Denver; Virginia Kobler, Keller, degree, received prior to appointment, is re­ summer fellowships for secondary school The Getty Art History Information Pro­ N.Y.C.; John Pope-Henness-y, Florence, folk, Va.; Max W. and Ruth W. Sullivan, Texas; Victor G. and Elizabeth M. Kord, quired. Deadline for applications: 1 Novem­ teachers. The deadline is I December for the gram (AHIP) is offering art historians subsi­ Italy; Barbara G_ Price, Baltimore; Jules D. Fort Worth, Texas; Shuji Takashina, Ithaca, N.Y.; Richard Krautheimer, Rome, ber. For information write: Michigan Society submission of applications for the following dized training for DIALOG Information Ser­ Prown, Orange, Conn.; Donald Rabiner Tokyo, Japan; Charles Talbot, San Antonio, Italy; Barbara G. Lane, N.Y.C.; Irving and of Fellows, 3030 Rackham Bldg., Dniv. of summer. For information write: Independent vices. DIALOG provides access to more than and Claudia Brown, Tempe, Ariz.; FrankJ. Texas; Richard G. and Luraine Tansey, Marilyn Lavin, Princeton; Thomas W. Michigan, Ann Arbor, MI 48109, 313/763- Study in the Humanities, CN 6331, Prince­ 300 electronic databases, among them RILA, Rack, Lakewood, Ohio; Olga Raggio, San Jose, Calif.; David F. Tatham, Syracuse, Leavitt, Ithaca, N.Y.; Katharine C. Lee, 1259. ton, NJ 08541. Artbibliographies Modern, Architecture N.Y.C.; Theodore Reff, N.Y.C.; Roland, N. Y.; Silvia Tennenbaum, East Hampton, Database, MLA Bibliography, Historical Chicago; Patricia J. Lefor, Northport, Reiss, Claremont, Calif.; Virginia Rembert, N.Y.; Jane M. Timken, N.Y.C.; Peter A. SCULPTURE CHICAGO is inviting sculp­ N.Y.; Leonard Lehrer, Tempe, Ariz.; For general information about the NEH Abstracts, Philosopher's Index, and Religion Northport, Ala.; Charles Rhyne, Portland, Tomory, Fitzroy, Australia; A. Richard tors to submit slides and drawings of their Virginia E. Lewis, Pittsburgh; Fred and Elementary and Secondary Education in the Index. A day-long DIALOG Systems Semi­ Ore.; Danielle Rice, Philadelphia; Josephus Turner, Cape May, N.].; Evan Turner, work for an exhibition. Six to eight winning Meg Licht, Brookline, Mass.; William C. Humanities Program or other division grant nar, designed for new users, costs ,$125. The V_ Richards, Amherst; Joseph Rishel and Cleveland Heights, Ohio ; Diane W. artists will be invited to Chicago to create Loerke, Washington, D.C.; Rose C. Long, opportunities, write the NEH, Division of AHIP subsidy will cover $90 of this. For spe· Anned'Harnoncourt, Philadelphia; Marcel Upright, N.Y.C.; Carolyn Valone, San An­ their works on Pioneer Court at Cityfront N.Y.C.; Bates and Isabel Lowry, Washing­ Education Programs, Room 302, 1100 cific information on locations, necessary Roethlisberger, Versoix, Switzerland; David tonio, Texas; Jan Van Der Marek, Detroit; Center. There will also be an indoor group ton, D.C.; Edward R. Lubin, N.Y.C.; Elis­ Pennsylvania Ave., NW, Washington, DC equipment, and subsequent use of DIALOG, Rosand, N.Y.C.; William S. Rubin, Magda Vasillov, Bronx, N.Y.; A. Bret show of smaller finished work. For appli­ abeth B_ MacDougall, Washington, D.C.; N.Y.C.; Robert G. and Fran~oise F. 20506, or ca1l202~786~0377. call 1-800-3-DIALOG. For information Waller, Santa Monica, Calif.; John Walsh, cation and site plan write: Sculpture Chicago Rodger A. Mack, Syracuse, N.Y.; James subsidies write to Marilyn Schmitt, Getty Art Scheiner, N.Y.C.; Stephen K. Scher, Clif­ Jr., Santa Monica, Calif.; Allen Wardwell, Application, 840 North Michigan, Suite 600, Marrow, Berkeley, Calif.; John R. Martin, ton, N.J.; Laurie Schneider, East Hampton, NEH/Reader's Digest Teacher-Scholar History Information Program, Suite 1100, N.Y.C.; Robert R. Wark, San Marino, Chicago, IL 60611. For additional informa­ Princeton; Jean M'_ Massengale, Noroton, N. Y.; John M. Schnorrenberg, Birming­ Program invites proposals from elementary 401 Wilshire Blvd., Santa Monica, CA 90401. Calif; J.W. Warrington, Cincinnati; Jack tion contact Director Robin Franklin Nigh Conn.; George L. Mauner, State College, ham, Ala.; Fritz SchoIder, Scottsdale, Ariz.; and secondary school teachers of the humani­ Wasserman, Philadelphia; Judith Wech­ 312-951-0094. Deadline: 1 November. Penn.; Evan M. Maurer, Ann Arbor, Mich.; Charles E_ and Diane Scillia, University ties for an academic year of full-time inde­ For the most recent list of exhibitions spon· sler, Brookline, Mass.; Mark and Phoebe Forrest McGill, Columbia, Mo.; Karen N. Heights, Ohio; Charles Scribner III, Villa I Tatti: The Harvard University Center pendent study in the humanities disciplines. sored by the NEH write: Marsha Semmel, Weil, St. Louis, Mo.; Gabriel P. Weisberg, McGuinn, San Francisco; Sarah Blake N.Y.C.; Linda Seidel, N.Y.C.; Richard for Italian Renaissance Studies will award fel­ For information write: Division of Education Assistant Director, Museums and Historical Minneapolis; Richard V. West, Santa Bar­ McHam, Brooklyn, N.Y.; Elizabeth P. Mc­ Shaffer, Arlington, Texas; Ellen Sharp, lowships and a limited number of non-sti­ Programs, National Endowment for the Hu­ Organizations, Division of General Programs, bara, Calif.; Ron and Renate Wiedenhoeft, Lachlan, New Brunswick, N J.; Constance Detroit; Pamela K. Sheingorn, N.Y.C.; pendiary fellowships, for independent study manities, Washington, DC 20506. National- Endowment for the Humanities, Littleton, Col.; Reba White Williams, C. McPhee, N. Y. C.; Richard Lee Mellott, Kathleen J. Shelton, Chicago; Alan She­ on any aspect of the Italian Renaissance for Washington, DC 20506. N.Y.C.; John Wilmerding, Washington, Larkspur, Calif.; Jerry D. Meyer, DeKalb, stack, Brookline, Mass.; Hsio-yen Shih, D.C.; Enid S. Winslow, Rye, N.Y.; Henri the year 1989-90. Fellowships run from 1 July The Getty Grant Program announces a new Continued on p. 15, col. 1 Ill.; John S. Montague, Buffalo, N.Y.; Hong Kong; Ralph E. Shikes. N.Y.C.; and Catherine W. Zerner, Maine et Loire, J ames and Anne Morganstern, Columbus, Yoshiaki Shimizu, Hopewell, N.].; Marian­ France; JerroldZiff, Champaign, Ill. • sustaining members Ohio; Dewey F_ Mosby, Hamilton, N.v'; na Shreve Simpson, Washington, D.C.; Roy Weston.T_ Naef, Santa Monica, Calif.; Roy Slade, Bloomfield Hills, Mich.; Seymour Sustaining membership is a voluntary cate­ Bush, Cambridge, Mass.; James Cahill, Calif.; Sam Gilliam, Washington, D.C.; gory for those who wish to contribute to the Berkeley, Calif.; Walter Cahn and Anna­ Bruce Glaser, Fairfield, Conn.; Mildred L. conferences/ symposia/ publications CAA in excess of their income-based dues. In­ belle Simon Cahn, New Haven, Conn.; Glimcher, N.Y.C.; Rona Goffen, Durham, dividual Sustaining Membership is $100 an­ Yvonne P_ Carter, V:ashington, D.C.; Peter N.C.; Edward Goodstein, Atherton, Calif.; CALL FOR PAPERS shire, Durham, NH 03824 603-862-2190. Influence of Italy and Italian art on nually. This year, we continue to see growing Chapin, Sante Fe, N.M.; Constantine Oleg Grabar, Cambridge, Mass.; Mary Ann "Learning and Teaching Art History in Please submit one-page abstracts (CAA for­ American art and artists support with an additional 62 Sustaining Christofides, Seattle; Carol Clark, Wil­ Graeve-Frantz, Princeton; Nancy Graves, the 1990's" mat) to session chairs by September 30. The Instituto della Enciclopedia Italiana in Members for 1988. Total Sustaining Mem­ liamstown, Mass.; Kevin E. Consey, New­ N.Y.C,; Terence Grieder, Austin, Texas; The art historians of the New England Land association with Fordham University an­ bers number 234. For their generous contri­ port Beach, Calif.; Joseph L_ Cox III, Ox­ Peter W. Guenther, Houston; Norman B. Grant Universities are planning their second Emblem Studies Conference nounces a symposium to be held November bution, our thanks to: George S. Abrams, ford, Ohio; Janet Cox-Rearick, N.Y.C.; Gulamerian, Watchung, N.J.; Anne C. conference, FIN DE SIECLE - Learning and Glasgow International Emblem Conference 17-18, 1989, at Fordham University, Lincoln Nexton, Mass.; J.L. Abromson and M_C. Lynn Croton, Greenvale, N.Y.; Karen C.C. Hanson, New Haven, Conn.; Jean Harris, Teaching Art History in the 1990's. It will be 1990: 13-17 August 1990. All aspects of Em­ Center Campus. Papers invited on all aspects Nissman, Brookline, Mass.; JamesS. Acker­ Dalton, Houston; Robert Dance, N. Y. C.; South Hadley, Mass.; Evelyn B_ Harrison, held at the New England Center, Durham, blem Studies will be addressed. An Interna­ of the influence of Italy and Italian art on man, Cambridge, Mass.; Lucy A. Adams, Bernice F_ Davidson, N.Y.C.; Sol Alfred N. Y.C.; Christine M. Havelock, Pough­ NH, April 7 - 8, 1989. Sessions and chairs are: tional committee will advise on the eventual American art and artists, including painting, N.Y.C.; Emma W. Alexander, Ann Arbor, Davidson, Princeton; Barbara K. Debs, keepsie, N.Y.; Egbert Haverkamp-Bege­ 100 years of Art History, W. Jackson Rush­ choice of papers, and on the intellectual sculpture, architecture, art criticism, etc. Mich.; Paul Anbinder, N.Y.C.; Wayne Greenwich, Conn.; Diane M. DeGrazia, mann, N.Y.C.; Jules Heller, Scottsdale, ing, Dept. of Art, Univ. of Maine, Orono, structure of the conference. For more infor­ Both 45 minute and 20 minute papers are Andersen, Boston; Ralph M. Arnold, Chi· Washington, D.C.; Sylvia De Rothschild, Ariz.; David C. Henry, N.Y.C.; Jean Maine 04469; CHIPS: The Computer and mation write: Dr. Alison Rawles, Organizing welcome. Honoraria offered. Send abstracts cago; Frederick and Catherine Asher, Min­ Houston; Elsbeth B. Dusenbery, Montclair, Henry, Philadelphia; Rodman R. Henry, Art History, Paul Norton, Dept. of Art, Secretary, Glasgow International Emblem and inquiries to Prof. Irma Jaffe, 880 Fifth neapolis; Pamela Askew, Millbrook, N.Y.; NJ.; Samuel Y. Edgerton, Jr., Williams­ Wellesley, Mass.; Mr. and Mrs. M. Herban Bartlett Hall, Univ. of Massachusetts, Conference 1990, Dept. of French, University Ave., New York, NY 10021. Deadline 17 Ronald R. Atkins, Greenwich, Conn.; Mat­ town, Mass.; Marvin Eisenberg, Ann Arbor, III, Columbus, Ohio; Robert L. Herbert, Amherst, MA 01003; Art in New England of Glasgow, Glasgow, G12 8QQ, Scotland. March 1989. thew Baigell, Highland Park, N J.; Jeremy Mich.; Elizabeth MeG. Enders, N.Y.C.; New Haven, Conn.; Joel and Judith Hersch­ Collections, Christine Fengler-Stephany, D. Bangs, Plymouth, Mass.; Richard Barn­ Robert Enggass, Baltimore; Richard A. man, N.Y.C.; Barbara Hess, Naples, Fla.; Dept. of Art, Univ. of Vermont, Williams Middle Ages Conference TO ATTEND hart, New Haven, Conn.; LisaA. Baylis, Los Etlin, Silver Spring, Md.; Everett Fahy, Mary Jane Hickey, N.Y.C.; Frederick D. Hall, Burlington, VT 05405; New England A conference on the theme "Imagining New Arts for America: A Vision for the Future is Angeles; Robert L. Benson, Los Angeles; N.Y.C.; Beatrice Farwell, Santa Barbara, Hill, N.Y.C.; Margaret H. Hobler, N.Y.C.; Sites: Change, Continuity, Challenge, Nan­ Worlds: Factual and Figural Discovery Dur­ the theme for the 1988 Annual Convention of Robert W. Berger, Brookline, Mass.; Robert Calif.; Theodore Feder, N.Y.C.; Alan M. Edith M. Hoffman, Middlefield, Conn.; cy Stieber, Dept. of Art, Univ. of Massachu­ ing the Middle Ages" will be held at the the National Assembly of Local Art Agencies. P_ Bergman, Baltimore; Suzanne Bloom Fern, Chevy Chase, Md.; Nered Fioratti, Renata Holod, Philadelphia; John Holver­ setts, Boston, MA 02125; Workshops on the Lehman College of the City University of New It will be held from June 25-28 in Washing­ and Edward Hill, Houston; Kathleen Weil­ N. Y.C.; Audrey L. Flack, N. Y.C.; Ernest L. son, Portland, Me.; Frank R. Horlbeck, Teaching of Art History, Wendy Roworth, York on 12-13 May 1989. Among the topics to ton, DC at the Capital Hilton HoteL For ,in­ Ga~ris Brandt, N. Y.C.; Richard Brettell, Folk III, Charlottesville, Va.; Kurt Forster Madison, Wis.; David C. Huntington, Ann Wendy Holmes, Dept. of Art , Univ. of Rhode be covered is the representation of the Earth formation: National Assembly of Local Arts Dallas; Richard Brilliant, N.Y.C.; Judith and Fram;oise Forster-Hahn, Santa Monica, Arbor, Mich.; John and Susan Huntington, Island, Kingston, RI 02881; The 21st Cen­ and the cosmos by cartographers, manuscript Agencies, 1420 K Street, NW, Suite 204, Brodsky, Princeton; Clifford M. Brown, Calif.; Ilene H. Forsyth, Ann Arbor, Mich.; Worthington, Ohio; Nancy R. Huntsinger, tury Art Department: The New Alliance of illuminators, painters, and sculptors. Inter­ Washington, DC 20005, 202-371-2830. Ottawa, Canada; Jonathan M. Brown, Joseph C. Forte, Bronxville, N.Y.; Ella M. Ventura, Calif.; Isabelle Hyman, N.Y.C.; Art History, Studio Practice and Criticism, ested participants should send a 500-word Princeton; Milton W. and Blanche R. Foshay, N.Y.C.; Richard A. and Judith Virginia Jackson, Houston; Irma B. Jaffe, Joyce Brodsky, Art Dept., Univ. of Connec­ abstract, together with short bibliography The University of Minnesota China Center, Brown, N.Y.C.; Stephen B. Browne, Paetow George, Oxford, Ohio; Felton L. N.Y.C.; Carroll Janis, N.Y.C.; Dora Jane ticut, Storrs, CT 06268. For more informa­ and a brief vita, by I December, to Prof. Scott University Art Museum, and the U.S. China N.Y.C.; Ladislas Bugner, Paris, France; Gibbons, Hopewell, N J.; Mary W. Gib­ Janson, N.Y.C.; Robert A. Jessup, Clinton­ tion contact Conference Chair, Mara Witz­ D. Westrem, Dept. of English, Lehman Col­ People's Friendship Association will host a George R. Bunker, Houston; Susan H. bons, N.Y.C.; Sarah Gill, Santa Rosa, dale. N.Y.; Elizabeth Johns, Pittsburgh; ling, Dept. of the Arts, Univ. of New Hamp~ lege/CUNY, Bronx, NY 10468. Continued on p. 14, col. 1 10 eAA newsletter Summer 1988 II grants and awards The Woodrow Wilson National Fellowship Harvard Univ.), assistant professor, Univ. of AFFILIATED SOCIETY AWARDS Long Beach Museum of Art senior curator of American Art: David Reed, artist, New bury, Tufts Univ.; Gordon L. Teskey, Cor­ Foundation has named 127 Mellon Fellows Vermont. INSTITUTIONAL AWARDS: Bryn J asine lanco-Starrels was honored by the York City; Dana A. Salvo, photographer, nell Univ.; William Tronzo, Johns Hopkins in the Humanities. We are listing those Mawr-Celia Chazelle (PhD, Yale Univ.), The 16th Annual Conference of ARLIS/NA, California Art Education Association for her Boston; Juan Sanchez, artist, Brooklyn, NY; Univ.; Ellen B_ Weiss, Tulane Univ.; received in the visual arts. Jeffrey Collins, independent scholar, Princeton, N]; Colum­ The Art Libraries Association of North contributions to art education and the arts. Lucy Freeman Sandler, professor of art his­ Michael S. Wilson, Skidmore College. Yale Univ.; Donald H. Dinwiddie, Univ. of bia Univ.-Philip Lindley (PhD, Cambridge, America, included the presentation of the tory, New York Univ.; Joseph Santore, artist, Kansas; Jonathan Doolan, Harvard Univ.; Univ.), research fellow, St. Catherine's Col­ following awards in its convocation program David Maas, design studies student, SUNY New York City; Christine Smith, adjunct Tamara Hudec, Cornell Univ.; Wendy lege, Cambridge Univ.; Johns Hopkins Univ.­ INSTITUTIONS at the Dallas Museum of Art, February 7th, Buffalo is the winner of the United Nations assistant professor of fine arts, Charles Augus­ Katz, Occidental College; Christina H. Andrew McClellan (PhD, Courtauld Insti­ 1988. International Disarmament Poster Competi­ tus Strong Center, Georgetown Univ., Fiesole, Kiaer, Harvard Univ.; Annie R. Kitagawa, tute of Art), assistant professor, Tufts Univ.; The George Wittenborn Award was pre­ tion. Italy; Gary Stephan, artist, New York City; The Toyota USA Foundation has made its Oberlin College; Twylene M. Moyer, Gou­ Univ. of Michigan-Iolna Skupin£ka-Lozat first nine grants in the areas of education, arts sented to two publications: "The Art that is Alan Turner, artist, New York City; Mark cher College; James D_ DIes, Yale Univ. (PhD, WarsawUniv.), Univ. of Oslo; Institute and culture, civic and urban affairs and Life": The Arts and Crafts Movement in Architect Richard Meier, who designed the Van Stone, graphic and lettering artist, Port­ of Fine Arts, New York Univ.--Selma AI-radi health and human services, one of which went America, 1875-1920, by Wendy Kaplan, High Museum of Art in Atlanta, GA, has land, Oregon; Laura Volkerding, photog­ Thirty -- five people were chosen as fellows to (PhD, Amsterdam Univ.), technical advisor, to the Fine Arts Museum of San Francisco. published by the Museum of Fine Arts, Bos­ been awarded the 1988 Royal Gold Medal by rapher, San Francisco, senior lecturer in pho­ study at the National Humanities Center Pre-Islamic and Islamic Sections, National ton; and The Eloquent Object: The Evolu­ the Queen of England. tography, Stanford Univ.; Anne Middleton during the 1988-89 academic year. Jaroslav Museum in Sana'a, Yemen Arab Republic; The Albright Knox Art Gallery's publica­ tion of American Art in Craft Media since Wagner. associate professor of the history of T. Folda, Univ. of North Carolina at Chapel Univ. of Pennsylvania-Anthony Green tion A bstract Expressionism: the Critical 1945, edited by Marcia and Tom Manhart Shelley Rice won a Fullbright-Hays grant to art, Massachusetts Institute of Technology, Hill and Ewa Kuryluk, independent scholar (PhD, Univ. of Manchester), publications Developments, is the recipient of the Award and published by the Philbrook Museum of France for 1988-89, for research toward a and associate professor of Modern art, Univ. in art history were chosen in the visual arts. editor and research assistant, Dept. of Archa­ of Excellence in the American Federation of Art, Tulsa, Oklahoma. book on photography and urban planning in of California, Berkeley; Richard Wendorf, eology, Cambridge Univ,; Princeton Univ.­ Arts' 17th Annual Design Competition. The Norman Ross Travel Award: "To help 19th Century Paris. professor of English and art history, North­ The 1988 J. Paul Getty Postdoctoral Fellows Janet C. Smith (PhD, Univ. of Pennsyl­ finance conference expenses for new mem­ western Univ. Guggenheim Fellowship Awards, 1988 in the History of Art and Humanities are: FOR vania), part-time instructor, Temple Univ., The Getty Center for Education in the Arts bers, and other first-time registrants who John Simon Guggenheim Memorial Founda­ The first annual Buell Fellowships have OPEN COMPETITION: Bettina Bergman (PhD, Lehigh Univ., Bryn Mawr College; Stanford has awarded contracts to ten American uni­ would not otherwise be able to attend," was tion's sixty-fourth annual competition has Columbia Univ.), assistant professor, Mount Univ.-Diana Strazdes (PhD, Yale Univ.), versities to develop new programs for preser­ presented to Carol E. Jackman-Schuller. been awarded by Columbia University's Tem­ announced the 1988 awardees. 262 artists, Holyoke College; Elizabeth del Alamo (PhD, associate curator of fine arts, Carnegie vice teacher training in art education; Cali­ The Chadwyck-Healey Professional Devel­ ple Hoyne Buell Center for the study of Amer­ scholars, and scientists were chosen from Columbia Univ.), visiting professor, Vassar Museum of Art; Yale Univ.- Natasha Staller fornia State Univ., Sacramento; the Florida opment Award: "To help promote activities ican Architecture to Cynthia Zaitzevsky and among 3,265 applicants. The following is a College; David Gillerman (PhD, New York (PhD, Harvard Univ.), Mellon fellow, 1987- of ARLIS/NA by sponsoring a participant in Mary Woods. State Univ.; Northern Illinois Univ.; Indi­ list of those winners in the visual arts. Univ.), independent scholar, Rome, Italy; 88, Univ. of Pennsylvania. ana Univ.; the Univ. of Kansas; Univ. of a session or workshop as a moderator, panelist Patricia RieH Anawalt, consulting Wolfgang Kersten (PhD, Univ. of Mar burg), or presenter of a paper," was presented to The American Academy and Institute of Nebraska; the Ohio State Univ.; Univ. of curator of costumes and textiles, Museum of curator- assistant, Paul-Klee-Stiftung, Oregon; Texas Technical Univ.; and Brig­ Katherine M. Parker. Arts and Letters presented awards to painters Cultural History, Univ. of California, LA; Kunstmuseum, Bern; Kirsten Lippincott The National Endowment for the Human­ ham Young University. The Leonce Laget Award: a new award Christopher Brown, James DeMartino, Suzanne Preston Blier, assistant professor of (PhD, Univ. of Chicago), fellow, The Har­ ities has announced the names of221 scholars "To assist librarians from outside North Susan Hauptman (BFA, Univ. of Michigan; art history, Columbia Univ.; Michael Brew­ vard Center for Italian Renaissance Studies, who have received summer stipends for 1988. The Fabric Workshop of Philadelphia has America to attend the annual ARLIS/NA MFA, Wayne State, Detroit), Albert York ster, artist, associate professor, Claremont Villa I Tatti; William Mathers (PhD, Shef­ We have listed those given in the visual arts: been selected as one of only 37 organizations conference," was established too late to award and sculptor Daisy Youngblood. In addition, Graduate School; William A. Camfield, field Univ.), independent scholar, North Julie F. Codell, Univ. of Montana; T. in the country to receive an Advancement this year, instead the prize money was Susan Lichtman will receive the Richard and professor of art history, Rice Univ.; Jack Humberside, England; Neil McWilliam Patrick Culbert, Univ. of Arizona; Martha Grant from the National Endowment for the donated to the ARLIS/NA Fund Drive. Hilda Rosenthal Foundation Award which is Carnell, photographer, assistant professor of (PhD, Oxford Univ.), lecturer, Univ. of East J. Ehrlich, Southern Illinois Univ. at Ed­ Arts. For more information about ARLIS/NA presented annually to a "young American photography, Philadelphia College of Art Anglia; Molly Nesbit (PhD, Yale Univ.), wardsville; Donald E. English, Radford see the Affiliated societies listing on page 5. painter not yet accorded due recognition." and Design, University of the Arts; Martha assistant professor, Barnard College; Eliz­ Univ.; Wayne E. Franits, Syracuse Univ.; The Fort Wayne Museum of Art has re­ Clarke, theatre artist and choreographer, The Bibliographical Society of America an­ abeth Sears (PhD, Yale Univ.), assistant pro­ Jane C. Maller, San Francisco State Uillv., ceived a challenge grant from the Foellinger INDIVIDUAL AWARDS Sherman, CT; Roy David Colmer, photog­ nounced the Research Fellows named in its fessor, Princeton Univ.; John Seyller (PhD, Peter A. Mark, Wesleyan Univ.; Sarah Stan- Foundation. • rapher, New York City; Peter Entell, film­ fifth annual competition are: James P_ Roger Anliker (Cleveland Institute of Art, maker, Vaud, Switzerland; Jaroslav Folda, Carley, York Univ., Toronto; Robert L. American Univ. in Biarritz, France) of the professor of art, Univ. of North Carolina at Dawson, Univ. of Texas at Austin; Leo Tyler School of Art received the Great Chapel Hill; Glenn S. Goldberg, artist, New Depuydt, Yale Univ.; Everett Emerson, Teacher Prize. He taught at Carnegie Mellon York Studio School; Betty Goodwin, artist, Univ. of North Carolina at Chapel Hill; An­ University before joining the Tyler faculty in Montreal; Sidney Guberman, artist, Atlan­ tonia Forester, Univ. of Akron, OH; David annual meeting update 1963. ta; Carol Haerer, artist, adjunct lecturer in D. Mann, Miami Univ., OH; H. Wayne art, Fordham Univ., Lincoln Center, and Storey, Fordham Univ., NY; Michael F_ The Rockefeller Foundation has invited Uni­ Queensborough Community College, CUNY; Suarez, Fordham Univ., NY; Michael Win­ 1989: The headquarters hotel will be the new­ charge, but must purchase single-session ad­ 1990: The 1990 Annual Meeting will be held versity of Missouri-Columbia, Professor. of Susanna Heller, artist, Brooklyn, NY; Ed­ ship, Oxford Univ. ly refurbished San Francisco Hilton. The mission tickets to attend other sessions. There at the New York Hilton. The placement ser­ Art, William A. Berry, to be an artist-in­ ward Henderson, artist, Stony Point, NY; Placement Service will be Wednesday, 16 are limited funds available for speaker's travel vice will be Wednesday, 14 February through residence at the Foundation's Study and Con­ Linda Dalrymple Henderson, associate pro­ The 1988 recipients of the Northwood Insti­ February through Friday, 18 February; ses­ based on demonstrated need (e.g. graduate Friday, 16 February. The sessions will be ference Center in Bellagio, Italy. Berry has fessor of an history, Univ. of Texas at Austin; tute's Summer Fellowships are: Marilyn sions will start Thursday, 17 February and students, independent artists or scholars, pro­ Thursday, 15 February through Saturday, 17 also received a fellowship from the Camargo Isabelle Hyman, professor of fine arts, New Lanfear (MFA, Univ. of Texas, San run through Saturday, 19 February. All fessors on leave, etc.). Registration waivers February. (See 1990 Return to New York page Foundation at their Study Center in Cassis, York Univ.; William Klein, photographer, Antonio), New York City; David Dilley, Placement Services and all but four Saturday for non - art historians, artists, writers and art 4 col. 1). France. Paris, France; Fred S. Kleiner, professor of Spokane, WA; Alan Gartenhaus, Seattle, sessions will take place in the Hilton. Some historians who do not have an academic or 1991: The 1991 Annual Meeting will be held art history and archeology, Boston Univ.; WA; and Barbra Morris of Ann Arbor, MI. rooms at lower prices will be available in museum affiliation will be available on appli­ at the Washington DC Sheraton/Shoreham. Julie F. Codell, Associate Professor, Univ. of Ken Kobland, film and video maker, NYC, neighboring hotels; priority will be given to cation to the CAA office. All museum and The placement service will be Wednesday, 20 Montana, art history and criticism, received visiting adjunct professor of film, School of The Thomas J- Watson Foundation has student members. Be prepared; apply to academically affiliated art historians, and February through Friday, 22 February. The an NEH Summer Stipend for 1988 to carry the Art Institute of Chicago; Gabriel Lan­ awarded fellowships to 75 graduating seniors your department chair and/ or start saving affiliated artists are expected to belong. All sessions will be Thursday, 21 February out research in art history in England on derman, artist, professor of an, Queens Col­ from 48 U.S. private colleges and universities now. San Francisco, unlike Houston, is boom­ participants are encouraged to join the CAA! through Saturday, 23 February. artists' societies and dealers' galleries in lege, CUNY; Donald Lipski, artist, New for a year of independent study and travel ing. Prices are significantly higher for Two post meeting trips are in the final 1992: The 1992 Annual Meeting will be held England, 1870-1914. York City; Jane S. Livingston, associate abroad after graduation. We are listing those accommodation and food. Rates will be pub­ planning stages each designed in response to at the Chicago Hilton and Towers. The director and chief curator, Corcoran Gallery winners in the visual arts. Joshua Barton, lished in the fall. requests from members. Featured are artists placement service will be Wednesday, 12 Feb­ Bonnie Fuoco (MFA, Parsons School of of Art, Washington, DC; Reagan Louie, Kenyon College; Cynthia Olip Booth, Mills All session/panel chairs will receive com­ studios, contemporary architecture, little ruary through Friday, 14 February. The ses­ Design) was engaged through a grant from photographer, instructor of photography, College; Dennis Bracale, College of the plimentary registration. Non- registered known museums, and private collections. sions will be Thursday, 13 February through the West Virginia Arts and Humanities San Francisco Art Institute; Stephen Mur­ Atlantic; Christine E_ Bruckner, Rice speakers can attend their session free of Check out details in the fall newsletter. Saturday, 15 February. .. Council to conduct a series of painting ray, professor of art history, Columbia Univ.; Univ.; H. Matthew Israel. Haverford Col­ workshops for at risk children, The Family Yvonne Rainer filmmaker, instructor, Inde­ lege; Megan L. Muir, Pitzer College; Ruth Refuge Center, Lewisburg, WV. pendent Study Program, Whitney Museum L. Phelps, Berea College. .. Summer 1988 13 12 CAA newsletter ! conferences! symposia! publications !people and programs two-day symposium, Kaifeng: Crossroads in Thursday to Sunday, April 6-9, 1989. The an interpretative discipline. Adrian Rifkin, 8 History and Culture, September 29-30. For main venue of the Conference will be the Western Parade, Southsea P05 3JF, Hants. Jan Van der Marek, who joined the Detroit Harvard University has chosen the firm of INMEMORIUM further information, contact the China Cen­ Institute of Education, Bedford Way, with TeI,0705-831860. Institute of Arts as curator of 20th century art Gwathmey, Siegel, and Associates of New ter, Univ. of Minnesota, 102 Nolte Center, associated events in some of the London Insti­ 5. Picturing "Other" Systems of Art: Art His­ in September 1986, has been named chief York City as the architects for a planned new A memorial service for Ronald Bladen, a 315 Pilsbury Drive SE, Minneapolis, MN tute's constituent colleges, the Tate Gallery tory and Eurocentricity-Sarat Maharaj, 31 curator. William H. Peck, curator of ancient building to house Harvard's Busch- Reisinger New York sculptor, was held on March 10, 55455,615-624-1002. and the RIBA. The Art History Bookfair will Sandwich House, Sandwich Street, London art since 1968, has been named senior cura­ Museum of Central and Northern European 1988. Bladen was known for his monolithic be located in the British Museum. we 1. Tel, 01-388-5681. tor. Art and to rehouse part of the Fine Arts black painted works of the 60's which com­ Bruegel Symposium at Connecticut College, The Conference will be divided into eleven 6. Spectacle, Performance, Theatncahty­ Library of the Harvard College Library. bined elements of both Abstract Expression­ Saturday October 8. For more information subject sections and each section will be sub­ Melissa McQuillan, Flat 3, 38 Coolhurst Northeast: Klaus Ottmann, (MA, Freie Uni­ ism and Minimalism. write: Robert Baldwin, Connecticut College, divided into four three-hour blocks (i.e. ses­ Road, London N8 8EU. Tel: 01-341-9965. versitat in Berlin, West Germany), has been Box 1411, New London, CT06320. sions). The convenors of the sections invite 7. Invasions and Inversions: Cultural Con­ appointed curator of exhibitions at the Ezra Mt'd-Atlantt'c: Charles Eldredge (BA, suggestions and contributions from art and frontations in the Art of Latin Amer.zca­ and Cecile Zilkha Gallery of Wesleyan Univ. Amherst College; MA, PhD, Univ. of Min­ William Stanley Hayter, 86, innovative Art and the Bible, image as biblical exe­ design practitioners, students, teachers, Oriana Baddeley, Dept. of Art History and in Middletown, CT. nesota, Minneapolis), director of the Smith­ printmaker, painter, and founder of Atelier gesis, in Venice, Italy, October 14-16. Schol­ historians, critics and any other interested Conservation, Camberwell School of Art and sonian Institution's National Museum of 17, an influential printmaking workshop, at ars representing philosophy, art history, and participants. Crafts, Peckham Road, London SE5 8UF. The Whitney Museum of American Art, has American Art since July 1982 announced his which legions of today's printmakers studied, biblical studies. will consider the role of the Proposed subject sections and convenors: 8. Sexual In/ difference: Questt'ons afMascu­ announced the promotion of Richard Arm­ resignation to accept the position of Hall Dis­ visual arts in the tradition of biblical interpre­ 1. Reconstructing Drawing Practices- Philip linity and Femininity- Tamar Garb, 130 strong to associate curator, and the appoint­ tinguished Professor of American Art at the Louise Nevelson, 88, a leading American tation beyond mere illustration: as authentic Dann, Dept. of Art History and Conserva­ Ferme Park Road, London N8 9SD. Tel: 01- ment of Hal Foster to the position of senior University of Kansas in Lawrence. sculptor widely known since the 50's for her exegesis, with its own capacity to disclose uni­ tion, Camberwell School of Art and Crafts, 340-4892. And Briony Fer, 7l Huddleston instructor, art history/museum studies in the environments and assemblages of painted versal spiritual content. For more informa­ Peckham Road, London SE5 8UF. Tel: 01- Road, London N7. Tel: 01-607-5858. independent study program. Thomas Buchter (BS, Delaware Valley Col­ scrap wood. Nevelson was honored in 1979 by tion write to: BIBLIA, via A. da Settimello 703-2923. 9. The Instrumental Image [Photography, lege, Doylestown, PA) has been appointed the Women's Caucus for Art as a Woman of 129, 50040 Settimello, Florence, Italy. 2. Fashion and Textiles: Links and Boun­ etc.]-David Green, Department of Visual Helen Ferrulli (BA, State Univ. of New York deputy director for gardens and grounds at Distinction for Outstanding Achievement in daries - Barbara Burman, Winchester Arts, Music and Publishing, Oxford Poly­ at Stony Brook), has been appointed vice Winterthur Museum and Gardens. Mr. the Visual Arts. The award was presented by The 1988 National Conference of State School of Art, Park Avenue, Winchester. Tel: technic, Gipsy Lane, Headington, Oxford director for education at the Brooklyn Muse­ Buchter of Massachusetts previously served as President Jimmy Carter. Humanities Councils will be held at the 0962-842500. OX4 OBP. Tet 0865-819469. um. She joins the museum from the Indian­ executive director of the New England Wild Hyatt Regency-Capitol Hill in Washington, 3. Reading Landscape - Simon Pugh, St. 10. Natz'onal Identity and Cultural Produc­ Flower Society. apolis Museum of Art where she served as Lawrence TurCic, 38, assistant curator of DC, December 9-11. For more information Martin's School of Art, 107 Charing Cross lion-,-Annie Coombes, 101 Manor Avenue, director of education since 1981. drawings at the Metropolitan Museum of Art, write: Federation of State Humanities Coun­ Road, London WCl ODU. Tel: 01-437-0611 London SE4 1TE. Correction: A friend writes that contrary to where he had worked since 1977. The CAA cils 1012 14th St. NW, Suite 1207, Washing­ [extensions 213 (messages) or 214). 11. A Crisis in 'Theory'.'!- Mandy Merck and Daniel S. Walker (BA, Bowdoin; MA, Har­ our records Minerva Navarrete was, in fact, Honorable Mention for the Alfred H. Barr, ton, DC 20005. 4. Criticism/Historiography Philip Simpson, SEFT Limited, 29 Old vard Univ.) has been elected curator of the hired by H.W. Janson, not Gene Lassard, in Jr. Award in the year 1988 for the year 1986 4a. Criticism and its Institutions. Convenor Compton Street, London WIV 5PL. Tel: 01- department of Islamic art by the board of December 1971, and named Business Man­ went to Jacob Bean and Lawrence TurCic. • Association of Art Historians to be confirmed. Offers to convene this half 734-5455/3211. trustees of the Metropolitan Museum of Art. ager inJanuary 1972. 1989 London Conference section are invited. Please contact Tag Gron­ For further details contact: Tag Gronberg, The Association of Art Historians Conference berg. Conference Organizer, London 1989, 13 History/Practice/Theory: Issues in Art and 4b. Does the History ofArt needa "Longue Christchurch Square, London E9 7HU. Tel: ! opportunities Design will be hosted by the London Institute, Duree".'! Some historiographical questions of 01-986-7556. •

U.S. Agencies and Foundation to people and programs Aid Artists The National Endowment for the Arts, the U.S. Information Agency and the Rockefeller ACADEME bara Abou-EI-Haj and Jean C. Wilson been appointed director of development for Foundation have joined forces to get more have returned from their fellowship leaves: the San Francisco Museum of Modern Art. exposure for American arts and artists at Andrea Norris (BA, Wellesley College; MA, Abou-EI-Haj was a senior fellow at the Cen­ Since 1976 she has served as both executive exhibitions and festivals abroad. The new PhD NYU-IFA), chief curator since 1980 of ter for Advanced Study in the visual arts, associate director and acting director of the group, the Fund for U.S. Artists at Interna­ the Archer M. Huntington Art Gallery at the Washington, DC, and Wilson received an Exploritorium, San Francisco. James Cahill tional Festivals and Exhibitions, this year will Univ. of Texas at Austin, has been named award from the American Council of Learn­ (BA, Univ. California, Berkeley; MA, PhD, provide $300,000 for the visual arts, as well director of the Spencer Museum of Art at the ed Societies. Eunice Lipton has returned Univ. of Michigan, Ann Arbor), professor of as aid to performing artists. The Rockefeller University of Kansas. from sabbatical leave in Paris. Nicos Had­ history of art at the Univ. of California, Foundation plans to support the fund through jinicolaou was the department's visiting Berkeley, has been named the first Distin­ 1990. Visual arts organizations should call Joseph Rykwert (PhD, Royal College of Art, scholar for Spring 1988, replacing Victor guished Visiting Curator at the Asian Art Susan Stirn at the U.S.I.A.: 202-485-2779. London, England), a visiting professor at the Burgin, visiting scholar Spring 1987. Museum of San Francisco, for 1988-89. Inquiries from the private sector should be University of Pennsylvania's Graduate School directed to Ms. Arthurs or Suzanne Sato at of Fine Arts since 1982, has been appointed Robert Emmet Mooney, Jr. has recently Midwest: David Scott Berreth (MA, Syra­ the Rockefeller Foundation: 212-869·· 8500. chairman of the School's doctoral program in been inaugurated president of Keystone cuse Univ.) who has been director of Miami architecture. Junior College, La Plume, PA. University'S Art Museum in Oxford, Ohio Exchange Exhibit of British and South since 1979 has been named director of the Carolina Contemporary Crafts The Munson-Williams-Proctor Institute has MUSEUMS I GALLERIES Madison Art Center, Madison, WI. South Carolina State Museum is organizing announced that Paul D. Schweizer, director an exchange exhibit of British and S.C. con­ of the Museum of Art, has been named presi­ Canada: The National Gallery of Canada in The Cincinnati Art Museum has announced temporary crafts in both traditional and dent of the board of trustees of the Williams­ Ottawa has opened a new building designed two new appointments. Kristi Anderson avant garde styles. The British portion of the town Regional Art Conservation Laboratory, by architect Moshie Safdie. The gallery will Horner, former director of special events for exhibit will feature sixty works by thirty art­ Inc., located at the Sterling and Francine house the museum's collections of Canadian, the Cystic Fibrosis Foundation, will become ists, and will be available to tour the U.S. in Clark Art Institute, in Williamstown, MA. European, and American art and the com­ volunteer coordinator replacing Fanny 1990. For information on booking this exhibit plete interior of the restored Rideau Street Smith. Ellen Avril, assistant curator for An­ contact: Susan Marsh, Project Administra­ Anthony King has joined the art history fac­ Convent Chapel designed in 1887. cient, Near Eastern and Far Eastern Art, is tor, 407 Greene St., Cheraw, SC 29520. 803- ulty at the State University of New York at now Acting Head of the department replac­ MONET'S MAGIC: In the beautiful water garden at Claude Monet's home in Giverny, France, (from left) 537 2355. • Binghampton. John Tagg has been ap­ West: Virginia Carolla Rubin (BA, Rut­ ing Daniel S. Walker. Ora Lerman, Priscilla Bender-Shore and Jon Swihart, recipients in the Reader's Digest Artists at pointed the associate chair of the dept. Bar- gers, Univ.; MA Univ. of Pennsylvania) has Giverny Program, draw inspiration from the Japanese footbridge made famous by Monet in his paintings. The American artists were chosen from more than 650 applicants to work and live at Givemy for six months. 14 CAA newsletter Summer 1988 15 dassifieds

The CAA newsletter will accept classifieds of WINTER IN MEXICO, ART WORK~ THIRD ANNUAL INTERNATIONALEX~ a professional or semi-professional nature SHOPS. Painting and drawing all media with HIBITION OF MINIATURE ART. $7,000 (sale of libraries, summer rental or exchange New York artistslteachers. in prizes in ten display categories. Deadline of homes, etc.). The charge is 50~ per word, SAN MIGUEL ALLENDE, December 17· July 22. Catalogue published. Contact Del minimum charge $10.00, advance payment 30, 1988, famous artists' colony, painting Bello Gallery, 363 Queen St. W., Toronto, required. Make checks payable to CAA. studios at the Instituto adjoining the Aristos Canada M5U 2A4. 416-593-0884. hotel and swimming pool. RACAR (Revue d'art canadiennc/Canadian RANCHO RIO CALIENTE, GUADALA~ Art Review), Canada's learned journal for the JARA, March 20-April 2, 1989. Hot water DISCOUNT EXHIBITION ANNOUNCE~ publication of all art historical areas, wel­ spa, swimming pools, massage, horseback MENTS. Full color separation, coated stock. comes manuscripts on Canadian art and on riding, hiking. 2-4 week delivery. IMAGES FOR ARTISTS, all aspects of the discipline from antiquity to SUMMER 1989, ASSISI, ITALY, live and 2543 Cleinview, Cincinnati, OH 45206. today. Scholars wishing to have their manu­ work in a convent. Write: ART WORK­ scripts considered for RACAR should send SHOPS 463 West St. 1028H NY, NY 10014 them to one of the two editors: Clifford M. (212) 691-1159. SUMMER HOUSEl APARTMENT EX~ Brown, Carleton Univ., (home address: 510 CHANGE. French couple, a painter and a Orkneyl Priv., Ottawa, Ont. K2C 3M?), or teacher, with their two-year old daughter Luis de Moura Sabral, Dept. d'historire de EXHIBITION DIRECTORY 10TH EDI~ would like to exchange their house of two I'an, Univ. de Montreal, C.P. 6128, succur­ TION. The working resource of selected rooms and a studio in Aries for an apartrnen!, sale A, Montreal, Que. H3C 3J7, Canada. A juried art, photographic and festival compe­ preferably in New York. Two months, from style sheet may be obtained from the editors. titions. September 1988-89. Available July July or later. Non-smokers preferred. Michel Other information may be requested from the 1988. $10.00 plus $2.00 shipping. Pre-paid. and Dominique Pena, 35 rue la Fontaine, managing editor, W. Chandler Kirwin, Dept. The Exhibit Planners, Box 55, Delmar, NY 13200 Aries, France. • of Fine Art, Univ. of Guelph, Guelph, Ont. 12054. NIG 2WI, Canada.

SCULPTURE SABBATICAL? Small house information in panoramic village 15km from Pietrasanta, 90km Florence. 2BR, studio, study, LR, kit­ ~~~------Sought about the institutions, galleries, and Sigrid Kaus is assembling the overe catalogue chen, bath, central heat. From September private individuals who own works by Ger­ of the works of Max Kaus. If you have infor­ $750 month. Until July 31 write Bush/Sutt­ hard Marcks for an exhibition of Marcks mation concerning paintings as well as graph­ man, Via Pedona 62, 55040 Camaiore (LU), works by Luther College in 1989/90. Inter­ ics in private collections, please send them to Italia. For further information in U.S. call ested in locating Marcks works in the U.S. Sigrid Kaus, c/o Brucke-Museum, Bussard­ 215- 546-1857. Jane Kemp, Secretary, Marcks Centenary steig, D- 1000, Berlin 33, West Germany. • Committee, Preus Library, Luther College, Decorah, IA 52101.

Non-Profit Org. G44 newsletter U.S. Postage PAID © 1988 New York, N.Y. College Art Association of America Permit No. 4683 275 Seventh Avenue, New York, N.Y. 10001 Editor: Susan L. Ball Editorial Assistants: JoAnne Capozzelli Carol Grape

Material for inclusion in the Fall 1988 issue should be sent to CAA Newsletter, 275 Seventh Avenue, N.Y.C. 10001. Deadline: 1 August.

Summer 1988