newsletter VolumeS, Number 2 Summer 1983

1984 annual meeting: studio sessions

Studio sessions for the 1984 annual meeting in Toronto have been caught between palpable reality and ambitions of illusion. Photog­ planned by Garry Neill Kennedy, Nova Scotia College of Art and graphy, film, and video are the projected two-dimensional images that Design. Listed below are the topics he has selected. Those wishing to follow painting. Perhaps the hologram begins to succeed sculpture. participate in any session must submit proposals to the chair of that However, it is in its infancy and as yet offers no serious alternative. session by October I, 1983. Note: Art History session topics were an­ Why do sculptors persist? It cannot be simply that they like to work nounced in the Spring newsletter. For those whose copies were lost in with their hands. mail, chewed-up by the dog, or stolen by a colleague: an additional copy may be obtained from the CAA office. Frankly we won't insist Strategies of New Media: Questions of Representation/Sexual­ upon it, but $1.00 for postage and handling would be very much ity/Power.Judith Barry, 170 First Avenue, Apt. 12, New York, N. Y. appreciated. 10009. The concept of the media is used in a broad sense to include not only The New Figuration. Robert Berlind, 215 West 20th Street, New those working in video, film, and performance, but also artists whose York, N.Y. 10011. work is based on a stated relationship to popular culture. Established The purpose of the panel will be to explore a number of questions artists with specific and well-defined points of view will be invited to related to the resurgence of figurative painting (and possibly sculp­ pose questions of representation, power, and sexuality that are con­ ture) that stresses imagery and emotional expression. Some examples tained in their analysis of one another's work, to each other. These of issues to be explored: To what extent do the artists involved draw on complex issues will then be opened up for a general discussion among Post-Minimalist narrative and confessional modes and on earlier Pop the audience and the panelists at the end of the session. strategies of irony and appropriation? What interactions between per· sonal expression and social considerations are evident? What does to­ New Technology in the Visual Arts. Jack Nolan, Massachusetts day's Expressionism express? To what extent is there simply a resur­ College of Art, 364 Brookline Ave., Boston, Mass, 02215. gence of painting as painting, and what in the 1980s might account for Electronic imaging systems, digital video recording, computer such a development? Is the new painting (and related sculpture) "post­ graphics, intelligent machines, satellite telecommunications, inter­ modern" or, rather, part of a new construction of modernism itself? active user networks - the age of global visual electronics has arrived. How does this new art align with recent revisionist viewpoints in art Where does that leave the visual artist? The panel will assess the poten­ history? tial of these new technologies and explore their effects on artmaking, art consumption, art criticism, and - perhaps the most problemat­ The Search for the "Picturesque" of the Eighties: Landscape ical-the education oj the artist. The panel will include artist, Painting Today. Wolf Kahn, 813 Broadway, New York, N.Y. 10003. designers, and critics. Is the contemporary landscape paintable, or are we restricted to repeating the "picturesque" of the past? What new structures or for­ Crafts in Industry. Robin Muller, Nova Scotia College of Art and malist concerns are we able to bring to the task? Is descriptive render­ Design, 5163 Duke Street, Halifax, Nova Scotia, Canada B3J 3J6. ing enough? Is there a relation between landscape painting and the en­ The crafts and the various industries that developed from them have vironmental? The above are some of the questions that will be consid­ alternately collaborated and competed over the last 100 years. Recent­ ered by this panel. ly a new collaboration has begun, with contemporary craftspersons us~ ing industrial techniques, materials, and equipment in their work. In The Midwest: Figuration and Alternatives. Franz Schulze, Dept. some cases they have actually entered factories to produce work of a of Art, Lake Forest College, Lake Forest, Ill. 60045. scale and technical level impossible to achieve within the limitations of The panel, informally conducted, will discuss an issue that has pre­ their own studios. Much of this work has been facilitated and sup­ occupied painting and sculpture in the midcontinent since World War ported by workshops and projects that have evolved in the past few II: the relationship of figurative art to other kinds- abstraction, con­ years. The workshops have offered new information, resources, and ceptualism, environmental art, etc. This relationship has often been mediums to artists and craftspersons and have supplied a new and im­ marked by debate among and between figur.ists and abstractionists, as portant kind offinancial support. This panel will examine the impact well as by persistent concern for the place of middlewestern art as a of works produced in these workshops in the artl craft world, as well as whole relative to the international scene. the future of (best' workshops and the opportunities for financial sup­ port that they provide for craftspersons. Why Do Sculptors Persist?, Barbara Zucker, Art Dept., University of Vermont, Williams Hall, Burlington, Vt. 05405. Judging Modernity: Manet Revisited. Thierry de Duve, Univer­ When sculptors meet, they invariably complain about the difficul­ sity of Ottawa, Ottawa, Ontario, Canada KIN 6N5. ties inherent in making and showing sculpture- its cost. weight, fabri­ "The jury has only to say: this is a painting, or that is not a painting." cation, and irrevocable physicality. When it is outdoors, sculpture In those words Mallarme spelled out the true mechanism of institu­ deteriorates, is vandalized, and needs maintenance and repair, as do tionalized aesthetic judgment in modernism and, perhaps unwitt- buildings, yet there is often no funding available to cope with these problems. Historically, sculpture lags behind painting. Sculpture is Continued on p. 2, col. 1 /1984 annual meeting: studio sessions people and programs ingly, indicated what the strategic issue of art practice would become Artist as Teacher, Teacher as Artist: Canada and America. Material for inclusion in People and Pro­ Gerald Ferguson, Nova Scotia College of Art and Design, 5163 Duke James Breasted Jr., director of the Los for the rest of modernity: to assert the name of painting or, as grams should be sent to College Art Associa­ Duchamp later brought up. the name of art. This was in 1874, when Street, Halifax, Nova Scotia, Canada B3J 3J6. Angeles County Museum of Art from 1946 to tion, 149 Madison Avenue, N. Y.C. 10016 ~951, died in May at the ageof74. A specialist the Salon refused two of Manet's entries and accepted the two others. There is the presumption that those that teach art; make art; yet Deadline for next issue: 1 September. . and Mallarme had spoken in defense of Manet. It was also eleven years their social role is most often identified as teacher, not artist. It is con­ m modern painting and European art, he ~tart.ed his Career as an Egyptologist, follow­ after the Salon des Refuses, where the Same mechanism was first acted sidered presumptive to call oneself an artist-that identification is i IN MEMORIAM out openly. From then on the modern aesthetic judgment would be usually conferred after the fact. On a more pragmatic level, those who mg III the footsteps of his father, who had cast in the form of a dichotomy; it would be a naming practice: paint­ make their living from the production of artistic work - and file their established the Oriental Institute at the Uni­ ing or anti-painting, art or nOD-art, etc. The irony of the current fad income tax accordingly-are, objectively, artists. Because of the versity of Chicago. Breasted taught at Colo­ around post-modernism is that the very word is shaped in the same higher social status accorded an artist than a teacher, if one happens to radoCollege, Hunter College, U.C.L.A., and binary form. One cannot draw the line between modernism and its do both usually the identification of teacher evaporates. Questions the Kent School in Connecticut and is the supposed aftermath without perpetuating a typically modernist judg­ that this panel will deal with are: Is the above supposition correct? If author of Egyp~ian Seroant Statues (1949). A ment on modernism itself. This panel wants to deal with modernity in so, has this always been the case? Is it true for America and Canada? self-taught calhgrapher, he founded a still ex­ such a way that it avoids both the judgmental double bind of post­ Does this supposition say something about the support system for art­ tant annual national italic handwriting com­ modernism and the false issue of periodization that it suggests. There­ ists? How do Canada and the U.S. compare to Europe in this regard? Is petition thirty years ago. fore, the only line to be drawn will be the bottom line, where it all this an issue for both men and women? Is it true that "those that can't ACADEME started. In inviting the panelists to revisit Manet in a seemingly retro­ do it, teach it"? The panel will be composed of artists teachers with ex­ spective and art-historical manner, what I want to do is raise some con­ perience in the U.S., Canada, and Europe. temporary issues prompted by the post-modernist symptom. How are Medievalist Jean V. Bony has been named we to judge modernity in our day, and how are we to reinterpret it? Queen Street West, Canada: The Nature of Art and Its Audience Algur H. Meadows Professor of Art History at What are the values that we endorse when-and if-we endorse the in Toronto. Ian Carr Hams, Ontario College of Art, 100 McCaul Southern Methodist University. Bony, who is history of modern art launched by (and around) Manet? Street, Toronto, Ontario, Canada M5T lWl, prof~ssor emeritus at the University of Cali­ This panel will consider the key issues that characterize Toronto as fornia, .Berkeley: will join the SMU faculty in the S~)flng. Dunng the coming fall semester Cultural Criticism and Cultural Industry. Benjamin Buchloch, an art center and the importance of the city for artists, dealers, critics, Betty Chamberlain Dept. of Art, S.U.N.Y. Westbury, Westbllry, N.Y. 11590. and curators in Canada. he WIll serve as Mellon Professor at the Uni­ This panel will consider the situation and functions of contempo­ Betty Yale University School of Art theory and cultural criticism) in regard to the dominant modes of cul­ Charles Homer Haskins medal for his English of Art and Art History, Univ. Iowa, Iowa City, Iowa 52240. May at the age of 75. Chamberlain Was foun­ Photo: Yale University Offit-~ of Public Information tural production. The question of marginality and commercial hege­ This is a CAA Board-sponsored, invitational panel that will be held der (in 1959) and director (ever since then) of Decorated Style: Gothic Architecture Trans­ formed, 1250"1350. mony as well as the question of institutional centrality and strategies of as part of the Official Opening Session. the ~rt ~nformation Center, a non-profit intellectual and cultural history of Europe. decentralization should be addressed. orgarnzatlOn that provides free assistance to artists seeking outlets for their work in New Painter David Pease (MFA Univ. Wisconsin), The Culture of Resistance. Martha RosIer, 53 Pearl Street, SESSIONS OF AFFILIATED SOCIETIES York City and to dealers seeking new talent. Dea.n of~he Tyler School of Art, Temple Uni­ Brooklyn, N.Y. Jl20!. ~~e Cen~er also keeps track of exhibitions by versity, smce 1978, has been named dean and This panel seeks critics and artists working in any medium whose CAAIARLIS Joint Session: Books as the Artist's Inspiration. hvmg artISts (saving all the wonderful posters professor of art at the Yale University School work points to channels of opposition-including organized opposi­ David J. Patten and Michael Rinehart, c/o RILA, Clark Art Institute, and postc~rds the rest of us either tack up on of Art, effective July I. Pease had been on the tion-to oppressive social organization, conditions, or institutions Williamstown, Mass. 01267. our bulletm boards or simply throwaway) Tyler faculty since 1960; before that he (inc1udingpatriarchy). This would include work that might be seen as Fully documented and illustrated papers discussing literary texts and, as a genera.l rule, is able to answer just taugh~ at Michi?"an State. His paintings have constituting a form of resistance in itself, work that posits alternatives, and/or book illustrations that have exerted influence on an artist or ar­ about any questIOn about living artists that been mcluded III ca. 275 exhibitions since or work that poses a coherent critique. Although explicitness is not tists are to be presented. Book illustrations accompanying literary texts you can't get answered elsewhere. 1953 and are in numerous public collections. necessary, coherence and accessibility are main requirements. No as well as books inspiring artists to create works of art other than il" Chamberlain was educated at Smith Col­ Earlier this year, Pease served as chair of stu­ "neo-Expressionist" universalizing, pleasel "Third-World" and minor­ lustrations may be treated. Each paper is to be approximately twenty lege and at the Sorbonne. Prior to founding dio sessions for the CAA annual meeting, held ity submissions are especially encouraged. minutes in length and is to be illustrated with slides. Abstracts must be AIC, she was on the staffs of the Metropolitan in Philadelphia. At Yale, he succeeds An­ received by 15 August. and the BroOklyn Museums and in the 1950s drew Forge, dean since 1975, who plans to Survival of the Studio Artist. Eleanor Dickinson, Gallery and Prac­ she was managing editor of Artnews. From resume fulltime his work as an artist and to ticum Dept., California College of Arts and Crafts, 5212 Broadway, Women's Caucus for Art: Self-Portraits by Women: Ann Suther­ 1969 to 1974 she wrote an art column for the teach at the School. Oakland, Calif. 94618. land Harris, 560 Riverside Drive, New York, N.Y. 10027. Saturday Review and for the past eleven years ':"~ile a successor to Pease is being sought, Achievements in preservation of the artist as well as the art are seen The intent of this regular WCA art history session continues to be she had written a regular column, "Profes­ PhIhp P. Betancourt has been named acting in the strength of art and legal organizations, economic knowledge the questioning and changing of traditional art historical methodol­ sional Page," for American Artists Magazine. dean at Tyler. An authority on the art and ar­ and control, and the growing strength of the infrastructure of the ogy and content. Papers could explore a single portrait, a group of A revised edition of her book, The Artist's chitecture of the classical periods of Crete and arts. This panel will discuss survival methods used today by artists, portraits, or several portraits by different artists. Guide to the (lrt M.arket, was published by Greece, Betancourt joined the Tyler staff in such as passing artists' rights legislation, product labeling to control Call for Proposals. The WCA Program Committee also invites pro­ Watson-Guptill earlIer this year. 1970 and ha~ been chair of the art history health hazards in art materials, promoting cheap, legal studio hous­ posals for sessions and panels. The WCA conference is intended to department SInce 1979. Since 1975, he has ing, current jobs in the art field in addition to teaching, legal develop­ provide both scholarly sessions and more practical sessions addressing Winthrop 0_ Judkins, or Jud-as he was also been a visiting lecturer in classical ar" ments to protect and enrich the artist, growth in strength of arts organ­ institutional change from a feminist perspective. "Crossing Boundar­ called by his many friends and students­ chaeology at the University of Pennsylvania. izations to provide services and support to often isolated artists and the ies" has been established as the central theme because we are meeting died after a short illness on March 9th, at the Memphis State University has named Carol artist with unique problems such as Black or Third World artists, fem­ in Canada and we hope that this crossing of the physical borders be­ age of 70. Born in Glens Falls in New York Jean Bony, Southern Methodist University inists, very old or very young artists, and regional artists. Canadian tween two countries will inspire American and Canadian women to State, he received his education at Harvard Crown chair of its art department. Crown Government methods of supporting and encouraging Canadian artists reach a broader level of communication. Proposals for sessions or and became an expert in modem art. He (Ph:D., ~ashington Univ.) is also serving as Also at SMU, Alessandra Comini has been project director of A Dimne Tour of Ancient will be compared to the present United States Government attitude panels should be sent to: Thalia Gouma-Peterson (College of Wooster) came to M~Gill in 1952, to establish, develop, appointed to the newly established rank of which has received a $35,000 match­ towards American artists. 394 Edgemeer Place, Oberlin, Ohio 44074. II1II and consol.ldate th~ department of art history, !-gypt, University Distinguished Professor. Comini Ing challenge grant from the Tennessee Com­ whose chaIrmanship he retained until his re­ who has written extensively on German Ex: mittee for the Humanities. The project focus­ DATEBOOK: I July deadline ACLS Travel Grant applications (Conferences November-' February). .1 September deadline Millard Meiss tirement in 1978. Jud continued to teach and pressionism, women artists, and related es on an exhibition of ancient Egyptian art applications. .4-10 September XXVth International Congress of the History of Art, Vienna ... 1 October deadline 1984 annual meeting to inspire with his enthusiasm and knowledge topics, will sound a new note in 1984 when students and colleagues until his last illness. scheduled for Onober 6-December 8 at the abstracts (please note: some sessions have announced earlier deadlines) ... 5 October deadline for receipt of positions for October 20 Positions Rizzoli is scheduled to pUblish her Changing University Gallery. Rita Freed (Ph.D. cand., Listing. The 1984 Preliminary Program-containing necessary forms and complete information on registration, hotel room rates, low-cost All who came in contact with him will long Image of Beethoven: A Study in Myth-Mak­ ~em~~ber him for his gifts as a stimulating, N. Y. U.) has joined the department to curate flights, etc. -will be mailed in December. l ing. The study develops the theme that the ~he exhibitio.n. Gues.t speakers participating mspmng teacher, his warnl heart, his kind­ changing visual depictions of Beethoven over III an aSSOCiated mne-week lecture series ness and generosity. -George Galavaris the past 200 years offer a key to the shifting Continued on p. 4, col. 1 2 CAA newsletter Summer 1983

I {people and programs {people and programs conferences and symposia slated for this autumn include Vivian Dav­ semmars on the Classical Landscape Tradi­ research projects. She will continue to teach John Ruskin Propriety in the 19th Century ies, British Museum; Robert Bianchi and tt"on and Problems in Profane Iconography in at Parsons. An interdisciplinary symposium to be held The theme of the annual meeting of the Jim Romano, both The Brooklyn Museum; European Art, 16th-19th Centuries; William September 24 at the Yale Center for British Southeastern 19th-Century Studies Associa­ Bernard Bothmer. Institute of Fine Arts, Oedel, Historical Society of Pennsylvania, Eight schools among the twelve in the area of· Art. Art historians speaking (both during the tion, to be held April 5-7, 1984, at the Vir· N. Y. U.; and Edward Brovarski, Museum of who will teach a seminar on Rembrandt Peale fering graduate degrees in art history were afternoon .session) will be Edward N. Kauf­ ginia Military Institute in Lexington. Fine Arts, Boston. and His Contemporaries, also in the fall; and represented at the second Southeast Gradu­ man, Univ. Chicago, on "Ruskin and Archi· Twenty·minute papers are invited. Send to Roberta Tarbell, who will be teaching a sem­ ate Symposium in Art History held at the tectural Representation," and Allen Staley, Wendy Greenberg, Dept. Foreign Language, inar on 20th- Century A merican Sculpture in Florida State University this past March. Columbia Univ., on "Ruskin and the Pre-Ra­ Pennsylvania State University, Fogelsville, the spring. Twelve students presented papers; a prize of phaelites." There is no charge and no ad­ Pa. 18051. Deadlines: Abstracts by 1 Octo­ $150 in memory of Professor Gunther Stamm vance registration is necessary; however, seat­ ber; final papers by 1 December. was awarded to JodyBlake (M.A. candidate, ing is limited to 200. For additional informa· At The Johns Hopkins University, Yve-AIain Tulane) for her paper, "The Paintings within tion: Dept. Education and lnformation (203) Bois, Centre National de Recherche Scienti­ Picasso's Paintings." Donald Robertson 436·1162. European Influences on the Visual Arts of fique, has been appointed visiting associate (Tulane) was keynote speaker. the Plains professor for 1983-84. Bois has published ex­ A call for papers for the eighth annual inter­ tensively on Picabia, Mondrian, Lissitzky, Ceramic Symposium disciplinary symposium of The Center for and Malevitch. The Hopkins department of MUSEUMS The Third International Ceramic Sympo­ Great Plains Studies, to be held at the Univer· the history of art has established a program of sium will be held October 14-16 in Kansas sityofNebraska-Lincoln, May 15-16,1984. It associates to bring to its Baltimore campus City, Mo., in conjunction with a major exhi­ is expected that funds for travel and lodging four or five scholars to conduct intensive bition, Ceram£c Echoes, at the Nelson-Atkins will be available for accepted speakers who research seminars, deliver public lectures, Museum of Art. Fifteen private galleries and cannot secure support from their home insti­ and to work with advanced graduate stu­ university museums in the Kansas City area tutions. Submit 150- to 200-word proposals dents. The associates will hold regular, ongo­ Robert C. Hobbs, University of Iowa will also be exhibiting ceramics in conjunc­ and a one-page curriculum vitae to Joe Nel­ ing academic appointments and will spend Museum of Art tion with the symposium. For registration in­ son, 205 Love Library, UN-B, Lincoln, Neb. about a week at Hopkins each year. Svetlana formation: ECHOES, 855 Rockwell Lane, 68588. Deadlines: Proposals by 15 October; Alpers, University of California, Berkeley; Robert C. Hobbs leaves his post of associate Kans", City, Mo. 64112. (816)753·5299. final papers by I February 1984. Hans Belting, University of Munich; and professor of art at Cornell University and cur­ Elizabeth Cropper, Temple University; have ator of contemporary art at the Herbert F. Contemporary Art Justinian Symposium already been named to the program. Hop­ Johnson Museum of Art to assume the direc­ The Third Annual Symposium on Contem­ To be held at the University of Oregon, kins' professor Charles Dempsey will conduct torship of the University of lowa Museum of porary Art at the Fashion Institute of Tech­ Eugene, October 6-9, to celebrate 1500 years Goody.,,,, J'., a seminar on research in ltalian art at the Art and an appointment as associate profes­ nology seeks proposals for papers on art since since the birth of Justinian. Lectures on the Pennsylvania Academy of Fine Arts Hopkins-owned Villa Spelman in Florence sor in the department of art and art history. 1945 for 20-minute presentations at the sym· art of the Justinianic period by David Wright, during the spring term. Before going to Cornell, Hobbs (Ph.D., Univ. posium now planned for November 1983. Ab­ Univ. California, Berkeley, and A. Dean Mc­ Frank H. Goodyear Jr. has been appointed North Carolina-Chapel Hill) taught at Yale stracts of 250-500 words should be addressed Kenzie, Univ. Oregon. Also included will be president of the Pennsylvania Academy of the Ann Sutherland Harris will be Visiting Mel­ and was chief curator of contemporary art to Richard Martin, Exec. Dir., Shirley Good­ lectures on the history, political science, geog­ Fine Arts. Goodyear (Yale Univ. and the Win­ lon Professor at the University of Pittsburgh and chairman of the curatorial division of the man Resource Center, FIT, 227 West 27th raphy, law, and religion of the period by spe­ terthur Program/Univ. Delaware) came to for the winter term. Gabriel Weisberg has Tehran Museum of Contemporary Art in Street, New York, N.Y. 10001. Deadline: 31 cialists in these areas. Concurrently, there will the Academy in 1972 as curator of the muse­ accepted a Visiting Professorship at the Uni­ Iran and curator of education at the Mint August. um. He was appointed director of the muse­ versity of Maryland for 1984. Warren San­ Museum of Art in Charlotte, N.C. Hobbs has be an exhibition of church models, casts of um last October, and then acting executive derson of Concordia University, Montreal, written extensively on Robert Smithson and ivories, and photographs of Byzantine art and director of the Academy. Before coming to has been appointed Visiting Professor in other aspects of contemporary art; he was Medieval-Renaissance Studies architecture from the sixth century. Organ­ the Academy, he had been curator of the Modern Art at the University of Trier, West The Fourth Biennial New College Conference izer of the symposium is A. Dean McKenzie. Innis H. Shoemaker, Ackland Art Museum guest editor of the Art Journal's fall 1982 on Medieval-Renaissance Studies will be held Rhode Island Historical Society. He took a Germany, for the second semester 1982-83, Photo: Charles H. Cooper. Herald-Sun Papers. Durham. N.C. issue, "Earthworks: Past and Present." leave of absence in 1974-75 to serve as acting under the auspices of the Deutsche Forsch­ in Sarasota, Fla. March 9-10, 1984. Papers Renaissance Nuremberg curator of American painting and sculpture unge Gemeinschaft. Innis H. Shoemaker has been named direc· Marilyn Friedman Hoffman has resigned as are invited on all subjects, Europe and the A symposium to be held September 23-24 at tor of the Ackland Art Museum at the Univer­ director of the Brockton Art Museum in Mediterranean, 1000-1600 A.D., with par­ at the Yale University Art Gallery. the Archer M. Huntington Art Gallery, Uni­ Steven Mansbach takes a one year leave from sity of North Carolina in Chapel Hill. A spe­ Brockton, Mass., effective February 1, 1984. ticular interest in urban studies, courtly cui· versity of Texas at Austin, in conjunction with the University of Houston Central Campus to cialist in prints and drawings, especially of the She came to the Museum as curator in 1971 ture, and drama. Send I-page abstract to Lee Margia Kramer (M.A., N.Y. U.) will join the the exhibition Nuremberg: A Renaissance join the staff of the NEH, Division of the Italian Renaissance, she succeeds Evan H. and became director in 1974. .. D. Snyder, Dir., Program in M-R Studies, faculty of the Hartford Art School, University City, 1500-1618. Jeffrey Chipps Smith, cura­ Museums and Historical Organizations Pro· Turner, who leaves after five years to become New College of USF, Sarasota, Fla. 33580. of Hartford, as assistant professor offilml vid· tor of the exhibition, will chair the sympo· gram. He will be meeting with and counseling director of the Cleveland Museum of Art. Deadliine: 1 December. (Note: There is also a eo. A recent recipient of fellowships from the sium. Speakers will be Christiane Andersson, NEA and the New York State Council on the NEH institutional applicants seeking grants. Shoemaker (Ph.D., Columbia) had been national undergraduate student paper con· Columbia Univ.; Richard Field, Yale Univ. Arts (CAPS), Kramer worked this year at the assistant director of the museum and adjunct sustaining test, cash prizes, papers due I February 1984; Art Gallery; Thomas DaCosta Kaufmann, MacDowell Colony and in New York City on Helene Fried, director of exhibitions at the assistant professor of art history at UNC-CH write for rules.) Princeton Univ.; Keith Moxey, Univ. Virgin­ her current project, a video installation about San Francisco Art Institute, leaves after since 1976. She served as curator of the Vassar members College Art Gallery from 1965 to 1968 and ia; and Larry Silver, Northwestern Univ. communications called Progress (Memory). eleven years to pursue individual projects in Eighteenth Century Studies again from 1973 to 1976 and was also assistant the field of cultural planning. She is presently Sustaining membership is a voluntary cate­ The Tenth Annual Meeting of the Southeast­ professor of art at Vassar. At North Texas State University, Denton, D. a consultant to Olympia and York, developer gory for those who wish to support the CAA ern American Society for Eighteenth Century Independent Scholars in the 1981!s: Making Jack Davis, chair of the department of art, with exclusive negotiating rights to Yerba beyond their regular income-based dues. The Studies will be held March 8-10, 1984, in Connections The Smithsonian Institution Traveling Exhi­ has been named associate vice president for Buena Gardens. She is also co-curator of Cali­ dues for Individual Sustaining Members are Charleston, S.C. Proposals for papers on any A conference to be held September 25 at the bition Service (SlTES) has named Mary Jane academic affairs. Margaret O. Lucas, associ~ forma Counterpoint, an exhibition of work by $100 annually. We are gratified to announce eighteenth-century topic are solicited. A two­ World Affairs Council, San Francisco. Ron· ate professor of art and coordinator of grad­ ten architects, which will be seen at the Na­ Clark Head Registrar. Clark (Ph.D. cand., the following lndividual Sustaining Members page prospectus containing the thesis of the aId Gross will be the keynote speaker. Work­ uate studies in art has been named interim tional Academy of Design in New York and at Yale Univ.) has held positions at the Dart­ for 1983: Emma W. Alexander, Ann Arbor, proposed paper and relevant bibliographical shops with independent scholars, librarians, mouth College Museum & Galleries, (1977- chair of the department. the San Francisco Museum of Modern Art. Mich.; Ralph F. Colin, New York City; Sol information should be submitted by I July. foundation representatives, and business peo­ 79); the National Palace Museum in Taipei Alfred Davidson, Scranton, Pa.; Luigi De Completed papers may be submitted up to 1 ple will address questions of concern to inde­ Visiting faculty at the University of Delaware Christiane C. Collins has resigned from her (1971-74), and at the Ashmolean Museum in Bei, Venice, Italy; Peter A. Lisieski, Sun­ October, whether or not a prospectus has pendent scholars. For additional informa­ in 1983-84 will be Marcel Roethlisberg, position as head librarian of the Adam and 1970. Most recently, she taught a course in: derland Mass.; Cynthia Polsky, New York been submitted earlier. Send to J. Patrick tion: Institute for Historical Study, 1791A University of Geneva, who will be Distinguish­ Sophie Gimbel Library of Parsons School of Chinese art history at the University of New City; Frank J. Rack, Parma, Ohio; and Lee, Pres. SEASECS, Box VPAA, Barry Pine Street San Francisco, Calif. 94109, or ed Visiting Professor in the fall, teaching Design to devote more time to her own Mexico in Albuquerque. Evan Turner, Hillsborough, N.C. .. Univ., Miami, Fla. 33161. call(415) 549.19220.474.1762. III CAA newsletter 4 Summer 1983 5 J announcements a layperson's guide to photographing paintings

A rt Journal: Poster Issue Harvard Mellon Fellowships Haakon Fellowship for Graduate Students By Robert W. Baldwin tural ornaIIlents and some frescos, but see Whichever film you buy, you will always en­ Papers are solicited for a proposed issue of the For non-tenured, experienced junior scholars A competetive national award of $20,000 below, under Telephoto-Macro. counter both kinds of light, frequently in the Artjournal on "The Poster," Topics might in­ who have completed, at the time of appoint­ (over two years) for Ph.D. candidates in art Taking good slides of works of art is suprising­ same gallery. Without color filters, it will be clude a theoretical discussion of the aesthetics ment, at least two years postdoctoral teaching history. Fellow will spend 15 months in travel, Iy easy given the right camera and a few tips Macro: Useful for extreme close-ups, from impossible to take even mediocre slides in of the poster, various aspects of poster history as college or university faculty in the humani­ research, and writing of dissertation; follow­ • on color filters. Five years ago, I bought my prints for example, when you want to shoot these situations. If you buy both kinds of film, (including American posters of the 1930s, ties- usually as assistant professors. Ph.D. re­ ing 9 months teaching two courses per semes­ first camera and a few filters and set out for an something a few inches wide. But before you you will have to buy two kinds of filters, those posters by artists, propaganda posters, and quired and received prior to June 30, 1982. ter at Southern Methodist University. SMU art museum tour with thirty rolls of film. Hav­ spend $200 on a macro, see the next section. which adjust daylight film to warm (incandes, film posters), as well as corporate and govern­ One-year appointment, July 1984-June faculty will assist in future placement. Nomi­ ing shot only a couple practice rolls, and cent) light, and those which do the opposite. ment activity. Abstracts of 1 -2 pages (or com­ 1985, with limited teaching duties, depart­ nation by department only. For application knowing nothing about photography prior to Telephoto-Macro: This combines both It is easier, then, to buy one kind of film, and plete [ext) should be sent by October 1, 1983 mental affiliation, opportunity to develop fonns: Art History Dept., Meadows School of this, I managed a 65% success rate. My suc­ functions in one lens and is by far the best in­ since daylight film comes in a faster speed to Joseph Ansell and James Thorpe, Dept. scholarly research. Annual salary $20,000. the Arts, SMU, Dallas, Tex. 75275. (214) cess rate went up to 90% on my second trip. vestment for a second lens. Unlike a normal (allowing you to shoot in less light, see below, Housing and Applied Design, University of For particulars and application procedures, 692-2698. Ten thousand slides later, I thought a brief macro, which only focuses at very close range, film), I recommend daylight film. The color Maryland, College Park, Md. 20742. write Richard M. Hunt, Program Dir., Har­ guide to photographing paintings would be a telephoto-macro lets you take a close-up filter for daylight film is blue. You should use vard University Mellon Faculty Fellowships, helpful to art historians. We are, after all, from five feet away, just the distance of most a strong or a weak blue filter, depending on Lamont Library 202, Cambridge, Mass. always frustrated by the limited slide offerings guard-ropes in museums. You can get close­ whether your room has a little or a lot of in­ 02138. Deadline: 1 November. 18th-Century Article Prize in museum shops and in particular by the lack ups of faces in paintings and details of the tiny candescent light to balance off. If the light Getty Publication Program Submissions are invited for the annual of the right detail slides, whether for technical figures in ivories placed a foot behind plexi­ suits your film, no filters are needed. Below is The J. Paul Getty Trust is initiating a publi­ Southeastern American Society of Eigh­ or iconographical purposes. The following ar­ glass. With a normal lens at a nonnal dis­ a chart to help simplify matters. With fluores­ cation program for the broad range of book­ teenth-Century Studies article award. The ticle should hel p end these frustrations. It was tance, many paintings are marred by reflect­ cent light, either in small or large quantity, length scholarly manuscripts in the history of prize of $150 is for any article in the field helpfully critiqued by Ethan Kavaler, Rick ed light, but a telephoto-macro allows you to the fluorescent filter mayor may not help. art. Eligible for consideration for publica­ Cornell University published in any scholarly journal, collection Stafford, and Dick Hughes. step back twenty or thirty feet for a reflection­ This is because fluorescent light comes in a tion, co-publication, or support are: highly Junior postdoctoral fellowships for the 1984- of essays, etc. during the period 1 September free shot. From greater distances, you can wide range of color temperatures and it is specialized research which may not have a 85 academic year. Ph.D. to be completed and 1982-31 August 1983. Authors must be CAMERAS also shoot objects placed higher on the wall always something of a hit-or-miss situation. publisher; projects accepted for publication one or more years of college teaching. Focal members of SEASECS or must live or work in For good slides with the least fuss, buy a without the distorting perspectives which which could be significantly improved in theme: The Classical Tradition in the the Southeastern U.S. Submit three copies of 35mm., single lens reflex, automatic expo­ would result were you shooting much closer Light Encountered Filter Needed quality or be more accessibly priced for wider Humanities since the Renaissance. Further essay to Robert M. Weir, Dept. History, Uni­ sure camera. Single lens reflex cameras allow with a normal lens and at a steeper angle. DA YLlGHT FILM USED dissemination with co-publishing support; information available from Eric A. Blackall, versity of South Carolina, Columbia, S.C. different lenses to be used (see below, Lenses). I recommend the 100 mm. telephoto­ Daylight None scholarly catalogues of major collections in Director, The Society for the Humanities, 27 29206. Deadline: 1 November. Automatic exposure means you have a built­ macro. Any kind of telephoto or macro will Incandescent Strong Blue (BOA) museums; special exhibition catalogues East Avenue, Ithaca. N.V. 14853. Deadline: in light meter which automatically selects require a lot more light, which you can only Mixed Daylight & which make a new contribution to knowl­ 1 November. either the correct aperture or the shutter get by going for slow shutter speeds (1 second, Incandescent Weak Blue(80BorC) edge; completed excavation reports; and col­ Fluorescent Fluor. filter FLD Woodrow Wilson Center Fellowships speed as you select the other yourself. Aper­ for example). Obviously, a tripod will be lected papers from symposia. A residential program for advanced scholarly ture settings vary the range or depth of your necessary for all telephoto-macro work (at With the exception of catalogues for spe­ focus field and are only important when least indoors). Avoid 200 mm. telephoto­ TUNGSTEN FILM USED research on the general theme of History, None cial exhibitions and, in unusual cases, papers macros since the results are grainy and you Incandescent Culture, and Society (plus specialized area shooting three-dimensional objects. When Strong yellow/ orange (85B) from symposia, only complete, unpublished NEA Grants for Artists Forums have to stand "miles" away from anything to Daylight programs). The Center encourages interdisci­ shooting something flat like paintings, you Mixed Day & manuscripts will be considered (university DirectorofNEA's Visual Arts Program Benny plinary research and projects with theoreti­ 'need only check the built-in light meter and get it in focus, Such a lens would only be good Incandescent Weak yellow / orange (85C) microfilm is considered publication). For Andrews has called our particular attention cal, philosophical, or theological dimensions. make sure your shutter speed is 1/30 sec. or for details of distant frescos, sculpture, or ar­ Fluorescent Fluor. filter FLB guidelines and further information, write to: to grants available in the category of Visual Term flexible, but usually nine months. Ap­ faster, hand-held. (If you don't have a steady chitecture. N.B.· Whenever possible, use a Publication Program, The 1- Paul Getty Artists Forums. Grants of up to $5,000 plicants must be on post-doctoral or equiva­ hand, keep your speed at 1/60 sec. or faster.) normal lens since this will always give a sharp­ When you first look through a filtered lens, Trust, 1875 Century Park East. Suite 2300, (matched by an equal amount) are available lent level; stipend (less sabbatical salary, You can only go slower than 1/30 sec. if you er, more detailed image with less light (and don't be disturbed by the colored look; go Los Angeles, Calif. 90067. for colleges and universities to support their other funding, etc.) is generally equal to pre­ have a tripod, or if you can rest the camera on usually no tripod) required. ahead and shoot. A final warning: lighting visiting artists series. Endowment and match­ vious year's income. For additional informa· a chair, etc. Nikon, Pentax, Olympus, and conditions change dramatically from gallery ing funds may be used for artists' fees, trans­ tion and application materials: The Wilson Canon are four reliable names for camera to gallery and even within a single gallery. portation, per diem expenses, and supplies FILTERS Center, Smithsonian Institution Building, bodies and lenses. Nikon is more expensive Make sure you know what light is hitting the Columbia Faculty Fellowships and materials associated with their visit. You may want a clear filter to cover your lens Room 331, Washington, D.C. 20560. Tele­ (especially lenses); Pentax and Olympus are painting and what if any filter is needed be­ For Junior Faculty. Ph.D. completed be­ "Many more artists, art students and faculty, as a protection from scratches and excess fin­ phone: (202) 357·2851. Application dead­ small and light. Buy something that feels fore shooting. Standing close to the picture tween 1 January 1982 and 1 July 1984. Sti­ and communities can benefit from this En­ gerprint cleaning which can cause damage. If with your back to it is the best way to observe line: I October. right in your hands. pend $20,250, one half for independent dowment program than currently apply." you don't want a telephoto-macro or telepho­ the light. From this position, you often notice research and one half for teaching in the says Andrews. Detailed information and ap­ to but still want detail shots, close-up filters strong incandescent flood lamps on the ceil­ undergraduate program in general educa­ plication guidelines available from Visual LENSES (sometimes called dioptor lenses) can be pur­ ing shining directly at the picture. Also, There are several types of lenses you need to tion. Additional funds available for research Arts Program/ Grants to Organizations, Rockefeller Foundation Humanities chased which screw on to your lens and bring beware of false skylights, behind which are Fellowships know about: materials, typing, etc. Applications from NEA, 1100 Pennsylvania Ave., N.W., Wash­ you closer without the loss of light accom­ mounted incandescent lights-their warm For research that aids in the understanding of Director, Society of Fellows in the Humani­ ington, D.C. 20506. panying telephotos and macros. Such filters glow gives them away and a filter will be need­ contemporary social and cultural issues, Normal: Most cameras come with a F. I. 7 cannot, however, bring you really close and ties, Heyman Center for the Humanities, Box ed. 100, Central Mail Room, CU, N.Y.C. 10027. Twenty awards will be made in 1984·85; in or 1.8 lens. Ask for an F. 1.4 lens when you screwing a lot on together only distorts the Deadline: I November. addition, eight fellowships will be made avail­ buy yours, since this lets in more light and shot. It is nice to have one or two on hand for For Senior Faculty. Two fellowships for Ucross Foundation Residency Program able through host institutions (separate an­ allows shooting in many borderline situations medium range close-ups, that is, of areas FILM faculty who have been teaching full-time for For artists and scholars. Residency sessions nouncement available). Because the number where the F. 1.7 or F. 1.8would not. (Avoid an ranging from one foot to six inches wide. All films have a speed, called the A.S.A., at least five years, have at least one major are from January through May and from Sep­ of applicants has been low in the past, appli­ F. 1.2 lens. It lets in even more light but Remember that it may not be possible to use which is marked on the box and on the car­ publication, but have not yet received tenure. tember through December; residencies may cations from art history are particularly in­ distorts things). a tripod, which is necessary if a telephoto­ tridge. Your camera has a meter which must $25,000 plus regular faculty benefits; half­ run from two weeks to four months. No fees vited. Ordinary grant is for one year's dura­ macro is to be used for close work. Close-up be set for the proper A.S.A. of your film. time teaching. Appts. nonnally renewed for a are charged to residents and no services or tion and is in the range of $15,000-$20,000. Wide-Angle: Useful for shooting build­ filters will save you in such cases. And they Remember to change the A.S.A. setting on second year, sometimes for a third. Candi­ products are expected from them. Applica­ Awards cannot be made for completion of ings, but not for most mural/fresco decora­ only cost five dollars each. your camera when changing to a differently dates must be nominated by the chair of their tions should include a work sample and proj­ graduate or professional studies or for curric­ tions unless they are at eye-level or on a ceil­ speeded film. The faster the A.S.A., the less department or of an appropriate indepart­ ect idea. For further information: Heather ular projects. Additional information from ing. Murals high up on a wall, i.e., almost all COLOR FILTERS light you need to shoot in, but the results mental committee; direct applicatlons from Burgess, Residency Program, UF, Ucross RFHF, The Rockefeller Foundation, 1133 frescos, cannot be shot because of the per­ These are absolutely necessary because color aren't as sharp, the colors are weaker, and the individuals will not be considered. Additional' Route, Box 19, Clearmont, Wyoming 82835. Avenue of the Americas, N. Y.C. 10036. pectival distortions from your low position. film comes in two kinds: daylight and tung­ slide color doesn't last as long. When tripods information: same address as above. Dead­ Application deadline for 1984 spring session: Deadline for first-stage proposals: 14 Octo­ sten. Daylight film is obviously for daylight, are allowed, always use Kodachrome (ASA line: I November. 1 October. ber. II Telephoto: Useful for details of architec- and tungsten for incandescent lighting. Continued on p. 8, col. 1

6 CAA newsletter Summer 1983 7 /a layperson's guide to photographing paintings Art Bulletin directory of affiliated societies letters

64), since this gives saturated, long-lasting As for the tripod itself, buy the lightest one book review editor This dt'rectory is published annually on the basis of £nformat£on prow,'ded by the sodet£es. The RED STAR FOR STUDIO GUIDE colors. Since only about 30-35% of museums you can find that reaches up to your eyes. A sodeties listed below have met specific standards for purpose, structure, range of actt'vities, and allow tripods, you will usually have to use a camera perched higher than this cannot be membership enrollment requt'red for formal alf£liation. To the Editor: faster Ektachrome film for hand-held work. looked through but the extra metal will have The National Institute of the Arts was estab­ (ASA 160-tungsten, 200 or 400-both day­ to be lugged around. Carry tripods vertically \ lished this year by the government of the Re­ light.) Since the faster Ektachromes are day­ and close to your body, and don't leave them American Committee for South Asian Art Foundations in Art: Theory and Education public of China in order to provide advanced light, and faster films are needed in dark standing unattended in front of pictures. (ACSAA), founded 1966. Membership 150- (F.A.T.E.), founded 1977. Membership: training in several categories of studio and museums or museums with dark pictures, I They get knocked down and your camera 175. Annual dues: $15 regular; $7.50 student 250. Annual dues: $5. President: Thomas performing arts. We recently acquired a copy suggest going with ASA 400, daylight Ekta­ gashes a Rembrandt. and unemployed; $20 institutional; $25 or Morin, Art Dept., Ohio State University, Co­ of your 1978 publication, Safe Practz'ces z'n the chrome, with a few rolls of daylight and/or more, contributing. President: Sara L. Schas­ lumbus, Ohio 43210. Purpose: A national or­ Arts and Crafts: A Studio Guz'de, and have tungsten Kodachrome (ASA 64) for those tok, Dept. Fine Arts, Fayerweather Hall, ganization concerned with introductory col­ found it to be very useful and practical. As CLOSE-UPS museums which allow tripods or have incred­ Amherst College, Amherst, Mass. 01002. To lege level art courses in both studio and art few comparable materials exist in our coun­ ibly strong light. In case of very dark places, See remarks above under Lenses (telephoto support the advancement of knowledge and history. F.A.T.E. aims to promote discussion, try, we would like to ask for your permission to you might want to take along a roll or two of and macro) and under Filters. Remember understanding of the art and architecture of analysis, focus and understandingofthis area have the Studt'o Gut'de translated into Chinese Kodak's new 1000 ASA color print fihn. A col­ that all extreme close-ups require a tripod. A South Asia and related countries and civiliza­ of the art curriculum. A further objective is for the use of our students and faculty, who I or print is better than no slide. If stuck in a common problem with close-ups is having tions. Activities include holding symposia, the promotion of excellence in the initial am sure will greatly benefit from it. gallery too dark for your film, you can double only half the image in focus. Make sure your preparing outreach materials, annual slide undergraduate learning experience in art. We hope to hear from you soon, and thank the A.S.A. reading on your camera and lens is parallel to the picture surface and scan sets (5 sets of 100 slides per year), publication The F.A.T.E. Newsletter and local confer­ you for your assistance in this matter. remember to tell the developers you have the whole image through your lens for good of Newsletter, microfiche archive, bi-ennial ences provide a platfonn for exchange and You-yu Bao "pushed" your film to twice its original focus. bibliography. publication. (The organization has its own President A.S.A. The results are never great, but again, handbook on how to organize local confer­ something is better than nothing. ences.) Services also include participation in Edz'tor's Note: The answer was yes. Unfortun­ ACCESSORIES Film costs are always going up, and you can The American Society for Hispanic Art national and regional conferences. ately for those of our members who happen save some money by buying with pre-paid A "lipstick" brush taped to your camera strap Historial Studies (ASHAHS), founded not to read Chinese, the 1978 Studio Guide is mailers. You pay for the developing in ad­ is convenient for cleaning your lenses of 1975. Membership: 132. Annual dues: $10 now out of print. A revised edition is being vance, and get about a dollar off each roll. If debris. For fingerprints, ice cream, and other regular; $5 students; $15 institutional. prepared by Julian A. Waller, Professor of A.S.A. 200 film is acceptable as a speed, and stains use lens-cleaning solution and lens­ General Secretary: Catherine Wilkinson Zer­ The International Center of Medieval Art, Medicine, University of Vermont. We hope it it usually is, you can save 50% of film pur­ cleaning paper, or better, Q-Tips. Carry a ner, Dept. of Art, Brown Univ., Providence, founded 1956. Membership: 860. Annual will be available by the end of the year. III chase costs (not developing costs) by buying notebook in which you can record the artist's RI 02912. Purpose: The encouragement and dues: $25 active. (U.S., Canada, Mexico); your film in 100-foot rolls and rolling it your­ advancement of studies and research in the name, the title, date, and museum while Malcolm Campbell, University of Pennsylvania $30 active (all other countries); $15 students self with a bulk loader (no dark room shooting. Trying to find this information history of the arts of Spain and Portugal, pro­ (all countries); $40 institutional; $100-$499 DESIGN HISTORY CAUCUS needed). You will have to buy individual car­ when you get home is difficult, if not impossi­ Malcolm Campbell, professor of art history moting interchange of infonnation and ideas contributing; $500-$999 sustaining; $1000- The Caucus for Design History met Thurs­ tridges and I suggest putting scotch tape ble. To avoid reflected lights, always a prob­ at the University of Pennsylvania, has been among members through meetings, publica­ benefactor. Secretary: Leslie A. Bussis, day, February 17, as part of the CAA annual lengthwise around the cartridges after rolling lem with dark pictures or those behind plexi, named the new book review editor of The Art tions, and other means it deems appropriate. ICMA, The Cloisters, Fort Tryon Park, meeting in Philadelphia. About sixty persons them. This prevents them from popping open a small black cloth can be held behind you, Bulletin, effective July 1. He replaces James N. Y.C. 10040. Phone: (212) 923-3700 ext. attended, including college teachers and ad­ and ruining your film, as hand-rolled car­ blocking reflections in small pictures and Marrow, University of California, Berkeley,. 13. Purpose: ICMA is dedicated to the study ministrators, graduate students, museum tridges will do now and then. Remove the close-ups. Even a dark coat can serve thus. whose three-year term has expired. ' Art Libraries Society of North America of medieval art and civilization between 325 curators, editors, designers, and advertising tape prior to loading the film, and retape it Wear dark clothes in general, or you will see Campbell began teaching at the University (ARLIS/NA), founded 1972. Membership: A.D. and 1500 A.D. ICMA publishes a schol­ agency personnel. The panel, chaired by when the shooting is finished. If this scares yourself reflected in many pictures. For large of Pennsylvania in 1961, even before he 1100. Annual dues: $35 individual; .$20 stu­ arly journal, Gesta; a newsletter (including Lloyd C. Engelbrecht, Uillv. Cincinnati, in­ you away, it shouldn't. Bulk loading gives you pictures with reflected light, there is little to received his Ph.D. from Princeton (1962). In dent; $60 institutional; $60 business affiliate. dissertations on medieval art); a monograph cluded Barbara Young, Sheffield City Poly­ twice the film for the money. Just remember do except avoid wasting film by getting a good addition to his teaching assignments at Penn, Executive Secretary: Pamela Jeffcott Parry, series, Romanesque Sculpture in American technic, Sheffield, England; Herbert Gott­ to keep your loader completely clean. A little close-up of part of it. Perhaps the museum he has served as assistant dean of the College 3775 Bear Creek Circle, Tucson, Ariz. 85715. Collections; has begun a Census of Gothic fried, Iowa State Univ.; Ann Lee Morgan, St. dust in the wrong place will scratch your film. sells a slide of the whole thing, anyway. To the of Arts and Sciences, 1968-69; vice dean, Purpose: to promote the development, good Sculpture in North American Collections; or­ James Press, Chicago; and Victor Margolin, Check the end of the film for scratches after inexperienced eye, reflected light may often 1969-70, and as chair of the art history management, and enlightened use of all art ganizes symposia; and supports excavations. Univ. Illinois at Chicago Circle. you roll your first cartridge. not be visible. Try moving from side to side in department in 1970-71, 1972-76, and 1977. libraries and visual resources collections, and A wide-ranging discussion concerned front of the picture and watch for changes. Since 1983 he has been director of the Center to further the interests and goals of all profes­ undergraduate and graduate courses in Dark pictures especially suffer from this prob­ for Italian Studies at Penn. sionals involved with the organization and design history; design and exhibitions; the FLASH lem. Campbell is the authorofMostra diDisegni retrieval of art information_ role of advertising agencies and others in col­ F~rget it. No museums allow them, and you di P£etro Berrettini da Cortona per gil Affres­ The Society holds an annual conference, Women's Caucus for Art, founded 1972. lecting archival materials; oral history as a would only get a lot of reflected light when GENERAL REMARKS ch£ £d Palazzo Pittt: 1965; Pietro da Cortona sponsors two annual awards for excellence in Membership: 3,000. Annaul dues: $30 mem­ tool for design historians; contrasts between shooting paintings. at the Pz'ttt' Palace, 1977, and numerous arti­ art-related activities, and publishes ART ber-at-Iarge; $30 institutional member; $20 approaches to design history in Britain and Never shoot if there is any reason to doubt the cles and reviews on Renaissance artists and DOCUMENTATION five times yearly, the (plus chapter dues); chapter member. Presi­ the U.S.; a journal for design history; plans quality of the resulting slide. You may have to patronage in Burlz'ngtonMagizine, Art Bulle­ ARLIS/NA Occast'onal papers, and Hand­ dent: Muriel Magenta, School of Art, Ari­ for the forthcoming St. James Press book, pass up many things, but this is the only way tin, and other publications. He has received TRIPOD book and List of Members. zona State University, Tempe, Ariz. 85287. Contemporary Designers; design history to avoid throwing away a great many worth­ Guggenheim, Fulbright, and other fellow­ National Business Administrator: BeatriceJ. related activities at the CAA Toronto Alternatives include steadying your camera, less slides. Your success rate is primarily ships, and was twice a fellow at Villa I Tatti. III Weinstein, 1301 East Monte Vista Road, meeting; and a permanent role for a design or your body, against a wall, chair, or any­ dependent on your restraint. Wait for sunny Caucus for Marxism and Art, founded 1976. Phoenix, Ariz. 85006, (602) 253-5125. Pur­ history interest group in the CAA. thing that will help. Most guards at the en­ days, and when it is partly cloudy, wait for the will give you strong perspectival distortions in Membership: 100. Annual dues: $10. Corre­ pose: dedicated to promoting the profession­ A follow-up meeting was hastily scheduled trances of art museums will say "no tripods." sun to come out. Often you can shoot pictures the slide. Before going off on your first big sponding Secretary: David Kunzle, Dept. of alism of women in the visual arts, Members for Friday morning, and about a dozen per­ If you ask about obtaining permission from then, wher~as moments before it was too slide-taking trip, shoot a few practice rolls. Art, V.C.L.A., Los Angeles, Calif. 90024. include: artists, art historians, art journalists, sons were present. It was decided to form the the curator, 30-35% will change their tune, dark. Rarely, too much sunlight can cause Remember that film and camera equipment Purpose: To help clarify, through an ex­ museum and gallery personnel, corporate art Design History Forum as an informal network and pull out a form which you must sign, problems of reflected light, turning all the are much cheaper in New York City. If you change of ideas and the promotion of action, buyers, art agents, art librarians, art pub­ to exchange information among those cur­ pledging not to make commercial profit, etc., pictures into mirrors. You will want to return can't go there, you can get the stuff, without the relationship between Marxist theory and lishers, art administrators, art conservators, rently active in design history. A central aim from your slides. Academic credentals, letters on a cloudier day. Guards are often willing to sales tax, through the many mail order ads in practice and art-historical, art-critical and art educators, art collectors, art students and of the new group is to serve as a bridge be­ from prominent museum directors, and con­ turn lights on or off and open or close cur­ your Sunday Times. art-productive theory and practice. The friends of art. Hue Points: Women's Caucus tween design historians and designers, edi­ tacting the curator in advance often open fur­ tains, so don't hesitate to ask. Always make Caucus sponsors sessions at the annual CAA for Art Newsmagazz'ne-W.C.A. national tors, manufacturers. and merchandisers. ther doors to hopeful photographers. Natur­ sure your lens is directly in front of the center Robert W. Baldwin is a recent Harvarl meetings and engages in other relevant activ­ publication. Network of chapters from coast­ Lloyd C. Engelbrecht III ally, you must show up on a weekday when of the painting, or as close as you can get it. Ph.D. and an experienced and avid art ities as the occasions present themselves. to-coast. III University of Cincinnati curators are available to give you permission. Shooting at the image from any kind of angle photographer. II 9 8 Summer 1983 CAA newsletter grants and awards preservation news

GUGGENHEIM FELLOWSHIPS photography; Anne Tabachnick, N.Y.C.: Preservation in Action: The Case of France ilar interest in making a museum relevant, tragic examples is the small municipal muse­ The John Simon Guggenheim Memorial painting and drawing; Ursula von Rydings­ and Its Museums and its collections visible, has been found at um in the city of Beaune, where both the Foundation awarded grants to 292 scholars, vard, Yale Univ.: sculpture; Neil Welliver, In recent years one of the most phenomenal, the Musee Bonnat, Bayonne. Once a deposi­ small painting collection and the photo­ scientists, and artists chosen from among Univ. Pennsylvania: painting; Christopher and important, campaigns in the history of tory of the works of the nineteenth-century graphic archives housed on the second floor 3,571 applicants in its fifty-ninth annual Wilmarth, N. Y. C.' sculpture; Stephen ureservation has been achieved with little fan­ academic painter Leon Bonnat and a show­ desperately need care. Here, the archives of competition. Grants totalled $5,540,000. Wood, N.Y.C.: sculpture. iare and commotion. Ever since it became ap­ place for the drawings collected by the artist, Etienne Marey, one of the major pioneers of parent to the French government that their the museum fell on bad times and the works early photography, face serious problems if Art History/Cognate Areas MILLARD MEISS GRANTS entire system of national and municipal were difficult to see. Now, after a thorough funds are not allocated for restoration and Norbert S. Baer, lnst. Fine Arts, N.Y.U.: The Millard Meiss Publication Fund Com­ museums was in need of a serious overhaul­ restoration of the interior, a number of Bon­ reinstallation. But, with the progress of the The assessment of risk associated with ex­ mittee met on April 25, 1983 and announced ing, the French (on all levels of governmental nat's works have become visible; most impor· past few years, the prospects for such an infu­ panded access to cultural property; Charles awards of subventions to the following: administration) have made considerable tant, examples of the drawing collection sion are good. The French will eventually get E. Cohen, Volv. Chicago: Catholic refonn C. Edson Armi, Ackland Art Center, Uni­ progress in modernizing their museums and (from Rembrandt through masters of the around tp Beaune, and to other smaller muse­ and religious art in nothern Italy, 1512-1545; versity of North Carolina, Chapel Hill, for public collections, restoring works of art, and nineteenth century) are now available for urns. Their consistent campaign has already Draper Hill, Grosse Pointe, Mich.' A biog­ Masons and Sculptors in Romanesque Bur­ using educational aids so that an interested study. In addition, exhibitions have been saved much from destruction. Once the mao raphy of Thomas Nast; Susan L. Hunting­ gundy: The New A esthetic of Cluny III, The spectator could learn from what was being ex­ organized, making the objects more widely jority of the country's museums are in good ton, Ohio State Voiv.: The early Buddhist Pennsylvania State University Press. hibited. Throughout the country, the impact known. order (certainly a goal for the future), relief art of India; Fred S. Licht, Boston Thomas Donaldson, Cleveland State Uni­ of this effort has been electrifying. Collections A number of major provincial museums, France's heritage in the visual arts will have Univ.: The role of plaster sculpture in 17th­ versity, for Hindu Temple Art of Orissa, E.]. long kept in storage have emerged for public such as the Musee de Dijon and the Musee des been saved for the future. and 18th-century art; Rose-Carol Washton Brill. view for the first time in fifty years. The Beaux-Arts in Nantes, are in the process of Gabriel P. Weisberg .. Long, Queens ColI. and Grad Center, Sherwood A. Fehm, Jr., Southern Illinois various aspects of this quiet revolution are being overhauled; others, in even smaller Chair, CAA Committee for the C.U.N.Y.: An edition of documents of Ger­ University School of An, for Luca di Tomme: worth considering in some detail, since they centers, may receive a similar infusion of Preservation of Art man Expressionism; James Lord, Paris: A A Fourteenth Century Sienese Master, South­ provide significant models for other countries funds and energy over the next few years. biography of Alberto Giacometti; William ern Illinois University Press. eager to salvage their artistic heritage. There can be little doubt that within a John Rewald, Graduate Center, C.U .N.Y. L. Pressly, Univ. Texas, Austin: The British Barbara M. Stafford, University of Chi­ While the national museum system was de­ decade, perhaps in time for the Exposition Igrants and awards response to history painting, 1760 1850; cago, Cochrane-Woods Art Center, for Voy­ veloping in France under the auspices of a Universelle of 1989, the national museum sys­ Angelica Zander Rudenstine, Princeton, age into Substance: Art, Sct"ence, Nature and ADAAAWARDS strong centralized control, individual muse­ tem of France will have achieved a level un­ N.J.' A conceptual and historical study of the Illustrated Travel Account, 1760-1830, The Art Dealers Association of America pre­ ums emerged in almost all of the prominent paralleled in the history of art collecting and Elizabeth Catharine Childs, Ph.D. cand., museums of modern art; Howard Saalman, The MIT Press. sented its twelfth annual Award for Out­ cities in the country. Often staffed by profes­ preservation. Columbia Univ., is the recipient of a doctoral Carnegie-Mellon Univ.: The buildings ofFil­ The Millard Meiss Publication Fund Com­ standing Achievement in Art History, a grant sionals, some Of whom had served in the cen­ Central to this program are the museums in fellowship from The Swann Foundation for ippo Brunelleschi; Alan Trachtenberg, Yale mittee will next meet in the falL Deadline for of $5,000 and a sculpture by Alexander Cal­ tral bureaucracy in Paris (an important ex­ or near Paris. An important development was Caricature and Cartoon for research on the Univ.: Photography and culture in America; submission of applications: 1 September. der, to John Rewald, Distinguished Profes· ample is Philippe Auguste Jeamon, who had the establishment of a Musee du Symbolisme work of Honore Daumier and his contempo­ Anne W. Tucker, Museum Fine Arts, Hou­ sor at the Graduate Center, C.U.N.Y. The been director of the Louvre in 1848 before be­ at St. Gennain-en-Laye, in the former studio raries in the 1840s, 1850s and 1860s. ston: A history of the Photo League, ADAA also awarded its second annual fellow­ ing placed in charge of the provincial muse­ of the painter Maurice Denis. This newly 1936 -1951. OTHER PUBLICATION AWARDS ship in art history _. $20,000 over two years ... um and art school in Marseille), the provin­ created museum has provided an important The Smithsonian Institution's Freer Gallery cial museums acquired numerous objects on focus for late-nineteenth-century painting of Art inaugurated its sixtieth anniversary Artists to Sheila McTighe, doctoral candidate at The Society of Architectural Historians pre­ Yale University, for research on her disserta­ -heir own and had a number sent to them, on and will become a pendant to the collections year on May 2 with invitational ceremonies Lennart Anderson, Brooklyn ColI., sented the Alice Davis Hitchcock Book Award tion on late Poussin landscapes. ' depot, from the central administration in of the Musee d'Orsay when the latter opens its awarding the Charles Lang Freer Medal for C.U.N.Y.: painting; Kenneth W. Baird, to Robert Grant Irving, associate fellow of Paris. Collections grew, and the riches of the doors later in this decade. Indeed, the Musee distinguished contribution to the knowledge Univ. Michigan: photography; Chris Bea­ Berkeley College, Yale University, for his, French provincial museum system became d'Orsay (now called the Museum of Nine­ and understanding of Oriental art history to ver, San Francisco: filmmaking; Kenneth Indian Summer: Lutyens, Baker, and Impe­ ACLS TRAVEL GRANTS legendary. Catalogues of the individual col­ teenth Century Art), which is still being built, Chinese art scholar Max Loehr, professor Burns, Walpole, N.H.' filmmaking; John rial Delhi. The award is in recognition of a An unusually high number of awards were lections were prepared in the nineteenth cen­ will become the paradigm for all nineteenth­ emeritus at Harvard University. Cohen, S.U.N.Y. CoIl., Purchase: filmmak­ most distinguished work of scholarship in the made in the most recent competition. To at­ tury and, by the turn of the twentieth cen­ century museums since it will demonstrate the ing; Joe Deal, Univ. California, Riverside: history of architecture by a North American tend the XXVth International Congress of tury, French museums had achieved a pres­ interrelationships between the various paint­ Cooper Union's AugustusSt. Gauden's Medal photography; Stephen De Staebler, San scholar during the two preceding years. SAH the History of Art in Vienna this September: tige and grandeur that were unparalleled. ing tendencies of the century. With some of its was presented to architect Arthur Rosen­ Francisco State Univ.· painting and sculp. also presented its Founders' Award to Rich­ Joan Diamond, Hollins College; Dorothy The ensuing World Wars, the displacement paintings obtained from provincial museums blatt. The award is the highest honor that ture; Mary Frank, N.Y.C.: sculpture; Her­ ard J. Tuttle, Newcomb College, Tulane Gillerman. Brown Univ.; Eleanor Green­ of objects, the desecration and destruction of and others relocated after having been lost, Cooper Union Alumni Association bestows bert George, N.Y.C.· sculpture; Robert University, for his article "Against Fortifica­ hill, Univ. Texas, Austin; Joan Hart, Har· some museums, and the inadequate financial the collections of Orsay will provide a dearer for outstanding professional achievement in Grosvenor, N. Y. C.: sculpture; David Gru­ tions: The Defense of Renaissance Bologna," vard Univ.; Paul Kaplan, Wake Forest resources available for caring for these collec­ picture of the nineteenth century for genera­ either the fields of architecture or art. bin, N.Y.C.: filmmaking; Richard Haas, which appeared in the October 1982 SAH Univ.; Meredith Lillich, Syracuse Univ.; tions proved too great a burden for mainten­ tions of museum visitors. N.Y.C.· painting; Marvin Harden, Cali­ Journal. The award is made for the best arti­ Marianne Martin, Boston College; and ance of the system. It has only been within re­ Other aspects of this national program also Daniel Mason of Minneapolis is a recipient of fornia State Univ.: painting; John Harding, cle published each year in the Society'sJour­ Margaret Olin. Northwestern Univ. To at­ cent years, under a new mandate from the should be mentioned. At the recently re­ McKnight Foundation Fellowship in the Vis­ City Coli. San Francisco and ColI. Marin: nal by a young scholar. tend the XIIth International Colloquium of central government, that the preservation of modeled and reinstalled Musee de Beauvais, ual Arts, which will support his work in paint­ photography; James Hayward, Moorpark, the Corpus Vilrearum (held in conjunction the cultural patrimony has been made a top for example, the upper floors have been given ing during 1983. Calif.: painting; Michael Heizer, Hiko, Jane Nash, University of Houston at Clear with International Congress): Madeline priority. In this new atmosphere, museums over to an intricate and carefully prepared Nev.: sculpture; Bruce Horowitz, Roches­ Lake City, won a shared first prize in the Asso­ Harrison Caviness, Tufts Univ. and Michael throughout France have profited; some still educational exhibition focussing on the art Gloria DeFilipps Brush, Univ. Minnesota­ ter: photography; Terry Husebye, Santa Fe: ciated University Presses' national c?mpeti­ W. Cothren, Swarthmore College. To attend await restoration during the next few years of created in the region and on objects that have Duluth, has been named recipient of a Bush photography; Judy Irving, San Francisco: lion for the best manuscript in the history of the Vth International Congress for Masoretic the program. been used near Beauvais. Examples of ceram­ Foundation Artist Fellowship, which pro­ filmmaking; Gillian Jagger, Pratt Inst.· art. Her manuscript. Veiled Images: Titian s Studies, in Salamanca, Spain in August: One of the most impressive recipients of the ics, photos of processes employed in ancient vides $20,000 over a twelve to eighteen month sculpture; Jeff McAdory, Jackson, Miss.: Mythological Paintings for PhlltP II, will be Joseph Gutmann, Wayne State Univ. To at­ preservation emphasis has been the Musee des industries, and ways in which objects could period plus production cost allowances. photography; Judy Pfaff, N.Y.C.: sculp­ published as part of the first prize award. tend the Third Birmingham Sierra Leone Augustins in Toulouse. Situated within a serve a useful purpose have been interspersed Brush will use the award starting in the fall of ture; Daniel M. Reeves, Interlaken, N.Y.: Studies Symposium. in Birmingham, Eng­ medieval monastery, the painting collection with wall labels to give a historical and the­ 1984. video; George Rodart, Venice, Calif: paint­ Daniel D. Reiff, New York State University land in July: Frederick J. Lamp, Baltimore (and, indeed, the entire building) was in need matic focus to the artistic heritage of the ing; John Roloff, Coil. of San Francisco Art College, Fredonia, has been awarded a Museum of Art. To attend the Greichsche of major work several years ago. Few of the region. The National Humanities Center in Research lnst. and Mills ColI.: sculpture; Tomiyo Sas­ $2,500 prize in the competition held by the Palaographic und Kodikologie, in Berlin in paintings were on display; many of the can­ Despite all this activity and the concerted Triangle Park, N.C. has announced its fel­ aki, N.Y.C.: video; Sean Scully, N.Y.C.· University of Delaware Press for the best October: Robert S. Nelson. Univ. Chicago. vases were in need of cleaning and relining. focus of the program, however, there are still lows and associates for 1983-84. The sole art painting; Cindy Sherman, N.Y.C.· photog­ book-length manuscript on American culture To attend the Sixth International Congress With support from many quarters, this has numerous museums in desperate need of at­ historian among the twenty-five recipients is raphy; Ted Stamm, School of Visual Arts and prior to 1840 for his study, Small Georgian on the Enlightenment, in Brussels in]uly: Ed-; hanged. The museum is now fully reinstalled tention. Some lack proper storage space for Michael Shapiro, Duke University. His proj­ C.W. Post Center, L.I.U.: painting; Larry Houses in England and Virginia. The work ward J. Olszewski. Case Western Reserve. and the major works of the collection are their canvases, others house paintings that ect is a study of marble carving and American Sultan, Coil. of San Francisco Art Inst.· will also be published by the press. Continued on p. 11, col. 3 placed within a beneficial ambience. A sim- need immediate restoration. One of the most sculpture. ..

10 CAA newsletter Summer 1983 II classifieds shows by artist members

The charge for classif£eds is 50~ per word, A listing ofsolo exhibitions by artists who are Daniel Mason. Barry Richard Gallery, Min­ min£mum charge $10.00, advance payment members of the CAA. Those sending £nfor­ neapolis, May 9 -June 17. Oil paintings. required. Make checks payable to CAA. mation for listing should include name of art­ ist, gallery or museum, city, dates of exhibi­ T. Priest. Plum Gallery, Kensington, Mary., FLORENCE, ITALY: SHORT-TERM tion, and medium. June 10-July 29. Paintings and prints. RENTALS. Modern, comfortable furnished apartments; central locations; 2-6 months. Joan Arbeiter. Gallery 120, N.Y.C. June Barbara Rothenberg. Silvermine Guild Gal­ Dott. U. Caravadossi, Piazzetta del Bene 1, 7-June 26. "Familiar Faces," paintings and lery, New Canaan, Conn., June 12-July3. Florence. Telephone: 055-283-701. Informa­ drawings. Pastel landscape drawings. Katonah Gallery, tion from Miles Chappell (804) 253-4385. Katonah, N.Y., September 25- November. Dennis Aufiery. Arabesque Gallery, Phila­ "From the Stone Stream Series," landscape delphia, July 8-July 31. Paintings. EXHIBIT BOSTON: Gallery Approach drawings. Guide for Artists. Over 50 Boston galleries Nancy Graves. Janie C. Lee Gallery, Hou­ Susan Schwalb. American Cultural Center, with addresses, phone numbers, hours, peo­ ston, April. Recent paintings and watercolors. Belgrad, Yugoslavia, May 26-June 21. ple to contact and specializations. Tells how Jack Hanley. Meredith Niles Gallery, Santa "Metalpoint Drawings 1978-82. II the galleries prefer to be approached. Send $5 Barbara, June 2-July 2. Paintings. plus $1 postage and handling. Payable to: Sylvia Sleigh. G.W. Einstein Co., N.Y.C., Exhibit Press, Box 44844, Los Olivos Station, Nicholas Hill. Mount Scenario Fine Arts March 1-26. "Sylvia Sleigh Paints Lawrence Phoenix, Arizona 85064. Gallery, Ladysmith, Wisc., October 5-31. Alloway." Paintings and prints. Friends University Art EDUCATORS' BED & BREAKFAST and Gallery, Wichita, Kansas, October. Paint­ Leland Wallin. Harold Reed Gallery, HOME EXCHANGE DIRECTORY 1983- ings. N.Y.C., April 6-30. "Child's Table Still 1984. Attention active or retired educatorsl Lifes," large scale oil paintings. Laurence Holden. Wesleyan College, Your colleagues are offering to share their Macon, Ga., November, 1982; University of private homes with you for B&B or exchange. Ruth Weisberg. Jack Rutberg Fine Arts, the South, Sewanee, Tenn., February; Berry New 64-page directory exclusively for educa­ Inc., Los Angeles, September 10-October College, Berry, Ga., March; University of 22. Paintings. tors. Clean, comfortable lodgings. Warm Tennessee, Chattanooga, July. Paintings. local hospitality. Common interests. Eco­ Cynthia M. Young. Gallery II, Foundry Gal­ nomical. U.S., Canada, England, Bermuda, Bibi Lencek. Noho Gallery, N.Y.C., April lery, Washington, D.C., May 3-28. Draw­ Spain, Germany, New Zealand. State educa­ 26-May 15. Large scale works on paper. ings: "barn series." tional position on order. Only $5.50 plus $1 Ellen Lanyon, N.A.M.E. Gallery, Chicago, postage/handling. (CA residents add sales May 13-28. "Transformations II (Endan· Andrea Zakin. InterArt Gallery, N.Y.C., tax.) Educators' Vacation Alternatives, 317 gered). " January 19-February 25. "Consumer Be­ Piedmont Road, Santa Barbara, CA 93105. ware." Small Walls, N.Y.C., May 28-June (805)687-2947. E. Matthew Lewis. Hollywood Art Museum, 19. "Current Memories: Painters Who Use Hollywood Fla., March. Retrospective: small Their Dreams." Adagio Gallery, BridgEI' PHILADELPHIA EXHIBITS: 99 galleries sculpture, paintings, stained glass. hampton, N.Y., July 6-July 26. "Personal provided detailed information on their pref­ Landscapes." Ingber Gallery, N.Y.C., July erences and practices for this nationally ac­ COMMUTER TO NEW YORK CITY? Spa­ 6-July 26. "Imago: Paintings on Paper." claimed publication. Philadelphia Galleries: cious, pleasant downtown loft for rent 4-5 Elaine Benson Gallery, Bridgehampton, Information for Artists is an unparalled weekdays (owner returns each weekend) dur­ N.Y., July 16-July 26. "More Figuratively." resource for artists throughout the country. ing academic year 1983-84. Reasonable and Send $5. to: Philadelphia Galleries, P. O. Box flexible for right person. Please call (212) Barbara Zucker. Pam Adler Gallery, 17219, Philadelphia, PA 19105. 966-6173. III N.Y.C.,June 2-July 1. Sculpture. III

G44 newsletter ©1983 College Art Association of America 149 Madison Avenue, New York, N.Y. 10016 Editor: Rose R. Wei I ;!Y) Associate Editor; Minerva Nav'hete

Summer 1983 1984 STUDIO SESSIONS: PAGE 1