NEWS

NEWSLETTER OF THE COLLEGE ART ASSOCIATION Volume 28, Number 2 MARCH 2003 The Great Mosque’s spiral minaret in Samarra, Iraq (detail) 2003 AWARDS FOR DISTINCTION RESOLUTION OF THE CAA BOARD y honoring outstanding member achievements, CAA reaffirms its mission to OF DIRECTORS encourage the highest standards of scholarship, practice, connoisseurship, and teaching in the arts through its annual Awards for Distinction. With these awards, e artists, art historians, and art Bwhich were presented this year by CAA President Michael Aurbach at Convocation of the professionals of the Board of 91st Annual Conference in New York, CAA seeks to honor individual artists, art histori- Directors of the College Art ans, authors, curators, and critics whose accomplishments transcend their individual disci- AssociationW are deeply concerned about plines and contribute to the profession as a whole and to the world at large. the threat to human life, cultural heritage, This year was the first in which CAA presented the Distinguished Lifetime Achievement and freedom of expression in the name of Award for Art Writing, which went to Robert Farris Thompson. CAA also gave two patriotism and the war on terrorism, par- Special Awards for Lifetime Achievement; honored this year are the renowned art and film ticularly as the prospect of war in Iraq historian Rudolf Arnheim, and the editor and publisher Milton Esterow. gains momentum. While reading the following award descriptions and citations, keep in mind that CAA The curtailment of civil liberties and members can help decide award recipients each year by nominating colleagues and profes- human rights at home and abroad has a direct impact on our members and our sionals to the various Awards Committees (see “How To Get Involved” on page 18). With ability to achieve CAA’s core values and your nominations, CAA will continue to celebrate the dynamic individuals in our field. goals to create open forums that encour- age international dialogue and open SPECIAL AWARD FOR LIFETIME ACHIEVEMENT exchange of different points of view. We are deeply concerned about the fate With this special award, CAA acknowledges the extraordinary of that country’s archaeological sites, contribution of Rudolf Arnheim to the understanding of the antiquities, and cultural property. In 1972, CAA urged the United States to visual arts through a lifetime of teaching and writing. He has pio- ratify the 1954 Hague Convention on the neered the field of the psychology of art and, as a critic beginning Protection of Cultural Property in the in Berlin in the 1920s and continuing to the present day, has sub- Event of Armed Conflict, and we reaf- stantially shaped the language of film criticism nearly from its firm that aim today. inception. His book Art and Visual Perception: A Psychology of In addition, current policies also have the Creative Eye (Berkeley: University of California Press, 1954) serious implications for government is a tour de force of theoretical analysis, laying out a thorough funding for the arts and humanities,

Rudolf Arnheim taxonomy of the psychological determinants in the perception of higher education, philanthropy, freedom the visual arts. Both Art and Visual Perception and Arnheim’s of expression, and conditions in the famous Film as Art (Berkeley: University of California Press, 1957) are still in print after university, museum, and other workplace almost half a century and remain landmark texts in art schools and among broad-based and environments of CAA members. —Adopted by the College Art Association theoretically intelligent art historians, critics, filmmakers, and artists. Arnheim’s best- Board of Directors, February 23, 2003, known books include (with the dates of their first English editions; all are published by New York City University of California Press except where noted): Art and Visual Perception; Film as Art; The Genesis of a Painting: Picasso’s Guernica (1962); Toward a Psychology of Art: Collected Essays (1966); Visual Thinking (1969); Radio: An Art of Sound (New York: Da Capo Press, 1972); The Dynamics of Architectural Form (1977); The Power of the Center: IN THIS ISSUE A Study of Composition in the Visual Arts (1982); New Essays on the Psychology of Art Iraq’s Cultural Patrimony at (1986); Parables of Sunlight: Observations on Psychology, the Arts, and the Rest (1989); 3 Risk, Again CONTINUED ON PAGE 12 9 Advocacy Update Action Alert INSIDE: CAA.REVIEWS INTRODUCES REDESIGNED Solo Exhibitions by Artists 19 Members WEBSITE. See Page 5 FROM THE EXECUTIVE DIRECTOR A RESPONSIBILITY TO SPEAK OUT

AA’s advoca- oppose its ratification.” cy policy Anne Coffin Hanson, then president was of CAA, received a letter from a State Capproved by the Department attorney, Ronald J. Bettauer,

Board of Directors in response to her letters to President PHOTO CREDIT: HANNAH HENRY six months before Richard Nixon and Secretary of Defense Janet Kaplan and Steven Nelson received an Utne September 11, 2001. Melvin Laird. “The major difficulty,” Independent Press Award on behalf of Art Journal at the PHOTO CREDIT: ANDREI RALKO Venetian Room at San Francisco’s Fairmont Hotel Susan Ball, CAA It was also in March wrote Bettauer, “is that adherence to the Executive Director 2001 when the Convention would seriously limit the Taliban demolished options of the United States in the event ART JOURNAL WINS the two monumental sandstone Buddhas in of nuclear war or even in some cases of Bamiyan, Afghanistan, despite pleas by the conventional bombardment.” UTNE INDEPENDENT United Nations Secretary-General, the To this day, the U.S. has not ratified Organization of the Islamic Conference, the Hague Convention. However, it did PRESS AWARD and many other international organizations. sign the 1970 UNESCO Convention on In some ways, it was a different the Means of Prohibiting and Preventing rt Journal has won an Independent world two years ago. Even as CAA the Illicit Import, Export, and Transfer of Press Award from Utne, the nation’s defined a set of priority issues for advoca- Ownership of Cultural Property. Article leading magazine of alternative cy—including government funding for 11 of that convention reads: “The export ideas.A Art Journal was cowinner with The the arts and humanities, freedom of and transfer of ownership of cultural Comics Journal for coverage in arts and expression and resistance to censorship, property under compulsion arising direct- literature. Utne said, “Visually compelling and intellectual-property rights—the issue ly or indirectly from the occupation of a without glitz, rich in ideas without suc- of protecting cultural heritage was com- country by a foreign power shall be cumbing to art-theory-speak, Art Journal ing to the fore. regarded as illicit.” presents substantial essays and wide- Recently, responding to the growing As we saw, tragically, at the Afghan ranging Q&As that bring readers deep into likelihood of a U.S.-led military action in site of Bamiyan, a nation’s cultural her- the minds of today’s artists.” Iraq, the Archaeological Institute of itage can be attacked, directly or indirect- Since 1989, winners of the Utne America issued a statement urging “all ly, by the regime in power as well as by Independent Press Awards (which can be governments, working in accordance with outside forces. In 1989, when Phyllis found online at www.utne.com/uipa) have the terms of the Hague Convention [of Bober was CAA president, she wrote to been chosen exclusively by the editors of 1954 for the Protection of Cultural UNESCO’s Director-General regarding the magazine through extensive reading Property in the Event of Armed Conflict], the vandalization and theft of art in north- and careful examination, rather than by in concert with recognized experts in the ern Cyprus and to the president of the entry forms and fees. All winners of the scholarly community, to develop and European Parliament regarding the 14th annual awards were published in the implement carefully researched programs destruction of “cultural properties in January/February 2003 issue of Utne. to protect ancient sites, monuments, Romania—whether they be of ‘high’ art Janet Kaplan, former editor of Art antiquities, and cultural institutions in the or of folk art traditions” under the gov- Journal, and Steven Nelson, current case of war.” The full statement, which ernment of Nicolae Ceausescu. reviews editor, attended the awards ban- also refers to the looting of Iraqi sites and In addition to the destruction of sites quet cohosted by Utne with the museums after the Gulf War in 1991, is and monuments and the theft of objects, a Independent Press Association (IPA) on available at www.archaeological.org. third area of concern to CAA is the pro- January 18, 2003, during the first annual As the leading organization of visual- tection of artists and scholars during IPA convention in San Francisco. arts professionals in the U.S., CAA has a armed conflict. We are all familiar with responsibility to speak out on issues of cases of harassment, incarceration, and Volume 28, Number 2 cultural-heritage protection, as it has in murder of artists and intellectuals—both CAA News is published six times per year by the College Art Association, 275 Seventh Avenue, 18th Floor, New the past. In 1972, a resolution was passed citizens and foreign nationals—by gov- York, NY 10001; www.collegeart.org at CAA’s Annual Conference stating that ernments that perceive them as a threat. Editor-in-Chief Susan Ball Managing Editor Christopher Howard the members “are greatly disturbed by the CAA is one of twenty-five member Graphic Designer Tom Brydelsky repeated failure to submit the [Hague] organizations of the Network for Material for inclusion should be sent via email to Convention to the United States Senate Education and Academic Rights (NEAR), Christopher Howard at [email protected]. Photographs and slides may be submitted to the above for ratification” and calling for “a full and a London-based group that monitors street and email addresses for consideration. They cannot be returned. All advertising and submission guidelines can public explanation of the military and human rights in education and breaches be found at www.collegeart.org/caa/news/index.html security considerations which have Printed on recycled paper caused the Secretary of Defense to CONTINUED ON PAGE 25 © 2003 College Art Association

2 CAA NEWS MARCH 2003 accounting. The Mesopotamians invented IRAQ’S CULTURAL glass. The ziggurat is a sacred Mesopotamian building form; that of PATRIMONY AT Marduk at Babylon is identified with the RISK, AGAIN biblical Tower of Babel. The ancient art of this region, in addition to being exquisite in itself, remains a pre- s this issue of CAA News goes to cious source of information about the ori- press, a war in Iraq is imminent. In gins of the earliest civilizations, and of the Gulf War of 1991, standing Judeo-Christian and Islamic culture. The Amonuments and numerous archaeological fine arts include monumental sculptures sites were damaged. In the uprisings fol- and reliefs, both symbolic and narrative; lowing the war, nine regional museums programs of royal and domestic architec- were looted. During the past thirteen years ture; wall paintings, glazed-tile murals, of sanctions, many sites have been plun- and mosaics; and a wealth of ceramic, dered—including ancient Nineveh and glass, metalwork, and other objects. Extant Nimrud—and tens of thousands of irre- archaeological sites range from the placeable works of art have disappeared; Palaeolithic to the Hellenistic, Roman, and some have been appearing on the commer- Islamic. As The Art Newspaper noted in its cial antiquities markets of Europe and the February 13, 2003, issue, “Experts esti- U.S. ever since. Until the Gulf War, Iraq mate that the number of archaeological was famous for the professionalism of its sites in Iraq could be anywhere between antiquities department, and looting was 10,000 and 100,000.” rare. Today, however, staff and resource Beginning in the early medieval period, The Great Mosque’s spiral minaret in Samarra, Iraq shortages have paved the way for signifi- Iraq was a cradle of learning and art and a cant damage by marauders and thieves. center of Islamic culture. The holy cities of The Iraqi government, under severe eco- Kerbala and Najaf are home to an array of nomic duress, has been unable to protect Babylon: The royal capital of Hammurabi ancient and important mosques and other (ca. 1750 B.C.E.), this city reached the its many sites sufficiently. buildings. Kadhimain, near Baghdad, was Modern Iraq lies within the region of the height of its splendor during the reign of founded in the eighth century C.E. and Nebuchadnezzar, about 575 B.C.E. It is ancient world known as Mesopotamia, rebuilt by Suleiman the Magnificient in the embracing the valleys of the Tigris and only six miles from Iraq’s Hilla chemical sixteenth. arsenal. Euphrates Rivers and the Fertile Crescent As we saw during the Taliban period in of land above the Persian Gulf. In this Afghanistan and after, museums and sites Baghdad: The Abbasid caliph al-Mansur zone, Sumer, the earliest settled culture, are extremely vulnerable to sack in time of was established; later, the kingdoms of founded Baghdad in 762 C.E. Today, its war. Iraq has ratified the 1954 Hague many archaeological and artistic sites Akkad, Babylonia, and Assyria arose Convention for the Protection of Cultural there. Among its great cities were Assur, include the Abbasid Palace (1179 C.E.); the Property in the Event of Armed Conflict; Mustansirya University, founded in 1233 Nimrud, Khorsabad, Nineveh, Babylon, the United States has not. Agade, Seleucia, Eridu, Ctesiphon, C.E. (one of the oldest universities in Baghdad, Uruk, Ur (birthplace of the bibli- world); the Martyr’s Mosque; the Bab al Here are a few of Iraq’s artistic and cultur- Wastani, a gate of the original medieval cal Abraham), Larsa, and Lagash. The al treasures: Fertile Crescent is the location of ancient city; the Zumurrud Khatun and Omar al-Shahrawardi mausolea, dating to the Sumerian Edin (the name means “arable Al-Fallujah: An ancient site with land”), known in the Bible as the Garden twelfth to fourteenth centuries; and several cuneiform tablets. Here lie the ruins of Ottoman-era (sixteenth- to eighteenth- of Eden. Together with Egypt, Meso- Anbar, the most important city of late potamia was the heart of the ancient century) mosques. The libraries of the city antique times in Iraq, except for possess thousands of medieval manuscripts world. Ctesiphon. Founded in the fourth century The history of Iraq’s cultures and their and bound volumes. The modern C.E., Anbar was for a short time the capital patrimony is too vast and rich even to University of Baghdad was designed by of the Abbasid dynasty in 752 C.E. before summarize adequately. We note that the Walter Gropius, and the 1950s sports com- the move to Baghdad. A nearby chemical plex is by Le Corbusier. earliest writing system, cuneiform, was plant was bombed in the 1991 Gulf War. invented here, and that Aramaic, a regional The National Museum of Iraq houses the world’s preeminent collection of language, was one of the earliest to use an Arch of Ctesiphon: This hundred-foot alphabetic script; that the Law Code of Mesopotamian antiquities, including a arch on the outskirts of Baghdad is one of 4,000-year-old silver harp from Ur, the Hammurabi and the Epic of Gilgamesh the tallest brick vaults in the world. A frag- were written here; that here was the first alabaster-relief Warka Vase from the fourth ment of a 1,400-year-old royal palace, it millennium B.C.E., a hollow-cast copper civilization to divide the day into twenty- was damaged during the Gulf War and is four hours, and the first to practice portrait head of an Akkadian king, which in danger of collapse. dates to the third millennium B.C.E. and is

CAA NEWS MARCH 2003 3 the oldest known life-size hollow-cast Kirkuk: Site of an important Ottoman cas- wartime damage, postwar looting, and work; and thousands of clay tablets. So tle, and said to be the site of the “fiery fur- emergency agricultural development. numerous are these tablets that many have nace” of the biblical Book of Daniel. The World Monuments Fund listed not yet been read and analyzed. Several Ottoman houses in the older part Nineveh as one of the world’s most endan- of the city have been restored by Iraq’s gered sites in 2002. Baiji: An important unexcavated archaeo- Department of Antiquities and Heritage. logical site l40 miles north of Baghdad, it Nearby military bases and a large oil refin- Nippur: A major religious center of the lies close to the site of a production facili- ery were bombed in 1991. south, well stocked with Sumerian and ty for phosphoric acid, used in chemical Babylonian temples. It is fairly isolated weapons, that was bombed in 1991. Mosul: The regional museum houses a and thus less vulnerable to bombs than vast collection of Assyrian and Islamic other towns. Erbil: This citadel and ancient town in the sculptures, tablets, inscriptions, and other Kurdish Autonomous Region, continuous- artifacts; the city is home to numerous Samarra: A royal city founded in 836 C.E., ly inhabited for more than 5,000 years, is important mosques, including the seventy miles north of Baghdad, very named on the World Monuments Fund list Ummayad and Mujahidi Mosques and the close to a large Iraqi chemical plant. Home of the world’s most endangered sites. It Mosques of the Prophet Jonas and Prophet to important remains of Abbasid palaces has a high tell: layers of towns built one Jerjis. There are also a number of signifi- and to the stunning ninth-century Great atop another over thousands of years. One cant Christian churches, schools, and Mosque and Abu Duluf Mosque, both with of the longest continually inhabited cities monasteries. In 1991, sites in Mosul were spiral minarets. Near Samarra are the in the world, Erbil was settled more than bombed because of nearby army and air Imam Ali al-Naqi and Imam Hasan al- 8,000 years ago. Alexander the Great bases, a missile site, and chemical plants. Askari Shrines, completed in 1905 by the defeated the Persian king Darius III on Ottomans. Erbil’s surrounding plains in 331 B.C.E., in Nejef: The burial place of Ali, founder of one of the most famous battles of antiqui- Shia Islam. Established in 791 C.E., the Ur and Uruk: Two Sumerian cities that ty. During the Islamic period, it was home town is, with Karbala, the focus of Shi’ite vie for the title of oldest urban center in to important Muslim poets, historians, and pilgrimage from the entire Islamic world. the world, dating to at least 4000 B.C.E. scholars, and later served as a cultural and Local Sumerians invented writing in Uruk administrative center of the Ottoman Nineveh and Nimrud: Capital cities of in 3500 B.C.E. The ziggurat at Ur was dam- Empire. Assyria, founded nearly three millennia aged by allied troops during the 1991 war, ago. Two of the most famous Assyrian which left four massive bomb craters in Haditha area: A region with ancient sites, kings, Sennacherib and Assurnasirpal II, the ground and some 400 bullet holes in its Babylonian inscriptions, Assyrian fortress recorded their successful military cam- walls. towns, and Islamic ruins (at Hindanu) paigns in rich wall reliefs in their palaces including an important thirteenth-century near modern Mosul. The walls of the Precious though these and innumerable minaret at Ana. In the area are installations palace at Nimrud were damaged during the other works of art are, we also wish to such as a missile site, air base, and a 1991 Gulf War. John Malcolm Russell in take note of the many artists and scholars reported weapons complex, all of which “Stolen Stones: The Modern Sack of of art history and archaeology whose safe- were bombed in 1991. A large, important Nineveh” (Archaeology, 1996) wrote: ty is at risk. In 1991, as Baghdad was dam is under threat if Haditha is attacked Today the Sennacherib Palace site bombed, curators at the National Museum again. museum at Nineveh represents a world slept there to protect it. Baghdad is also heritage disaster of the first magnitude. home to a lively contemporary art scene. Hatra: This archaeological site spans the Immediate emergency conservation As artists and scholars, we share an inter- period from the third century B.C.E. to the measures are required to preserve what national community and call upon all gov- third century C.E. and is a UNESCO World remains of its sculptures. One might ernments to protect both the world’s artis- Cultural Heritage site. think that international support for such tic heritage and the men and women who a crucial undertaking could be readily will contribute to the patrimony of future Karbala: About sixty miles south of obtained, but the obstacles appear generations. Baghdad, the Karbala Shia shrine to insurmountable. The same United Husein, son of the Prophet Muhammad, is Nations sanctions that have contributed Portions of this text are drawn from the most famous of Iraq’s sacred sites. It to the destruction of the palace museum Deborah Solomon, “Iraq’s Cultural lies near a chemical-weapons plant and a also prohibit any form of outside cultural Capital,” The New York Times, January missile range bombed in 1991. Also in assistance to Iraq. The United Nations 5, 2003, © 2003 The New York Times, Karbala is a mausoleum for al-Hanafi, a sanctions committee has repeatedly reprinted by permission. Thanks also to Muslim jurist who founded one of the four refused to grant permission for interna- Prof. Zainab Bahrani, Edith Parada schools of Islamic jurisprudence. tional teams to assess damage and Associate Professor, Department of Art threats to the cultural heritage of History and Archaeology, Columbia Khorsabad: The palace complex of Iraq in the wake of the Gulf War, despite University; and to McGuire Gibson, presi- Sargon II, king of the last Assyrian the urgent need for documentation and dent of the American Association for dynasty in the eighth century B.C.E. conservation of Iraqi heritage due to Research in Baghdad, for assistance.

4 CAA NEWS MARCH 2003 choose your own password. You can set nally reached by most other journals.” your computer or Web browser to remem- CAA wishes to thank past and current ber your password and ID after the first members of the CAA.Reviews Editorial INTRODUCES use. Board and the Council of Field Editors, In the next stage of CAA.Reviews’ particularly Larry Silver, University of REDESIGNED upgrade, we plan to add an e-commerce Pennsylvania; Sheryl Reiss, Cornell feature that will permit nonmembers to University; Katherine Haskins, Yale WEBSITE gain access to the site for a fee. We recog- University; Sandy Isenstadt, Yale nize that the great virtue of the Internet is University; and Cynthia Hahn, Florida his winter CAA.Reviews, CAA’s the widespread, generous, and easy access State University. CAA also recognizes the online reviews journal originally to information that it provides, and CAA vision of Robert S. Nelson, University of launched in 1998, completes the seeks to offer that broad access, while still Chicago; and Leila Kinney, Massachusetts Tfirst part of a two-stage redesign. It now maintaining the site in a fiscally responsi- Institute of Technology, both of whom offers a sleek new look and improved fea- ble manner. were instrumental, along with Silver, in tures, including advanced search capabili- Much of the current website remains founding the journal. ties, broader review categories, and a new open to the public. General site informa- —Christopher Howard, Managing Editor, “Essays” section, where occasional articles tion—such as the “Books Received” list, CAA.Reviews and original scholarly texts will appear. the names of Editorial Board members and CAA.Reviews can be found at field editors, the submission guidelines for www.caareviews.org reviewers, and links to art-book publishers All previously published reviews are and distributors—can be seen by all visi- now searchable by book author and edi- tors to the website. CAA MUSEUM tor’s name, reviewer name, book title, pub- Thousands of art-related publications hit COMMITTEE lisher, and subject. In addition, a keyword the bookstore shelves each year, and search will look through the text of each CAA’s quarterly print journals, The Art TO ORGANIZE review. Bulletin and Art Journal, have space to Reviews have also been reorganized: review only a fraction of them and cannot CURATORIAL- book reviews are now grouped together, as publish swiftly. CAA.Reviews was con- are reviews of exhibitions. Reviews of dig- ceived to fill this gap. Moreover, as the STUDIES WORKSHOP ital media, conferences and related events, venues for creative and scholarly art pub- and other publications are listed under the lishing are shrinking, art books get less he CAA Museum Committee spon- category “Other New Reviews.” All and less attention in newspapers and mag- sored a session, “Preparing Art reviews are alphabetically indexed by the azines, and the large chain bookstores have Historians for Museum Work,” at book author or editor’s surname and can moved their art-book sections to low- Tthe 2002 Annual Conference in be browsed by letter. With these new cate- traffic areas. In this difficult climate, the Philadelphia. The participants presented gorical divisions, CAA.Reviews sees areas value of a forum like CAA.Reviews to rec- their individual experiences and provided for expansion and opportunities for ognize, promote, and critique the vast valuable information. A lively discussion growth: for example, in the publication of body of new art writing and scholarship is followed the formal part of the session, more reviews of conferences and art inestimable. and many questions were raised about the exhibitions. Larry Silver, executive editor and one of complexities of the curator’s position in The “Essays” section is another new the journal’s cofounders, envisioned today’s museums, the academic degrees development. We inaugurate it with three CAA.Reviews as able to address “the necessary for curatorial positions, and the review essays on Meyer Schapiro’s books mountain of books never reviewed, to pro- required museum experience for curatorial and scholarship: “Meyer Schapiro, Modern vide quicker reviews with no loss of quali- work. Medievalist,” by Erik Inglis; “Meyer ty, and to provide exhibition reviews, even As the discussant for this session, I Schapiro: Writings and Lectures on symposium summaries and reviews, in a expressed concern about the formation of Nineteenth- and Twentieth-Century Art,” timely fashion.” Thus, CAA.Reviews curricula and the appropriate internships by Judith Wechsler; and “Meyer Schapiro became CAA’s first major new journal for curatorial training. In addition, I as Faustian Scholar: A Centennial project since the founding of Art Journal believe that as professionals we should Tribute,” by Larry Silver. in 1941. consider the need for connoisseurship in Readers who wish to access the full Since its inception, CAA.Reviews has the training of museum curators, and review texts in CAA.Reviews must now be published more than five hundred scholar- assess the role of critical theory in the CAA members and must establish a login ly and authoritative reviews of books, cat- study of objects. username and password. For your user- alogues, monographs, exhibitions, CD- This year, several members of the com- name, enter your member ID number, ROMs, and more. Silver says, “We also mittee are interested in continuing this dis- which can be found on your CAA mem- review many more fields than any other cussion on curatorial studies. Since these bership ID card or your newsletter or jour- CAA publication, including African and programs are flourishing in some graduate nal mailing label, or obtained by contact- Asian art, architecture and urbanism, pho- schools, and a few art-history departments ing [email protected]; you may tography, and many other areas only nomi- plan to introduce curatorial-studies

CAA NEWS MARCH 2003 5 curricula, we believe that the Museum ing difficult. He probably needs a wheel- federal or state funds. Committee should contribute to future chair. And Kahlo, Close, Blaine, Pilgrim, The ADA regulates places of public planning in the training of art historians. and McElroy also all use wheelchairs. accommodation: that is, restaurants, stores, The committee is taking on this project Most of these people acquired their dis- offices, and other businesses. It also because its mission is to “represent the abilities after their careers were well under applies to local and municipal govern- interests of public and private institutions way. Each had or has a personal support ments that do not receive state or federal in the visual-arts sector, in order to exer- system in place (apprentices, assistants, or monies. For all practical purposes, CAA cise influence and share efforts on issues friends). With professional recognition and many of its institutional members, of mutual importance.” Ultimately, we comes the kind of public support that pro- such as colleges, universities, and their art hope to issue guidelines for curatorial- vides accommodation and access to events departments, have been affected since studies programs. like the CAA Annual Conference. For less- 1974, when the regulations of Section 504 The Museum Committee would like to established individuals or those who went into effect, since the National sponsor a workshop or open meeting on Endowment for the Arts (NEA), National this topic, and we seek your help. Endowment for the Humanities (NEH), Academics and administrators are invited As teachers and and other federal and state sources give to join our discussion; curators are espe- money to many of us. The technical cially welcome. Some topics of interest educators, we requirements for compliance in both physi- are: 1) the role of the introductory course cal and programmatic access are about the in curatorial studies (should it be taught by should be aware that same under Section 504 and the ADA. a museum curator?); 2) the importance of While most of us understand the general an experience working with objects; 3) the computer technology need for access for wheelchair users, these role of the curator in advising and super- laws establish the legal standards for phys- vising young professionals; 4) the degrees has opened up ical access, such as door and aisle widths required for curatorial work; 5) the impor- and turning-radius space. tance of museum experience for graduate previously unimagined These laws also require programmatic students; 6) the role of critical theory in opportunities for accessibility, which is a harder concept to museum work; and 7) the balance of pre- grasp. This term refers to access to the pro- professional training and advanced students with grams of an organization or institution, such research and writing in art history. as publications, lectures, performances, and Please indicate your interest in partici- disabilities, nowhere other types of information dissemination pating in this project by contacting me at and communication. It covers the needs of the email address below. I look forward to more than in graphic persons whose sight or hearing is your ideas and contributions. impaired, as well as those with learning —Joan Marter, CAA Museum Committee design, digital media, disabilities. A person with moderate hear- Chair, [email protected] ing loss can benefit from assisted-listening communications, systems based on closed-loop or infrared industrial design, technologies. Someone with severe hear- ing loss may need American Sign and architecture Language interpretation. For artists, schol- ACCESS TO THE ars, and students with visual impairments, VISUAL ARTS: a large-print version of a text or program acquired a disability early in life, the is easily created in an enlarged photocopy OBSTACLES AND obstacles may be greater. What are the format or an increase of font size on a issues and opportunities for CAA’s mem- computer. Other computer technology such OPPORTUNITIES ber artists, scholars, and students with as VideoEye! benefits those with glaucoma disabilities? and macular degeneration. We welcome rida Kahlo, painter; Francisco de Section 504 of the Rehabilitation Act of and benefit from the talents and experience Goya, painter; Henri de Toulouse- 1973 and the Americans with Disabilities of older CAA member artists and scholars. Lautrec, painter; Claude Monet, Act (ADA) of 1990 expand opportunities Assistive technologies—and even up-front Fpainter; Chuck Close, painter; Nell Blaine, for people with disabilities. Most of us seating—may be of service to them as painter; Diane Pilgrim, museum director have heard of the ADA but are unaware of well. and curator; Guy McElroy, curator: Section 504. This part of the Rehabil- As teachers and educators, we should be Imagine these visual-arts professionals itation Act requires all programs and any aware that computer technology has attending the CAA Annual Conference. organizations that receive funding from the opened up previously unimagined opportu- Goya requires an assisted-listening device federal or state governments to provide nities for students with disabilities, or sign-language interpretation. Monet can access to their physical site and programs nowhere more than in graphic design, digi- only read large print. Toulouse-Lautrec has to people with disabilities. This includes tal media, communications, industrial pycnodystosis, which leaves him short- schools, arts councils, museums, nonprofit design, and architecture. Imagination and statured and can make reaching and walk- galleries, and other arts groups that accept creativity in these areas can provide solu-

6 CAA NEWS MARCH 2003 tions for many people with disabilities. The disability community is the only SYMBOL FOR ACCESSIBILITY COLLABORATION: minority with “open enrollment”: anyone The wheelchair symbol may join at any time—all ages, all races, THE BOARD should only be used to all ethnicities, all economic classes, all indicate access for indi- MEMBER AND THE genders and sexual orientations. To para- viduals with limited phrase Franklin Delano Roosevelt, our mobility, including PROFESSIONAL greatest fear is fear of the unknown. Those wheelchair users. For example, the sym- who do not consider themselves disabled DEVELOPMENT bol specifies an accessible entrance or know too little about the lives of people bathroom, or that a phone is lowered for with disabilities. Roosevelt himself inten- FELLOW wheelchair users. Remember that a tionally hid his disability from the public ramped entrance is not completely because of the mindset of his times. He accessible if there are no curb cuts, and had a disability, but one could not say that an elevator is not accessible if it can it had him. Fear of these conditions can be only be reached via steps. greatly diminished by direct knowledge and by information obtained from disabled people themselves. Access is in everyone’s interest. ACCESSIBLE PRINT The Disability Access Symbols accom- The symbol for large panying this article are part of a project I print is “Large Print” set developed while working with the Graphic in 18-point or larger Artists Guild Foundation of New York text. In addition to indi- Samantha Fields with her painting Frogea at the reception for under contract with the NEA, along with cating that large-print Whispers, Shouts, and Cheers, an exhibition organized by other corporate contributors. The Irina Costache versions of books, pamphlets, museum Disability Access Symbols Project can be guides, and theater programs are avail- downloaded from www.gag.org/ Samantha Fields, assistant professor of art able, the symbol may be used on confer- resources/das.php in Macintosh and PC at California State University, Northridge, ence or membership forms to indicate formats, as well as in a camera-ready and a 1997 CAA Professional Development that published materials are available in brochure. The symbols are available for Fellowship Program recipient, writes about large print. Sans-serif or modified-serif use at modest cost from the Graphic Artists her collaborative teaching experience with printDISABILITIES with good contrast is important, SYM- Guild Foundation. These materials may be Irina D. Costache, associate professor of and special attention should be paid to used in printed programs and guides of all art history at California State University, letter and word spacing. arts institutions to indicate the accessibility Channel Islands, and current CAA Board of their places and programs. The project member. has received several media awards and ASSISTIVE-LISTENING widespread publicity in the graphic- SYSTEMS received an award from the CAA communications field. Professional Development Fellowship These systems transmit For more information about this project, Program in 1997 while studying paint- amplified sound via please write to the Graphic Artists Guild Iing at the Cranbrook Academy of Art in hearing aids, headsets, Foundation, 9 John St., Ste. 402, New Bloomfield Hills, MI. I am now the foun- or other devices. They York, NY 10038. An NEA publication, The dation coordinator and assistant professor include infrared, loop, Arts and 504 Handbook, has been of art at California State University, and FM systems. Portable systems may designed to assist organizations to comply Northridge (CSUN). In addition to teach- be available from the same audiovisual with Section 504 and is available from the ing, I continue to show my work nationally, equipment suppliers that service confer- Government Printing Office, Superinten- with recent shows at Vox Populi in ences and meetings. dent of Documents, Washington, DC Philadelphia, Lemberg Gallery in 20402. Ask for stock #036-000-00047-3. Birmingham, MI, and Schomburg Gallery —Jacqueline Clipsham, artist and NEA SIGN-LANGUAGE in Santa Monica, CA. My first solo exhibi- Office of AccessAbility Consultant INTERPRETATION tion is scheduled for April 2003 at DiRT Gallery in Los Angeles, where I currently The symbol indicates Editor’s Note: CAA complies with these live and work. In addition, I cofounded that sign-language requirements by providing such assistance www.zerodegreesart.com as an online interpretation is on request if notified within three weeks of slide file and resource for artists and cura- provided for a lecture, the Annual Conference. We urge members tors in my community. tour, film, performance, to contact us with their physical and pro- In the past five years, I have met a lot of conference, or other program. grammatic accessibility needs in this and people and have completed many projects, other areas. but one in particular has been the highlight of my career. At CSUN, I had the pleasure

CAA NEWS MARCH 2003 7 of meeting Irina D. Costache, an art histo- result, we were able to stress the essential CAA fellow and a CAA Board member rian. We shared an office space and often conceptual relationship between the “how” working together as peers. We felt that our had animated and lengthy conversations and the “why.” Students were able to partnership in teaching was a good and fit- about art, teaching, and how to best edu- develop technical drawing skills while ting example of what CAA has to offer in cate our students. As we became friends, engaging in a critical discourse on what the spirit of collegiality and in support of we also began to collaborate. Our discus- drawing means historically, as well as artists and academics at all levels of schol- sions evolved into a successful proposal what drawing means today. arship. Costache and I developed our for a Judge Julian Beck Grant. Costache I loved working with a historian to course in the hope that others would have and I proposed to team teach a linked brainstorm and develop projects that were an interest in using our methods as a course: her art-history survey, which cov- intellectually stimulating and formally model. Fortunately, the CSUN art depart- ered the Renaissance to the present, and instructive. Costache and I had many ment is very supportive of junior faculty my foundation drawing class. Although preparatory meetings where her historical and strives to make our ideas for the future this idea is not a new one, linked courses and critical viewpoint expanded my own of the department a reality. Another CSUN had not yet been offered in our program at ideas about what was possible within a art-history professor, Kenon Brezeale, CSUN. In our proposal, we were specifi- drawing course. I think this was specifical- approached me last semester and cally interested in creating a context for ly possible because she always treated me expressed an interest in our project. As a learning history and drawing that focused as a peer, rather than as a “new” faculty result, Brezeale and I will offer the linked on the symbiotic relationship between the member. Despite her extensive qualifica- classes again in the fall 2003 semester: the two areas of study. I rewrote the drawing tions and superior educational experience, collaboration continues! syllabus so that the assignments reflected she was always receptive to my ideas and Student work from my class with conceptual and formal issues relevant to worked with me as a true collaborator. Costache is included in the Weber State the periods of art the students were study- This past year, Costache was wooed University exhibition Foundations Today: ing; often I would show the preparatory away from CSUN by our sister campus, A Student/Mentor Exhibition, organized by drawings for large-scale works covered in California State University, Channel Scott Betz. Selected works can be seen in Costache’s history course. Because the stu- Islands, where she is helping to develop a virtual exhibition online at dents were coming to my class straight the art program. As she was packing up to http://dova.weber.edu/gallery/ from the art-history lecture, ideas from the go to her new job, we talked about the Foundations%20Exhibit/fcsun.html. past were always fresh in their minds. As a interesting combination we represented: a —Samantha Fields

8 CAA NEWS MARCH 2003 ADVOCACY UPDATE SUPREME COURT RULES IN total of $117 million for the NEA in the FAVOR OF COPYRIGHT coming year, which is a very modest increase in the endowment’s budget over EXTENSION the previous year, and will only account ACTION ALERT: SUPPORT for mandated cost-of-living increases. On January 15, 2003, the U.S. Supreme STATE ARTS AGENCIES AND Congress will draft its own version of Court ruled to uphold the 1998 Copyright LIBRARIES! the president’s budget over the next sever- Term Extension Act (CTEA), which al months, with the goal of having it final- extends the term of copyright by twenty Facing significant budget shortfalls, many ized in October 2003. states around the country are considering years. Writing for the majority, Justice the elimination of funding for arts organi- Ruth Bader Ginsburg stated that “we are zations this year and next. In Arizona, not at liberty to second-guess congressional New Jersey, and Missouri, state legislators determinations and policy judgments of CAA NEWS are planning to eliminate their entire arts this order, however debatable or arguably budgets. California, Massachusetts, and unwise they may be.” The 7-to-2 decision Virginia have all seen significant cuts in in Eldred v. Ashcroft clears the way for fur- COMMITTEE MEMBERS NAMED their arts and cultural programs budgets. ther unchecked copyright-extension laws in the future. Some analysts see a trend The following individuals have been And in Florida, Governor Jeb Bush has appointed to serve on CAA’s Professional proposed the elimination of the Florida toward the establishment of permanent copyright, and fear the demise of the public Interests, Practices, and Standards (PIPS) State Library, which would result in histor- committees, starting in February 2003: ical and archaeological materials being domain. The dissenters were Justices John Paul Stevens and Stephen G. Breyer. distributed to other state agencies that have International Committee: Jan Brown no record of expertise in these fields. CAA filed an amicus curiae (“friend of the court”) brief in the Eldred v. Ashcroft Checco, University of Cincinnati; Barbara Should you happen to reside in any of Rose Haum, New York University; Jennifer the states listed above, it is very important case in spring 2002. The brief, drafted by CAA Counsel Jeffrey Cunard of Debevoise Odem, University of Tennessee. Committee that you contact your elected state officials on Intellectual Property: Helen Ronan, and governors immediately to let them & Plimpton, presented the researcher’s point of view, detailing the hardships of consultant; Benjamin Kessler, University of know that you consider continued state Chicago. Museum Committee: Janice T. support for your local arts agencies and obtaining permission to use older works, as well as the difficulty (given litigation- Driesbach, Sheldon Memorial Art Gallery libraries to be a priority now and in the and Sculpture Garden, University of future. Points to include in your letters are: averse publishers) of applying the fair-use provisions of the copyright law. Nebraska, Lincoln; Nancy Zinn, Walters Art • Arts and cultural agencies will lose Museum; Maria Ann Conelli, Fashion matching funds from private donors Institute of Technology, State University of and the federal government due to HOUSE REAUTHORIZES IMLS New York; Katherine B. Crum, Parrish Art state cuts. Museum. Professional Practices Commit- • The [state name] arts agency awards On March 6, 2003, the U.S. House of tee: Lawrence J. Hamlin, Parkland College; funds in every county of the state Representatives overwhelmingly passed Ying Kit Chan, University of Louisville; through an open process of competi- the Museum and Library Services Act of Johanna Branson, MassArt. Services to tive applications, based on merit. 2003 (H.R. 13), a bill to reauthorize the Artists Committee: Rebecca Anne • State arts and cultural agencies fund Institute of Museum and Library Services Rushfield, independent conservator; Julie valuable programs and services for (IMLS). The authorization allows up to Green, Oregon State University; Chitra children and families. $35 million for the Museum Services pro- Ramanathan, independent artist. Cultural • State support for the arts increases gram and $210 million for the Library Diversity Committee: Jelena Bogdanovic, tourism to the state, bringing much Services and Technology program. Princeton University. Student and Emer- needed revenue to local businesses and ging Professionals Committee: Valerie L. communities. NEA/NEH FUNDING UPDATE Eggemeyer, University of North Texas; For information on contacting your gover- Ellen E. Adams, New York University; Ben nor and state elected officials, visit the In early February, President George W. Schachter, Adelphi University; Jennifer National Governor’s Association website, Bush’s fiscal year 2004 budget was released, Goodell, Getty Research Institute. Women www.nga.org/governors/1,1169,,00.html. which calls for increases to both the in the Arts Committee: Deborah Frizzell, A good source of information on state National Endowment for the Arts (NEA) The Graduate Center, City University of arts funding can be found on the website and the National Endowment for the New York; Susan R. Ressler, Purdue of the National Assembly of State Arts Humanities (NEH) over their 2003 amounts. University. Education Committee: Kevin Agencies at www.nasaa-arts.org, which The NEH in particular has received the Concannon, University of Akron; Mika also includes links to your local state arts largest requested increase in several Cho, California State University, Los Angel- agencies at www.nasaa-arts.org/aoa/ years—Bush is asking for an additional es; Martha Dunkelman, Canisius College. saaweb.shtml. $25 million for the endowment’s “We the A call for nominations to serve on CAA’s Do not delay! Please act now in order to People” initiative on American history, committees appears annually in the save arts and culture in our states! culture, and civics. He has also requested a September issue of CAA News. CAA’s

CAA NEWS MARCH 2003 9

President and Vice President for scholarship include a deeper awareness of ART JOURNAL SEEKS Committees review nominations in the European context for Spanish art of the EDITORIAL-BOARD MEMBER December and make appointments that take Middle Ages and modern periods, and an effect in February of each year. For a com- even further expanded Atlantic context for CAA invites nominations and self-nomina- plete list of committee members and recent much of the art of the early modern peri- tions for an individual to serve on the Art activities, please visit www.collegeart.org/ od. As a field editor for Spanish art, I will Journal Editorial Board for a three-year caa/aboutcaa/committees/commlist.html. seek reviews that reflect the dynamic work term, beginning July 1, 2003. Art Journal, of specialists in the field in a forum where published quarterly by CAA, promotes NOMINATIONS REQUESTED these specialists can share their colleagues’ informed discussion about issues across work with the larger CAA readership.” FOR 2004–8 CAA BOARD disciplines in twentieth- and twenty-first- century art, nationally and internationally. Nominations and self-nominations are THE ART BULLETIN SEEKS The candidate should be an individual sought for individuals interested in serving EDITORIAL-BOARD MEMBER with knowledge of modern and contempo- on CAA’s Board of Directors for the rary art. He or she may be an artist, art his- 2004–8 term. The Board is responsible for CAA invites nominations and self-nomina- torian, art critic, art educator, curator, or all financial and policy matters related to tions for individuals to serve on The Art other art professional, and must be a CAA the organization. It promotes excellence in Bulletin Editorial Board for a three-year member in good standing; institutional scholarship and teaching in the history and term beginning July 1, 2003. The Art affiliation is not required. criticism of the visual arts, and it encour- Bulletin, published quarterly by CAA, is The Editorial Board assists and advises ages creativity and technical skill in the the leading publication of art history in the editor to seek authors, articles, artist’s teaching and practice of art. CAA’s Board English. The ideal candidate has published projects, and other content for the journal; is also charged with representing the mem- substantially in the field and may be an guides its editorial program and may pro- bership on issues affecting the visual arts academic, museum-based, or independent pose new initiatives for it; performs peer and humanities. scholar. Specialists in Asian, African, and reviews and recommends peer reviewers; Nominations should include the follow- Latin American art, as well as twentieth- and may support fundraising efforts on its ing information: name, affiliation, email century art, are especially invited to apply, behalf. The Editorial Board meets three address, and telephone number, as well as as are museum curators. Candidates must times a year (twice in New York and once the name, affiliation, and email address of be CAA members in good standing. at the CAA Annual Conference). CAA the nominator, if different from the nomi- Nominators should ascertain their nomi- reimburses members for travel and lodging nee. You may use the form on the back nee’s willingness to serve. expenses for the spring and fall New York cover. Please forward nominations and The Editorial Board advises the editor- meetings in accordance with its travel poli- self-nominations to Rebecca Cederholm, in-chief and assists him or her to identify cy, but members pay their own expenses Governance and Advocacy Associate, and solicit authors, articles, and other con- for the Annual Conference. Nominators CAA, 275 Seventh Ave., 18th Floor, New tent for the journal; guides its editorial should ascertain their nominee’s willing- York, NY 10001; rcederholm@ program and may propose new initiatives ness to serve. collegeart.org. Deadline: April 11, 2003. for it; performs peer reviews and recom- Please send a letter of interest, c.v., and mends peer reviewers; and may support contact information to Peggy Phelan, Chair, Editorial Board, Art Journal, CAA, NEW CAA.REVIEWS FIELD fundraising efforts on its behalf. Members also assist the editor-in-chief to keep 275 Seventh Ave., 18th Floor, New York, EDITOR NAMED abreast of trends and issues in the field by NY 10001. Deadline: April 1, 2003. attending and reporting on sessions at the Jesús Escobar, associate professor of art CAA Annual Conference and other rele- history at Fairfield University in Fairfield, ART JOURNAL SEEKS REVIEWS vant academic conferences, symposia, and CT, has been named field editor of Spanish EDITOR events in their fields of specialty. art for CAA.Reviews. A specialist in the The Editorial Board meets three times a architecture and urbanism of Spain, Escobar CAA invites nominations and self-nomina- year (twice in New York and once at the received his Ph.D. from Princeton Univer- tions for the position of reviews editor of CAA Annual Conference). CAA reimburs- sity in 1996. He has published articles in Art Journal for a three-year term, begin- es members for travel and lodging expens- Archivo Español de Arte and Annali di ning July 1, 2003. The reviews editor com- es for the spring and fall New York meet- architettura; his book, The Plaza Mayor and missions book (and other) reviews for Art ings in accordance with its travel policy, the Shaping of Baroque Madrid, is forth- Journal. He or she selects books to be but members pay their own expenses for coming from Cambridge University Press. reviewed, chooses reviewers, and deter- the Annual Conference. Escobar writes, “Cultural exchange is mines the appropriate length and character Please send a letter of interest, c.v., and one of the primary characteristics of of reviews. The reviews editor also works contact information to Mimi Hall Spanish art. In their work addressing and with reviewers, the Art Journal editor, and Yiengpruksawan, Chair, Editorial Board, confronting this exchange, scholars of the CAA’s manuscript editor in the develop- The Art Bulletin, CAA, 275 Seventh Ave., Spanish world offer models of interpreta- ment and preparation of review manu- 18th Floor, New York, NY 10001. tion and interdisciplinary study for the scripts for publication and may be respon- Deadline: April 1, 2003. larger field of art history. Recent trends in sible for obtaining and clearing rights to images for reproduction in reviews. The

10 CAA NEWS MARCH 2003 reviews editor is expected to keep abreast and papermaking workshops at New to [email protected]. For additional of newly published and important books in York’s Lower East Side Printshop and is information, contact Carol Sterling, direc- the history, criticism, and theory of mod- assisting in the development of the tor of education at the ISC Resource ern and contemporary art, visual studies, Southern Graphics Annual Conference, to Center, at 609/689-1051, ext. l07; carol@ museum publishing, and related areas. be held at Rutgers in 2004. sculpture.org. Deadline: May 1, 2003. The reviews editor serves as a member of the Art Journal Editorial Board. He or Vivian Sarratt joins CAA as publications SPE 2004 CONFERENCE she reports to the Art Journal editor and cataloguer. Sarratt comes to CAA from the submits an annual report to CAA’s publishing house Routledge, where she was The Society for Photographic Education Publications Committee. The Editorial associate marketing manager. Originally (SPE) 41st national conference will be held Board meets three times a year: in New from the Washington, DC, area, she in Newport, RI, on March 25–28, 2004. The York in the spring and fall and in February received her B.A. in government and inter- conference theme is “Photography and at the CAA Annual Conference; CAA national studies with a minor in Asian Place: Home-Neighborhood-Nation-World.” reimburses Editorial Board members for Pacific studies from George Mason SPE welcomes proposals from all photogra- travel expenses for the spring and fall University in 2000. phers, writers, educators, curators, histori- meetings, in accordance with CAA travel ans, and professionals from other fields con- policy. The position includes an annual cerned with the character of place and our honorarium of $2,000, paid quarterly. place on the planet. See the SPE national Please send a letter of interest, c.v., and AFFILIATED SOCIETY website, www.spenational.org, for details. contact information to Peggy Phelan, Deadline: June 16, 2003. Chair, Art Journal Editorial Board, CAA, NEWS 275 Seventh Ave., 18th Floor, New York, NY 10001. Deadline: June 1, 2003. FATE REQUESTS JOURNAL ANNUAL STAFF CHANGES CONTRIBUTIONS CONFERENCE Marcin Bielawski is CAA’s new informa- FATE in Review, the journal of Foundations tion technology (IT) assistant. Working in Art: Theory and Education, is seeking UPDATE closely with Lavinia Diggs Richardson, articles and book- and video-review submis- manager of IT/Statistics, he is responsible sions for its annual publication. Articles and for ensuring the smooth operation of reviews should address the relevant con- 2004 CALL FOR CAA’s computer network, as well as data- cerns of determining and teaching the core PARTICIPATION SENT base and web-application projects. curriculum for foundations (first-year) pro- Bielawski was born in Poznan, Poland, grams. These may include studio art, design, The next CAA Annual Conference will be and came to New York as a teenager. He art history, theory, and criticism. Articles held on February 18–21, 2004, in Seattle, graduated from Brooklyn College in 2002 and reviews may not have been previously WA. Listing more than 120 sessions, the with a B.S. in computer science. He has published. Please contact Kay Byfield, 2004 Call for Participation was mailed to worked for About.com as web-developer Dept. of Art, Northeast Texas Community all CAA members this month. In addition assistant. He also was an intern for the IT College, Mt. Pleasant, TX 75456-1307; to the wide-ranging panels on art history, department at Viacom Outdoor. There, he 903/572-1911, ext. 333; kaybyfield@ studio art, contemporary issues, and pro- was responsible for network maintenance, iname.com. Deadlines are ongoing. fessional and education practices, confer- help-desk support, and the deployment of ence attendees can look forward to three wireless applications. ISC AWARD NOMINATIONS days of ARTspace programming; events at local museums and galleries, including a Brenna Johnson joins CAA as conference tour of the Seattle Art Museum’s new assistant. Her primary area of responsibility The International Sculpture Center (ISC) invites all CAA members to join the ISC sculpture park; and postconference trips to is the day-to-day operations pertaining to nearby museums, including the new CAA’s Annual Conference. She received an as a university member and to submit nominations for its 2003 Outstanding Museum of Glass in Tacoma, WA. The M.F.A. from the Mason Gross School of conference will take place in downtown Art at Rutgers, the State University of New Student Achievement in Contemporary Sculpture Awards program. For complete Seattle, with Convocation and program Jersey, in New Brunswick. Before graduate sessions being held at the Washington school, she was business manager at the information, please visit the ISC Website at www.sculpture.org, click on “ISC State Convention and Trade Center, and Rutgers Center for Innovative Print and receptions and reunions at the Seattle Paper and registrar and resident papermaker News,” and scroll down to 2003 Outstanding Student Achievement in Sheraton Hotel and Towers. Follow the at Pyramid Atlantic in Riverdale, MD. instructions in the 2004 Call for Johnson has also worked with the Women’s Contemporary Sculpture Awards. This pro- Participation or at www.collegeart.org to Studio Workshop in upstate New York and gram is an excellent opportunity to spot- light the work of sculpture students and submit a proposal for a paper. We look the Leeway Foundation in Philadelphia. forward to your contributions. Deadline: Currently, she is teaching printmaking the college, university, or art school they attend. For more information, please write May 12, 2003.

CAA NEWS MARCH 2003 11 AWARDS FOR DISTINCTION SPECIAL AWARD FOR LIFETIME award committee honors Alison Knowles CONTINUED FROM PAGE 1 ACHIEVEMENT for a lifetime of achievement as an artist who has played a seminal role in the To the Rescue of Art: Twenty-Six Essays Milton Esterow development of the American avant-garde. (1992); The Split and the Structure: became the editor Knowles occupies a most important Twenty-Eight Essays (1996); and Film and publisher of place in the history of twentieth-century Essays and Criticism (Madison: University the monthly mag- art. She is respected for her pioneering of Wisconsin Press, 1997). His papers are azine ARTnews in work and revered for her integrity. She divided among the Deutsches Literatur- sees and practices art not as a profession, archiv, the Smithsonian Institution, and the but as a way of life—an achievement that Archives of American Psychology. today cannot be overestimated. Knowles Harvard University, the University of was one of the founders of Fluxus, creat- PHOTO CREDIT: TIMOTHY GREENFIELD-SANDERS ing performances and installations Michigan, Humboldt University in Berlin, Milton Esterow and the Universität Bielefeld all have throughout the U.S., Europe, and Asia chairs or lectureships named in his honor. 1972. In the three from the 1960s to the present. She has A Jew born in Berlin in 1904, Arnheim decades since, he been an important contributor to the devel- fled Nazi Germany in 1933, only to be has overseen the opment of intermedia, performance art, driven out of Rome by the 1938 Fascist magazine’s financial success while and experimental books. racial laws. He worked for the BBC in enhancing its reputation and influence in Knowles’s distinguished career spans London during the Blitz and then the visual-arts community and beyond. more than forty years. She performed embarked on an academic career in the The author of The Art Stealers (New internationally with Fluxus in the early U.S. For many years he taught in the psy- York: Macmillan, 1966), Esterow wrote 1960s and collaborated on experimental chology department at Sarah Lawrence about looted art as a reporter for The New typography and design for the Something College, then at Harvard University’s York Times. He continued to cover the Else Press. She Carpenter Center for the Visual Arts, and story at ARTnews, which won a George created a pioneer- finally, for another decade, in the art- Polk Award for Cultural Reporting in 1991 ing monumental history department at the University of for a series of articles about works of art installation, The Michigan. At eighty he “retired” and went taken from Germany during World War II Big Book on to write another five major books; the and concealed until the collapse of the (1967–69), which most recent was published in his 93rd Soviet Union. Several years later, toured Europe and year. In addition to his sixteen books, he ARTnews was recognized by the North America, has produced hundreds of important arti- Committee for Jewish Claims on Austria including the Solomon R. cles, including one accepted for publica- for its role in getting the Austrian govern- Alison Knowles tion this year. Innumerable artists, art his- ment to initiate a restitution process for art Guggenheim torians, art educators, and students of looted by the Nazis that was stored in the Museum in New York. Soon after, she developmental psychology have written Mauerbach monastery outside Vienna. wrote what is perhaps the first documented reverently of his effect on their careers. ARTnews has received many other hon- computerized poetry, her digital work, The One well-known art historian called him ors under Esterow’s leadership, including House of Dust. She taught at the California “a prophet of the visual”; a former student, another George Polk Award for Cultural Institute of the Arts (1971–72), where, now a prominent museum curator, wrote Reporting in 1980 and a National with colleagues such as Nam June Paik, of the “life-changing” effect of his books Magazine Award for General Excellence in she was influential in developing perform- and recalled, “Like other former students 1981. The magazine’s recent 100th anni- ance and installation art on the West Coast. on whose lives and careers he has had a versary, and Esterow’s thirtieth as editor Knowles has written and aired radio plays major impact (and there were many), I and publisher, make this an appropriate and has had numerous solo and group mainly kept in touch with Dr. Arnheim by time for CAA to recognize his exceptional exhibitions at major international venues. mail. His warm, encouraging, and inform- contributions to art journalism and inves- She has been the recipient of important ative letters, full of news of his current tigative art reporting. awards and honors, including a John work and enthusiasms, such as his Dante Simon Guggenheim Fellowship and a Documenta X Professorship in Kassel, reading group, written in his beautiful DISTINGUISHED ARTIST hand, are among my most treasured pos- Germany. sessions.” It is both appropriate and a great AWARD FOR LIFETIME Her legendary Proposition of 1961, an pleasure for CAA’s President and Board of ACHIEVEMENT “event score” in which the performer is Directors to honor this intellectual giant enjoined to “make a salad,” floods us with and generous teacher with this special This award celebrates the career of an Knowlesian concerns: the conceptual, the award. artist who, among other distinctions, has minimal, the humble, the domestic, the demonstrated particular commitment to his vernacular, the democratization of art, or her work throughout a long career and feminism, Zen Buddhism, and the exalta- has had an important impact nationally and tion of everyday life. Do not be deceived internationally on the field. This year, the by the utter simplicity of the command, for

12 CAA NEWS MARCH 2003 at heart it is a sly, knowing revolutionary ating work that addresses the issues of our of whom are eating watermelon. “Mine” is act that places responsibility for the quality time, stripping away surfaces that may dis- a photograph of a rural black family whose of experience squarely on the audience. guise the true nature of our society and eight members stand with dignity in front She creates a topsy-turvy place in which culture, yet accomplishing that goal within of their house. Another moving piece is his artists become audience and audiences are an aesthetic context that makes his art 1992 Cabinet Making 1820–1960. Here, anointed artists. Her prescient work con- wonderful to look at and experience. CAA the artist inserts a tinues to be significant in the development honors him for his retrospective, Objects crude wooden of postmodern thought. and Installations: 1979–2000, organized in whipping post into Not only has Knowles created a powerful 2001 by Maurice Berger for the Center for a grouping of ele- body of work and a singularly poetic phi- Art and Visual Culture at the University of gant antique chairs. losophy, but her work and her philosophy Maryland, Baltimore County, and on For The Colonial have also opened doors for many other national tour until 2004. Collection (1990), artists. In Wilson’s contributions have been widely he gagged and the areas of recognized: he was awarded a MacArthur blindfolded African perform- Fellowship in 1999, and his work will rep- masks with ance, inter- resent the U.S. at the Venice Biennale in European flags. media, June 2003. He has consistently organized Wilson has been book arts, installations on a grand scale that absorb consistent in his conceptual and amaze viewers, who leave them ideas since his ear- art, and reassessing their embedded prejudices and liest exhibitions, Fred Wilson. Untitled (Atlas), 1992. Plaster, pedestal, books. Alison Knowles, Brick Book with installation, assumptions. Very significant for CAA persevering in 66 x 30 x 30" raffia and bean seed, 2002. Flax paper. 18 x 10 x 3" artists con- members is the way in which he uses the arousing both our tinue to museum as his medium. Wilson worked minds and our emotions, while pleasing build on the ground she first cleared. Her for many years as a museum educator and our eyes. CAA admires and praises this collaborations and associations were with has remarked that “curators create how artist for his exciting work, which is artists such as Marcel Duchamp, John you view and think about objects.” revealed in all its richness through his Cage, Merce Cunningham, Ben Vautier, Describing his art making as a “trompe traveling midcareer retrospective. Deiter Roth, Ray Johnson, and Dick l’oeil of curating,” he mimics museum Higgins, who was also her husband. Her exhibition design, lighting, and wall labels. Committee: Judy Brodsky, Rutgers Center for Innovative Print and Paper, Chair; Austin Collins, University of Notre collaborative ideas remain new and vital He has applied a mock-curatorial perspec- Dame; Todd Ayoung, independent artist, New York; Andrea today as artist collectives multiply. tive to many contemporary issues of art Norris, Spencer Museum of Art; Josely Carvalho, independ- Knowles’s antiheroic and ephemeral and history. Topping Greek statues with ent artist, New York body of work blurs the boundary between Egyptian animal heads or juxtaposing art and life and elevates the humble and slave shackles with elegant silver table- ARTHUR KINGSLEY PORTER the ordinary. We are indebted to her pio- ware in a display case, Wilson makes us PRIZE neering work and look forward to more of all realize how often museums are oriented her gentle yet searing wisdom. to a Eurocentric perspective. Exhibition The Arthur curators think twice about their practices Kingsley Porter Committee: Richard Roth, Virginia Commonwealth after seeing or reading about his installa- University, Chair; Bailey Doogan, University of Arizona; Prize, established in Buzz Spector, Cornell University; Ann Tucker, Museum of tions. 1957, is awarded to Fine Arts, Houston Wilson’s work stimulates us intellectual- a distinguished arti- ly. For instance, Pangaea (1995), his steel cle published in The DISTINGUISHED BODY OF fence and gate around Townsend Harris Art Bulletin by a High School in Queens, NY—where the WORK AWARD scholar who is spokes of the fence serve as longitudes and under the age of the continents are scaled according to the Andrew M. Shanken Each year CAA thirty-five or has relationships among countries—interro- presents this received the doctorate not more than ten gates the arbitrary nature of world maps award to an artist years before acceptance of the article for are and reveals that geography and cartog- for exceptional publication. Andrew M. Shanken is the raphy are not the objective sciences they work in exhibi- winner for 2003. His essay, “Planning claim to be, but rather are skewed by con- tions, presenta- Memory: Living Memorials in the United siderations of power and race. tions, and/or per- States during World War II,” appeared in Wilson’s installations are emotionally formances mount- the March 2002 issue of The Art Bulletin. moving as well as mind-stirring. In ed between Shanken’s article examines the debate Mine/Yours (1995), “Yours” consists of September 1 and surrounding the appropriate material form Fred Wilson stereotypical painted-ceramic figures of the following for memorializing combat dead in the U.S. African Americans: three Aunt Jemimas, August 31. This year, the award committee during the first half of the twentieth centu- an Uncle Tom, an aproned cook (Uncle honors Fred Wilson for his artistry in cre- ry. In a strikingly clear and lucid presenta- Ben), and three Little Black Sambos, two tion, he traces the emergence of a move-

CAA NEWS MARCH 2003 13 ment for “living memorials”—useful com- ART JOURNAL AWARD and the controversy over the works’ cur- munity facilities and municipal improve- rent location in the collection of the ments—as an alternative to traditional The Art Journal Museum of Modern Art in New York. monumental forms such as statues, arches, Award, established Through this investigation, the author and obelisks. He demonstrates the degree in 2001, is awarded raises key issues about the power and to which this concept provoked both advo- for a distinguished purpose of political art in the wake of cacy and controversy among architects, contribution (arti- postmodernism. sculptors, and urban planners. Shanken is cle, interview, con- attentive to the larger implications of the versation, portfolio, Committee: Valerie J. Mercer, Detroit Institute of Arts, Chair; Maurice Berger, Vera List Center for Art and Politics; memorial debate—representational prac- review, or any other Jacquelyn Days Serwer, Corcoran Gallery of Art; Gwendolyn tice, attitudes toward urbanism, and evolv- text or visual proj- DuBois Shaw, Harvard University ing views of death—while remaining sen- Rainer Usselmann ect) published in sitive to the specific issues surrounding Art Journal during the preceding calendar ALFRED H. BARR, JR., AWARD selected projects in the 1940s and after. year. Rainer Usselmann is the 2003 recip- The article holds interest not only for its ient of the award. His essay, “18.Oktober Established in 1980, vivid and penetrating historical analysis, 1977: Gerhard Richter’s Work of this award is given but also for its relevance to current Mourning and Its New Audience,” which to the author of an approaches to memorialization and memo- appeared in the spring 2002 issue of Art especially distin- rial practice. His study articulates the Journal, is a superbly historicized and the- guished exhibition degree to which public aims and percep- oretically sophisticated treatment of a very catalogue in the his- tions necessarily articulate the shaping of challenging and (for many American view- tory of art published space, form, and function. This essay will ers) enigmatic body of work. under the auspices be read profitably in undergraduate and Usselmann offers the reader a dynamic of a museum, Thomas P. Campbell graduate courses as a demonstration of consideration of the multiple temporal and library, or collec- how deeply monuments are enmeshed in geographic contexts in which Richter’s art- tion. This year, the Barr Award Committee cultural notions of self and society. work resides by examining the political recognizes the pathbreaking achievement of events that are their subject matter, the Thomas P. Campbell for Tapestry in the Committee: John Davis, Smith College, Chair; Alison Hilton, date of creation of the actual paintings, its Georgetown University; Alfred Acres, Princeton University; Renaissance: Art and Magnificence (New Jacqueline Jung, Middlebury College reception in both Germany and the U.S., York: Metropolitan Museum of Art, in asso-

14 CAA NEWS MARCH 2003 ciation with Yale University Press, 2002). CHARLES RUFUS MOREY plans and drawings on paper as guides Written in a lucid, engaging, straightfor- AWARD with similar results—namely, a growing ward, dynamic, and even passionate style, uniformity of architecture in the Islamic this publication offers thoroughgoing cov- This award, first world from the fifteenth century on. erage of a highly important area of given in 1953, is But Paper before Print is about much Renaissance art and material culture that presented to the more than its subtitle suggests. In addition has been little studied by Renaissance author of a distin- to meticulously documenting how the scholars in general and that remains diffi- guished book in the invention of paper changed the history of cult of access to the general public. This history of art. In art in Islamic lands, Bloom also establish- catalogue redresses this oversight. The text Paper before Print: es the pivotal role Muslims played in per- by Campbell and his contributors reflects The History and fecting the manufacture of paper and intro- an extraordinary mastery of the subject Impact of Paper in ducing the technology to Europe. It is not Jonathan M. Bloom and the literature on it. Every considera- the Islamic World an exaggeration to say that without paper, tion of tapestry in the period—technique, (New Haven: Yale University Press, 2001), Johann Gutenberg’s invention of movable the organization of production and distri- an exceptionally wide-ranging volume, type would not have unleashed the cultural bution, patronage, style, iconography, and Jonathan M. Bloom takes the reader on a revolution that it did. the role of tapestry in the life of the journey of hundreds of years across three Paper before Print is an important book, times—is meaningfully brought forth and continents, beginning in China a century not just for the history of art, but also for presented with authority. Particularly or two before the common era and culmi- the history of civilization. By engaging the impressive, in every aspect of the book nating in Western Europe in the fifteenth diverse cultures of Western Europe, the (essays as well as individual entries), is the century. The book is the story of the inven- Near East, Asia, and North Africa and illu- way Campbell provides the reader with tion and diffusion of paper, a medium that minating the rich cross-fertilizations thoughtful summation of the bibliographic has long been taken for granted, but one among those cultures, Bloom has provided record, weighing prior argumentation very that revolutionized the way people com- a model for future multidisciplinary schol- carefully and fair-mindedly as a spring- municate ideas and transmit images. arship. We hope that the award of CAA’s board to his own fresh analysis and con- Bloom immersed himself in the scholar- Morey Prize for 2003 helps assure his clusions. Relevant contemporary docu- ly literature of several different disciplines book the larger readership it so richly ments are never taken for granted; they and cultures. His masterful bridging of deserves. have clearly been examined directly and those varied traditions has resulted in a evaluated anew. They are brought into the Committee: Fred S. Kleiner, Boston University, Chair; book that one member of the award com- Babette Bohn, Texas Christian University; Faya Causey, discussion in a way that permits readers to mittee has described as “rich on a stagger- National Gallery of Art; Edward J. Sullivan, New York see precisely how scholarship has used and ingly diverse range of subjects and con- University depended on these documents, and even to texts.” Remarkably, Bloom has also made evaluate their meaning for themselves. his erudition accessible to a broad reader- FRANK JEWETT MATHER Campbell’s unusually sophisticated con- ship. His text is engaging and accompa- AWARD FOR ART CRITICISM versancy with every aspect of late- nied by well-chosen sidebars; an illuminat- medieval and Renaissance art, history, lit- ing twenty-page bibliographical essay The Frank Jewett Mather Award, first pre- erature, religion, culture, politics, and soci- takes the place of footnotes. sented in 1963 for art journalism, is ety—both in Italy and the north—is rigor- Muslims first encountered paper when awarded to the author of published art crit- ously and meaningfully brought to bear on their armies entered Central Asia in the icism that has appeared in whole or in part the subject. The text is informed by up-to- eighth century. Within two hundred years, in North American publications. This year, date discussion in these areas. The author’s the technology spread across the Arab CAA honors Roberta Smith, senior art synthesis of information and observation lands and through North Africa to Spain. critic for The New York Times. across centuries and over the Alps is mas- The impact of the new medium in the For more than thirty years, Smith has terful and forward looking. This superb Islamic world was enormous. Paper not covered the gamut of contemporary art catalogue is exceptional not only for the only made the diffusion of knowledge with unflagging energy and devotion, writ- importance of the subject itself, but also more rapid and the production of illustrat- ing for journals such as Arts Magazine, for its highly responsible, engaging pres- ed books more economical, but it also Artforum, and Art in America as well as entation, and for the clear structure consis- changed the way people thought. Bloom is popular venues, including Newsweek, tently given to complex discussion. It is especially insightful in his analysis of how Vogue, and HG. In 1981, she stepped up to also noteworthy for the harmony of organ- paper transformed what had been an oral a weekly schedule as critic for The Village ization between the essays and the material culture into a written one. In Islamic art, Voice, and since 1986 has thrived under exhibited and catalogued. The production one result was that designs began to be the enormous pressures of writing for a values and quality of reproductions are recorded in pattern books and became major daily metropolitan newspaper. At likewise superb. divorced from their original contexts. The The New York Times, these include not migration of designs from one medium to Committee: Richard Vinograd, Stanford University, Chair; only the practical, unrelenting demands of Marilyn Brown, Tulane University; Carolyn Wilson, another—tiles, textiles, metalwork, pot- daily and weekly deadlines, but also the independent scholar, Houston; Virginia Mecklenburg, tery—became a prominent feature of later intellectual challenges of covering the Smithsonian American Art Museum Islamic art. Builders also began to use dizzying panoply of museum and gallery

CAA NEWS MARCH 2003 15 exhibitions in what must still be consid- artists and concluded with a constructive “dealing with performance art and the ered the art capital of the world. In the proposal and plea for the inclusion of philosophical nuances of harmony and bal- award year alone (September 1, 2001– artists and art-world professionals along ance within individual works.... In dis- August 31, 2002), Smith produced with wealthy trustees on museum boards. cussing the active intentionality of a male thoughtful feature articles on traditional Above all, Smith’s work has stood out chief seated in state, for example, Japanese design at the Japan Society; for its integrity and independence of mind. Thompson wrote, ‘the seated person, con- fetishistic fashions at the Costume Institute Widely admired and, more important, scious of the privilege of his position, of the Metropolitan respected, Smith is a most deserving recipi- must show awareness of himself as an Museum of Art; hip ent of the recognition this award brings and object of perception. He must teach by hop and contempo- of our deepest gratitude for her ongoing, manner of composure. To sit well is to rary art at the Bronx intense engagement with the world of art. savor life on a plane of deliberation.’ ” Museum of the Thompson’s command of jazz and other Arts; folk art and Committee: W. Jackson Rushing, University of Houston, African-influenced music traditions fos- Chair; Gregory Sholette, School of the Art Institute of textiles at the Chicago; Sue Taylor, Portland State University; James Yood, tered a keen sensitivity to performance and Museum of Natural Northwestern University the body. In his book African Art in History; and the Motion: Icon and Act in the Collection of Roberta Smith 2002 Whitney DISTINGUISHED LIFETIME Katherine Coryton White (Washington, Biennial at the Whitney Museum of DC: National Gallery of Art, 1974), he American Art, as well as scores of individ- ACHIEVEMENT AWARD FOR “galvanized the field by pointing out that ual artist reviews. Beyond New York, she ART WRITING masks are ‘danced’ (not worn).” He also reported on exhibitions of historical and opened “an entire philosophical discourse contemporary art in Atlanta, Baltimore, In its inaugural on the body and its postures that was reve- Boston, Philadelphia, Washington, DC, year, the CAA latory for our understanding of African and Bielefeld, Germany. The scope of Award for sculpture.... Thompson’s insight that pos- Smith’s expertise is dazzling; she is a bril- Distinguished ture is an act expressive of the mind has liant generalist, treating in just the past Lifetime become the unstated starting point for year diverse subjects such as paintings and Achievement for most formal analysis of African figural prints by Francisco de Goya, watercolors Art Writing goes sculpture.” In Flash of the Spirit: African by J. M. W. Turner, the late paintings of to Robert Farris and Afro-American Art and Philosophy Edvard Munch, color woodcuts by the for- Thompson. This (New York: Random House, 1983), scholar’s col- gotten American printmaker and modernist Robert Farris Thompson Painting from a Single Heart: Preliminary Blanche Lazzell, and the latest painted leagues in African Remarks on Bark Cloth Designs of the sculptural reliefs of Frank Stella. art describe him as having quite literally Mbute Women of Haut-Zaire (Munich: F. Smith is a rigorous writer, painstaking in transformed the fields of both African and and J. Jahn, 1983), and other works of the her approach and always intent on search- African diaspora art history. He is “a bril- 1980s, Thompson defined an entirely new ing out the most pertinent information and liant thinker, tireless researcher, spellbind- aesthetic of African textiles by drawing most effective verbal means to convey ing lecturer, and writer of almost velvet “analogies between the juxtaposition of complex visual ideas. She is remarkable prose” (writes one colleague) whose publi- contrasting patterns and fields of colors for the clarity of her style, which is at once cations on cultures from across the African and the structural organization of multiple sophisticated and accessible, addressing continent and on the black Atlantic diaspo- meter in sub-Saharan African music.” both the art world and the broader reader- ra have given scholars a rich body of ideas Indeed, each of Thompson’s books and ship of the Times, an audience of nonspe- and insights with which they will continue exhibition catalogues—Black Gods and cialists curious about art and eager for to grapple for another hundred years. One Kings: Yoruba Art at UCLA; African Art in fresh perspectives. All rely on Smith for prominent scholar remarks: “Rarely does Motion; The Four Moments of the Sun: lively reporting and evaluation of what one read his work without finding at least Kongo Art in Two Worlds; The Face of the transpires day to day in the visual arts. Her one major nugget that transforms one’s Gods: Art and Altars of Africa and the passionate opinions and sharp critiques way of thinking.... In an era when much of African Americas; and Flash of the Spirit, add vitally to the discourse: her recent dis- the scholarship on African art was being to cite just a selection—has opened up cussion of the continuing viability of con- shaped by dry and largely outmoded entirely new fields for investigation and temporary painting, for example, and her anthropological functionalism, he pressed collectively helped to reposition the study critique of merely facile uses of technolo- for a consideration of individual artists, of African art into a central field within art gy in art were stirring and provocative. ideas, visual sources, and influences.” history. She has been characterized as tough- When most historians of African art At the same time, Thompson “has minded and uncompromising, admirable were still trying to identify “tribal styles” brought to this academic field a huge and qualities for someone bearing the great and to “position African art within the highly appreciative popular audience” and responsibilities of her influential position. broad anthropological paradigms of fertili- has profoundly influenced scholars in Her highly critical assessment of the 2002 ty rites, initiation, chieftancy, and the many fields beyond those working just on Whitney Biennial pointed to the still- ancestors,” Thompson was “discussing the arts of Africa and the black Atlantic. chronic underrepresentation of women individual artists and their workshops” and The scholarship in postwar American art

16 CAA NEWS MARCH 2003

has been enriched by his important essays Drawing and tion; contributes to the advancement of on figures such William Edmundson, Jean- Fine Art, both knowledge and methodology in the disci- Michel Basquiat, Keith Haring, and David in Oxford; the pline, including integration of art-historical Hammons; there are also any number of Pont-Aven knowledge with other disciplines; and aids visual artists who have been influenced by School of Art students in the development of their his work. A senior colleague in Asian stud- in Pont-Aven, careers. ies summed it up well, describing him as a Brittany; and The 2003 committee voted unanimously “towering figure in the history of art, Jagiellonian to honor John T. Paoletti. He is a revered whose voice for diversity and cultural University in teacher of prodigious talent, energy, cre- openness has made him a public intellectu- Krakow. He ativity, integrity, and dedication. As a con- al of resounding importance.” has been summate lecturer, scholar, mentor, col- awarded grants league, and university leader, he has con- Committee: Jonathan Fineberg, University of Illinois, from the Louis tributed immensely to the discipline of Urbana-Champaign, Chair; Janet Kaplan, Moore College of Harvey Breverman. Duncan: The Comfort teaching art history for more than three Art and Design; Katy Siegel, Hunter College, City University SCHWA Vowels. Pastel and oilstick. of New York; Kenneth E. Silver, New York University; Terrie From the “Nightworks” series. Tiffany decades. Sultan, University of Houston 1 3 39 ⁄2 x 27 ⁄4 " Foundation, Paoletti, who has taught at Wesleyan the Nether- University in Middletown, CT, since 1972, DISTINGUISHED TEACHING lands government, the New York State was officially recognized for excellence in OF ART AWARD Council on the Arts, the National Institute teaching in 1977, when he received a pres- of Arts and Letters, and the National tigious campus award. An esteemed schol- Established in 1972, Endowment for the Arts, to name but a ar of the highest caliber, he has published this award is pre- few. widely in both Renaissance and contempo- sented to an artist of All aspects of Breverman’s professional rary art. Among his books and mono- distinction who has life are open to his students. He keeps in graphs, Art in Renaissance Italy (Upper developed a philos- touch with forty-one years’ worth of them, Saddle River, NJ: Prentice Hall, 1997), ophy or technique remembering them all. They have been to coauthored with Gary M. Radke of of instruction based his home, met his family, and are welcome Syracuse University, bears witness to his on his or her experi- participants in his intellectual life. He considerable abilities as a pedagogue; its ence as an artist, urges them to be productive and live large. highly accessible text is lively, lucid, and Harvey Breverman has encouraged his He has changed the lives of many of his rich in thought-provoking ideas that invite or her students to develop their own indi- students, and they are proud to be further study. Paoletti is also known for his vidual abilities, or has made a significant associated with him. exemplary service as editor of The Art contribution to the body of knowledge Breverman has passed on his craftsman- Bulletin from 1997 to 2000. An exception- loosely called theory and understood as ship and thoughtful examination of art and al teacher, he skillfully brings the com- embracing technical, material, aesthetic, life to generations of art students. He is plexities of art-historical scholarship into and perceptual issues. more than worthy of the CAA the undergraduate classroom. This year, the award committee has Distinguished Teacher of Art Award. Paoletti’s lectures at Wesleyan are leg- selected Harvey Breverman, distin- endary. Whether he is experimenting with Committee: Thomas Morrissey, Community College of Rhode novel instructional techniques or pursuing guished professor of art at the State Island, Chair; Christine Waters, University of Michigan, University of New York’s University at Flint; Leslie King-Hammond, Maryland Institute of Art; Gina traditional methods with “particular genius Buffalo. A member of the school’s art- Werfel, University of California, Davis and commitment,” his teaching is wholly department faculty since 1961, Breverman captivating. A former student describes his ranks among the important artists of the DISTINGUISHED TEACHING inspired teaching of the art-history survey: “He embodied the spirit of the perform- twentieth and twenty-first centuries. OF ART HISTORY AWARD Breverman’s prints, paintings, and draw- ance art that he covered in his course on twentieth-century art. Dressed in navy blue ings are in the permanent collections of This award recog- blazer, gray flannel, and medallion- more than 150 museums and galleries nizes an individual studded tie, he stood in the spotlight of a worldwide, including the British Museum who has been darkened theater and delivered professorial in London; the Albright-Knox Art Gallery actively engaged in discourse of astonishing eloquence…. in Buffalo; the Israel Museum in teaching for most of Timing was always perfect. When he got Jerusalem; the Smithsonian Institution’s his or her career to the late paintings of Mark Rothko, we National Portrait Gallery in Washington, and who is an inspi- were so engrossed that the gradual dim- DC; and the Metropolitan Museum of Art, ration to a broad ming of the lights went virtually unnoticed the Museum of Modern Art, and the range of students in John T. Paoletti until the very end, when the auditorium Whitney Museum of American Art in New the pursuit of went utterly black…. What made such York. He has had more than eighty solo humanistic studies; possesses rigorous strategies so effective was the sincerity gallery exhibitions and seventy visiting- intellectual standards and outstanding suc- with which such startling visual and verbal artist positions, including those at Oxford cess in both scholarly and class presenta- University and the Ruskin School of sequences were proffered…. With deft

CAA NEWS MARCH 2003 17 phrasing and without notes, his lectures Academy of Fine al, and historical material. He has also provoked us into believing that art and Arts in the Hague. made singular contributions to the under- things of this world mattered. With sharp He received his doc- standing of restoration ethics for contem- intelligence, he balanced exposition with torate in art history porary art and has regularly collaborated inquiry, leading us through a series of from the University with international conservators and conser- questions that taught us to teach ourselves of Amsterdam. Since vation scientists on a variety of projects. and to appreciate the creativity of scholar- 1968 he has been a He is especially pleased that practicing ship.” member, and is now artists have responded with great enthusi-

Paoletti’s smaller classes are just as Ernst van de Wetering chair, of the asm to Rembrandt: The Painter at Work. effective, for very different reasons. As Rembrandt Research one former student relates, “His challeng- Project. He was art historian on the staff of Committee: Joyce Hill Stoner, University of Delaware and Winterthur Museum, Garden, and Library, Chair; Jim ing seminars were interdisciplinary in the Central Research Laboratory for Coddington, Museum of Modern Art; Elizabeth Darrow, focus and often involved the investigation Restoration, Amsterdam from 1969 to University of Washington; Joe Fronek, Head of Paintings of issues deriving from his work as editor 1987; since then, he has been full profes- Conservation, Los Angeles County Museum of Art of The Art Bulletin. In taking on the sor of the history of art at the University of demands of these assignments, students Amsterdam. He has published extensively “learned how to follow unexpected leads on historic painting techniques as well as in a long-term research project and to in the field of theory and ethics of conser- HOW TO GET refashion someone else’s obsession into vation and restoration. INVOLVED their own…. His standards for student Rembrandt: The Painter at Work exam- work were exacting, but he was always ines the artist’s creative activity, methods, willing to tutor those who needed help, no and materials, combining the sophisticated Want to recognize someone who has matter how busy he was.” With exception- scientific analysis now available with tra- made extraordinary contributions to the al openness, generosity, and selflessness, ditional scholarly research from primary fields of art and art history? Nominate Paoletti has devoted himself first and fore- historical sources. Wetering provides an someone for a CAA Award for most to his students and colleagues for engaging and thorough account of the Distinction. Awards committees consid- more than thirty years. artist’s choices of panels, canvases, er your personal letters of recommenda- grounds, and pigments. He employs pas- tion when making their selection. In the Committee: Shelley Perlove, University of Michigan, sionate connoisseurship and close exami- letter, state who you are; how you know Dearborn, Chair; Dorothy Johnson, University of Iowa; Ellen Konowitz, State University of New York, New Paltz; nation of brush strokes and draws upon the (of) the nominee; how the nominee P. Gregory Warden, Southern Methodist University storytelling power of history writing and/or his or her work or publication through the re-creation of visits by con- has affected your studies; the pursuit of COLLEGE ART ASSOCIATION/ temporaries to Rembrandt’s studio. your career; and why you think this per- Wetering explains Rembrandt’s rough son (or, in a collaboration, these people) HERITAGE PRESERVATION brushwork and textured surface as an deserves to be recognized. We urge you AWARD FOR DISTINCTION expression of conscious practice tied to to contact five to ten colleagues, stu- IN SCHOLARSHIP AND seventeenth-century Dutch art theory. dents, peers, collaborators, and/or CONSERVATION Wetering’s publications are templates for coworkers of the nominee to write let- the successful synthesis of technical, visu- ters as well. The different perspectives The College Art Association/Heritage and anecdotes from multiple letters of Preservation Award for Distinction in nomination provide the committees with Scholarship and Conservation was initiated a clearer picture of the qualities and in 1990 for an outstanding contribution by attributes of the candidates. one or more persons who, individually or All nomination campaigns should jointly, have enhanced the understanding include one copy of the nominee’s c.v. of art through the application of knowl- (limit: two pages). Nominations for edge and experience in conservation, art MA in Art History book awards and exhibition awards history, and art. This year’s recipient is Intercultural MA with specialization in should be for authors of books pub- Ernst van de Wetering for his book Modernism or Renaissance Rembrandt: The Painter at Work One year degree program lished or works exhibited or staged (Amsterdam: University of Amsterdam Optional semester in Florence between September 1, 2002, and August Press, 1997; Berkeley: University of Central London location 31, 2003. Note that no more than ten US accredited California Press, 2000) and his other writ- letters per candidate will be considered. For more information and an application form contact: Please fill out the form online at ings on the philosophy and ethics of treat- Office of Graduate Admissions ment of works by modern and contempo- Queens Road, Richmond Upon Thames www.collegeart.org. For more informa- rary artists such as Vincent van Gogh and TW10 6JP UK tion, please consult www.collegeart. Tel: +44 20 7368 8475 / Fax: +44 20 7376 0836 org/caa/aboutcaa/awards_comm.html. Barnett Newman. e-mail: [email protected] Wetering trained as an artist at the Royal Deadline: August 31, 2003.

18 CAA NEWS MARCH 2003 November 6–25, 2002. Bath Tubs. Neddi Heller. Thai Café, Brooklyn, NY, Photography. November 3–December 14, 2002. Navigation. Painting. Lynda Lampert. Associated Artists of Butler County, Butler, PA, January Lynn Imperatore. Doll-Anstadt Gallery, 17–February 14, 2003; Merrick Art Burlington, VT, October 2002. The Ages Gallery, New Brighton, PA, May 4–June of Anxiety. Painting; Amy E. Tarrant 1, 2003; Morgantown Art Gallery Center, Gallery, Flynn Center for the Performing Morgantown, WV, September 3–26, Arts, Burlington, VT, November 14, 2003. The Trunk Show. Works on paper. 2002–January 4, 2003. Seasoned Greetings. Painting and drawing. MIDWEST Lynda Lampert. Ortlip Gallery, Tom Aprile. Sonia Zaks Gallery, Houghton College, Houghton, NY, March Chicago, January 10–February 11, 2003. 10–April 3, 2003. The Trunk Show. Labyrinths. Works on paper; Len G. Works on paper. Everett Gallery, Hewes Library, Monmouth College, Monmouth, IL, Soraya Marcano. Boricua College, February 17–March 21, 2003. Selected Brooklyn, NY, December 6, 2002– Kurt Perschke. Image Jaume, July 7, 2002. Drawings and Sculpture. January 31, 2003. Soraya Marcano: An Installation. Individual Exhibition. Mixed media. Terry Arthur Barrett. Memorial Mel Pekarsky. Near Roswell, 2002. Pencil, Gallery, Cornwell-Reed Fine Arts Center, Lauren O’Neal. Sacramento St. Gallery, pastel and crayon on paper. 60 x 40” Oakland City University, Oakland City, Cambridge, MA, February 5–26, 2003. SOLO IN, November 5–December 20, 2002. Fragments. Lightbox installation. Jeff Whipple. Gulf Coast Museum of Art, Origami Architecture in Sacred Space: Largo, FL. November 30, 2002–January EXHIBITIONS Selections from 1992–2002. Mel Pekarsky. Nielsen Gallery, Boston, 12, 2003. 25-Year Retrospective. Painting, December 7, 2002–January 4, 2003. drawing, sculpture, and theater. BY ARTIST Charles Gniech. Fine Arts Building Coming to the Desert. Painting and Gallery, Chicago, March 5–29, 2003. drawing. WEST From Darkness: New Paintings and MEMBERS Drawings. Rachel Selekman. Priska C. Juschka Julia Margaret Becker. University of Fine Art, Brooklyn, NY, February Great Falls Fine Arts Gallery, Great Falls, Dusty Herbig. Porter Butts Gallery, 21–March 23, 2003. Sculpture. Only artists who are CAA members are MT, February 5–26, 2003. Images from Madison, WI, November 22–December included in this listing; group shows are not South India. Mixed-media installation. published. More images and artworks can be 21, 2002. POP. Carol Struve. A.I.R. Gallery II, New found on the CAA website. When submitting York, October 8–November 2, 2002. John G. Boehme. Los Angeles, April information, include name, membership ID Michael Krueger. Clayton Staples Conversations at the Edge: Recent 10–12, 2003. Full Nelson V. Performance. number, venue, city, dates of exhibition, title Gallery, Wichita State University, Paintings. of show, and medium (or website address of Wichita, KS, November 17–December Luca Buvoli. Portland Institute for an online exhibition). Omission of member- 14, 2002. Drawing America & The Full Karen Woodward. Pratt Institute Fine Contemporary Art, Portland, OR, ship ID number from your submission may Metal Journals. Drawing and prints. Arts Gallery, Brooklyn, NY, December November 20, 2002–February 1, 2003. prevent your listing from being published. 9–13, 2002. Bird Behaviour: The Flying: Practical Training for Photographs, slides and digital images are Virginia Maksymowicz. Richard E. Aesthetics of Ethology. Painting, sculp- welcome but will be used only if space Intermediates. Installation. Peeler Art Center, Visual Arts Gallery, ture, books, and video. allows; please include the work’s title, date, DePauw University, Greencastle, IN, medium, and size. Due to the large number Mary Hackett-Konicek. Zone9Arts: January 29–March 9, 2003. Virginia SOUTH of submissions, images that do not meet Flatfile Gallery, Los Angeles, November Maksymowicz: Accumulated Intention. our specifications will not be considered. 1–30, 2002. Series 100 + Spare Parts. Mixed media and installation. Pip Brant. Art Gallery, Broward Images cannot be returned. Please mail to Installation. Solo Member Exhibitions, CAA News, 275 Community College South Campus, Seventh Ave., New York, NY 10001; Barbara Simcoe. Lied Art Gallery, Pembroke Pines, FL, March 13–April 18, Mary Daniel Hobson. Mariposa Gallery, [email protected]. Creighton University, Omaha, NE, 2003. Tabled Reports. Works on cloth. Albuquerque, NM, January 17–February September 28–October 20, 2002. Dark 18, 2003. Mapping the Body. Night. Painting, drawing, and digital work. Maria Creyts. Lucille Parker Gallery, ABROAD William Carey College, Hattiesburg, MS, Susan Kingsley. Monterey Peninsula NORTHEAST November 15–December 20, 2002. Cloth College Art Gallery, Monterey, CA, John G. Boehme. Helsinki Art Hall, and Garments. Painting and drawing; February 3–March 3, 2003. (Necessitous) Helsinki, Finland, February 14–15, 2003. Rikki Asher. Office of the Bronx Jambalaya Gallery, Ohr-O’Keefe Accessories and Additional Work. Là-bas. Performance; Performance Borough President, Bronx County Museum of Art, Biloxi, MS, January– Metalsmithing and sculpture. Biennial, Vancouver, BC, Canada, Building, Bronx, NY, December 16, February 2003. Raffia Velvets. Painting. October 2003. Live. Performance. 2002–February 14, 2003. Rikki Asher. Samella Lewis. Hampton Room, Painting and prints. Arturo Lindsay and Opal Moore. Elizabeth Hubert Malott Commons, Bivas Chaudhuri. Chemould Gallery, Camille Olivia Hanks Cosby Fine Arts Scripps College, Claremont, CA, August Queens Mansion, Kolkata, West Bengal, Susan Bee. A.I.R. Gallery, New York, Bldg., Spelman College, Atlanta, October 31–December 20, 2002. Samella Lewis: India, January 21–28, 2003. Recent April 1–26, 2003. Sign Under Test: New 11, 2002. The Voyage of Delfina. Paintings and Works on Paper, 1941–2000. Paintings by Bivas Chaudhuri. Paintings. Performance. Jan Wurm. Flora Lamson Hewlett Liliane Lijn. Rocca di Umbertide Centro Kathy Desmond. Cambridge Larry Walker. Huntsville Museum of Library, Graduate Theological Union, per l’Arte Contemporanea, Perugia, Italy, Multicultural Arts Center, Cambridge, Art, Huth Gallery, Huntsville, AL, January Berkeley, CA, June 12–October 4, 2002. June 29–September 12, 2002. Light and MA, September 3–October 15, 2002. 12–April 2003. The Wall Series: A Ten- Paintings and Drawings. Memory. Family. Drawing, video, and installation. Year Selection. Mixed-media painting.

Kurt Perschke. Barcelona, Spain, July Laurie Fendrich. Gary Snyder Fine Art, IF YOU WOULD LIKE YOUR WORK TO BE IF YOU WOULD LIKE YOUR WORK TO BE 2002. RedBall Barcelona. Temporary New York, December 12, 2002–January CONSIDERED FOR INCLUSION IN CAA NEWS, CONSIDERED FOR INCLUSION ON THE CAA public installations. 25, 2003. Paintings. PLEASE PROVIDE: WEBSITE, PLEASE PROVIDE: one black-and-white photograph, no larger one color photograph, no larger than 5 x 7" MID-ATLANTIC Tony Gray. Allston Skirt Gallery, than 5 x 7" OR one digital (JPEG or TIFF) OR one digital (JPEG) file, no larger than Boston, December 6–28, 2002. Tony file, no larger than 5 x 7", with a resolution 5 x 7", with a resolution of 72 dpi Roberto Bocci. Georgetown University Gray. of 300 dpi Art Galleries, Washington, DC,

CAA NEWS MARCH 2003 19 Irma B. Jaffe. Shining Eyes, Cruel Jeffrey Chipps Smith. Sensuous across the U.S. and Europe; many others BOOKS Fortune: The Lives and Loves of Italian Worship: Jesuits and the Art of the Early are respected independent conservators. Renaissance Women Poets (Bronx: Catholic Reformation in Germany Brealey’s parents were artists; his Fordham University Press, 2002). (Princeton: Princeton University Press, father, William, was a well-known por- PUBLISHED BY 2002). trait painter in London. In a Foundation James Karman. Stones of the Sur: of the American Institute for Conserva- CAA MEMBERS Poetry by Robinson Jeffers/Photographs Richard E. Spear. From Caravaggio to tion (FAIC) oral-history interview in by Morley Baer (Stanford, CA: Stanford Artemisia: Essays on Painting in 1976, Brealey said, “I realized that I had University Press, 2001). Seventeenth-Century Italy and France a very strongly developed inherent Only authors who are CAA members are (London: Pindar Press, 2002). response to works of art. I felt completely included in this listing. Please send your John Klein. Matisse Portraits (New at home with an artwork, whether it was a name, membership ID number, book title, Haven: Yale University Press, 2001). Diane Tepfer. Samuel Halpert: Art and sculpture, architecture, or painting. I just publisher’s name and location, and year Life, 1884–1930 (New York: Millennium knew where I was. Probably the only published (no earlier than 2002) to Dickran Kouymjian, Michael Stone, Partners, 2001). time in life that I was at ease.” [email protected] and Henning Lehmann. Album of Anthony Blunt at the Courtauld Armenian Paleography (Aarhus, Ann Terry. Retrieving the Record: A Institute of Art, University of London, Gannit Ankori. Imaging Her Selves: Denmark: Aarhus University Press, 2002). Century of Archaeology at Porec and James Byam Shaw, chairman of Frida Kahlo’s Poetics of Identity and (1847–1947) (Zagreb-Motovun, Croatia: Colnaghi’s, both advised him to study Fragmentation (Westport, CT: Lynda Lambert. Concerti: Psalms for International Research Center for Late with the late Johannes Hell, conservator Greenwood, 2002). the Pilgrimage (Vashon Island, WA: Kota Antiquity and the Middle Ages, 2001). of the Dulwich Collection and a Press, 2003). Rembrandt specialist, which Brealey did Kyra Belan. Madonnas: From Medieval Philip Ursprung, ed. Herzog and de in 1947. He then worked with Stephen to Modern (New York: Parkstone Press, Liliane Lijn. Light and Memory (Perugia, Meuron: Natural History (Montréal: Rees Jones at the Courtauld in 1951–52. 2001). Italy: Rocca di Umbertide Centro per Canadian Centre for Architecture, 2002). From 1952 until 1975, Brealey treated l’Arte Contemporanea, in association with important pictures from major public and Stephen Bertman. Handbook to Life in Thames and Hudson, 2002). Khristaan Villela, Ellen Bradbury, and private collections. His most challenging Ancient Mesopotamia (New York: Facts Logan Wagner. Contemporary Mexican project was the series of 9 large canvases On File, 2003). Carolyn S. Loeb. Entrepreneurial Design and Architecture (Layton, UT: of the Triumphs of Caesar by Andrea Vernacular: Developers’ Subdivisions in Gibbs Smith, 2002). Mantegna in the Royal Collection at Suzaan Boettger. Earthworks: Art and the 1920s (Baltimore: Johns Hopkins Hampton Court. In 1975, John Pope- the Landscape of the Sixties (Berkeley: University Press, 2001). Kathleen Walsh-Piper. Image to Word: Hennessy and John Walsh persuaded him University of California Press, 2002). Art and Creative Writing (Lanham, MD: to give up his private practice and come Charles R. Mack and Ilona S. Mack, Scarecrow Press, 2002). to the Metropolitan Museum of Art to set Luca Buvoli. Flying: Practical Training eds. Like a Sponge Thrown into Water: up his own teaching institute. There, for Intermediates (Notes 1997–2002) Francis Lieber’s European Travel Journal Carolyn C. Wilson. St. Joseph in Italian Brealey coauthored Art and (Portland, OR: Portland Institute for of 1844–1845 (Columbia: University of Renaissance Society and Art: New Autoradiography: Insights into the Contemporary Art, 2002). South Carolina Press, 2002). Directions and Interpretations Genesis of Paintings by Rembrandt, Van (Philadelphia: Saint Joseph’s University Dyck, and Vermeer (New York: Claude Cernuschi. Re/Casting Victor Margolin. Culture Is Everywhere: Press, 2001). Metropolitan Museum of Art, 1982) with Kokoschka: Ethics and Aesthetics, The Museum of Contemporary Art (New Maryan Ainsworth, Egbert Haverkamp- Epistemology, and Politics in Fin-de- York: Prestel, 2002). Begemann, and Pieter Meyers. In 1982, Siècle Vienna (Madison, NJ: Fairleigh Brealey and the museum battled the staff Dickinson University Press, 2002). Pierre Alain Mariaux. Warmond d’Ivrée of the television news program “60 et Ses Images: Politique et Création Minutes,” who had branded The Fortune David Clarke. Reclaimed Land: Hong Iconographique Autour de l’An Mil PEOPLE IN THE Teller by Georges de La Tour as a fake. Kong in Transition (Hong Kong: Hong (Bern, Switzerland: Peter Lang, 2002). He also traveled to and consulted for the Kong University Press, 2002). Museum Dahlem, Berlin; the National Sabine Marschall. Community Mural Art NEWS Gallery of Scotland; the Art Museum Shelley Cordulack. Edvard Munch and in South Africa (Pretoria: University of Association of Australia; the Museum the Physiology of Symbolism (Madison, South Africa Press, 2002). Boymans-van Beuningen, Rotterdam; and NJ: Fairleigh Dickinson University Press, IN MEMORIAM the J. Paul Getty Museum in Los 2002). Elizabeth A. Newsome. Trees of Angeles. Paradise and Pillars of the World: The From 1982 to 1989, Brealey held Tracy Lee Ehrlich. Landscape and Serial Stela Cycle of 18-Rabbit-God K, John M. Brealey, head of the Paintings annual 5-day seminars at the Met for Identity in Early Modern Rome: Villa King of Copan (Austin: University of Conservation Dept. of New York’s other museum directors and curators on Culture at Frascati in the Borghese Era Texas Press, 2001). Metropolitan Museum of Art from 1975 connoisseurship and approaches to con- (New York: Cambridge University Press, to 1989, died on December 19, 2002. He servation and restoration of paintings, 2002). Csilla Ottlik Perczel. A History of was 77. working in coordination with Walsh. Architecture in the Carpathian Basin, Brealey was also an adjunct professor In 1984, Brealey cleaned and restored Vivien Green Fryd. Art and the Crisis of 1000–1920 (Boulder, CO: East European at the Institute of Fine Arts, New York Diego Velázquez’s Las Meninas at the Marriage: Georgia O’Keeffe and Edward Monographs, 2001). University; a member of the Advisory Prado in Madrid, for which King Juan Hopper (Chicago: University of Chicago Council, Hamilton Kerr Institute, Carlos I awarded him the Medalla de Oro University of Cambridge; consultant to Press, 2003). Joel Priddy. al Merito en Las Bellas Artes (Gold Pulpatoon Pilgrimage the Yale Center for British Art in New Medal for Artistic Achievement). Brealey Rona Goffen. Renaissance Rivals: (Richmond, VA: Haven; consultant and restorer to the later returned to the Prado to assist in Michelangelo, Leonardo, Raphael, Titian Adhouse Books, Frick Collection in New York; and fellow reorganizing their conservation depart- (New Haven: Yale University Press, 2002). of the International Institute of Conserv- ment. He suffered a severe stroke in 2002). ation of Conservation of Historic and 1989, but continued his work at the Prado Susan R. Ressler, ed. Artistic Works. for brief periods until 1992. Kenneth Haltman, critical translation of Women Artists of the The London-born Brealey never —Joyce Hill Stoner, from the FAIC Oral Gaston Bachelard’s Earth and Reveries of American West received formal academic training, but by History File Will: An Essay on the Imagination of (Jefferson, NC: McFarland, 2003). 1951 had become the leading conservator Matter (Dallas: Dallas Institute of in England. He came to the U.S. in 1975 Julius S. Held, an eminent scholar of the Humanities and Culture, 2002). Janice G. Schimmelman. American and was a “prime mover in a campaign to history of 16th- and 17th-century Dutch Photographic Patents, 1840–1880: The transform the theory and practice of the and Flemish art, died on December 22, Peter J. Holliday. The Origins of Roman Daguerreotype and Wet Plate Era conservation of paintings in this country,” 2002, at his home in Bennington, VT. He Historical Commemoration in the Visual (Nevada City, CA: Carl Mautz, 2002). according to the writer Calvin Tomkins. was 97. Arts (New York: Cambridge University Students he trained now have roles in Held was born in Mosbach, Germany, Press, 2002). conservation depts. at major museums in 1905, and after studies at the

20 CAA NEWS MARCH 2003 Universities of Heidelberg, Berlin, and Joseph Friebert, tion last year in a Milwaukee art gallery Vienna, he obtained his Ph.D. in art histo- artist and educator, featuring the work of all three Friebert GRANTS, ry from the University of Freiburg in died at 94 on artists. 1930. He then worked at the Berlin December 16, 2002, —Richard Haas, artist Museum but was forced to leave when in Milwaukee, WI, AWARDS, AND the Nazis came to power. He emigrated to where he lived, the U.S. in 1934 and raised a family, stud- HONORS began his academic ied, taught, and ACADEME Joseph Friebert career as a lecturer at painted for more New York University. than 90 years. Ingrid Alexander-Skipnes has been pro- John Bankston, a San Francisco–based In 1937 Held was hired Friebert was born in Buffalo, NY, in moted to associate professor of art history artist, is 1 of 4 artists to receive the 2002 as a lecturer at Barnard 1908 and came to Milwaukee in 1911. in the Dept. of Economics, Cultural, and Society for the Encouragement of College, becoming a His first training was as a pharmacist; I Social Studies at Stavanger University Contemporary Art (SECA) Award, professor in 1954, and remember he often said that he kept College in Norway. administered by In/Site, which recognizes Julius S. Held was appointed chair of renewing his pharmacist’s license well artists at a high level of maturity whose the Art History Dept. in into his art career “just in case.” He Roger Benjamin has been appointed work has not yet received substantial 1967. During this time he also taught began that career during the Great Power Professor of Art History and recognition. Bankston’s art will be on dis- graduate courses at Columbia University. Depression with drawing and eventually Visual Culture and director of the Power play in a group exhibition of the 2002 His influence as a teacher, which was as studied art at the Layton School of Art. Institute at the University of Sydney in SECA Award winners at the San significant as his impact as a scholar, was He received a degree in art at the Australia. Francisco Museum of Modern Art, March felt not only by his students at Barnard Milwaukee State Teachers College in 20–July 27, 2003. and Columbia, but also by many others as l945 and began teaching there a year Douglas Crimp, a result of his appointments and lecture- later, remaining there until l976, when he professor of art his- Barbara Bernstein has received a ships at other institutions, including the retired as a full professor of art from the tory and of visual Pollock-Krasner Foundation grant to sup- University of Pittsburgh, Bryn Mawr school that became the University of and cultural studies port the creation of new work, and a College, Yale University, and the Institute Wisconsin, Milwaukee. at the University of Pennsylvania Partners in the Arts grant for Advanced Study in Princeton. In 1971 Friebert’s art often recognized and Rochester in for a collaborative project of visual art, Held retired from Barnard and moved referred to major social issues that grew Rochester, NY, has electronic and live music, found sound, from New York to Bennington, VT, out of his experience of the Depression been appointed the Douglas Crimp and dance. where he continued to teach for 10 years and WWII. His paintings were often built Fanny Knapp Allen as the Clark Professor of Art in the gradu- up from a warm, rich brown background, Professor of Art Pip Brant, assistant professor of art and ate program for art history at Williams using scumbling and glazing techniques History in recognition of his outstanding art history at Florida International College in Williamstown, MA. reminiscent of the Dutch and 19th-centu- contributions to the school. University in Miami, has been awarded Long considered one of the foremost ry American masters: these works glowed the 2003 South Florida Cultural authorities on the works of Peter Paul from within. The painting entitled Urban Kurt Perschke has been appointed visit- Consortium Fellowship for Visual and Rubens, Anthony Van Dyck, and Cathedral (1954), exhibited in the Venice ing artist to Columbia College Chicago’s Media Arts for recent work in fibers. The Rembrandt, Held published extensively. Biennale of l956, was a masterpiece of fine-arts program for spring 2003. project, entitled “Tabled Reports,” will be Among his most significant and influen- this type. His subjects included the land- exhibited at the Broward Community tial books were Rubens: Selected scape, the cityscape, and the human fig- Bill Seaman, a digital-media artist and College South Campus’s Art Gallery in Drawings (London: Phaidon, 1959), ure in the nude, in groups, and in formerly assistant professor of design and Pembroke Pines, FL, this spring, and will Rembrandt’s Aristotle and Other portraiture. media arts at the University of California, be included at the fellowship exhibition at Rembrandt Studies (Princeton: Princeton During his long career Friebert exhibit- Los Angeles, has been named head of the the Palm Beach Institute of Contempo- University Press, 1969), and The Oil ed widely and received numerous honors Rhode Island School of Design’s new rary Art in Lake Worth, FL, on July Sketches of Peter Paul Rubens: A Critical and awards. His work was shown in M.F.A. program in digital media. 3–August 17, 2003. Catalogue (Princeton: Princeton many of the major museums in this coun- University Press, 1980), a 2-volume try, including the Art Institute of Chicago, Nancy L. Wicker, formerly professor of Emilie Clark was awarded a grant from work. His honors included membership in the Milwaukee Art Center, the Corcoran art history and director of the the Pollack-Krasner Foundation in 2002. the American Academy of Arts and Gallery of Art in Washington, DC, the Scandinavian Studies Program at The grant supports the artist’s living and Sciences, election as an Honorary Whitney Museum of American Art in Minnesota State University, Mankato, has working expenses for 1 year. Director of the College Art Association, New York, and the Walker Art Center in been appointed chair of the Dept. of Art and numerous honorary doctorates and Minneapolis, MN. His work is in the per- at the University of Mississippi. Julie F. Codell, professor of art history at medals of distinction. In 1999 he was manent collections of many museums. He Arizona State University, received a awarded the Mitchell Prize for lifetime also exhibited extensively in group and Skaaren Film Fellowship from the Harry achievement in the history of art. solo exhibitions. His last such major solo MUSEUMS Ransom Humanities Center, University of Held was a lifetime collector of paint- exhibition was in l996 at the Haggerty Texas at Austin, to do research in the cen- ings, drawings, and old books. A large Museum of Art in Milwaukee. ter’s archives. In January 2003 she was number of the drawings from his collec- On a personal note, I remember Samuel Sachs II has announced that he will step down as director of New York’s invited by the University of Calcutta in tion are now at the National Gallery of Art Friebert as the teacher who was pivotal in India to give a public lecture on her study in Washington, DC, and the books were inspiring me to become an artist from that Frick Collection at the end of September 2003. of the exhibitions of Indian art under the acquired by the Sterling and Francine first encounter in his watercolor class at British Raj. Clark Art Institute in Williamstown. the Milwaukee State Teachers College in David G. Turner, Beginning in 1958, he served as the con- l954. Not only did he encourage and Virginia Davis has been awarded a grant sultant to the Museo de Arte in Ponce, mentor me as an artist, but he also took a formerly director of the Colorado in support of her work from the Ruth Puerto Rico. His participation in the selec- strong personal interest in my career deci- Chenven Foundation. tion and acquisition of important sions. I am sure that he did this for count- Springs Fine Arts Center, has been European works of art was critical to the less other students and colleagues as well. Andria Derstine, a doctoral candidate at significance of this remarkable museum Fred Berman and Pat Muschinsky are two selected to direct the University of the Institute of Fine Arts, New York collection. His advice was sought by col- that come to mind. During our many field University, has received an Andrew W. lectors here and abroad, and for many trips to the Art Institute of Chicago, I Oregon Museum of David G. Turner Art in Eugene. Mellon Curatorial Fellowship in the years his opinion was considered the final found his lectures in front of the old mas- European Paintings Dept. at the Detroit word in the attribution of important paint- ters and contemporary artists whom he Institute of Arts for 2002–4. ings in his field of expertise. admired especially memorable and One of Held’s proudest accomplish- inspired. ORGANIZATIONS Chisato (Kitty) Dubreuil, a Ph.D. candi- ments was the establishment, as a result He is survived by his 2 daughters, date in the history in art at the University of his efforts, of a memorial in his home- Susan Rossen, executive director of pub- Elisha Fernandes Simpson has been of Victoria in Victoria, BC, Canada, has town of Mosbach to the memory of its lications at the Art Institute of Chicago, appointed director of marketing and devel- been awarded a grant from the Motoko former Jewish citizens. Perhaps the least and Judith M. Friebert of Boylston, MA, opment for the Cambridge Multicultural Ikeda-Spiegel Foundation to finish her known of his abilities was his gift for a painter and children’s-book illustrator. Arts Center in Cambridge, MA. book manuscript, “From the Garden of portrait drawing. Friebert’s wife, Betsy, who died in 1963, the Gods: The Life and Art of Bikky —Anna Held Audette was also an artist. There was an exhibi-

CAA NEWS MARCH 2003 21 Sunazawa.” She has also received a grant mation video, Little Wars: The Carousel State-of-the-Universe(s) Report; and the mation, please visit www.namta.org or to travel to Western Siberia to present her Project, at the Banff Center for the Arts exhibition Becoming Modern: 1890– call 704/892-6244. paper, “Metal and Its Use in the in August 2002. 1939, marking the opening of the expand- Indigenous Arts of the Northwest Coast ed facilities of the Harry Ransom Center Lay Ritual Practices in Gardens and of North America,” at the Northern Anonymous Was A Woman has awarded at the University of Texas at Austin. Landscapes is the topic of the next Archaeological Congress in Khanty- artist grants to CAA members Alison Although the conference will focus on the Dumbarton Oaks Symposium in Garden Mansiysk, and to conduct research of the Knowles and Constance Joan Samaras. theme of space and/or time in many of its and Landscape Studies, to be held May early Russian collections of Northwest sessions, all proposals addressing the 2–3, 2003. This symposium will aim at Coast art at the Museum of Anthropology interaction of art or literature with science better understanding the reception of gar- and Ethnography (Kunstkamera) in St. and technology, including new media, are dens and landscapes by focusing on a Petersburg, Russia. welcome. Individuals may submit 150- limited number of lay ritual practices in ANDREA ARTZ word abstracts for individual papers as gardens and landscapes in a large variety J. David Farmer has been nominated by well as proposals for panels, which are of cultural contexts. It will give rise to the French Ministry of Culture to usually composed of 3–4 speakers plus discussions of the formative functions of 1 Chevalier de l’Ordre des Arts et des discussion in a 1 ⁄2 hour session. Sessions gardens and landscapes for cultural and Lettres for 2002. PHOTO CREDIT: involving speakers and/or respondents social life. The symposium will draw Shamim Momin, Debra Singer, and Chrissie that transcend disciplinary boundaries are examples from very different times and Iles Samella Lewis has been honored by particularly welcome. Email abstracts or cultures: Chinese landscapes under Scripps College in Claremont, CA, with a The Whitney Museum of American Art session proposals to Linda Dalrymple Mongol rule; Caribbean and African scholarship in her name. has named Chrissie Iles, Shamim M. Henderson at [email protected] American landscapes; public parks in Momin, and Debra Singer for the 2004 and Bruce Clarke at bruce.clarke@ttu. Japan; Japanese gardens in America; gar- Janet Maher, assistant professor of stu- Whitney Biennial. CAA members Callie edu; http://english.ttu.edu/sls2003/ dens in France and Holland in the 17th dio art at Loyola College in Baltimore, Angell, Christiane Paul, and Marla sls2003.htm. Deadline: May 1, 2003. and 18th century; aristocratic gardens, has coordinated and produced a 3-volume Prather will also help organize the kitchen gardens, and public gardens in book work, The Anatomy of Solitude. exhibition. The 13th Annual St. Louis Conference Great Britain from the 18th century to the This correspondence project, which on Manuscript Studies, hosted by the present; and freemason gardens in 19th- includes 165 participants, has been Vatican Film Library and Manuscripta, century Italy. It will discuss a few differ- accepted into the artists’ books collection will take place at St. Louis University on ent rituals as well, ranging from walking at the Library and Research Center of the October 10–11, 2003. The organizers or bathing to burial, marriage, and politi- National Museum of Women in the Arts request submissions of 1-page abstracts cal slandering. Thus the symposium will in Washington, DC. CONFERENCES for papers that address topics such as offer an unusual perspective for cross- paleography, codicology, illumination, cultural discussion of social practices in Clarence Morgan of the University of book production, diplomatics, library his- gardens and landscapes. It will also intro- Minnesota has participated in several res- & SYMPOSIA tory, reading, and literacy. For more duce a rich picture of the variety of gar- idencies in 2002–3. He has spent time at details, please contact Gregory A. Pass, den practices that deserve scholarly atten- the Tamarind Institute in Albuquerque, Vatican Film Library, Pius XII Memorial tion. Registration information is available NM; at the University of Georgia’s Study For the most up-to-date and expanded list of Library, St. Louis University, 3650 from Garden and Landscape Studies, Abroad Program in Cortona, Italy; and in conferences and symposia, please consult Lindell Blvd., St. Louis, MO 63108; Dumbarton Oaks, 1703 32nd St. NW, the Burt and Elizabeth Harwood Artist-in- www.collegeart.org 314/977-3096; fax: 314/977-3108; Washington, DC 20007; www.doaks.org/ Residence Program at the Harwood [email protected]; www.slu.edu/libraries/ LandscapeArchitecture.html. Museum of Art in Taos, NM. vfl/events.htm. Deadline: May 1, 2003. CALLS FOR PAPERS Conference on Dress and Art will be Richard Posner has been awarded a held at the Frick Collection on June 7, Senior Fulbright Specialist Fellowship for a Nation, Style, and Modernism, an inter- TO ATTEND 2003. It is organized by Aileen Ribeiro Public Art Residence in the Art-in-Context national colloquium to be held September and Susan Grace Galassi in conjunction Program at the University of the Arts in with the exhibition Whistler, Women, and 6–11, 2003, under the patronage of the The Anthropologies of Art will take Berlin for the 2002–3 academic year. Comite International d’Histoire de l’Art Fashion (April 22–July 13, 2003), which place on April 25–26, 2003, at the places fashion at the center of James (CIHA) and organized by the Zentral- Sterling and Francine Clark Art Institute Joel Priddy of the Memphis College of institut fuer Kunstgeschichte in Munich McNeill Whistler’s oeuvre. This 1-day Art in Tennessee has received the SPX in Williamstown, MA. This conference conference will explore the role of and the International Culture Centre in will bring together leading art historians Ignatz Award for Debut Book for his Cracow, seeks papers. For full details, costume in European art from the graphic novel, Pulpatoon Pilgrimage and anthropologists for talks and discus- Renaissance to the end of the 19th centu- visit www.zikg.lrz-muenchen.de/main/ (Richmond, VA: AdHouse Books, 2002). sion about the interactions and diver- ry. Nine speakers—art and dress histori- news.htm. Deadline: April 17, 2003. gences between their disciplines. The ans among them—will give talks that and conference will explore how anthropolo- focus on such artists as Hans Holbein, Richard E. Spear Athena Tacha International Congress of the History have been awarded residencies by the gy and art history understand the term Titian, Anthony Van Dyck, Diego of Art (CIHA) requests proposals for “art,” the possibility of a cross-cultural Bogliasco Foundation at the Liguria papers for its conference, “Sites and Velázquez, Thomas Gainsborough, Study Center in Bogliasco, Italy, for definition of art, and the implications for Jacques-Louis David, and Whistler, all of Territories of Art History,” to be held in the collecting and display of Western and April–May 2003. Montreal on August 22–27, 2004. For whom are represented in the Frick. A fee non-Western objects in art museums. of $15 ($10 for students, seniors, and more information, visit http://ciha2004. , a 2002–3 Registration is $25/day ($15/day for members) will include registration for the Despina Stratigakos uqam.ca. Deadline: May 1, 2003. Postdoctoral Fellow in the Humanities at Clark members). To register, please call event, lunch in the museum’s Garden 413/458-2303, ext. 324. Court, and entrance to the museum and Bryn Mawr College in Bryn Mawr, PA, Rethinking Space and Time across exhibition. Tickets must be purchased in and assistant professor in the School of Science, Literature, and the Arts is the Art at Illinois State University in Normal, The National Art Materials Trade advance at the Frick’s admissions desk or general theme of the 17th annual confer- Association (NAMTA) will hold the 53rd IL, has devoted the year to preparing a ence of the Society for Literature and by calling 212/547-0701. For additional book, provisionally entitled “A Women’s Annual NAMTA International information, please see www.frick.org. Science (SLS), to be held at the Marriott Convention and Trade Show at the Hyatt Berlin.” She is also teaching 2 courses at at the Capitol in Austin, TX, on October Bryn Mawr College, “Gender, Regency Chicago on April 30–May 3, Court Festivals of the European 23–26, 2003. SLS fosters the interdisci- 2003. Retail members will be able to take Architecture and Space” and “Museums plinary study of the relations among liter- Renaissance and After: Performance as Architecture and Cultural Practice.” part in 5 separate seminars on April 30 and Permanence will take place in ature and language, the arts, and science and May 1, aimed at assisting them in and technology; membership includes Castelvecchio Pascoli, Italy, on Satre Stuelke, photographer and sculptor, their daily business operations. The art- September 20–25, 2003. As events, early scholars of literature, art, and science as materials trade show will run May 1–3 is 1 of 3 artists invited from the fall 2002 well as writers, artists, and scientists. modern festivals were prefigurations of application round to participate in and will feature more than 200 exhibits today’s multimedia. Investigations of par- Special features of the conference will be from manufacturers, importers, distribu- Philadelphia’s Creative Artists Network. talks addressing recent developments in ticular festivities and their political con- tors, and publishers. New products and texts reveal the significance of symbols, cosmology; a plenary address by Timothy trends will be featured, as well as hands- Debra Swack has been awarded a Ferris, author of The Whole Shebang: A ceremony, and ritual in the planning, exe- cosponsorship to complete her DVD ani- on demonstrations. For additional infor- cution, and contemporary reading of such

22 CAA NEWS MARCH 2003 events. This conference will concentrate be showcased in the annual design show will appear in a group show in July 2003. on ways in which the media of print, to be held in conjunction with UCDA’s Entry fee is $30 for up to six 35-mm CALL FOR painting, architecture, and landscape were annual conference, October 12–15, 2003, slides. For prospectus, please send an PARTICIPATION used to lend permanence to the essentially in Cambridge, MA. For more informa- S.A.S.E. to Prospectus, National ephemeral. Linked to this is the question tion, contact UCDA at 615/459-4559; Competition, Soho Photo Gallery, 15 Boring Mail Show requests entries for an of how today’s collections use new media [email protected]; www.ucda.com. White St., New York, NY 10013; www. exhibition. We all get mail that is dull: such as digitization both for preservation Deadline: July 9, 2003. sohophoto.com. Deadline: April 26, 2003. regular mail, bills, and reminders to go to and to facilitate scholarly investigation. SlowArt Productions seeks contributions the dentist. These are definitely not mail Using individual projects as examples, we CALL FOR ENTRIES to Recent Work Showcase 2003, the 10th art, but nonetheless have a related aes- will be bringing together curators and annual international group exhibition to be thetic. For the Boring Mail Show, please scholars to discuss aims and innovative held in September. It is open to artists Fiber Focus 2003 is a 9-state juried bien- send me the detritus that would sooner go methods in this field. Working language working in any medium; $8,000 in awards into the trash than your archives. Only during the conference will be English, but nial exhibition open to artists residing in is available. Send an S.A.S.E. for prospec- Arkansas, Iowa, Illinois, Kansas, select items will be reproduced; your some presentations will be given in tus to SlowArt Productions, Showcase name, address, and email may be pub- French or German. The conference is Kentucky, Missouri, Nebraska, 2003, 870 Ave. of the Americas, New Oklahoma, and Tennessee; it will run lished unless requested to be withheld. open to researchers worldwide, but partic- York, NY 10001; [email protected]; Please send 5 or more pieces of boring ipation is limited to 100 people. The con- June 13–August 8, 2003, at Art St. Louis http://members.aol. com/slowart/ Gallery in St. Louis, MO. Contemporary mail that were sent to you or someone ference fee covers registration, full board, showcase.htm. Deadline: April 30, 2003. else in a large envelope (submissions and lodging. Some grants will be avail- work in any fiber media or combinations of fiber media is requested; media other must be stamped envelopes or postcards, able upon request. The program and The Artist’s Magazine requests contribu- or metered mail, but no prepaid advertis- application are available at www.esf.org/ than fiber may be incorporated if the cen- tions for its 2003 Art Competition, which tral or key element being explored is ing) to The Boring Mail Show c/o euresco/03/hc03157; or write to will recognize more than 250 finalists and Andrew Oleksiuk, 5336 W. Belle Plaine, . Deadline: May 19, clearly fiber or fiber technique. All styles award 45 major prizes. Open to both ama- [email protected] Chicago, IL 60641; mailart@earthlink. 2003. and subject matter are requested. Artists teurs and professionals, artists may enter net. Deadline June 15, 2003. 21 years of age and older may submit up work in 5 categories: portrait, landscape, The University and College Designers to three 35-mm color slides of original still life, experimental, and animal art. Association, a professional nonprofit artworks created in the past 2 years (April Entries are also accepted for the organization committed to promoting 2001–April 2003). Works must fit student/beginner division (open to artists CATALOGUES excellence in visual communications for through 3 x 8 ft. elevator door, or sepa- who have been painting for 2 years or institutions of higher education, is hold- rate parts must fit in the elevator to be less). Entries must be 35-mm slides of RAISONNÉ ing its annual conference on October assembled into larger piece or installa- original, unpublished art. They will be 12–15, 2003, in Cambridge, MA. tion. Final installation size of works may judged on concept, composition, drafts- Curator Brian Carleton is creating a Internationally recognized designers, be no larger than 9 ft. high/tall and 17 ft. manship, and adroit medium handling; comprehensive, 2-fold catalogue and illustrators, and photographers will dis- wide; ceiling suspended works are not each genre has its own criteria. Entry fee monograph on sculptor Beniamino cuss their work and its context. A special allowed. Awards include a $1,000 Best of is $10/slide. For rules and entry form, “Benny” Bufano (1898–1970) that will group of seminars will focus on topics Show as well as cash, merit, and purchase send an S.A.S.E. to The Artist’s Magazine, span the artist’s entire career. The first such as career management, technology, awards. A nonrefundable entry fee is $30. 20th Annual Art Competition, Attn: Terri volume, focusing on 2-D works, is await- and design-related issues. A design com- An entry form is required, which is not Boes, 4700 E. Galbraith Rd. Cincinnati, ing a publisher. I seek any particulars per- petition will also be held. For more infor- available online or by email; please send OH 45236. Deadline: May 1, 2003. taining to Bufano: images, documents, mation, please call 615/459-4559 or visit a #10 S.A.S.E. to Fiber Focus 2003, Art St. and the like. Please write to bbcart@ www.ucda.com. Louis, 917 Locust St., #300, St. Louis, National Park Academy of the Arts earthlink.net. MO 63101-1413; 314/241-4810; Robin@ seeks entries for the 17th Annual Top 100 The Byzantine Studies Conference will artstlouis.net. Deadline: April 4, 2003. competition and the MINI 50 contest (for The National Gallery of Art is conduct- meet at Bates College in Lewiston, ME, image size no smaller than 80 and no ing a search for works on paper by on October 16–19, 2003. For more infor- The Houston Center for Contemporary larger than 154 square inches). The pro- American artist Mark Rothko (1903–70) mation, please contact Tia Kolbaba, Dept. Craft is seeking entries for CraftHouston gram is designed to celebrate representa- for inclusion in Mark Rothko: The Works of History, Princeton University, 2003: National Juried Exhibition. All tional and impressionist artists and to on Paper, a multivolume catalogue Princeton, NJ 08544; kolbaba@ work in media or processes traditionally enhance the public awareness of the raisonné that will include more than princeton.edu; www.byzconf.org. associated with craft will be eligible for national parks through art. Selected par- 2,000 drawings and paintings on paper. entry. The exhibition will be held on ticipants will also be included in a nation- The catalogue is being written by Ruth E. August 8–October 12, 2003, and will al touring exhibition. For an entry form, Fine, curator of special projects in mod- travel for 1 year to additional U.S. ven- please call 800/553-2787; ern art, with assistance from Laili Nasr ues. The center will offer 3 Award of [email protected]; and Renée Maurer. Anyone with informa- Merit prizes of $1,000 each, with other www.artsfortheparks.com. Deadline: tion regarding Rothko’s works on paper awards to be announced. Entry forms and May 1, 2003. should contact Laili Nasr, Rothko RESOURCES & application information are available at Catalogue Raisonné Project, National the Houston Center for Contemporary Robert A. Peck Gallery is organizing an Gallery of Art, 2000 B South Club Dr., OPPORTUNITIES Craft, 4848 Main St., Houston, TX exhibition on the “Barn” theme. Any Landover, MD 20785; 202/842-6779; fax: 77002; 713/529-4848, ext. 400; vberry@ media or interpretation of the architecture 202/842-6936; [email protected]. crafthouston.org; www.crafthouston. will be considered for this exhibition, tak- For the most up-to-date and expanded list of org. Deadline: April 15, 2003. ing place January 17–February 28, 2004. resources and opportunities, please consult This exhibition will be shown in conjunc- GRANTS AND www.collegeart.org Phoenix Gallery seeks work for its 2003 tion with a Smithsonian Institution exhibi- national juried competition, to be held tion, Barn Again, to be held at the gallery. FELLOWSHIPS June 24–July 16, 2003. Artwork in any Artists interested in submitting a packet medium is accepted. For prospectus, AWARDS (20 slides or PC-formatted CD, artist state- The Peter Krueger Fellowship, a project please send an S.A.S.E. to Phoenix Gallery, ment, résumé, and S.A.S.E.) to Nita Kehoe, of the Peter Krueger-Christie’s 568 Broadway, New York, NY 10012; Gallery Coordinator, Central Wyoming The University and College Designers Foundation, provides funding for signifi- www.phoenix-gallery.com. Deadline: College, 2660 Peck Ave., Riverton, WY Association (UCDA) requests submis- cant museum projects focusing on April 11, 2003. 82501. Deadline: May 1, 2003. sions for its 2003 Design Competition. European and American decorative arts, Promotional materials designed for col- design, and related fields. The grant is for Soho Photo Gallery seeks work for its 8th The Gallery at Penn College seeks art- leges, universities, and other educational a maximum of $22,500. This fellowship annual national photography competition, work in all media for solo exhibitions institutions created between July 1, 2002, is available to American museums and which is open to all U.S.-based artists at during the 2003–4 school year. An hono- and June 30, 2003, are eligible for entry. other nonprofit cultural and educational least 18 years of age working in any pho- rarium and purchase award may be Categories range from publications and institutions; its purpose is to encourage tography-based medium (including digital offered. For prospectus, write to Gallery posters to type design, photography, illus- scholarly and professional development and mixed media). First prize is a solo Assistant, Comm. Arts Dept., DIF 45, tration, and electronic media—including for an individual with an interest in work- exhibition at the gallery during the 2003–4 Pennsylvania College of Technology, 1 webpages. A student category is also ing with museum collections or related season, as well as a $500 cash award. College Ave., Williamsport, PA 17701; offered. Pieces selected for awards will programs. The project may help an insti- Approximately twenty 2nd-place winners [email protected]. No deadline.

CAA NEWS MARCH 2003 23 tution to undertake needed research, doc- of grant funds; and demonstrated finan- ACA has 6 studios that include a dance umentation, or interpretation of collec- cial need. Application form and program studio, music studio with recording facili- CLASSIFIEDS tions, or to pursue development of new guidelines are available by mail only; ties, painting studio, sculpture studio, areas of scholarly research that fulfill, please write to the Elizabeth Foundation black-box theater, resource library, and amplify, or extend the institution’s mis- for the Arts, P.O. Box 2670, New York, digital computer lab. Each residency ses- Do you want to guarantee that your event or sion. Such activities as cataloguing a par- NY 10108. Deadline: May 1, 2003. sion includes 3 master artists of different listing will be published by CAA News? We ticular segment of a collection, a new disciplines in the performing and fine accept classified ads of a professional or installation and an interpretation of col- The American Institute of Indian arts. These artists personally select a semiprofessional nature. Rates are lections, research for a scholarly publica- Studies welcomes applications for fel- group of associate artists through a for- $1.50/word for members ($15 minimum) and tion, or innovative exhibition planning lowships to conduct research in India. mal application process administered by $2.50/word for nonmembers ($25 minimum). and development will qualify for consid- Fellowships are available to scholars ACA. During the residency, associate Classified ads must be paid in advance of eration. The fellowship is not intended to holding a Ph.D. as well as graduate stu- artists participate in formal sessions with publication. CAA News also accepts boxed fund ordinary or ongoing activities of an dents who are working toward that their group, collaborate on projects, and display advertising. Contact Christopher institution, but rather to support work that degree. Short-term and long-term fellow- work independently on their own proj- Howard at [email protected] or cannot otherwise be undertaken with ships are available. For information and ects. The relaxed atmosphere and unstruc- 212/691-1051, ext. 220, for details. existing resources. Institutions applying applications, please write to the American tured program provide considerable time for the fellowship grant will be expected Institute of Indian Studies, 1130 E. 59th for artistic regenerating and creation; it is to submit a description of the project and St., Chicago, IL 60637; 773/702-8638; offered free to artists who are accepted. FOR RENT to oversee its completion. The application [email protected]. Deadline: July 1, Housing (with private room and bath) and should indicate how the project would be 2003. board are provided by ACA at no cost to HYDRA, GREECE.TWO-BEDROOM STONE monitored and evaluated. The name and the artists. For more information on how COTTAGE, SPECTACULAR VIEWS, AEGEAN, qualifications of the proposed fellow to apply, please visit www. MOUNTAINS. FURNISHED. $2,190 MONTHLY. must also be submitted with the applica- atlanticcenterforthearts.org or call 415/455-0735, BARBARA: bnlapcek@ tion. The fellow may be an employee of RESIDENCIES 386/427-6975 or 800/393-6975. hotmail.com. the host institution. The project must be Deadlines are ongoing. completed within 1 year. At the comple- Patterson Residency Program. The MANHATTAN.UPPER EAST SIDE, PRIVATE tion of the fellowship, a report and finan- Creative Alliance, a community-based arts New Directions YouthArts, a nonprofit ROOM, BATH, IN LUXURY APARTMENT, CITY cial accounting will be required from the organization in a diverse Baltimore neigh- arts organization under the auspices of the VIEWS, GYM, POOL, TRANSPORTATION, institution. Successful applicants will borhood, launches an artists’ Residency City of Las Vegas Cultural Affairs WALKING DISTANCE TO MUSEUMS. ASK receive notification within 1 month. Program in 2003 with the opening of its Division, seeks qualified teaching artists $1,500/MONTH. EMAIL leonora@ Proposals should include the following: new facility in a historic former movie to offer behavioral challenged youths a mindspring.com OR CALL 212/427-9204. description of the project, including a theater. The facility includes a theater, two chance to experience a workshop focus- summary of the scholar’s responsibilities galleries, café, and media lab, along with ing on the artist’s specialized discipline. NEW YORK. CHARMING 1,400 SQ. FT. (discuss the need and usefulness of the 8 live-in artist studios. Resident Artists are The resident artist is asked to integrate a CHELSEA LOFT ON TREE-LINED STREET, project to the host institution and to the encouraged to develop a project to be pre- lesson plan that will encourage the use of AVAILABLE JULY AND/OR AUGUST, professional development of the scholar); sented by the Creative Alliance, and will artists’ tools in self-exploration and foster FLEXIBLE. 212/741-9924. a plan of work, including a timetable for benefit from regular studio visits from personal growth through creativity and completion of the project and a schedule established artists and curators, and fre- imagination. The resident artist may NEW YORK. FRIENDLY HOTEL ALTERNA- for publication, exhibition, or other quent opportunities to interact with the design a program ranging from 2 to 12 TIVES: PRIVATE APARTMENTS, B&BS, desired results; a current c.v. of the schol- public. Open to artists in all media. weeks. If you feel that you can offer this ARTISTS’ LOFTS. www.CitySonnet.com; ar and qualifications to carry out the proj- Residencies extend 1–3 years. Studios program a rewarding experience, please 212/614-3034. ect; proof of IRS tax-exempt status of range 950–1,800 s.f. (including loft), and submit the following materials: 1) at least host institution as a 501(c)(3) organiza- feature kitchen, bath, high ceilings and 10 slides of personal work and/or class TERRACE OVER FLORENCE.LIGHT-FILLED, tion; and complete contact information ample natural light. Rents average work; 2) a lesson plan; 3) a résumé; 4) a QUIET FURNISHED APARTMENT FOR RENT IN for your organization and for the scholar. $650/month; separate utilities. Deadline statement of intent, no longer than 1 BUILDING ON PZA SANTA CROCE. The foundation will not make grants to for application: March 28, 2003. Artists page; and 5) 3 references. Mail this infor- [email protected]. individuals or political causes, nor may notified by May 1 to move in by July 1. mation to New Directions Youth Arts, funds be used toward fundraising events. For application or info, contact Jed Attn: Markus Tracy, Cultural Affairs TUSCANY. IDYLLIC HOUSE W/STUDIO BY Applications and supporting materials Dodds, Artistic Director, at 410/276-1651 Division, 749 Veteran’s Memorial Dr., WATERFALL, NEAR PIETRASANTA. VARIABLE should be sent in 1 package to the Peter or jed@creativealliance. org. Las Vegas, NV 89101; 702/229-6328. RATES. 614/280-1606; craig321@ Krueger-Christie’s Foundation, P.O. Box Deadlines are ongoing. earthlink.net. 1192, New York, NY 10028-0048. The Cooper Union School of Art is Deadline: April 15 of the year for which pleased to introduce its Summer the grant is sought. Residency Program in New York City for professional and mid-career artists work- WORKSHOPS OPPORTUNITIES The Elizabeth Foundation for the Arts ing in painting and drawing, photography, and graphic design. Programs run for 1–3 Encaustic Art Workshops in Santa Fe, offers a grants program for individuals in THE CLARK ART INSTITUTE CONTINUES weeks (June 16–July 3, 2003). NM, specializes in the creation of encaus- the visual arts. The international program ITS PROGRAM OF INVITATIONAL CLARK Participants work in bright, spacious stu- tic monotypes (no solvents, no press) as is open to working professional visual COLLOQUIA. THESE SMALL GATHERINGS dios and state-of-the-art facilities, assisted well as encaustic and mixed-media draw- artists who demonstrate professional CONVENE TO ALLOW SCHOLARS TO DISCUSS by a staff of professional technicians. ing. These unique techniques are freeing, achievement and commitment to career; TOPICS OF MUTUAL INTEREST, PERHAPS IN Renowned artists and scholars visit to promote intuitive response, and have end- work primarily in painting, sculpture, PREPARATION FOR A BOOK, EXHIBITION, OR conduct presentations and group and indi- less possibilities. Workshops also include drawing, or printmaking, or in other visu- SYMPOSIUM. RECENT COLLOQUIA HAVE BEEN vidual critiques. Summer 2003 Visiting encaustic painting and collage techniques. al art that can be seen to advantage ORGANIZED BY ONE OR TWO INDIVIDUALS Artists and Scholars include, among oth- The 3-day and 5-day workshops are limit- through slides; are 30 years or older by WHO HAVE BROUGHT TOGETHER SIX TO ers: Jerry Saltz, Merry Alpern, Lois ed to 6 participants and are taught by the application deadline or, if under 30, EIGHT PEOPLE TO DISCUSS THEMES SPANNING Conner, Vince Aletti, Emily Oberman, artist Paula Roland. Inquire about private have been working for at least 6 years THE HISTORY AND HISTORIOGRAPHY OF ART. Bonnie Siegler, Steff Geissbuhler, Dore instruction or special workshops. since the completion of formal schooling. MORE INFORMATION, INCLUDING THE TWO Ashton, Ellen Phelan, and David True. Upcoming workshop dates are April 4–6, Photography, media art (including film ANNUAL DEADLINES FOR COLLOQUIUM PRO- For information, please see www.cooper. June 23–27, July 21–25, and August and video), performance art (and all POSALS AND GUIDELINES FOR APPLICATION, edu/artsummer or call 212/353-4200. 11–15, 2003. For more information or to forms of dance, theater, music, and spo- MAY BE FOUND AT WWW.CLARKART.EDU. ken word), and craft art are excluded. Deadline: April 1, 2003; late applications receive further notices, contact Paula may also be considered. Roland at 505/989-3419; Grants range from $2,500 to $12,000 and EDITING SERVICE. ARTICLES AND BOOK- [email protected]; may be used for anything that will allow LENGTH MANUSCRIPTS, $12.00/PAGE. TISH The Atlantic Center for the Art (ACA) www.paularoland.com. the artist to create work or gain recogni- O’DOWD—MEMBER OF WRITING FACULTY AT offers a unique free residency program tion for work. The selection criteria UNIVERSITY OF MICHIGAN DEPARTMENT OF that has provided masters of the creative include artistic excellence as demonstrat- ENGLISH FOR 22 YEARS. EMAIL: TISHOD@ arts with spaces to live and work during ed in 10 slides; professional achievement UMICH.EDU; PHONE: 734/665-5449. and commitment to career; proposed use collaborative, 3-week long residencies.

24 CAA NEWS MARCH 2003 FRENCH PAINTING VACATIONS/ ters and a-v request forms from session A RESPONSIBILITY TO WORKSHOPS. SUNFLOWERS, MEDIEVAL DATEBOOK chairs. (This information is used for the VILLAGE HOME. FAB. CHEF AND INSPIRA- Preliminary Program and conference SPEAK OUT TIONAL INSTRUCTION. ALL LEVELS. OR scheduling) CONTINUED FROM PAGE 2 RENT OUR FACILITY FOR YOUR OWN WORK- April 1, 2003 SHOP. 707/823-9663, BROCHURE: June 27, 2003 Deadline for nominations and self-nomi- of academic freedom world- WWW.ARTFULLY.COM. nations for the Art Bulletin Editorial Deadline for submissions to the August Board 2003 issue of CAA Careers wide. JENTEL ARTIST RESIDENCY PROGRAM To help convey the urgency OFFERS ONE-MONTH RESIDENCIES IN A June 30, 2003 Deadline for nominations and self-nomi- of cultural-heritage preserva- RURAL RANCH SETTING THAT INCLUDES nations for the Art Journal Editorial Deadline for joining, rejoining, or renew- ACCOMMODATION, WORK SPACE, AND A Board ing CAA membership for calendar year tion in Iraq, this issue of CAA $400 STIPEND TO VISUAL ARTISTS AND 2003 News includes a modest, neces- WRITERS. FOR APPLICATION, DOWNLOAD April 11, 2003 sarily very partial list of endan- WWW.JENTELARTS.ORG OR SEND REQUEST Deadline for nominations and self-nomi- August 31, 2003 WITH A SELF-ADDRESSED LABEL AND $.60 nations for the 2004–8 CAA Board of Deadline for nominations for the 2004 gered sites, monuments, and POSTAGE TO: JENTEL ARTIST RESIDENCY Directors CAA Awards for Distinction museums in Iraq, along with PROGRAM, 130 LOWER PINEY CREEK RD., BANNER ANUARY AY salient excerpts from the 1954 , WY 82832. J 15–M 13, May 2, 2003 September 1, 2003 2004 SEASON DEADLINE: SEPTEMBER 15, Deadline for submissions to the June 2004 Annual Conference session chairs Hague Convention and the 2003. MAY 15–DECEMBER 13, 2004. 2003 issue of CAA Careers receive final abstracts from speakers 1970 UNESCO Convention. SEASON DEADLINE: JANUARY 15, 2004. CAA hereby reiterates its sup- May 12, 2003 December 1, 2003 TRAVEL. AUSTRALIA AND NEW ZEALAND Deadline for the submission of prelimi- 2004 Annual Conference session chairs port for the Hague Convention DISCOVERY TOUR: JUNE 9–20, 2003. FOR nary proposals for the 2004 CAA Annual receive final drafts of speakers’ papers and will take advantage of ITINERARY/INFORMATION: WWW.SITATOURS. Conference to session chairs COM; [email protected]; 800/421- February 18–21, 2004 other opportunities to do so in 5643. May 15, 2003 92nd CAA Annual Conference in Seattle the coming months. Look for Deadline for submissions to the July 2003 updates as well as a report on issue of CAA News February 16–19, 2005 93rd Annual Conference in Atlanta the CAA International HAVE YOU June 1, 2003 Committee’s Annual Confer- Deadline for nominations and self-nomi- ence session, “CAA, the UN, VISITED nations for the Art Journal reviews editor CORRECTIONS and UNESCO,” in future OUR WEBSITE In the “People in the News” listings in issues. June 18, 2003 the November 2002 issue of CAA News, LATELY? 2004 Annual Conference session chairs Haim Steinbach was appointed, and not —Susan Ball, CAA Executive notify applicants of their acceptance or promoted, to professor of studio art at Director www.collegeart.org rejection of preliminary proposals. CAA the University of California, San Diego. conference director receives session ros-

Order 2003 Annual Conference Abstracts

Abstracts and Program Statements, the publication of record for presentations made at CAA’s Annual Conference, is now available for 2003. This 215-page volume includes a 300-word summary of every presen- tation from 144 sessions at CAA’s 91st Annual Conference, held on February 19–22 in New York City. Session topics relate to all areas of art history, art criti- cism and theory, architectural history, studio art, and art education.)

The cost per copy is $30 for CAA members and $35 for nonmembers. Back issues for 1999, 2000, 2001, and 2002 are also available.

To order audio tapes of 2003 Annual Conference ses- sions, use the form provided in this issue of CAA News or visit www.collegeart.org.

CAA NEWS MARCH 2003 25 Learn from the experts…REVISIT THE CONFERENCE! The 2003 Conference may be over--but you now have a second chance to learn from the expert presenters. Listen once again to their motivating and informative addresses, or hear for the first time a compelling session that you may have missed. With so much vital information---communicated in each of the educational tracks---you won't want to miss a single hour. Check the listing below and order your selections today!

Thursday, February 20 __360AB Transoptics: Webcam Network/Artwork Vision __010AB Making Art Make History: The Art Gallery as Institution __370AB Exile, Displacement, and Memory __020AB Search/Research: Artists in the Archives __380AB Beyond "The Usual Suspects": Expanding the Queer Canon __030AB "I Don't Know Why I Like It, I Just Do": Best Practices in the __390AB Historians of German and Central European Art: Models of Use of Critiques for Undergraduate Studio Courses the Visual in Germany and Central Europe, 1800-2000 __040AB Bauhaus Revisited? Populism and the Proliferation of 'Good __410 ($11) Safe Haven, Performance, Video, and the Body by Design' into the 21st Century Female Artists Today __050AB Bigger is Better? Executive Production within Contemporary __420AB Images of Power/Power of Images in Latin American Art Art Practice Friday, February 21 __060AB Beyond the Yellow Badge: New Approaches to Anti-Judaism __430AB Reinventing Childhood: Again and Anti-Semitism in European Visual Culture Before 1800 __440AB The Meaning of Labor in Today's Art __070AB Pre-Columbian and Colonial Arts: Revivals and Reuses of the Past __450AB Artists, Restorers, and Objectivity __080AB Discerning Translation: Vision, Texts, Contexts __460AB Re(de)fining Abstract Expressionism __100AB Feminist Poetics in the Age of Transnationalism __470AB Transatlantic: European and American Art in the 1960s and 1970s - does not contain presentation by first speaker, Bernard __110AB Drawn to Maps: Cartography and Contemporary Art __480AB Architectural Migration in the Americas: Modern Architecture __130AB The Culture of Early Modern Print and Urban Education, Practice and Response __140AB Freedom of Expression: Now More than Ever? __490AB Across National Borders __150AB "But How Did They Use It?: Defining Context in Buddhist Art" __500AB Cultural Policy and the Visual Arts: Historical and Political __160AB The Curator as Collaborator Perspectives __170AB Writing Feminist Art Histories __510AB French 17th-and 18th-Century Art, Art History Open Session __180AB The Work of Art in the Age of Digital Reproduction: __520AB The Critical View in American Art, 1800-1945 Appropriation, Copyright, and the Public Sphere - does not __530AB Renaissance Sculpture in Precious Materials contain presentation by last 2 speakers Lange & Lange __540AB Animation: Traditional Skills, New Tools & Applications __190AB The Contemporary Other: Immigrant Artists in the West, Part I __550AB Differencing the Feminist Canon: Power, Politics, and the International Discourses __200AB The Legacy of '1968' and Its Continuing Effect on Art for Social Change __560AB Native American Artists/Scholars: Speaking for Ourselves in the 21st Century __210AB Printed Piety: Popular Religious Images in Context __575 ($11) CAA Publications Commmittee: Problems of __220AB Barnett Newman Publishing for Tenure and Promotion in the Arts and Art __230AB Comic Genius History __240AB Reframing American Art for the Public: Current Ideas on __577AB CAA Committee on Women in the Arts: Rules of Permanent Reinstallations – does not contain presentation by Engagement: Survival Strategies for Women in the Arts last speaker, Yount __579 ($11) Services to Artists Committee: Art Versus Art World __250AB Tradition, Revival and the Modern in British Art and Design, Versus Artists 1910-1939' __580AB The Witness: Writing the Life of the 19th Century Artist __260AB Languages of Color in East Asian Visual Culture __590AB The Artist's Studio as a Subject for Art: Theorizing Practice, __270AB Negotiating the Boundaries of American Modernism: The Practicing Theory New Negro Renaissance as a Case Study __600AB From Hatshepsut to Hilary: Gender and Representation in __290AB Alteration, Restoration, Recovery, and Memory: The Gothic the Realm of Politics Revival and the Middle Ages __610AB The Hybrid 19th Century __300AB Online Education: Teaching, Learning, and Professional Concerns __630AB Art History Open Session, The Renaissance Imagination __310AB Institutional Representation __640AB Ethno-Art History? Interpreting Ancient and Medieval Cultures Through Ethnographic Data __320AB Byzantine Secular Art __650AB Architects in New York City, 1865-1930 __330AB Fictive Art __660AB Art and the "War on Terrorism" __350AB Mapping the World's Art __670AB Animated Type __940AB History and Incomensurability: Contests over Pluralism from __680AB Art and Labor Part 1 the 1960's to Today __690AB The Return of the Aesthetic __950AB Abstract Painting "Once Removed" __700AB Artists and the Making and Remaking of Museums __960AB Memorializing the Unimaginable __710AB Floored: Responses to the Site of the Floor in Contemporary __980AB Performative Practices in Asian Art Art __990AB Resisting the Canon: Contemporary African Photography __720AB The Self Portrait in Late 20th-Century Art Through a New Lens __740AB Biocentrism and Modernism __1000AB The "Turk" and Islam in the Western Eye (1453-1832) __750AB Audience Research and Evaluation in Art Museums __1010AB Photojournalism, Mass Media, and the Politics of Spectale __760AB Performance in the Wake of 2001: Institutional Critique, __1020AB Cacophony and the Matrices of Political Sublimation Response, and Strategies __1025AB CAA Committee on Intellectual Property: Clearing Rights and __770AB The Classical Style: Was it Always Revered? Permissions: How To, Why To, When To __780AB Complexity and Emergence __1030AB Immigrant Artists in (We)stern Cities:A Contemporary Other, Part 2 __790AB Tossing the Canon: Photo-Archives and New Histories of Photography __1040AB Reproducing Likeness: To Change the Teaching of Print Media __800AB The Body in Medieval Art; The Body as Medieval Art __1050 ($11) Islamic Art: Between "Western" and "Non-Western __810AB Sacred and Profane in Enlightenment Visual Culture Art"? __820AB The New Art History 1970-2001 __1070AB In the Live Gallery for Self Expression, Social Activism, and __830AB Putting the Complex in the Simple: Pastoralism and its Commercial Manipulation: Artists and the Boundaries __1080AB Contemporary Streets __840AB Architecture and Visual Culture __1090AB New Directions in Whistler Studies __850 ($11) Beyond Formalism: Teaching Color as Culture __1100AB Part 2: Art and Labor __860AB Sideways Glances: Modernist Architecture Seen Through __1110AB Public Art and Public Response: What do We Really Know? the Eyes of Contemporary Artists __1120AB Gerhard Richter __870AB The Paradox of Ecologic: Individual Creation vs. Social Consciousness __1130AB Multiculturalism and the Arts in the Colonial/Post-Colonial Age Saturday, February 22 __1140AB The Return of the Aesthetic __880AB Decorative Arts and Domestic Design __890AB Advocate or Intruder?: Critics in Artist Studios __1150AB How "Native" Is "Native" Art?: Issues of Identity in the Contemporary Notion of Arts in the Americas __900AB Design in a Global Context __910AB Alternative Geographies of Modernity: French Artists in the __1160AB The Ancient Art of Empire: New Approaches to Classical Periphery, 1850-1940 Culture - does not contain presentation by last speaker Marinescu __920AB Visual Culture __1170AB CAA/NINCH Copyright Town Meeting – Digital Publishing: A __930AB Some Stories Concerning the Construction of the New Practical Guide to the Problem of Intellectual Property Rights Observer in the Electronic Environment, for Artists, Museums, Authors, Publishers, Readers and Users

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MARCH 2003

College Art Association 275 Seventh Avenue New York, NY 10001

Michael Aurbach, President Andrea S. Norris, Vice President, Committees Thomas F. Reese, Vice President for External Affairs Ellen K. Levy, Vice President for Annual Conference Catherine Asher, Vice President for Publications Joyce Hill Stoner, Secretary John Hyland, Jr., Treasurer Jeffrey P. Cunard, Counsel Susan Ball, Executive Director

Ellen T. Baird Virginia M. Mecklenburg Kaucyila Brooke Valerie Mercer Josely Carvalho Nicholas Mirzoeff Irina D. Costache Ferris Olin Nicola Courtright Gregory G. Sholette Diane Edison Edward Sullivan Vanalyne Green Tran T. Kim-Trang Michael Ann Holly Mimi Hall Yiengpruksawan Dennis Ichiyama