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March-April 1998 CAA News

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March-April 1998 CAA News GO ""C1\ Order Form 'E'" 0. Sam Gilliam, Untitled ~ "il All orders must be prepaid. Until June 30, 1998, Untitled is available for the reduced price of $1,000 for CAA individual and institutional ;;J members only ($1,750 for nonmembers). Please mail completed order form to: College Art Association, Development Dept., 275 7th Ave., 18th :;;; fl., New York, NY 10001. Allow 6-8 weeks for delivery. N Please send -- prints to: ... .c'" is ::< name Z ",' N <Ii address 5 is ::< ~ ~ city I state I zip code telephone Gilliam .~ CAA membership # ~"'" .~'"u Donates ""' D Enclosed is my check payable to CAA ..::"' o I prefer to charge my contribution to: D VISA D MasterCard Mixed­ ..::t <Ii narne on card __________________________________ amount $ bI) OJ Media ~ card number ______________________________ expo date ____________ -U" OJ signature ______________________________________________ Work ,s """... M ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• J '" -'" -'"s: (jJ rtist Sam Gilliam has collabo­ z rated with the Rutgers Center 5 A for Innovative Print and Paper (RCIFP) to create an original, mixed­ media construction for the benefit of the CAA's Professional Development College Art Association Fellowship Program for Artists and Art 275 Seventh Avenue New York, New York 10001 Historians. Gilliam worked closely with Eileen N. Foti, ReIPP's master printer, Sam Gilliam, Untitled, 21.5" x 22", lithograph, handmade paper, and colle {edition 50} and Gail Deery, ReIFP's master paper maker, to create this piece, which will be Board of Directors much recognition for his "suspended Gilliam's entire oeuvre that deserves John R. Clarke, President limited to an edition of 50. Gilliam's work will be available framed and for paintings." These draped works liberated recognition, as both his earliest and most Michl Hami, Secretary the canvas from the frame and chal­ recent pieces engage and move the John W. Hyland, Jr., Treasurer sale to CAA's members at a special price Jeffrey P. Cunard, Counsel of $1,000 ($1,750 for nonmembers) until lenged the customary separation of the viewer. Susan Eall, Executive Director June 30, 1998. fields of sculpture and painting. In the Gilliam's 1997 piece demonstrates CAA is honored to be working with 1980s, Gilliam received a series of major the exceptional care in selection and Catherine Asher Christine Kondoleon Gilliam, an artist who boasts a long and public commissions-including one for production of materials and the playful Ellen T. Baird Patricia Leighten the Boston Transit Authority, for which a yet sophisticated sense of color and illustrious career as 1/ one of the nation's Holly Block Joe Lewis large sculptural mural was created and composition that enliven so many of his Marilyn R. Brown Arhrro Lindsay preeminent African American painters" installed at Davis Square station. Success Whitney Davis llichard Martin (The Washington Post, November 5, 1994). works. The work marks a return for Joe Deal Yang Soon Min Born in 1933 in Tupelo, Mississippi, and accompanied Gilliam into the 1990s. Gilliam to the medium of paper that he Vishakha Desai John Hallmark Neff educated at the Univ.ersity of Louisville, According to Paul Richard, an art critic at extensively explored during the 1970s. It Bailey Doogan Beatrice Rehl The Washington Post: "[W]ith every comprises several handmade elements, ~illiam moved further north to Washing­ Shifra M. Goldman Bruce Robertson Jn, D.C., to launch his career. In the late passing year Gilliam's painting deepens" including a gestural pulp palnting Nancy Friese Norie Sato (February 28,1993). Ultimately, it is Joanna Frueh Jeffrey Chipps Smith 1960s and early 1970s, Gilliam garnered CONTINUED ON PAGE 2 Linda C. Hults Alan Wallach Gilliam Donates Mixed-Media Work Columbian art session where attendance special events and tours, organizing CONTINUED FROM PAGE 1 Conference challenged room capacity. Does all this presentations for the delegates that were From tI.1.e President suggest changes in the nature of art overwhehningly attended and resulted unique to each piece in the edition. The history as afield? We would not argue in a swarm of participants roaming the Volume 23, Number 2 image of the stamped relief printing that this is a harbinger of movements away downtown core on art tours. Mardl/April1998 occupies the lower right portion of the Sessions in from the field's traditional center, but it The final event of the conference piece derives from a previous work, certainly underscores the sense of art was the tour of the Woodlands Cultural Gilliam Donates Mixed-Media Work adding another layer of reference. Other John Clarke 1 Toronto history'S continued dynamism. Centre in Brantford, Ontario, enjoyed by segments of the piece are made of We are indebted to a great many a small but enthusiastic group of custom watermarked, handmade 2 Conference Sessions in Toronto people who made this one of the most delegates. Here Native Canadian elder Plans for Japanese prints. The combination of stimulating annual conferences in and 1998 convocation speaker Torn Hill these elements creates a work in which memory: MOly-Beth Shine, who did an introduced his center's excellent 3 From the President the hand of the artist is ever present and impressive job of making things work permanent collection and an exceptional Term the intimate relationship between artist Art History well for her first-ever solo performance program of contemporary and tradi­ CAANews and work is preserved. Every CAA conference has something of 4 as annual conference coordinator, her tional performances-a fitting conclu­ Gilliam was actively involved in the a special character shaped by the host assistant, Angela Herren, whose trouble sion to many of the week's discussions preliminary stages of establishing the city, the theme, and the particular mix of 5 Awards for Excellence shooting ensured that there was no around postcolonialism and the Professional Development Program, panels that form the program. Toronto trouble, Elaine Pike and her assistant, relationships within the global metro­ which financially assists graduate offered opportunities to see museums From the Executive Director Kristin Rogers, who made complex polis that we inhabit. 12 students in their final year of study and unfamiliar to many members, to interact equipment work, Executive Director The Canadian-focus panels offered n the seven years I've spent on the in an environment somewhat more Susan Ball, who makes the diverse a particularly rich context for those Board of Directors of the College Advocacy intimate than one at a big New York 13 interests of CAA function collectively, curious about the cultural context here I Art Association, I have seen the meeting, and to move easily among the terrific program committee co­ in Canada. With the large numbers of fulfillment of most of the objectives of sessions held in close proximity to one Dialogue with the Real chairs, Norie Sato and Jeffrey Chipps presenters from Mexico and other not one, but two, Five Year Plans-a 14 another at the convention center. Part of Smith, and of course our local hosts and panels addressing the culture of the testament to the dedication of the many Women in the Arts the special character of this year's Canadian colleagues. Americas, Africa, and Asia, postcolonial members who have devoted their time, Annual Conference Update meeting and, more generally, a benefit 17 -Catherine B. Asher and ideas emerged, suggesting the possibil­ energy, and passion to improving of the theme sessions was the interaction Copyright & Intellectual Frederick M. Asher ity of a dialogue in our studio work that current activities of the association and among specialists otherwise rooted in Property Rights 1998 Art History Program Chairs is interdisciplinary and geographically to realizing new initiatives. But we can't 18 various parts of the discipline. While inclusive. The gap between theory and rest on our laurels. In fact, the board has CAA in the News there were lively and well-attended practice seemed to be largely absent, recently corne to the conclusion that we Letters to the Editors sessions constructed along the tradi­ Studio Art while the economic disparity between need to conduct a thorough analysis of 19 CAAMentors tional art-historical divisions of time and The CAA 1998 Conference in Toronto those whose careers are invested in the organization. The reasons for this space-those on the medieval Mediter­ managed to reach beyond the severe teaching institutions and those who are initiative, which will occupy my two ranean and Renaissance Siena---others architectural reality of the subterranean 20 Solo Exhibitions by Artist Members independents is even greater. years as president, are several. It is time offered papers that presented much space of the Metro Convention Centre, -Jamelie Hassan, Lisa Steele, to act on the members' laments about more of a global perspective and in of which the only redeeming feature is People in the News Matthew Teitelbaum their representation and role in the 22 many cases cut broadly through time. the brilliant public art project by the 1998 Studio Art Program Chairs organization. One session, for example, dealt with Canadian artist team Fast Wurms. 23 Grants, Awards, & Honors places as divergent as Mexico, North Structural problems aside, the 1998 Africa, and Japan, while another conference presented the frustrating included papers on Calcutta architec­ problem of offering so many outstand­ Conferences & Symposia Sam Gilliam at the unveiling of Untitled, 24 ture, a Delacriox painting, and art and ing panels simultaneously. The strength February 25, 1998 of postcolonial studies within the PHOTO: ALFONSO MERUNI architecture on Goree Island off the 26 Opportunities coast of Senegal. Themes and issues framework of studio and exhibition practice was strikingly evident. Datebook facilitates professional placement on rather than time and place brought With panels offering critical completion of their degrees. In 1996 he unity to such panels as these, and they 28 Corrections perspectives on practices ranging from served as a visual artists' juror for the stimulated some of the most lively Information Wanted crafts to abstraction to gardens to program.
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