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., , NY 10001. Allow 6-8 weeks for delivery. N Please send -- prints to: ... .c'" is ::< name Z ",' N

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2 CM NEWS MARCHI APRIL 1998 CAA NEWS MARCHI APRIL 1998 3 Too often we hear our various questions we might pose right now constituencies-graduate students, come to mind. How will we shape multiple means. Literary and historical visual artists professionals, museum public policy in the arts and humanities? Awards for accounts, Picasso's paintings and professionals, art historians, and How will we educate our students and , postwar French theory, and others-complaining that the organiza­ fellow citizens in art and art history? contemporary art and cultural criticism tion does not provide them with an How can we respond to the demo­ Excellence come into play in an argument in which adequate forum for ailing their views graphic changes in our country? How Picasso's portrait of Stein becomes much and presenting their work at our annual will we uphold the highest standards in more than the sum of its parts. Lubar conferences or in our publications, the research and scholarship? What will be starts with the contmdrum of change: Art Bulletin and Art Journal. Too often our role in our communities? Why did the artist, as he neared we hear complaints that the New York My work is cut out for me because completion of the portrait, erase the office, which employs only seventeen you, the members, have rightly de­ AA's annual convocation sitter's face only to complete it along staff members, does not respond to the manded it. I believe that in the upcom­ ceremony was held at the very different lines, much later? In the members in one capacity or another. Too ing two years we will come up with c Metro Toronto Convention large literature on Picasso, this change often we find that there is insufficient solutions to some of your problems and Centre in Toronto, Canada, on February has often been seen as a formal problem. communication between members, the concerns. I hope that my work will lay a 27, 1998. Outgoing President Leslie Lubar reveals his acuity as a scholar in board, and CAA staff. Too often foundation for even greater accomplish­ King-Hammond made remarks, and suggesting, not that prior explanations members of the board themselves ments in the future. incoming President John R. Clarke are wrong, but that in some sense they Jeffrey Cunard, eAA Counsel presided over the presentation of awards complain that their committee work falls -John R. Clarke PHOTO: RICHARD LAIRD PHOTOGRAPHY have 'stalled, and do not get to the heart short of its goals for lack of staff or for excellence in teaclring, scholarship, of the matter. "1 can't see you any longer financial support. There is no magic creativity, criticism, and conservation. when I look": the problem was psycho­ wand that will solve these problems Art Journal Editorial Tom Hill, museum director of the logical. As Picasso spent time with Stein Jennifer Shaw, Arthur Kingsley Porter Prize instantly. It will take lots of information Board Member Sought Woodland Cultural Centre in Brantford, he came to know her less well, precisely gathering and soul-searching to come The Art Journal Editorial Board is Ontario, delivered the keynote address. because of the gender play in which she purpose of public edification." She up with solutions that will respond seeking nominations and self-nomina­ engaged. Lubar suggests that Stein's succeeds in linking pictorial form to effectively to the concerns voiced by the tions from artists for an opening on the Arthur Kingsley Porter Prize effect on Picasso so unsettled the artist current political and aesthetic commit­ membership, the staff, and the board. board. The three-year term is renewable Awarded to Robert Lubar and Jennifer Shaw that he not only changed the portrait, he ments, but she also aligns the ardor for After much research, we have once. The aim of the board is for its carried the issues she raised with him Puvis's art with the "discovery of the engaged Nancy Pressly and Associates membership to reflect the range of fields Robert Lubar's "Unmasking Pablo's for years to come. Lubar's account offers unconscious" in the 1890s, especially to conduct an organizational analysis CAA insofar as Puvis's Summer evoked and methods current in modem and Gertrude: Queer Desire and the Subject a fresh view of the genesis of Cubism, in that will focus on every part of CAA, contemporary art, as well as the of Portraihrre" is an act of reconstruction which the gender criticism instilled in complex and distinctively contempora­ from the members to the staff to the News geographical, philosophical, institu­ as painstaking as any undertaken by the artist in the process of making the neous processes of identification and Board of Directors. Pressly and Associ­ tional, gender, and ethnic range of the traditional archaeology but with a portrait plays a crucial role. Truly desire; the painting's figures" spurred ates will interview many individuals, CAA membership. different end in mind, that is to say, the striking is the place that Lubar posits for individual desires for and fantasies of including members-at-Iarge, in order to The editorial board meets in New retrieval not of a physical entity like a the American woman: at the center of France." The great achievement of deternrine what specific changes will be New CAA Counsel York three times a year and at CAA's building or a site, but of a psychological one of the momentous visual inventions Shaw's article is the breadth, precision, needed to fix problems of organization of the twentieth century. and originality of her method: she uses CAA is pleased to welcome Jeffrey annual conference. Board members are effect: Gertrude Stein's on and communication. With the work of probing formal analysis to alert us to the Cunard as CAA counsel. Cunard expected to attend all meetings. CAA at the moment of the making of her Jennifer L. Shaw's elegantly the board and the staff, who are ways in which precise social and practices in the area of u.s. and :interna­ provides travel funds for the meetings 1905-6 portrait now in the Metropolitan written essay offers a compelling new committed to serving the membership, personal meanings accrued to the tional telecommunications and intellec­ in New York; board members pay their Museum of Art in New York. Lubar reading of Pierre Puvis de Chavannes's stylistic properties of the painting, while we will implement _any changes­ tual property law, including joint own travel expenses for the armual builds his case gracefully and by important 1891 mural, Summer, painted however far-reaching-in order to make also mobilizing a discussion of aesthetic venmres, privatizations, and regulatory conference, though a small fund is for the new Hotel de Ville in Paris. In the organization serve the membership debates, political concerns, and advice and is an internationally recog­ available to help offset expenses for the process Shaw presents an innovative more effectively. The structure of the conceptualizations of psychic processes nized practitioner in the developing members who would be unable to assessment of political, aesthetic, and board and the committees of the board that emerged only in the 1890s. Shaw field of the Internet and cyberlaw. He is attend without financial support. psychological conditions in France in may be evaluated, and changes may be teaches us to see the centrality of the a parmer in the Washington, D.C., office Candidates will be notified of the the 1890s. The principal question that recommended and implemented for discovery of the unconscious in aesthetic of Debevoise & Plimpton. Cunard board's decision by May 15. Send letter drives Shaw's article is why Puvis's art such organizational activities as the and political discourse that was amen­ graduated summa cum laude with of interest, a c.v., and any supporting had such wide appeal and was indeed armual conference program, as well as able to the French state. Explaining the degrees in English and political science material to Johanna Drucker, Chair, Art considered to stand for Frenchness tout CAA's various publications, placement enthusiasm expressed for Puvis's from the University of California at Los Journal Editorial Board, College Art court in the 1890s-a time when French services, and advocacy activities. elusive Summer across the full spectrum Angeles in 1977 and received aJD. from Association, New York, NY 10001. culture was marked by sharp political Mechanical and structural changes of art experts had always eluded the Yale University Law School, where he Deadline: Arril13, 1998. and artistic polarization. Her analysis is are only part of the picture: we must ~~~~~~- artist's apologists, but Shaw succeeds in was editor of the Yale Law Journal. He tied to a close reading of the style of find our vision for the future. As an demonstrating why and how the speaks widely and is the author of and a Puvis's painting, and she argues that the organization of 13,000 individuals and painting was a particularly convincing contributor to various articles on specific characteristics of Puvis's 2,000 institutions, we need to identify image of nation and indeed of the communications law and intellectual "uniquely modern form of high art" the needs of the members as well as the collective identity of France in 1891. property. See the first in a series of encouraged and enabled its broad goals that the organization as a whole Cunard's contributions to the Legal appeal and enthusiastic reception. The wishes to pursue in the new century. Committee: Irving Lavin, Institute of Update column in the January 1998 embrace of his work" derived from the Although 1 don't want to present a Advanced Study, Princeton, chair; Hollis issue of eM News (page 7). ways in which his paintings used formal definitive forecast of those goals, some qualities associated with avant-garde Clayson, Northwestern University; William Robert Lubar (as Portrait of Gertrude practices to mobilize individual subjec­ Tronzo, Tulane University Stein), Arthur Kingsley Porter Prize tivity and personal fantasy for the

4 CAA NEWS MARCHI APRIL 1998 CAA NEWS MARCHI APRIL 1998 5 Alfred H. Barr, Jr., Award into the creation of a Luba Kingdom and Distinguished Teaching lence. As one student stated, Fong asked ground-breaking studies, American Awarded to Mary Nooter Roberts the pelpetuation of its shared ideologies. of Art History Award for the impossible and then worked Painting of the Nineteenth Century (1969) and Allen F. Roberts We congratulate Mary Nooter Awarded to Wen C. Fang and with them to make sure they could and Nature and Culture (1980), she Roberts and Allen F. Roberts, who Barbara Novak achieve it. Treating them as profession­ helped to infuse the study of American The Alfred H. Barr, Jr., Award was organized the exhibition and edited the als, he inspired confidence that they art with new life and new academic established in 1980 in honor of a former catalogue, and their collaborators: S. As one scholar has noted, "the field of could meet his high standards. Mentor, rigor and respectability. TIrrough her director of the Museum of Terry Childs, Guy de Plaen, William J. Chinese art history throughout the friend, enthusiast, he could also be a writing, her teaching, and students who and scholar of early twentieth-century Dewey, Jeannette Kawende Fina Nkindi world would be a far different one than sharp critic or even a devil's advocate as have gone on to fill important academic painting. It is presented to the author or Pierre de Maret, V. Y. Mudimbe, Pierre it is if Wen Fong had not taught in this well as a patient instructor and an and curatorial posts, she has had a authors of an especially distinguished Petyit, and Jan Vansina. field for so many years with such attentive listener, His open-mindedness, lasting impact on the discipline of catalogue in the history of art, published outstanding results." Born in Shanghai honesty, and fairness have inspired a American art-historical studies. during the penultimate calendar year Committee: Alan Wallach, College of in 1930, Fong was already an accom­ loyalty in his students that is matched Trained at Barnard and at Radcliffe, under the auspices of a museum, William and Mary, chair; Christine plished calligrapher before he came to only by his loyalty to them. As one she began teaching at Barnard in 1958. library, or collection. Kondo/eon, Worcester Art Museum; George this country in 1948 to begin his former student remarked, "To be a Wen For twelve years she also served as chair This year the award goes to Shackleford, Museum of Fine Arts, Boston; tmdergraduate studies at Princeton. He Fong student is not just for a couple of of the department. Her courses there Memory: Luba Art and the Making of Nancy Steinhardt, University of eventually earned his M.A. and his years; it is for a lifetime." and at Columbia have become legend­ History, published by Prestel Verlag in Pennsylvania Ph.D. at Princeton as well, and began CAA is proud to present its ary. They alone have caused the association with the Museum for teaching there in 1955. In 1964 he Distinguished Teaching of Art History "conversion" of countless students from African Art. The book proceeds from the established the country's first PhD. Award to Professor Wen C. Fong, a man whatever fields they thought they idea that memory among the Luba of W. Thomas Chase, CAAlHeritage program in East Asian art and archaeol­ whose teaching has influenced more wanted to study into the area of Preservation Joint Award for Distinction Central Africa is a dynamic social ogy. The cOlmtless students he has than a generation of scholars and has American art and culture. Her students CAAlHeritage Preservation in Scholarship and Conservation helped shape our understanding of his describe her teaching style as "riveting" process. It explores in fascinating detail PHOTO: COURTESY OF trained in the last forty-three years have how the Luba construct historical Joint Award for Distinction in filled curatoriat academic, and scholarly field. because of her "magical" use of the A spirited and inspired scholar, Socratic method. Even in classes with narratives not only from oral traditions Scholarship and Conservation with the cooperation of the John D. positions throughout the world. Barbara Novak has taught the history of enrollments of fifty, with undergradu­ but also from the use of objects-stools, Awarded to W. Thomas Chase Rockefeller III Ftmd and the Thai A distinguished and widely American art at Barnard College and ates and graduate students, she could thrones, headrests, lukasa memory Department of Fine Arts, was part of an renowned scholar, Fong has laid the Columbia University for forty years. draw out individuals and make learning boards-that function as signs of The CAAjHeritage Preservation art and archaeology delegation to China foundation for the modern study of When she first began in the late 1950s, intimate. Her lectures have been memory or mnemonic devices. In (formerly National Institute for Conser­ in 1973, and attended the BUMA Chinese art history. Of particular note American art was, in the words of one described as "intelligent conversations" chapters covering such topics as body vation of Cultural Property) Joint ("Beginuing of the Use of Metals and has been his dual role of curator and scholar, "a marginal field" with only a as she asks questions of students and of memory, memory theater, mapping Award for Distinction in Scholarship Alloys") Symposia in China in 1981 and classroom teacher. He helped to create "handful of academics." Anyone who her material that encourage the devel­ memory, and the idea of Luba, the and Conservation was initiated in 1990 1994. In 1997 he taught a short course on! the Asian art collections at both ventured into it was faced with a opment of rigorous formal analysis and catalogue develops powerful insights for an outstanding contribution by one archae-ological bronze conservation at ' Princeton and the Metropolitan Mu­ "paucity of published materials" and deep cultural understanding. or more persons who, individually or the Saclder Museum in Beijing, spon­ seum of Art and has used them as a the "scorn" of other academics. In the A nurturing, generous, and jointly, have enhanced our tmderstand­ sored by the Ch'ian Chingkuo Founda­ source of scholarly focus. His exhibi­ face of this opposition and with the supportive mentor, she encourages her ing of art through the application of tion. tions, symposia, publications, and overt prejudices that so frequently students to pose new questions and knowledge and experience in conserva­ Chase's primary research interest, educational programs have benefited confronted women professionals, Novak explore innovative interpretations, tion, art history, and art. for which he is justifiably renowned, is not only his students, but a much wider nevertheless persevered. With two always rooting them in rigorous The award committee is delighted the technical study of ancient Chinese audience as welL to announce that this year's recipient is bronzes, in particular lead isotope The testimony of Fong's students W. Thomas Chase. Recently retired as studies, studies of fabrication methods, describes a dedicated teacher with a head conservator of the Department of and corrosion. A dynamic speaker, an commitment to his subject and to Conservation and Scientific Research of author of more than forty publications, a rigorously high standards for those who the Arthur M. Sackler Gallery and the conscientious teacher, and an enthusias­ studied with him. In the words of one Freer Gallery of Art, Smithsonian tic colleague, his unflagging generosity student, that commitment was even a bit Institution, he is continuing his affilia­ and good will have earned him not only "scary." There were the seminars in tion there as research associate as well the international reputation of scholar, which the enthusiastic exploration of a as offering consulting services through but perhaps even more, of ambassador. problem meant classes went far into the Chase Art Services. night. There were the one-on-one Educated in conservation and art Committee: Alan Wallach, College of sessions at which time, in preparation history at Oberlin and the Institute of William and Mary, chair; Albert P. Albano, for a seminar presentation, Fong spent a Fine Arts, New York University, Chase Intermuseum Conservation Association; whole day with the student making sure first found his way to the Freer for a Marjorie B. Cohn, Fogg Art Museum; he or she tmderstood the problems, the student internship under the supervi­ Margaret Holben Ellis, Conservation Center context, and the issues. There is even the sion of Rutherford J. Gettans. After of the Institute of Fine Arts story of one snowstorm that stopped the completing his degree at the Institute ---" entire university, but not Professor under Alexander Soper, he returned to Fong, who gathered up his students in the Freer and became head conservator his Land Rover to make sure the luba caryatid throne from Memory: Luba in 1968. A fellow of International and seminar could go on. Art and the Making of History, by Mary Nooter Roberts and Allen F. Roberts American Institutes of Conservation, he According to his former students, PHOTO: COURTESY OF1HE UNIVERSITY OF PENNSYLVANIA was instrumental in organizIDg a bronze another challenging part of Fang's treatment project in Thailand in 1974 methodology is his demand for excel- Wen C. Fong, Distinguished Teaching of Art History Award

6 CAA NEWS MAIKH/APRIL 1998 CAA NEWS MARCHI APRIL 1998 7 scholarship. This balance of guidance well placed, that idiosyncratic students ,knowledge of this most subtle and Frank JeweU Mather Award The committee wishes to honor his and freedom as well as numerous cups are recognized, that troubled students sophisticated pamter, while providing Awarded to Jeremy Gilbert-Rolfe critical writing in various journals, 'and of tea and the hospitality of her own are rescued when possible." Another case-specific interpretations of both life museum catalogues, but particularly writes that over the years she has heard home have fortified her students over and works, theory and practice, as well The committee wishes to thank those two 199-7 essays, "Blankness as a the years. They speak of her with an "countless tales of his encouragement, as the role of the beholder. All this and who took time to propose a distin­ Signifier" iu Critical Inquinj, which will inspiration, kindness, rigor, humor, affection and respect that is awe­ Arcadia too. This truly collaborative guished list of norrlinees for this stand as the final chapter of his forth­ compassion, and generosity." inspiring. book about the "love of painting" important award, which annually comiug book Beauty and the Contempo­ Distinguished Teaching of Robert Swain, we celebrate your CANs demands to be shared, with the field at focuses our attention on the practice of rary Sublime; and his essay on Liz intelligent, effective, and generous life in Art History Award recognizes individu­ large and with sister humanistic art criticism in the , The Lamer, "Visible Space, Elusive Object," art and in the academy, and in present­ als whose contributions have had disciplines. occasions on which institutions recog­ which accompanied her exhibition at the substantial, lasting impact on the field of ing you with the Distinguished Teach­ While the Charles Rufus Morey nize and award critics are fraught with Kunsthalle Basel. Gilbert-Rolfe, in Dave ing of Art Award, we declare ourselves art history and whose work in and Prize is normally awarded to the best art irony, since they always involve feeding Hickey's words, is "one of the few critics beyond the classroom has transcended encouraged and inspired by your history book of a given year, 1996 the hand that bites you. This is particu­ whose writing combines academic rigor, the confines of one institution. Professor example. offered a new publication that requires a larly the case with Jeremy Gilbert­ philosophical acuity, and journalistic Barbara Novak in her teaching, her special citation-precisely because it Rolfe, this year's winner of the Frank pugnacity. (As a consequence you have writing, and her enormous influence on Committee: Ofelia Garcia, College of Arts was not the work of single author and Jewett Mather Award. to be fairly smart to understand that the field of American art has more then and Communication, chair; John Gordon, not a publication that can be confined to jeremy is sayiug that you're stupid.) He met these criteria. We are proud to Pratt Institute; Joseph Ruffo, University of a single year. We can't really tell yet at is a theorist with an absolute commit­ present this award to her. Nebraska; Norie Sato, independent artist such close range how much of an effect ment to the pleasures and contingencies the major new research tool, The of practice." joseph Masheck further Committee: Pamela Simpson, Washington Barbara Novak, Distinguished Teaching Dictionary of Art, will make on the field. notes that this year's recipient "has and Lee University, chair; Ellen Baird, of Art History Award And while one can imagine that in never been willing to look with cynicism University of Illinois; James Cahill, Charles Rufus Morey Award future such materials will be issued on on the high cuiture that all men and University of California, Berkeley; colleagues have experienced what they CD-ROMS with still more illustrations, the women deserve to inherit." Awarded to Elizabeth Cropper and Alessandra Comini, Southern Methodist describe as his rigor, integrity, generos­ work truly lives up to its claim as a His openness to the work of many Charles Dempsey; Jane Shoaf Turner University ity, and care for each individual. Num­ once-in-a-lifetirne publication. The very artists to which he applies analytical erous letters attest to his teaching as numbers are staggering. This is truly a insightfulness ("One has never seen a The Charles Rufus Morey Prize for 1997, demandiug, effective, full of vitality, "cast of thousands." More than 40,000 color without having seen it before") awarded to the outstanding book of art and stimuiatiug. They speak with articles with over 300,000 bibliographic recommends his criticism to artists and history published duriug the 1996 respect of intellectuat personal, and entries, running to more than 32,000 curators, critics and general readers season, goes to Elizabeth Cropper and Distinguished artistic iutegrity, and of his bringiug pages, summarized by a 900-page index, alike. It is seeing, thinking, and writing Charles Dempsey for their book Nicolas i Teaching of Art Award intelligence, as well as passion, to bear this monumental reference, the product of a very high order that we recognize Poussin: Friendship and the Love of Awarded to Robert Swain on the work. They also speak of his of some 6,700 authors from more than with this award. Painting (Princeton University Press). inclusiveness, fair mindedness, and 120 countries, attempts to encompass As its title and its seamless joint The recognition of excellence in teaching quick humor. the entire history of art with a world­ Committee: John Hallmark Neff, Terra authorship imply, this is a book of rests ultimately on the evidence pro­ One colleague describes his caring wide scope in 34 volumes. To its Museum of American Art, chair; Dave collaborations and conjunctions. On one vided by students and colleagues. By for students: "He makes sure that publisher, Grove's Dictionaries and Jeremy Gilbert-Rolfe, Frank Hickey, University of Nevada; Joseph level it investigates the networks of a Jewett Mather Award such a criterion Robert Swam, artist, excellent students are rewarded and Macmillan, as well as to its indefatigable Masheclc, independent critic French painter in Rome, tracing his teacher, and mentor, notably deserves editor, Jane Shoaf Turner, CAA wishes connections to fellow artists, patrons, the honor that we today confer on him. to extend its heartiest and most endur­ Over the course of his thirty-year and friends, whose intellectual stimula­ Swain's work as a painter has ing thanks-as well as its warmest career as a critic, pamter and teacher, a tion prompted some of his finest and informed his life for more than thirty congratulations on completing the founding, if now unacknowledged, most complex works. In the tradition of years. It has been recognized with project at all, let alone puiling off with editor of October, Gilbert~Rolfe has taken Award for Distinguished the paragone, this study features fellowships from the Guggenheim such panache-a feat of benign collabo­ some hefty bites out of the edifice of Body of Work, Exhibition, Poussin's interactive and productive Foundation and the National Endow­ ration that suggests comparison with received opinions and of those who hold dialogues with literature, toward both Presentation, or Performance ment for the Arts. He has exhibited the pyramids of Egypt or the terra-cotta them. In the past, he has paid the price the late Montaigne and the lively Awarded to Arakawa and Madeline Gins widely and consistently in galleries and army- of Chin-period China. This is a for his independence of mind, and now Marino. On a broader level these museums, including the Museum of modern publishing wonder of the perhaps he will accept this small authors investigate their learned subject In honoring Arakawa and his wife and Modem Art and the Whitney Museum world, in all senses of that phrase. reward. As recently as last year, at this collaborator, the poet Madeline Gins, of American Art. His major commis­ and evoke rich methodological implica­ convention, in a talk entitled" Art tions-between ancient and contempo­ for a retrospective of their work, sions and architectural installations Committee: Larry Silver, University of Writing and Art School," he iusisted that rary Rome, between France and Italy, Reversible Destiny-Arakawa/Gins, grace numerous corporate and educa­ Pennsylvania, chair; Susan Huntington, the domain of contemporary art "recalls between visual art and verbal rhetoric. organized by the Guggenheim Museum, tional headquarters, and he is repre­ Ohio State University; John Pinto, the French Academy of LeBrun in that In the fiual analysis, this book exempli­ SoHo, june 25-August 31, 1997, we are sented in such collections as the Princeton University; Martica Sawin, its dominant styles are nothing if not fies collaboration, between colleagues acknowledging two significant artists Albright-Knox Art Gallery, Corcoran independent art historian approaches to art which define it as an and companions, past and present. whose work is inspired by social issues Gallery of Art, Detroit Institute of Arts, "------array of legible signs of stable, if of our time. This exhibition featured two Everson Art Museum, and the Metro­ While it begins with accepted methods periodically contested meaning, which and received wisdom, built upon the important projects, The Mechanism of politan Museum of Art. privilege the graphic and are about Meaning (1963-73, 1996) and Reversible For thirty years Swain has taught at Renaissance-based heritage of the power, institutional and symbolic." discipline of art history, this sensitive \i Destiny Architecture (1997-present). Hunter College, City University of New Robert Swain, Distinguished This, he goes on to suggest, totally Their work is directly connected to this York, where generations of students and Teaching of Art Award exploration goes on to extend our subverts goals of criticism that consist in PHOTO: HERBERT SHAPIRO era of transformation. "striving to discuss the irreproducible."

CAA NEWS MARCHI AI'RIL 1998 8 CAA NEWS .tvlARCH/ APRIL 1998 9 The influences of Signorelli, Piero from the Museum of della Francesca, Mantegna, and Modern Art; and his close friends the Pollaiuolo have been important for Paul painters and George Cadmus. These influences have been Tooker. combined with those of Venetian, Fortunately, the Gay Rights Flemish, and English painters to create Movement after the Stonewall riots of an intense and personal art that has 1969 produced a sympathetic climate in encompassed satire and social commen­ which the art by Paul Cadmus could be tary as well as self-analysis and self­ reevaluated. Since that time, many examination. artists have been empowered by his The so-caned Magic Realist tenacity, his personal ideals, and his paintings by Paul Cadmus are closely love of life in America during this related to . However, his century. Furthermore, scholarship and reference to the works of Old Masters, issue-based art history have been greatly his satirical focus on natural forms, his enriched by the paintings, drawings, use of traditional perspective, and his prints, and photographs by this artist. portrayal of the sensual human body Paul Cadmus has produced a body (especially of well-developed nude male of artwork that reflects a unique vision. fignres) separate his art from that of He has made art that has survived other artists and their representation of controversy and censorship on the one Reversible Destiny Office, Arakawa and Madeline Gins, Award for American life. Paul Cadmus had his first hand and critical indifference on the Distinguished Body of Work, Exhibition, Presentation, or Performance of many one-person exhibitions at the other. In recent years, the art of Paul Agnes Martin, Distinguished Artist Award for Lifetime Achievement Midtown Galleries in 1937, but his Cadmus has acquired increased PHOTO: DOROTHY ALEXANDER The Postmodern sensibility is one of ance chaos. As we consider the impact reputation was already well established significance within the paradigm shifts loss and fragmentation. During such an of technology and science on the by controversies and censorship of his of contemporary aesthetic, social, and turned to writing, returning to the abstraction, it differs significantly in its uncertain time of massive social, production and interpretation of art, work in Washington and elsewhere in political issues in American art. It is an studio in 1974. subjectivity and transcendence. It has political, cultural, and technological questions continue to arise about the the country. honor to present the CAA's 1998 Using the simplest forms, the been described by critics as "expansive," upheaval, serious questions about the belief systems that are in place and their Unfortunately, his career-and Distinguished Artist Award for Lifetime square and the grid, Martin challenges "meditative," and as possessing relevance of art and culture are coming development over time. those of other realists-was eclipsed by Achievement to Paul Cadmus. their hierarchy, creating nuanced, light­ "breathtaking clarity." to the fore, but no serious answers With respect and pleasure, our the rise of in the CAA is proud to present Agnes filled spaces that are reductive and With dedication and generosity of regarding where art and society is going committee, on behalf of the College At 1950s. Marginalization, however, gave Martin with a 1998 Distingulshed Artist abstract while also being deeply spirit, Agnes Martin has given clear are obvious. Arakawa and Gins address Association, is pleased bestow this Cadmus freedom to pursue his own ,Award for Lifetime Achievement. In her invested with individual experience of expression of herself through her art the connections between perception, Award for a Distingulshed Body of vision, a vision supported from the ·~rt, Agnes Martin combines simplicity the world. Her work is characterized by and through her writings and many thought, and existence at a time when Work to Arakawa and Madeline Gins. beginning by a powerful group of of form with an uncommon depth of its subtlety of line and color, economy of lectures. CAA wishes to recognize her artists are exploring teclmology's vast devoted colleagues, mentors, and feeling and understanding. Her art form, and by its sense of sheer calm. for her achievements and for her province and are breaking away from Committee: Elaine A. King, Carnegie patrons-induding his biographer and reflects a clarity of vision and sense of Although her work has been identified contributions to contemporary art and the limitations of concrete materials. Mellon University, chair; Roger brother-in-law, UnCOll Kirstein; writers purpose that are the results of both quiet with owing to its spare to art education. Through their work, these artists expand Shimomura, University of Kansas; Peter E. M. Forster and Glenway Wescott; persistence and the highest artistic the definition of artistic practice and Frank, independent critic; Judith Stein, photographer ; integrity. Committee: William D. Paul, Jr., University produce bridges between multiple independent critic/curator Martin was born in Maklin, of Georgia, chair; Joe Deal, Washington disciplines. Through their ongoing Sasketchwan, in 1912 and grew up in University, St. Louis; Younghee Choi projects, they provide access to infinite Calgary and Vancouver. In 1931 she Martin, independent artist; Deborah Willis, zones of invention and enter into moved to Bellingham, Washington, Smithsonian Institution illusory and intimate space. In a time where she completed high school and when the environment, the planet's Distinguished Artist Award earned a teaching certificate in 1937 survival. and interdisciplinary collabo­ for Lifetime Achievement from Western Washington University. rations inform topics of contemporary Awarded to Paul Cadmus and In 1941 she enrolled at Teachers College debate, it is appropriate to honor the Agnes Martin at Columbia University, where she CAA Committee on Women explorations of such visionary artists. completed her bachelors degree in fine in the Arts Recognition Award The human race is experiencing arts and arts education. After studying The humanitarian juxtapositions in the Awarded to Linda Nochlin essential changes in the perception of art of Paul Cadmus are represented by and teaching at the University of New time, information, travel, communica­ Mexico for several years, she returned to flawless draftsmanship and complex The CAA Committee on Women in the tion and personal identity. As we edge compositions developed from a thor­ Columbia University, where she earned Arts selected Linda Nochlin, Lila toward the next millennium, we are her M.A. in 1952. Following several ough knowledge of classical traditions Acheson Wallace Professor of Modem finding that neither absolutes nor a in Western art. Themes of good and evil, more years spent in New Mexico, with Art at the Institute of Fine Arts, New secure ground to base reality upon exist. the weaknesses of human folly, de­ the encouragement and support of York University, as the recipient of its A new world order has begun and will bauchery, and the strengths of demo­ gallery director Betty Parsons, she set up 1998 recognition award. Nochlin was continue to influence all facets of cratic political ideals-along with the a studio in New York in 1957, where she honored at a celebratory breakfast and society. Arakawa and Gins provide a subjects of Eros and sexuality-are part lived and worked for more than a recognized at the convocation ceremony cornerstone for us to experience the ,decade before returning once again to of work, play, and passion represented Linda Nochlin, CAA Committee on Women on Friday, February 27, during the world through the senses and to take Paul Cadmus, Distinguished Artist ·New Mexico in 1968. For the next six in his art. Award for Lifetime Achievement in the Arts Recognition Award annual conference in Toronto. PHOTO: ALFONSO MERLINI stock of our environment to counterbal- PHOTO: JON ANDERSON years, Martin abandoned painting and

10 CAA NEWS MARCHI APRIL 1998 CAA NEWS MARCHI APRIL 1998 11 The ribbons that members of the order to help address the "coverage" From the Executive Director Board of Directors and staff wear on to the ongoing needs of the member­ issue, the Board of Directors voted to As both Leslie King-Hammond and Arts Advocacy Day their conference badges often precipi­ allow affiliated societies to be eligible to ship. Membership surveys identify new John R. Clarke have announced, CAA Arts Advocacy Day was held in Wash­ tated spontaneous questions and submit proposals for regular 2.5-hour i demands and newly elected members has recently engaged Nancy L. Pressly ington, D.e., on March 9-10, 1998. More comments in halls, elevators, and program sessions. At that time there 1 :If the Board of Directors and editorial Associates to undertake a management/ than three hundred people lobbied on skywalks that ranged from "where's the were onfya handful of affiliated boards come brimming with ideas and governance study of CAA, examining, the Hill in support of the arts and bathroom?" to serious praise or com­ societies, a number that had been project proposals. CAA's long-range among other things, how well the humanities. Arts Advocacy Day plaints. We expect this. We're always relativelTstable. This new possibility of planning processes weigh, analyze, and elected representatives and the staff demonstrated important resistance to disappointed that some people are not participation led to a rash of applica­ prioritize needs and demands and oversee and administer the core Conference corne up with goals that are then turned the conservative push to eliminate the satisfied with our collective efforts and tions for affiliation, with the number activities of the association. NEA and NEH and to inform Congress encouraged that others find them today at 30. Of the 117 sessions at the over to staff for implementation. The Your comments are welcome. of the importance of these agencies. This praiseworthy. However, I am deeply conference this year, almost 13% were first step is finding outside funding, -Susan Ball Wrap-up year's efforts were directed at increasing troubled by three categories of com­ sponsored by affiliated societies. since the member dues and other funding and gaining continued support plaint I heard this year: 1) that CAA Advocacy is another of the essential earned income are already allocated to for both agenCies. (conference, organization, placement, activities of CAA. AlthOUgh advocacy core activities. The CAA Board of publications) offers nothing for artists activities on behalf of the arts and Directors plays a very active role in and that art historians control the humanities were increased dramatically fund raising and many members have Actions Needed began writing this column as I sat organization; 2) that CAA (conference, in 1990 when direct federal funding for been quite generous, as have founda­ It is of great importance that you contact in the Toronto airport on Sunday, etc.) offers nothing for art historians, and the arts and humanities came under tions and the NEA and NEH. your representatives and strongly March 1, about to return to New that artists have taken over the organi­ attack, CAA has been involved in The Board of Directors exercises its encourage them to co-sponsor H.R. I fiduciary responsibility, to assure that York after the 86th CAA Annual zation; and 3) that CAA (conference, quietly lobbying on behalf of its Advocacy 3048, the Digital Era Copyright En­ Conference, and continued on the flight etc.) offers nothing for museum profes­ members throughout its history. Three the needs of all 13,000 members of CAA hancement Act. Inform them now that home through dense clouds. By most sionals (curators, educators, directors) notable examples include CAA's major are carefully considered. We gather you are aware that the House Judiciary accounts, the conference was successful. and that academics always take prece­ role on behalf of artists and museums in data, and we also hear those who speak Committee is expected to consider H.R. Two-thousand six hundred and thirteen dence. It is both the similarity and the the 1950s that I wrote about in the up, who share their concerns with us. It 2281 WIPO Copyright Treaties Imple­ t was wonderful to see so many people registered to attend sessions, intensity of these complaints that are November 1997 newsletter and CAA's is not reasonable to expect that a mentation in the coming weeks. The bill CAA Advocacy Team members in mostly in advance; over 200 illstitutions especially upsetting. The polarity of the role in the founding of the National membership as diverse as that of CAA is one that the educational community, Toronto. Our session was well used placement services; 173 positions comments continues, with some Humanities Alliance in 1972 and the wili be able to be all things to all I including CAA, strongly opposes. were advertised; thousands of copies of charging that CAA has become only an National Cultural Alliance in 1990. people. It is reasonable, on the other attended, and we especially would like Contact your elected officials and job listings were photocopied and arts advocacy organization and others Whose is the appropriate voice to hand, to expect that the core programs to thank the panel for doing such a urge them to support President distributed; 81 interviewing tables were suggesting that CAA is not doing speak for CAA members? eAA has will be maintained, that all voices will wonderful job: Jeffrey P. Cunard, CAA Clinton's budget request of $136 million booked; 106 exhibitors displayed their enough advocacy on behalf of artists taken a stand for funding for the arts be heard and considered, and that new counsel; John Hammer, National for fiscal year 1999; to vote for long-term products in the exhibits hall; the local and/ or art historians. and humanities, precisely because so )rograms will be created to address Humanities Alliance; Gwenlyn continued funding of the NEA and host committee organized 20 events, and Can one organization reasonably many members are affected. For issues in the profession and in the Setterfield, Ontario Arts Council; NEH; and to maintain and not increase 30 local cultural organizations opened satisfy 13,000 individuals? Are some example, when testifying before an membership that affect a substantial Roberto Bedoya, National Association of the level of funding to states. CAA their doors to conference attendees. always bound to be dissatisfied? Is the NEA advisory panel faced with the number of people and will be aimed at Artists' Organizations; and Joyce specifically urges the House to allow a This was all the result of mOre than organization clear about what it is prospect of devastating federal funding diverse constituencies over time. We Zemans, York University. fair and open vote on the NEA's future two years of labor by hundreds of providing? What should members cuts, I argued on behalf of retaining ask in return for your trust, your funding to take place on the House floor people who worked together to produce expect for their dues of $25-$90? fellowships for individual artists, willingness to accept the diversity of Copyright this year. Furthermore, CAA opposes what is known as lithe CAA." It is the Revenues from dues fund 45% of all pointing out that over the previous the membership, and your gracious Legislation concerning the protection of any further funding cuts or extreme joint effort of the hard-working and CAA activities. Dues are income-based, three years, 80% of the NEA visual understanding and acceptance of the copyrighted material published on the moves to phase out these important and payment operates on an honor need for initiatives for constituencies agencies. dedicated CAA staff in the New York artists fellowship recipients were CAA Internetl the development of new office in all departments; the program system. The services provided for the members. (We lost that one, but that other than your own. technologies and freedom of speech Your legislator'S office in Washing­ committee and theme chairs; the members who claim a lower income and doesn't mean that either CAA or its What do members want for their issues, and electronic media is currently ton may be reached by calling the session/panel chairs and speakers; the students and retirees are subsidized by members should be less vigilant in dues? What can they reasonably expect pending before both the House and Capitol Switchboard at 202/224-3121. local host committee; job seekers and the higher paying dues members. We lobbying. On the contrary, we should for $40, the sum that the vast majority Senate. Two measures, the Digital Call as soon as possible. interviewers; and exhibitors. Although implore members to examine their step up our efforts!) At the NEH, art of nonstudent members pay? Members Copyright Clarification and Technology CAA president-elect John R. Clarke consciences when calculating dues history is one of the core disciplines. We must give thought to CAA in terms of Act (S 1146), sponsored by Senator John For more information on these issues thanked the staff, theme chairs, and payments. were told that some of the most its core programs----conference, publica­ Ashcroft (R-MO), and the Digital Era and on becoming a member of CAAAT, local host committee at the convocation CAA's core programs have been the thoughtful and informative letters to tions, placement, advocacy-and also in Copyright Enhancement Act (H.R. please contact Katie Hollander, manager his thanks bear repeating. ' annual conference, publications, and members of Congress arguing on behalf terms of its various roles-CAA as 3048), co-sponsored by Representatives of governance and advocacy, 212/691- Of course, opinions varied Widely placement. Even within the core of NEH came from art historians who publisher, CAA as convener, CAA as Rick Boucher (D-VA) and Tom 1051, ext. 206. about the success of these collaborative programs themselves without adding identified themselves as CAA members. advocate, CAA as collaborator, CAA as Campbell (R-CA), will have an enor­ efforts, from raving about the program new initiatives to this discussion, the A current and urgent issue affecting funder, CAA as placement service, mous impact on the art and humanities offerings, to complaining about the trek demands for representation are vast. CAA members, especially in higher CAA as member of a global commu­ community. 1f passed, these bills will from the hotels to the convention center With regard to subjects covered in the education, is the threat to fair use for nity-to use the descriptors recently "[b Jring the Copyright Act up to date in from bemoaning th~ lack of sessions on' conference program, evidence indicates education in the digital environment. used by the new president of the the digital environment while maintain­ any given topic, to extolling the scenic that most people attend the conference (see "Advocacy," page 13) American Council of Learned Societies ing the crucial balance between users and exercise value of the walk through (if not already planning to attend to So far, I have only touched on some in an exammation of that organization's and O'wners of intellectual properties." Union Station and the skywalks. interview) if there is more than one of the core activities of the association. role vis-a.-vis its members and the panel in their field. Several years ago, in The leadership of CAA is also sensitive :arger community it serves and represents.

12 CAA NEWS MARCHI APRIL 1998 CAANEWS MARD-I/APRIL1998 13 aging the public to engage in debates College of Art. He snorted, "What are an exhibit in a museum or art gallery, tan city to witness the spread of virulent convocation and to share with you and that would eventually result in enlight­ you going to do, wrap yourself up in a we had to arrive playing the role of diseases or to witness the growing your colleagues these moments of emnent and change. damn blanket and sell Indian trinkets to some mystic shaman or perform a few discrepancy between the rich and the Dialogue accomplishment, satisfaction, and self­ r would like to elaborate on one of the tourists the rest of your life?" traditional dances to somehow reaffirm poor. All of these global challenges that worth. I hope the glow of this late these issues particularly as it relates to He was extremely proud when he our Indianness. I began cynically confront us collectively and individually afternoon remains with you through the my experience. The issue was of our saw the mural at Expo '67 for the first referring to this phenomenon as "Indian gnaw at us from within, troubling our with the remainder of your professional lives. I struggle for cultural accorrunodation as time. I still recall his smile and his sensationalism." Our art criticism, when souls and our consciences. We have hope you have the pleasure and . artists of First Nations or Native tongue-in-cheek comment, ''It's defi­ it did appear, was much like headlines every reason to feel a little anxious and satisfaction of living lives that permIt American ancestry, and how through nitely too large to be considered a trin­ from supennarket tabloids: "Indian Real insecure when we are confronted with you to continue to pursue highly our efforts we were able to inventively ket; r guess it's art." He did say, with a artist paints pictures," "Ojibwe artist problems of such epic dimensions, creative careers that will not only give transform mere cries of protest into truly slight tone of sarcasm, "How come your shows taboo legends," "Sioux woman although it is unfortunate that too often you the feeling of self-worth but are also human discourse, and thus change. work is just on the Indian Pavilion?" displays acrylic paintings." Like the our insecurity leads to rhetoric, confron­ fully engaged in the needs and the Granted we were encouraged by a The murat a geometric image of the "Dog who plays Chopin" we became tation, and attempts at dominance and issues of the day. that brought philo­ Tree of Peace was based on a symbol whatever the trainer or, in this case, the I must confess to some difficulty in control. sophical and ideological issues to the from my own culture with a slight art gallery or the art-buying public In spite of the magnitude of the knowing exactly what it is that r can say forefront-but I was living in a Canada influence of "" painting, wanted us to be. The following address was delivered by Tom challenges at hand, I have always to you. I can only speak to you from my where most Canadians assumed that which was perking my interest at the My father's comments began to Hill museum director of the Woodland remained optimistic. Here in Canada, own experience as an artist, a curator, our underlying social-cultural structures time. It depicted, in ceramic tiles, a make a lot more sense. Your integrity as Cultural Centre in Brantford, Ontario, at artists, curators, cultural bureaucrats, and now a museum director who was left little to be desired; and because of symbol that was given to us by the an artist and your practice is what is the convocation ceremony of CAA 's eighty­ and some institutions have set into born and raised on the Six Nations this, we were miraculously immune to Peacemaker, our first lawmaker and the important. The challenge that was at sixth annual conference in Toronto on motion a whole new way of thinking Indian Reserve. When I grew up in the the upheavals surrounding race that founder of our traditional government. I hand was to gain legitimacy for my art Friday, February 27, 1998. and doing business. Yes, know many 1950s, we were living in a far different r were being experienced elsewhere. used the tree, metaphorically, to detail within the Canadian context inside the artists make art because that is what world from that in which we are living In order to tell this story, I need to the equality of Nations and its universal evolutionary model of Western art. Sago, Skeno, Swanz€, Bonjour, Good they do or "they make it just for the h~ll today. In fact, as we race toward the tell you a little more about myself. I idea of peace. It is a traditional What my father was saying was that if Afternoon, honored guests, ladies, and of it." But it is enormously to the credit next century, you must be wondering grew up on an Iroquoian reserve here in Iroquoian story filled with allegory, my art was good it deserved to be gentlemen. May I take this opportunity of those who have pursued careers in what kind of world you will be living in southern Ontario as a status Indian which, I felt, said a lot about my presented not only in the Indian to be the first to extend my congratula­ the visual arts and have in the past, and how you will be developing your under the Indian Act, a draconian piece Iroquoian heritage and the kind of Pavilion, but the Canadian Pavilion and tions to the award winners and, if you directly and indirectly, exerted a practice in the visual arts when it seems of legislation that legally controlled idealism that I wanted to present to an perhaps even in the Man in his World haven't been already, to welcome you to formative influence on causing change. here in North America we move every aspect of my life as an individual international audience. I was never Pavilion, which presented all the great OW' great dty-Toronto, or as we say in Besides giving us works of aesthetic constantly from one crisis to another-be and as a community member. The comfortable, however, with my father's Masters of the World. our language, Tao:do-which simply beauty, visual artists have brought into it political, social, economic, or c~tural. Indian Act could even control my comments that day. He was a Seneca, an Somehow, the institutions and means "log sticking out of the water." If view deep understanding relating to But our crisis is not just confined to creative life, and it did. In the 1950s lroquoian, and I know he was proud of those that represented them had a great you entered into Qur city via the gender and sexual equality, spousal our respective countries, Canada and. when I, with a number of artists on the his heritage. But why was I receIving deal of clifficulty finding ways to expose Gardiner expressway coming in from assault, child abuse, and ecological the United States. We live in a world m reserve, started a painting class and such mixed signals? to the public different perspectives on the airport, you probably crossed the concerns and have brought a more which instant communication, whether eventually an arts council, the Indian It took me a few years to really the world beyond their own. I began Humber River, at which point, if you culturally diverse Canada into focus. I we like it or not, can instantly transport agent, a government official, redirected understand his comments. It wasn't thinking, is this because we, as Canadi­ had a good Toronto cab driver, he am sure you can thlnk of many other would have accelerated over the bump us to the brewing tension in Iraq, to an financial support because in his opinion until I began to struggle to have my ans, are unsure of the cultural founda­ airline disaster in Taipei, to political issues in which artists and art institu­ on the bridge crossing the Humber. That "art was an intellectual pursuit and work taken more seriously and accepted tion on which we based our lives? Or upheavals in India, to a large metropoli- tions have played pivotal roles, encour- bump you experienced is really that log there was a danger of encouraging for what it was-art-that I found I was could it be those that are in power are sticldng out of the water. The log jutting unwanted nationalism." Pursuing a being relegated to a special cultural protecting only their privileges and their out of the water became lithe meeting career in the visual arts was not an niche here in Canada in which Indian myths of superiority. Cultural arrogance place" that Toronto likes to thin~ is the acceptable life pursuit or, for that was the key word. In short, those who is fueled by powerful myths, attitudes, real translation of its name. LewIS matter, a career choice. After surviving were in power dictated what cultural technologies, and in some instances, I Mumford stated that "a city is great the Indian agent, I still had to convince niche I was to occupy. My desire to hesitate to say, poweiful weapons. As when it preserves the memories of my father. change and to adapt to new ideas that Roberta Jamieson, the Ombudsman of human culture." On your exit bump, I graduated from the Ontario had an impact on the world in which I Ontario, noted recently in a speech, "if note the construction. The new city (and College of Art in 1967, and I will always lived was being restricted. I grew tired you were in Canada in the summer of that's another story) is building a new remember my father as I walked down of always being viewed in the past tense 1990, the Oka and Kanesatake barri­ bridge. They will probably get rid of the the aisle with my A.O.c.A. diploma in as if I created the work in some distant cades were evidence of my way is the bump, but there is an award-wmrung hand and as we left the auditorium to historic time. I was tired of working right way and the only way for those footbridge in gleam:ing white steel near travel to Montreal, to spend a weekend outside , of being the who exercise power. Perversely, the lake by the architectural firm at the World's Fair Expo '67. In my final authentic Indian artist making anthropol­ invisible cultural prejudices lead to Montgomery Sisam, which, incidentally, year at art college I had won a commis­ ogy or tourist mementos while white prisons of conformity and punishment was inspired by Ojibwe symbols, and, if sion to do an exterior mural at the artists made serious art. Yes, you could for all who did not live on their side of all goes well, there will be some exciting Indians of Canada Pavilion at the Expo, be taken seriously, but you had to deny the barricade." I must say, a number of public art under the bridge along a bike and I could hardly wait to show my your cultural heritage, much like First Nations artists found themselves trail. I look forward to the new light father my work, for which I would Mohawk artist Robert Markle did to behind those barricades that summer of standards that are to signify the en­ actually be paid $300. This was impor­ gam his acceptance in a booming 1990. trance into the metropolitan area, Welt tant, because I also remembered the Toronto art scene in the 1950s and 1960s. I say all of this to offend no one. enough about Tao:do. disappointed expression on his face I admired his spirit, his modernity, and Only to point out the challenges that I feel very honored being here when first I told him I wanted to be an his art, but I lamented his deprivation of First Nations artists faced in the past today to deliver these few words to this eAA President John R. Clarke greets keynote speaker Tom Hill artist and I wanted to go to the Ontario his heritage. If we were enlisted to get and to a certain degree, still face today PHOTO: ALFONSO MERLIN!

CAA NEWS MARCHI APRIL 1998 15 14 CAA NEWS MARCHI APRIL 1998 .. in Canada. Change had to take place, anthropology and art history, are building that still continues today. What Koenig Ross and Landa L. Trentham for 1998. Finally, we invite everyone to and it did. complementary and interpenetrating." gives me this great sense of encourage­ Women in CAA found that only 12% of faculty are attend the session co-sponsored by both Alex Janvier, Robert Houle, Eddy In spite of the hierarchical con­ ment is the fact that mutual understand­ women; this figure jumped to 33% in committees at the 1999 annual confer­ Poitras, Joe David, Carl Beam, Jane Ash struction of art museunlS and the art ing among people, individually and 1987-88 and to 42% in 1995-96. The ence in Los Angeles where the results of Poitras, Viviane Gray, and Alfie Young world and their power to represent and collectively, has always been effectively the Arts figures for people of color remain the survey will be further elaborated Man are just a few of the artists of First to exclude, postmodernism took hold. carried out through the arts. Why? disappointing, but are currently better and comments from the audience will Nations ancestry who, through their With its affirmation of difference, it Perhaps the creative arts are more about than those in the art history field. In be welcomed. actions and their artistic expression over empowered us to expand imaginatively enlightenment than about ways to gain 1995-96,2% of faculty were women of -Marjorie Och, CAA Committee the years, began to question the power with our intellectual concerns into what wealth and power. The art world has color, 3% were men; for 1987-88, 1.5% on Women in the Arts bases in order to cause change. We also has now become enunciated in some always been in a rare position when were women, 2.5% were men. In 1974- realized we couldn't do it by ourselves. circles as "the new internationalism." given the opportunity not only to give Wo years ago, the CAA Commit­ 75,5% of faculty were men of color; only New partnerships were formed with This extraordinary burst of activity has us valuable insight into the spirit, but tee on Women in the Arts 1 % were women of color. those individuals inside the system who brought us new forms of music, dance, also to move us forward to finding T reported that it was undertaking The lowest figures for all women supported our vision and OUf inclusion. theater, philosophy, politics, and, of solutions. Those challenges are still here a survey of art history and studio art throughout all surveys remains at the Conferences and task forces were course, a myriad of new forms of the for all of us today. departments to gauge the status of level of full professor. In 1973, 9% of this established to discuss strategies. Lobby visual arts that now can be centered in Myself, I look forward to my own women and people of color. This survey category were women; in 1995-96, the Annual groups were established to formalize our traditional culhrre. Iroquoian philosophical traditions to was the first since the 1978-79 survey figure rose to 37%. When Garrard and implement action plans. Proposals But all is not well. With the help me address those challenges and to conducted by the committee under the surveyed the field of art history in 1978- had to be written, papers had to be problems of economic recession and find the balance. For my curatorial guidance of Mary Garrard. The earlier 79,74% of all M.A. and PhD. candidates Conference given, but most importantly, artworks limited funding, emerging technology experience, it is a constant interrogation survey limited its field of inquiry to 43 were women. Certainly, the 1995-96 had to be created and new forms of and the challenge of international of the real world in which I live in order art history programs at Ph D.-granting figures (37%) suggest that these women Update artistic practice had to be tried, all to interdependence, we have become even to make the necessary adjustments in institutions in the u.S. with the express moved into academia, albeit not as capture the minds of the Canadian more fixated on legitimization prima­ my practice between my Iroquoian purpose of determining the status of successfully as their male counterparts. public and to demonstrate that artists rily because we have to muster political culture and the evolving Western art women within these institutions. These men, who numbered 26% of M.A. from First Nations communities could strength to find support for ourselves. world. This constant movement toward Figures for the years prior to 1978-79 are and PhD. candidates in 1978-79, were Call for Participation, 1999 maintaining the balance must be the create legitimate forms of Canadian The difficulty we have is trying to sketchy/ at best, and do not offer the presumably among the 63% of full For submission guidelines, see the 1999 goal in itself. It should not be reduced to breadth of information now becoming professors in 1995-96. artistic expression. avoid the polarizing that takes place Call for Participation mailed to all simple demands for funding, but should available. In an attempt to measure the We had to convince such major when one's practice slips into a The figures further indicate that, members in February. be a larger struggle to find our space for institutions as the Art Gallery of Ontario counterbalance position. Local knowl­ demographics within our professions as nearly a generation after the 1978-79 "Transformation, Invocation, and criticality. Contemporary Ojibwe artist that exhibitions of First Nations art edge versus new internationalism, accurately as possible, we requested survey, white women and men are Magic in Contemporary Latin American Carl Beam stated, "My guides have been information for the years 1987-88 as deserved to be on their walls, along with alternative versus professional, approaching some degree of parity in Art." Chair: Debra Koppman, John F. the wise men of tradition, who interpret , . well as 1995-96. the renderings of our historic images in academic versus activist, regional academia. While the numbers can be Kennedy Unlversity; mail to 2307 reality and get a hold of meaningful Paul Kane and Cornelius Krieghoff versus national, Woodland Culhrral The survey was mailed to 157 analyzed objectively, it is more difficult Damuth 5t., Oakland, CA 94602-2438. things. They created their own method­ studio and art history programs offering paintings and our typographical Centre versus the Art Gallery of to judge the psychological and emo­ This session will explore the work ologies, certain medicines, certain states both the M.A. and PhD.; of these, 107 tional impact of this journey toward commemorations in Lothar Ontario, and the list goes on and on. of Latin American artists living in their of consciousness. They survived by Baumgarten's installation from The Every group competing for legitimiza­ responded. Additional programs were equality. For example, how are we to own cultures, as well as the work of Nort.h American Iceberg exhibit of a few tion creates a never-ending clash for interpreting reality." later contacted, and their responses are explain the disparity between the great Latin American artists living in the U.S. We must all seek our challenges number of female graduate students and years back. cash. now being processed. At this point/ our whose primary ties and identification and in so doing/ dialogue with the real. commentary and analyses are prelimi­ few professional female mentors in Inroads had to be made into our In some government funding remain in Latin America. Drawn from nary, but we feel that it is important to educational and academic institutions. circles, First Nations artists are now academia? Additionally, no figures are traditions that do not separate sacred Theoretical developments had to be referred to as a "special interest group" keep you informed on the progress of available from these surveys that chart from secular/ the themes of transforma­ the experien<;e of students of color encouraged. Although there is still a and have been accused of politically this survey. Following is a preliminary tion, invocation/ and magic will be used analysis of the results. through graduate school. It may be gulf between theory and practice, efforts manipulating artistic institutions for as a framing device to see the ways in In art history, women currently are being made in Canada to be more our own interests when all we asked possible to speculate that while the which art and spirit are integrally accepting of some of this thinking, was for equity and an opportunity to hold 52% of faculty positions, up from presumably white female graduate intertwined in the works of specific 43% in 1987-88, and 30% in 1978-79. particularly with the initiatives of art educate the public through the arts students recorded in the 1978-79 survey contemporary Latin American artists. By historians to accommodate the new art about our reality. I find all of this These figures suggest that women are were shepherded, in some way/ through focusing on connections to traditions, entering academia at a rate more closely history, which is more interdisciplinary, ironic, particularly in this Decade of graduate school, women and men of roots, and a sense of spirit, the themes approximating numbers of those color did not find, or were not offered, less hierarchicat and more socially Indigenous Peoples declared by the discussed in this panel will illuminate receiving Ph.D.s in art history, that is contextualized. It is still an emerging United Nations, which seems to go similar shelter, and their numbers in alternative and potentially radical 66.5% (Eleanor Dickenson, "Gender academia today are minimal. As practice, but it now aligns itself with our unnoticed here in Canada. approaches to the challenge of cultural Discrimination in the Art World," CAA, traditional notions of artistic expression As I stated at the outset of my individuals desiring to see our profes­ domination. By refusing to see them­ that view art as an integral element of remarks, I was optimistic. Such issues February 5, 1990). However, only 2% of sions flourish, we must bear in mind selves or their culhrre as either op­ the whole. To quote Dr. Ruth Phillips, as these may not be altogether nega­ art history faculty in the 1995-96 survey that where there are no mentors, there is pressed or alienated, by maintaining a director of the Museum of Anthropol­ tive. They may in fact be the rough are women of color, a marginal increase no continuity, no expansion. sense of self as powerful and the world from 1.5% in 1987-88; men of color were ogy in Vancouver, "the new art history'S edge of the educational process The Committee on Women in the as magical, contributors to the panel will emphasis on interdisciplinary work is balancing itself or smoothly adjusting at 3% in 1995-96, and 2% in 1987-88. Arts, together with the Cultural Diver­ focus on the power of art and magic in The increase of women in studio particularly friendly to First Nations art to its position that now includes the art sity Committee, is grateful to all who processes of personal and collective for it recognizes the way in which the of all its citizens. They may be the I departments has been even more responded to the survey. We hope to t. ; transformation. Proposals are invited \ dramatic. The 1974--75 survey of 82 post additional information about the two disciplines most concerned, results of the process of Nation- ~o from artists, critics, and scholars. M.F.A. departments conducted by Janice survey on the CAA website in April Deadline: May 11, 1998.

16 CAA NEWS MARCHI APRIL 1998 CAA NEWS MARCHI APRIL 1998 17 version and background documentation 7. Copyright law should uphold the Copyright & such as comments and endorsements, principle that liability for infringing CAAin Letters to CAA please visit the NINCH website at activity rests with the infringing party . acts undertaken at their behest by -Kathe Albrecht, Visual Resources individuals but should not be held liable Property Association for the acts of individuals-whether or Mentors not associated with the institution­ Jobs Increase Apparent NHA Basic Principles for acting independently. This principle is for Women Rights an essential underpllming for academic Museum Apathy "The percentage of women teaching in Managing Intellectual Property freedom. Even worse than having to pay museums university art and art-history departments has exorbitant fees for scholarly publication rights, in the Digital Environment any thanks to the artists, curators, tripled in the U.S. in the last 25 years, according deplored by Phyllis Bober in the last issue of the and art historians who served as 8. Educational institutions should foster to a survey recently carried out by the College CAA newsletter [see "Reproduction Rights in (summary) mentors for the Career Development The educational community approaches a climate of institutional respect for Art Association's Committee on Women in the Scholarly Publishing," November 1997 CAA M Workshops organized by Michael Aurbach of intellectual property rights by providing Arts, The most dramatic changes are evident in News insert. Or send SASE to: Statements and pending changes in copyright and Vanderbilt University at the arumal conference art-history departments in Ph.D.-granting Guidelines, CAA, 275 7th Ave., New York, NY neighboring intellectual property law appropriate information to all members in Toronto. Participants were: Ron Bechet, n the continually evolving dialogue institutions, says Kathleen MacQueen, co­ ~0001; or see the website at vvww,collegeart.org], of the community and assuring that Southern University of New Orleans; Diane on copyright law in the digital (e.g., Sui Generis Database Protection director of the study; there the percentage of IS the refusal of museums to provide photo­ appropriate resources are available for Canfield Bywaters, University of Wisconsin­ environment, the visual resources Act) with the overriding conviction that women among full-time faculty members has graphs or information to scholars, without so clearing rights attached to materials to Stevens Point; Alan D. Chong, Art Gallery of I it is in the interest of the evolving U.s. climbed from 16 percent in the early 1970s to 48 ~uch as an acknowledgment of the request. This professional is hard pressed to illlder­ Ontario; Laurie Beth Clark, Univer-sity of be used by the institution, e.g., in percent in the academic year 1995-96. This trend IS the treatment I received from the National stand how to deal with the use of digital information society that the legal Wisconsin; Austin Collins, University of Notre support of distance learning. is likely to continue, MacQueen points out, since Gallery of Victoria at Melbourne and the environment foster rather than disrupt Dame; Irina Costache, Loyola University of information in the workplace. The today women receive around 66 percent of the Museum of Art in Toledo, Ohio, when over the the balance between intellectual New Orleans; Debra Drexler, University of collapse of consensus at CONFU left doctoral degrees in art history. course of a year I wrote increasingly urgent 9. New rights and protections should be Hawaii; Don Evans, Vanderbilt University; VRA members and other educators with property owners and the public good "Similar changes are taking place in studio­ letters to each, begging for photographs and created cautiously and only so far as Shelley T. Fuller, University of Nebraska; Ann that is embodied in current law. art programs, where women currently hold 33 information, and got no answer whatsoever. the question, "Where do we go from Renee Gower, Virginia Commonwealth experience proves necessary to meet the percent of the full-time faculty positions, How did I finally prevail? I asked a friend at the here?" In an effort to help answer that University; Myron HeI£gott, Virginia Common­ Constitutional provision for a limited However, the study suggests that recent decades National Gallery in Washington to make the question and to build a consensus 1. Copyright law provisions for digital wealth University; Dennis Y. Ichiyama, Purdue monopoly to promote the "Progress of have seen virtually no increase in the percentage same request in he.r own name; within a matter works should millntain a balance University; Carlyle Johnson, Middle Tennessee around copyright issues among educa­ of people of color among either art-history or of days she had the infonnation and photo­ between the interests of creators and Science and useful Arts," State University; Padma Kaimal, Colgate tors and other users, the National studio faculty, A detailed report on the survey's graphs I needed. I do not know the laws under University; Diane Kirkpatrick, University of Humanities Alliance (NHA) has copyright owners and the public that is findings will be published in the March issue of which museums operate in Australia, but I 10. Copyright enforcement provisions Michigan; Ellen Konowitz, Vanderbilt Univer­ developed a set of Basic Principles for equivalent to that embodied in current CAA News [see page 16 for preliminan; report], supposed that American museums existed for should not hinder research simply i < sity; Paul Lee, Washington State University; statute. The existing legal balance is and the complete survey data will be available at the benefit of others besides curators in sister Managing Intellectual Property in the William W. Lew, University of Northern Iowa; because the products of a line of inquiry the CAA Web site.. m~seums .and ~lad a certain obligation to people Digital Environment. consonant with the educational ethic of Steve Mannheimer, Herron School of Art; Paul might be used in support of infringing -Christopher Phillips, Art in America, WIth a senous mterest in art. Museums that treat responsible use of intellectual proper­ Mathieu, Emily Carr Institute; David McCarthy, Established in 1981, the NHA is a February 19 the public in this way do not deserve the tax ties, promotes the free exchange of activity. Rhodes College; Bonnie Mitchell, Syracuse nonpartisan coalition of scholarly and benefits or the tax dollars that they receive. University; Robert Mode, Vanderbilt University; professional organizations working to ideas, and protects the economic -Anne Markham Schulz, Brown Kathe Albrecht and CAA Executive Director CAA in Toronto Dewey F. Mosby, Picker Art Gallery, Colgate enhance public support for federal interests of copyright holders. Ulliversih;, December 8, 1997 Susan Ball were on the committee that "John R. Clarke, Regents Professor of Art University; Marilyn Murphy, Vanderbilt programs in the humanities. Member drafted the principles. CAA is a founding History at the University of Texas at Austin and University; !ames Nestor, Indiana University of organizations include museums, 2. Copyright law should foster the president-elect of the CAA, ' . , speaks of how Students Value member of NHA. Permsylvarua; Carlton Newton, Virginia libraries, historical societies, state maintenance of a viable economic it's all about expanding the scope of art history CAANews Commonwealth University; Thomas Piche, to include objects, people and issues that have framework of relations between owners Your newsletter continues to delight and inform. Everson Museum; Ljubica Popovich, Vanderbilt humanities councilsr university and tended to be ignored or sidelined, 'There is a and users of copyrighted works. Several of our undergraduates and graduate University; Wayne Potratz, University of independent centers for scholarshipr growing interest in different and unusual studen,ts have been galvanized into action by Minnesota-Minneapolis; Tanja Softie', Rollins and other organizations devoted to aspects of culture throughout our society, and advertIsements of fellowships, internships, and College; David M. Sokol, University of TIlinois­ humanities education. 3. Copyright laws should enconrage National one job of art history is to encourage aspects of competitions, and your recent piece on Phyllis p, ; Marilyn Stokstad, University of enhanced ease of compliance rather than that diversity.' . Since the armouncement of the Humanities Bober [see January 1998 CAA News, pages 1-2] Kansas; Terry Thacker, David Lipscomb increasingly punitive enforcement "The University of Toronto's Ueffrey] Principles in the spring of 1997, the was a charmer-and a much needed inspiration University; Richard Thompson, Alfred Univer­ Alliance Hamburger [chair of the CAA Millard Meiss NHA has received broad support from measures. to some of our graduate students. sity; Richard Tichich, Georgia Southern Univer­ Committee] explained how art history has -Jody Maxmil1, Stanford University, sity; Lester Van Winkle, Virginia Common­ the educational community. The The NHA is taking a provative always been about looking back on visual 4. Copyright law should promote the Januan; 29,1998 wealth University; and Victoria Star Varner American Council of Learned Societies, stance in rebuilding the National traditions and rethinking them for the present: maintenance of a robust public domain Southwestern University, ' the American Historical Association, Endowment for the Humanities, 'A tradition is not something that's for intellectual properties as a necessary American Library Associationr Associa­ getting balances and comprehen­ simply passed on from one generation to the condition for maintaining our intellec­ tion of Research Libraries, Art Library sive copyright laws passed, as well other; it's constantly being reshaped and put to Society, the College Art Association, and tual and cultural heritage. new purposes. Even if art historians seem far as the ongoing work of speaking removed from daily life, art historical scholar­ the Getty Information Institute are on behalf of scholars, librarians, 5. Facts should be treated as belonging ship plays an instrumental role in shaping how among the many groups that have researchers, and all others con­ that tradition will be passed on and under­ to the public domain as they are under submitted formal endorsements of the cerned with the humanities, Join stood." current law. Principles; the Executive Board of the to NHA e-mail list by going to ~Blake Gopnik, "Art Historians Talk New Talk" Visual Resources Association voted to www. nhalIiance,org, then clicking The Globe and Mail, February 25, 1998 ' 6. Copyright law should assure that endorse the Principles in July. on "NHA-Forum." Reprinted below is the condensed respect for personal privacy is incorpo­ version of the Principles. For a complete rated into access and rights manage­ ment systems. II

CAA NEWS IvlARCH/ APRIL 1998 18 CAA NEWS MARCH/APRIL 1998 19 Margo Kren. Union Gallery, Kansas State University, , Kans., January 12-23, Solo 1998. Sabbatical Show, paintings and folding screens. Exhibitions Marina Kuchinski. Peggy Kelly Gallery, .Minnetonka Center for the Arts, Wayzata, Minn., January 22-February 20, 1998. Mixed by Artist media and clay sculphlres. Corey Postiglione. Columbia College Art Gallery, Chicago, December 8, 1997-January 31, Members 1998. Labyrinths. David Rich. Satori Fineart, Chicago, December 5, 1997-January 18, 1998.

Only artists who are individual CAA members will Davida Schulman. Artemisia Gallery, Chicago, be included in this listing. Group shows cannot be March 5-March 28,1998. Davida Schulman: Self­ listed. When submitting information, include name, Portraits, paintings on canvas, watercolors. eAA membership number, gallery or museum, city, Gael Stack. Krannert Art Museum, University dates ojexhibition, and medium (or website address of Illinois, Champaign, February 6-April 5, 1998. of online exhibits). Photographs will be used only if Mild Warnings. space allows and cannot be returned. Please be Ursula von Rydingsvard. Madison Art Center, advised that listings and images may be reproduced Madison, Wis., March I-May 10, 1998. Ursula Yong Soon Min, Defining Moments, in the website version of CAA News. Submit to: 11 Laura Young, January Thaw, 20" x 30", oil on canvas vall Rydinsvard: Sculpture. 20 x 16", 1 in a series of 6 b/w photos Jessica Taglia/erro, 275 7th Ave., New York, NY 10001; [email protected]. Laura Young. Project Art Galleries, University of Iowa Hospitals and Clinics, Iowa City, October Jess Dobkin. Locations throughout New York Deirdre Keyes. Watchung Arts Center, Chris Semergieff. Mercer Street Gallery, New 2-November 30, 1997. Looking at Iowa, oil and State, April 1-30, 1998. Utopia Roaming, traveling Davida Schulman, Self-Portrait (Double York, February 17-March 7,1998. Water Ways. acrylic landscapes on canvas and paper; Cedar Watchtmg, N.J., February 3-28, 1998. Acts of the Mirror), 7211 x 46", acryliC on canvas performance project. Rapids Museum of Art, Cedar Rapids, February Apostles. Altoon Sultan. Marlborough Gallery, New Jeanette R. Durham. Shelnutt Gallery, 7-April2, 1998. Landscapes, [995-1997, oil and Ellen K. Levy. Associated American Artists, York, January 7-31, 1998. American Agriculture, Rensselaer Polyteclmic Institute, Troy, N.Y., ABROAD Yuji Hiratsuka. Chicago Center for the Print, acrylic landscapes on canvas and paper. New York, January 8-February 7, 1998. Housing egg temperas. Chicago, December 5, 1997-January 31, 1998. September 2-29, 1997. Rocks; Foundation Blaine De St. Croix. Gasworks Alternative Nature. Allen C. Topolski. Houghton House Gallery, Urban Portraits VI. Gallery, Herkimer County Community College, Gallery, Triangle Arts Trust, London, August NORTHEAST Herkimer, N.Y., October 2-30, 1997. In Margot Lovejoy. Neuberger Museum of Art, Hobmt and William Smith Colleges, Geneva, 1998~ Side Streets Projects Gallery, Santa Monica, Kate Hunt. Wriston Art Center Galleries Pmchase College, State University of New York, N.Y., January 21-February 13, 1998. Terry Adkins. New Jersey State Museum, Midstream, paintings and drawings. Calle January-February 1998. Installations. Lawrence University, Appleton, Wis., J~uary Purchase, October 12, 1997-January 11, 1998. Trenton, January 31-March 22,1998. Terry Jose Gabriel Fernandez. Lombard-Fried Fine John Wallace. Blue Mountain, New York, 6-25,1998. Recent work. Al1aflll1f!sia, video installation. Mark Staff BrandI. Kunsthaus Rkhterswil, Adkins: Distant Mirrors. Arts, New York, January 9-February 7, 1998. A February 6-25, 1998. Star Cage Celebration. Zurich, January 24-March 25,1998. Recent Martin Kersels. Madison Art Center, Madison, Brief lllustrated Guide to Bullfighting. Younghee Choi Martin. Simon Gallery, Deborah Bright. Wheeler Gallery, Providence, paintings, drawings, and prints. Wis., December 6, 1997-February 15, 1998. Morristown, N.J., March 10-Aprilll, 1998. R.I., January 16-February 5, 1998. All That Diamantina Gonzalez. EI Museo del Barrio, Commotion: Martin Kersels. Youngltee Cltoi Martin: Recent Paintings. SOUTH Is Solid. New York, January 29-March 29, 1998. Recurrent Frances Barth. Marcia Wood Gallery, Atlanta, Valerie Merians. Tribes Gallery, New York, MID-ATLANTIC Memories. February 6-March 7, 1998. Diane Burko. Marriott Hotel Grand Lobby, April 4-30, 1998. Sculphlre installation. Barbara Grossman. Bowery Gallery, New York, Judith Godwin. Art Museum of Western . Public art commission. March 20-Apri 18, 1998. Recent paintings and oil Yong Soon Min. Art in General, New York, Virginia, Roanoke, Va., October 10, 1997- Peter Ivanoff. Gormley Gallery, Fourier Hall, pastels. April 18-June 27, 1998. Bridge of No Return. January 4, 1998. Shjle and Grace. College of Notre Dame of Maryland, Baltimore, Daniel A. Heyman. 55 Mercer Gallery, New Adrian Piper. Thomas Erben Gallery, New September B-October 15, 1997. Peter Ivanoff York, January 6-24, 1998. The Death of Eddie Po/ec York, December 11, 1997-January 31, 1998. Food Drawings, Objects. and Other Paintings. for the Spirit-July 1971.

MIDWEST Les Barta. Alma College, Flora Kirsch Beck Gallery, Alma, Mich., April 26-May 21, 1998. Computer Photoconstructions. Pi Benio. Paint Creek Center for the Arts, Rochester, Mich., January 3D-March 20, 1998. Wraiths Stain, sculptural paper. Elizabeth Coyne. Krasl Art Center, St. Joseph, Mich., April2-May 17, 1998. Inventing Memory: Conversations with Myself. John J. Donnelly. DAC Gallery, Dublin, Ohio, February 9-March 5,1998. Recent Works. Jim Goldberg. Museum of Contemporary Photography, ChiCago, January 31-March 21, 1998. Rnised by Wolves: Photographs and Documents of Runaways. [' 11 Peter Ivanoff, I Wish I Knew, I Wish I Knew, What Makes You Me What Makes Me You Altoon Sultan, Cow on the Levee, Baton Rouge, Louisiana, 7.5" x 20 , egg tempera on board 4311 x 9611 X 30', crutches, fabric, oak, birch ' , ,

CAA NEWS MARCHI APRIL 1998 21 20 CAA NEWS MARCHI APRIL 1998 Terry K. Hunter. Foster-Tarmer Gallery, Florida for 25 years. After her retirement from the person exhibition at the International Center for Academe William D. Ebie has been named director of the Exhibition, September 25-November 22, 1998, at A&M University, Tallahassee, Fla., September School of the Art Instihtte of Chicago as Photography in the spring of 1996 and traveled Millicent Rogers Museum of Northern New the Blanden Memorial Art Museum in Fort 18-0ctober 16, 1998; Spartanburg COlmty professor emeritus in 1967, Lilien taught the to various venues, including Techno-Seduction at Caroline Boy1e-TUTIler of the I-lliode Island Mexico in Taos. Dodge, Iowa. The solo show will feature color Museum of Art, Spartanburg, S.c., January 12- history of architecture at Columbia College in Cooper Union, which coincided with the 1997 t,School of Design has been named executive intaglio prints. February 22, 1998. Drawings and prints. Chicago until she was in her 90s. CAA conference in New York. The third project, ( /director of the Pont-Aven School of Art, an art Gail Feigenbaum has been appointed curator of Frances Hynes. Jacksonville Museum of For 6 decades, Lilien was a mentor to many "Archival Quality," for which she received one school in Brittany, France. paintings at the New Orleans Museum of Art. Blaine de St. Croix was awarded a studio Contemporary Art, Jacksonville, Fla., February artists, architects, and designers. In the 1970s a of the last NEA artist's grants, focuses on residency at Gasworks Artists Studios, Triangle 6-March 29, 1998. Dawn Chasing Night. group of her former students established the Tamblyn's own life's work. The project includes Jane C. Campbell has been appointed associate William H. Luers, chief executive officer of the Arts Trust, in London for the summer of 199B. Marya Lilien Foundation for the Advancement complete transcriptions of her diaries since 1964. Metropolitan Museum of Art in New York, has Conrad Ross. Malone Gallery, Troy State professor of Italian Renaissance art at Emory of Interior Design at the School of the Art The CD-ROM for the Arc/lival Quality exhibition at annOllllced his retirement, effective in 1999. Sally Ann Duncan, a PhD. candidate at Tufts University, Troy, Ala., March 30-April24, 1998. University. Instihtte. In 1994 the school presented a the Los Angeles Center for Photography was in University, has received the Robert C. Vase, Jr., The Rhein: A Series ofTen Landscapes in Two Parts, retrospective exhibition of watercolors that she progress when she died and is being brought to Jill Medvedow has been named James Sachs Scholarship Award from the Copely Society of painting, , print, and construction. Kevin E. Consey, director and chief executive created during summer travels. completion by a community of artists, exhibi- officer of the Museum of Contemporary Art, Plaut Director of the Institute of Contemporary Boston. Lilien lived at the Tree Shtclios Armex in tors, supporters, and additional funders. It will Chicago, has been named distinguished lecturer Art in Boston. WEST Chicago for more than 40 years. Her apartment premiere in May at LACP in Los Angeles. in the M.A. program in arts administration at the Phoebe Farris was a Rockefeller scholar-in­ was a frequent gathering place for artists and From the late 1970s Tamblyn taught for the Jessica Morgan has been appointed curator of residence at the University of Georgia's Barbara Broughel. San Jose Museum of Art, San School of the . scholars from Chicago and abroad, particularly School of the Visual Arts, the University of contemporary art at the Worcester Art Museum Womanist Studies Symposium during the Jose, Calif., February 22-May 31, 1998. Barbara visitors from her native Poland. She exemplified California at Berkeley, Mills College, and the in Worcester, Mass. summer of 1997. She was also appointed a Broughel: Requiem. Carole Fisher, professor of fine arts at the the individual for whom the Tree Studios-a San Francisco Art Institute. She was a lecturer Minneapolis College of Art and Design, was visiting scholar at the Woman's Leadership Patrick Dougherty. San Jose Museum of Art, place that provides living and work space for and graduate adviser at Interarts at the San appointed chair of the Fine Arts Division. She Gresham Riley has stepped down as president Institute at Mills College in Oakland, Calif., San Jose, Calif., January 199B-January 1999. Chicago artists-was originally built. Over Francisco State University, 1986-94; an assistant succeeds Hazel Belvo, who resigned from the and chief executive officer of the Pennsylvania where she worked on her book Woman Artists of Patrick Dougherhj: A Site-Specific Installation. many years, no one fought harder than Lilien to professor at Florida International University, position last May in order to spend more time Academy of Fine Arts, Philadelphia. Color: A Biocritical Sourcebook to Artists in the Stephanie J. Frostad. Davidson Galleries, preserve the Tree Studios as a city landmark. 1994-96; and assistant professor at the teaching. Americas. Seattle, December 4-24, 1997. Between Virtue and University of California at Irvine from 1996 until Vice, paintings. Mark Howard Sandler, scholar of Japanese art her death. Tamblyn was known for her Mark Fullerlon has replaced Christine Verzar Organizations Lynda Frese, associate professor at the history, died on November 17, 1997. He was 52. encouragement of younger artists and shtdents, University of Southwestern Louisiana, was Laura Lasworth. Hunsaker/Schlesinger, Santa as chair of the Art History Department at Ohio Sandler served as assistant professor and her humor, and for no-holds-barred criticism in awarded a Rockefeller Foundation reSidency at Monica, Calif., November B-December 24,1997. State University. Gail Leftwich has been appointed president of chairman of the Art History Department at the over 100 articles and reviews for such publica­ the Bellagio Study and Conference Center in The Habit of Being: A Porh'ait of Miss Mystenj and the Federation of State Humanities Councils. Potsdam campus of the State University of New tions as High Performance, Afterimage, Leonardo, Italy for her project The Virgin/Mother Mary: Manners. Dario Gamboni, formerly professor of art York from 1975 to 1980. He was also assistant Art Joumal, Art News, and Artweek. history at the University of Lyon, France, was Judith Olch Richards has been appointed Interpretations of U1e Female Divine. Sidney Lawrence. BralUlSteln-Quay Gallery, San professor at the University of Maryland, College A retrospective of Tamblyn's work was appointed Andrew W. Mellon Professor of the executive director of Independent Curators Francisco, November 6-29, 1997. City Drawings Park, and adjunct professor of Asian art at Hood feahtred at the San Francisco Cinematheque/ Humanities at Case Western University in Incorporated in New York. Beverley Grindstaff, a teaching fellow and and Other Works. College. Center for the Arts on March 5. She is survived . Ph.D. candidate at the University of California, Ruth Trotter. Harris Art Gallery, University of In 1980 Sandler became resident manager by her parents and a sister. In lieu of flowers, Los Angeles, is a 1998 fellow at the Wolfsonian­ La Verne, La Verne, Calif., March 2-Apri 13, of a U.S. trading finn in Kyoto, where he also donations can be made to The Lab, 2948 16th St., Elaine A. King, professor of art history and Florida International University. 199B. Draped. served as vice president of Japan's American San Francisco, CA 94103-3613. theory at Carnegie Mellon University, was the Chamber of Commerce. On returning to the -Margaret Morse, University of Cal ifomia at .suest American curator for the Fourth Graphic Peter Ivanoff is the recipient of a 1997 Maryland U.S., he became a trainer in Japanese protocol Santa Cruz Arts Biennial in Gyor, Hungary. She also was a State Arts Council individual artist's award. for buisiness executives relocating to Japan. guest speaker at the Kunstseminar in Metizgen, Sandler lechtred extensively on Japanese art at Richard G. Tansey, professor of art history at Gennany. Grants, Eduardo Kac, assistant professor of art and museums and organizations in the Washington, San Jose State University and patron member of technology at the School of the Art Institute of D.C., area and contributed to a number of the College Art Association, died on February Tamara Machmut-Jhashi has been appointed Chicago, received a $10,000 grant from the catalogues, journals, and books, including the 20, 199B. He was 78. Tansey was the author and assistant professor of art history at Oakland Awards, Shearwater Foundation to research and edit the Art Joumal and Asian Art and Culture. His co-author of 6 editions of Gardner's Art Through University. first anthology of writings on the aesthetics of "Wartime Paintings of Fujita Tsuguharu" will the Ages. His colleague Fred S. Kleiner, professor holography from the 1960s to the 1990s. People in appear in the forthcoming War, Occupation, and at Boston University and co-author of the 10th & Creativity: Japan and East Asia, 1920-1960 edition of Gardner's, lauded Tansey as "one of Museums and Galleries Honors Elaine A. King was awarded a visitor research (University of Hawaii Press). He was the the great art history teachers of all time" (San fellowship from the Smithsonian Institution. She recipient of 2 Samuel H. Kress Foundation Jose Mercury News, February 24,1998). will be working at the American Archives in the News Michael J. Bennett has been appointed associate grants and the Teaching Excellence award from Tansey completed 2 degrees and a Only grants, awards, or honors received by indiv­ April 199B. the University of Maryland. doctorate at Harvard University before curator of Greek and Roman art at the Cleveland idual members are listed. The grant/award/honor Museum of Art. Sandler is survived by his wife, Linda L. beginning his tenure at San Jose State in 1947. amount is Hot included. All names will also appear Donald Kuspit of the State University of New Sandler of Silver Spring, Md. He was instrumental in forming the Local 1362 on tile CAA website. Submit name, membership York at Stony Brook received the Citation for of the American Federation of Techers union. As Harry Cooper has been appointed associate number, institutional affiliation, and title of the Distinguished Service to the Visual Arts from curator of modern art in the newly created its first president, Tansey strove to equalize the grant, award, or honor, and (optional) use or purpose the National Association of Schools of Art and Christine Tamblyn died New Year's Day at her Department of Modem and Contemporary Art benefits and pay scale of teachers in the state ofgrant to: [email protected]. Design. In Memoriam home in San Francisco. She was 46. Tamblyn college system of California with those of the at the Fogg Art Museum in Cambridge, Mass. began her career as a conceptual, performance, University of California. He was a member of Elizabeth Liebman of the University of Chicago Marya Lilien, Chicago artist, architect, and and new media artist and critic in 1974 in Mauricio Cordero has been named education the faculty committee on professional standards is a 1997-98 fellow at the Getty Research educator, died on January 12, 1998, in Zakopane, Chicago. coordinator of the Instihtte of Contemporary Art for many years. Timothy Benson, curator at the Los Angeles Institute for the History of Art and Humanities. Poland. She was 98. Lilien was one of the first Born and raised in the small town of in Boston. After his retirement in 1980, Tansey female architects ih Poland. She came to the U.S. Libertyville, Ill., she received.her RF.A. from the County Museum of Art, is a 1998 fellow at the traveled widely with his wife, Luraine Tansey, a Wolfsonian-Florida International University. Lian Hurst Mann, current editor of AhoraNow, in the late and was invited to be an School of the Art Institute of Chicago in 1979 Roger DeB has been appointed director of member of the art faculty at San Jose City has been awarded the 1998 Institute Honors apprentice to Frank Lloyd Wright. As the first and an M.F.A. from the University of California, education at the Fitchburg Art Museum in College. He is survived by his wife and 4 sons. William A. Berry, professor and chairman of the from the American Institute of Architects for her female fellow at Taliesin, Wright's enclave in San Diego, in 1986. Her first in a series of CD-ROM Fitchburg, Mass. work as editor of Architecture Califam in. Wisconsin, she became a close associate of projects, "She Loves It, She Loves It Not: Women Department of Art at the University of Missouri, Sydney J. Freedberg (obituary appeared in Columbia, was awar(jed first prize in the Laredo Wright, acting as his interpreter in 5 languages and Technology," was shown in Seduced and David L. Deming, dean of the College of Fine July/August CAA News 1997, page 12). A Center for the Arts 5th Annual International Steven A. Mansbach, associate dean at the and accompanying him to Arizona when he Abandoned: The Body in the Virtual World at the Arts, University of Texas, will become president memorial tribute will be held for Freedberg at Exhibition. Center for Advanced Study in the Visual Arts purchased land for Taliesin West. Institute of Contemporary Arts in London and ,f the Cleveland Institute of Art. He succeeds the Fogg Art Museum at Harvard University on (CASVA), has received the 1997 CINOA Prize In 1942 Lilien came to the School of the Art in venues in the U.S. and Canada. "Mistaken loberl A. Mayer, who retired in August 1997. April 27, 1998, at 5:00 P.M. RSVP: 617/495-2378. Richard Black received a 1997 Florsheim Art for his book Modem Art in Eastem Europe, due to Institute of Chicago and founded the depart­ Identities," Tamblyn's second CD-ROM, compares be published by Cambridge University Press in ment of interior architecture, which she headed 10 women's biographies. It premired in a 1- Fund grant in support of his Genesis Two January 1999.

22 CAA NEWS MARa-I!APRll.1998 CAA NEWS MARCHI APRIL 1998 23

J Jody L. Maxmin, associate professor of art and Kennedy, Samuel H. Kress Fellow; Maria Lia should be conceived and at what price. For For infonnation: 310/440-7697. Send name, between works of art and the conditions of and executive committee in the run-up to the Classics at Stanford University, was the recipient MunilIa La Casa, Association of Research infonnation; Thomas G. Beischer, 14 Ware St., address, phone, institutional affiliation, and a viewing, or, how works of art are inflected by congress. The final decision on the number and 0'£ the second annual teaching award of the Institutes in Art History Fellow; Douglas Lewis, Apt. 1, Cambridge, MA 01238; 617/876-3868. check payable to J. Paul Getty Trust to: Art! their intended or eventual physical context. Also duration of academic sections will be made Associated Students of Stanford University. Ailsa Mellon Bruce History, c/o Alexander Waintrub, GRI, 1200 sought are papers that address relationships during July 1998. Nominations and self­ Sabbatical Curatorial Fellow; Suzanne Glover "Ideals and Ideology: The Art Museum from Getty Center Dr.,Ste.1100, Los Angeles,CA among art and optics, vision, and notions of the nominations should include a brief C.V., names Louise McKissick has been awarded an arts Lindsay, Paul Mellon Visiting Senior Fellow; 1851 to 2001," April 23-25, 1998, will be held in 90049-1688. visionary. Send 1-page abstract and c.v. to: and addresses of 2 academic referees, proposal fellowship by the Shastri Indo-Canadian Carol C. Mattusch, Senior Fellow; Natalia conjunction with A Grand Design: The Art of tlte Andrew Ladis, Program Committee, Lamar for an academic section, along with address, Institute. She will live in India for 6 months and Majluf, Inter-American Development Bank and Victoria and Albert Museum, at the Museum of Annual Museum Computer Network Dodd School of Art, University of Georgia, phone, fax, and e-mail. Send to: Nigel Llewellyn, create a collaborative, online art project with a Ailsa Mellon Bruce Visiting Research Fellow; Fine Arts, Boston, in collaboration with the Conference, "Knowledge Creation-Knowledge Athens, GA 30602-1402; 706/542-1511; fax 706/ Honorary Director CIHA London 2000, School site-specific component exploring the concept of Bezalel Narkiss, Samuel H. Kress Professor; Harvard University Art Museums, Cambridge, Sharing-Knowledge Preservation," will be held 542-0226. Deadline: Mny 15, 1998. of European Studies, University of Sussex, digital avatars. It will involve research into the Heghnar Watenpaugh, Andrew W. Mellon and the Sterling and Francine Clark Art September 23-26, 1998, in Santa Monica, Calif. Falmer, Brighton, BN! 9QN, UK; 01273 678865; traditional meaning of the avatar in Indian Fellow; and Rebecca Zorach, Mary Davis Institute, Williamstown. For information and For information: www.mcn.edu. "Bourgeois and Aristocratic Cultural Encoun­ fax 01273 623246; [email protected]. culture and its usage in cyberculture. Fellow. regish'ation: 617/369-3297; [email protected]. ters in Garden Art," sponsored by the Studies in Deadline: June 1, 1998. ------" Comite International d'Histoire de l'Art Landscape Architecture at Dumbarton Oaks, Richard Meyer, assistant professor at the 1998 Barnett Arts and Public Policy Sympo­ annotmces the proposed title for the CIRA/ will be held May 14-15, 1999. Papers on the "Igniting the Edge: Forging New Geographies, University of Southern California, is a 1997-98 sium, "New Policy Ideas for the Arts," will be CBRA international colloquium: "Landscape: impact of changing relationships between Categories, and Identities" is the theme of the fellow at the Getty Research Institute for the held at the Ohio State University Wexner Center Art, History, Representations." The symposium. bourgeoisie and aristocrats with the develop­ Women's Caucus for Art 1999 National History of Art and Humanities. for the Arts May 7-9, 1998. It will feature arts will take place in September 1999 at the ment of garden art are invited. Abstracts (3 Conference to be held in Los Angeles, February policy professionals from around the country University of Sao Paulo, Brazil. pages) should describe the scope of the work 8-11,1999. Proposals for papers, panels, and Milo Naeve, Field McCormick Curator Emeritus discussing such topics as the arts at the and its significance for the symposium theme. workshops are invited from artists and scholars of American Arts at the Art Institute of Chicago, millennium, new revenue streams for the arts, For infonnation: Director of Studies, Landscape on the theme of artistic actions, strategies, received the Decorative Arts Society's Robert C. Conferences new ways of measuring arts impact, perfor­ Calls for Papers Architecture, Dumbarton Oaks, 1703 32nd St., technologies, and understandings for the new Smith Award for Most Distinguished Article in mance assessments, and new partnerships. For N.W., Washington, DC 20007; 202/339-6460; fax millennium. Proposals should be 1-2 pages in the Decorative Arts. The article, "Louis Comfort infonnation: Karen Oldham; 614/292-5356; 5th Biennial Gender and Archaeology 202/625-0432; [email protected]. Deadline: length and accompanied by participants' [email protected]. Tiffany and the Refonn Movement in Furniture and Symposia Conference, "From the Ground Up: Beyond May 30, 1998. resumes. Include home address, institutional Design: The J. Matthew Meier and Ernest Hagen Gender Theory in Archaeology," will be held affiliation, phones, fax, e-mail, and web site and Commission of 1882-1885," was published in "Suor Plautilla Nelli, Dominican: The First October 9-10, at the University of Wisconsin­ "Cass Gilbert, Life and Work: From Regional send to; Betty Ann Brown, Art Dept., California Woman Painter of Florence (1523-1588)" will be American Furniture 1996 by the Chipstone . The theme stresses concrete to National Architect" will be held at the State University, 18111 Nordhoff, Northridge, held at Syracuse University in Florence and Foundation. examples of how gender theory can be applied Alexander Hamilton U.s. Custom House, New CA 91330-8300. Deadline: June 1, 1998. Georgetown University in Fiesole May 27,1998. in archaeological praxis. Send inquiries and 200- York, November 13-14. The event is sponsored The symposium will present the paintings and Rachel Selekman received a Pollock-Krasner word abstracts to: Professor Nancy L. Wicker, by the 2nd Judicial Circuit and the George Society of Historians of East European and drawings by Nelli, nearly all virtually unknown, Foundation grant for 1997-98. Art Dept., MSU 42, Mankato State UniverSity, Gustav Heye Center of the National Museum of Russian Art and Architecture's "Russian and consider the education, patronage networks, To Attend PO Box 8400, Mankato, MN 56002-8400; 507/ the American Indian. Proposals are invited on Modernism; Methods and Meaning in the Post­ ------and societal expectations of a woman artist in Alvin Sher, director of the Great Lakes Colleges 389-2728; fax 507/389-2816; nancy.wicker@ any aspect of Gilbert's life and work (1859- Soviet Era," will be held April 1999, University Association New York Arts Program, was 16th-century Florence, specifically a painter in a 1934), including related topics in the decorative of Maryland and the Woodrow Wilson Center. "Caravaggio and His Italian FoIIowers from mankato.msus.edu; or Professor Bettina Arnold, awarded a Fulbright-Hayes grant to travel in Dominican convent. For information; Jonathan arts, sculpture, painting and landscape history, Sessions address the formalist and Marxist the Galleria Nazionale d'Arte Antica" will be Dept. of Anthropology, University of Wisconsin, Ethiopia and Eritrea, where he spoke about his Nelson; [email protected]. engineering, the history of technology, regional historiographies; their impact on studies of held at the Wadsworth Atheneum, Hartford, PO Box 413 Bolton Hall, Milwaukee, WI 53201; own sculpture at Adis Ababa College of Art. issues, preservation, interdisciplinary studies, Russian modernism in Russia, East-Central Conn., April 25, 1998. The morning sessions will [email protected]. Deadline: April 15, 1998. "Disaster Preparedness, Response and and social and cultural history. Travel funds Europe, and the West; the extent to which the focus on new attributions and interpretations of David Summers, professor at the University of Recovery," 26th American Institute for may be available. Send a proposal of 500 words avant-garde defined modernism; how a Caravaggio's own oeuvre, while the afternoon "The Prairie School and Early Modernism: Virginia, has been named a 1998 scholar at the Conservation of Historic and Artistic Works or less and 1-page c.v. to: Barbara S. Christen, historiographical focus on the avant-garde sessions address regional h'ends among the Frank Lloyd Wright and His Midwest Getty Research Institute for the History of Art (AIC) Annual Meeting June 1-7, 1998,Arlington, Cass Gilbert Projects, U.S. Bankruptcy Court, shapes the study of modernism in general; how artist's followers. For information: 860/278-2670, Contemporaries, 1898-1909," sponsored by the and Humanities. Va. The week's program will have 2-day Alexander Hamilton U.S. Custom House, 1 renewed interest in social history focusing on ext. 3049. Frank Lloyd Wright Home and Studio sessions on preparedness and response. An Foundation, will be held October 15-17. Papers Bowling Green, New York, NY 10004-1408; 212/ institutions and audiences affected interpreta­ James Wechsler, a Ph.D. candidate at the City interdisciplinary approach in these sessions will 668-2870, ext. 3989; fax 212/809-9659. Deadline: tions of Russian modernist art; how "Positioning Degas's Little Dancer," April 3-4, are sought on aspects related to the early work University of New York, is a 1998 fellow at the include presentations from the Federal May 31, 1998. periodization determined meaning/value for 1998, a symposium presented by Joslyn Art of Wright and his contemporaries or work that Wolfsonian-Florida International University. Emergency Management Agency, the American Russian modernist art; how redefinitions of Museum, Omaha, Nebr., in conjunction with the contextualizes Prairie School architecture and Red Cross, NFPA, and the Deparbnent of The British CIHA committee seeks academic period styles altered modernist art historiogra­ exhibition Degas and ale Little Dancer. A design within the development of early Laura Young of the University of Iowa has Defense. The balance of the week will focus on section convenors for the 30th CIHA congress, phy; how constructions of gender affected distinguished roster of leading scholars on modernism. For infonnation; 708/848-1976. received a grant from the Iowa Arts Council to the theme of recovery-the treatment of cultural London 2000. The theme of the congress is interpretations of modernity/modern art in Edgar Degas, Impressionism, 19th-century Send 500-word abstracts and c.v. to: Joseph partially fund her recent show Looking at Iowa at materials after a disaster event-in sessions "Time." Seeking proposals on this theme in the Russia; or how constructions of national identity sculpture, dance, and scientific research will Socki, Frank Lloyd Wright Home and Studio the Project Art Galleries, University of Iowa conducted by AlC specialty groups. For following areas; "Art-Historical Method and shaped Russian modernist art and/or critical speak on subjects related to one of the pivotal Fotmdation, 951 Chicago Ave., Oak Park, IL Hospitals and Clinics in Iowa City. information: AlC, 1717 K St., NW, Ste. 301, Historiography"; "Iconography"; "Form, discourse. What is the significance of media works in the development of modern sculpture, 60302; fax 708/848-1248. Deadline: April 27, 1998. Washington, DC 20006; 202/452-9545; fax 202/ Theory, and Creativity"; "Material Histories"; bias/specialization within the study of Russian Edgar Degas's Little Dancer Aged Fourteen. For The following CAA artist-members are 452-9328; [email protected];palimpsest. "The New Moving Media"; and sections open to modernism? How do differences in method and infonnation: Claudia Einecke, Joslyn Art Delaware Art Museum invites paper proposals recipients of 1997 Biermial Tiffany Foundation stanford.edu/aic;' suggestion. The sections will be thematic and training or gaps in communication among Museum, 2200 Dodge St., Omaha, NE 68102; for a symposium to be held in celebration of the awards; Ann Agee, Rochelle Feinstein, De Witt international. Proposers should indicate the international scholars of Russian modernism 402/342-3300, ext. 249. addition of the Rossetti Chairs to the museum's Godfrey, Maria Elena Gonzalez, and Virgil "Art/History: Objects, Meaning, Judgment," collections to be held October 16. Proposals minimum number of papers that a section affect the field? Papers on the collapse of the Marti. September 16-19,1998, is organized jointly by would require with the names of potential Soviet Union are also sought. Jane A Sharp, "Architecture, Art, and Cultural History: focusing on Pre-Raphaelite and related 19th­ the Getty Research Institute and the Getty Grant speakers. Section convenors will be individuals Institute for Advanced Study, Olden Lane, Refractions and Reflections: Celebrating 25 century British decorative arts are welcome. For National Gallery of Art's Center for Advanced Program on the occasion of the opening of the from the international community of senior Princeton, NJ 08540; jsharp@ias. edu. Deadline: Years of the History, Theory, and Criticism information: 302/571-9590. Send 3 copies of 2- Study in the Visual Arts (CASVA) made the Getty Center in Los Angeles. The symposium scholars (not U.K. nationals). Each convenor will June 1998. Section in the Deparhnent of Architecture" page paper proposals with c.v. to: Margaretta following appointments to CAA members for will examine how objects are constructed, how take responsibility for 1 academic section and will be held at the J\.1IT Bartos Theatre at the J\.1IT Frederick Watson, c/o Delaware Art Museum, 1997-99: Tracy Cooper, Ailsa Mellon Bruce they acquire and produce meaning, and how will be supported by a team (deputy convenor, 5th International Conference on Word and Media Lab, April 17-18, 1998. This symposium 2301 Kentmere Pkwy., Wilmington, DE 19806; Senior Fellow; Marian Feldman, David E. Finley judgments about them are generated in relation post-graduate intern, and technical assistant) Image, sponsored by the International will present an open-ended question about the fax 302/571-0220. Deadline: May 1, 1998. Fellow; Jacqueline Francis, Wyeth Fellow; Max to aesthetic conventions and social practices in and will develop a proposal to be included in Association of Word and Image Studies, will be status of interdisciplinarity in the study of art Grossman, Chester Dale Fellow; Mimi Hellman, cultures that change and interact over time. the call for papers (November 1998). In the held at Scripps College, Claremont, Calif., March and architectural history and criticism, 2nd Conference on Early Italian Art, 1250-1425, David E. Finley Fellow; Michael Ann Holly, Registration; $50; $25 students. Financial summer of 1999, they will meet in the U.K. to 14-21,1999. For infonnation and call for papers: investigating both its past role and its future "Art and the Spectator," will be held September Ailsa Mellon Bruce Senior Fellow; Deborah assistance is available on a competitive basis for select papers. The deputy convenors, represent­ Peter de Voogd, IAWIS, Universiteit Utrecht, potential. The symposium will address the 25-26, at the Georgia Museum of Art. Twenty- to Howard, Samuel H. Kress Senior Fellow; scholars from Central and Eastern Europe, the \. ing the practice of art history in the u.K., will English Dept., Trans 10, 3512 JK Utrecht, The concept of how broadly interdisciplinarity 25-minute papers should address the theme of fonner Soviet Union, and developing countries. Branden Joseph, Wyeth Fellow; Matthew art and spectator and consider the relationship collaborate with the convenors on the organiza­ ; www.let.ruu.nl/scholar_assocs/iawis/ tion of the sections. They will join a technical conferences/claremont.lttml.

24 CAANEWS MARCH/APRIL 1998 CAANEWS MARCH/APRILl998 25 address this phenomenon. Send essays of 1,500 The Artist's Magazine announces its 15th ARC Gallery juries monthly for professional Society for the Preservation of American epigraphy, ethnohistory, history, linguistics, or words or less to: ICI, 1708 Berkeley St., Santa annual Art Competition, open to amateur and women artists living within 100 miles of Modernists supports scholarship by students, multidisciplinary studies involving any suitable Opportunities Monica, CA 90404; institute@culturalinquiry. professional artists, who may enter work in 4 Chicago. Video/electronic/media perfonnance professionals, and independent scholars that combination of these classifications. For org. Deadline: Jtll1e I, 1998. categories: portraits, landscapes, stilllifes, and artists are invited to apply. Send slides, tape, or investigates the artistic contributions of application: Granting Committee, FAMSI, 268 S. experimental. For prospectus, send a SASE to: other supporting materials with resume, American modernists and has a parallel interest Suncoast Blvd., Crystal River, FL 34429-5498; fax "Aesthetics and the Arts" series seeks proposals Leeanna Wesley, The Artist Magazine's 1998 Art statement, and SASE to: Membership Chair, in promoting research on the history of public 352/795-1970. Deadline: September 30, 1998. on art exhibited with public funding and/or art Competition, Dept. PR, 1507 Dana Ave., ARC Gallery, 1040 W. Huron St., Chicago, IL and private support for the arts in the U.s. exhibited in the public domain. The collection Cincinnati, OH 45207; fax: 513/531-1843. 60622. For information: 312/733-2787. SPAM's publication grants are intended to Newberry Library Center for Renaissance would address the problems of public art and Deadline: May 1, 1998. encourage nonacademics to do original research Studies invites applications for the Rockefeller the philosophical problems concerned with the Arizona State University Art Museum Short and academics to make their research accessible Foundation Residential Fellowships in Gender activity and its description/criticism. Essays will American Craft Council is accepting applica­ Film and Video Festival, April 1998. Short films to the public. Send 3 copies of application, Studies in Late Medieval and Early Modern Calls for Manuscripts include the best art criticism on public art along tions for its Pacific Northwest event, the and videos are sought. Guidelines can be found including description of the project; a publishing Europe. Two fellowships will be granted each with commentaries infonned by a knowledge of Bellevue Showcase of Fine Crafts, to be held at asuamfa.asu.edulfilmfest/1998.htm. plan, including a list of potential publication year for 3 years, 1998-2001. These fellowships National Art Education Association seeks the practice of contemporary painting. Also September 18-20, in the Meydenbauer Center in venues, their criteria, and what contacts have are reserved for postdoctoral scholars in Portland Museum of Art, Maine, is accepting submissions for the AntllOlogtj of Divergent sought are proposals for a book on contempo­ Bellevue, Wash. For information: American been made; a resume; a budget for the literature, history, and other humanities fields, Models for the Preparation and PresentatiC!11 of rary painting. Both books will consist of an Craft Council, 21 S. Eltings Corner Rd., submissions for the "Portland Museum of Art publication grant project; and a list of other whose projects will profit from the Newberry's editor's introduction, a selection of 10 essays, Biennial," a juried exhibition of works in all Student Art Exhibitions, ed. Robert C. Dalton and Highland, NY 12528; 800/836-3470; fax 914/883- hmding sources. Grants will not exceed $1,200. holdings. The selected fellows will spend 10 media opening in November 1998. Artists who William M. Zuk, which will explore the role of and a commentary addressed to peer groups in 6130. Deadline: May 5, 1998. Project should be completed no less than 4 months in full-time residence at the library. student art exhibitions in benefiting both the fields and will be published by G+B Arts spend part or all of the year working in Maine months after the grant has been awarded. Send Scholars whose work expands, redefines, or are encouraged to submit slides for review. For creators and viewers. It will include 3 sections: International. Richard Woodfield, 74 Lorimer Seattle Arts Commission announces a call for to: Society for the Preservation of American challenges contemporary understandings of infonnation: Julia Kirby, Portland Museum of "Purpose and Meaning," "Planning and Ave., Gedling, Notts NG4 4WA, ; 15 glass arhvorks. Total purchase budget: $45,000. Modernists, 388 8thSt., #8, Brooklyn, NY 11215; gender in the late medieval and early modern 9523320; work 15 9418418, ext. 2208; fax 15 Art; 207/775-6148, ext. 240. [email protected]. Deadline: May 1, 1998. Implementation;" and "Teaching and Learning." The program is open to artists from the periods (ca. 1200-1750) are encouraged to apply. All responses should be in abstract form (500 9486403. Northwest U.S. and British Columbia. For For information: Newberry Library, Center for words or less). For information: Bill Zuk, information: 206/684-4186; wlandram@raincity. Wolfsonian-Florida International University Renaissance Studies, 60 W. Walton St., Chicago, University of Delaware Press announces a University of Victoria, Dept. of Arts in com. Deadline: Mny 25, 1998. Grants and Fellowships announces fellowship opportunities for January IL 60610; 312/255-3514; renaissance@newberry. Education, PO Box 3010 MS 7836, Victoria Be new series of occasional volumes, "Studies in to July 1999. The Wolfsonian is an exhibition and org; www.uic.edu/orgs/newberry. V8W 3N4, Canada; fax 250/721-6589; bzuk@ 18th-Cenrury Art and Culture." Send 2 copies of Slowinski Gallery announces the 2nd Annual Institute of Museum and Library Services research center in Miami Beach with more than uvic.ca. Abstracts should sent in duplicate to: double-spaced manuscripts, following the International Showcase exhibition, to be held at awards national leadership grants intended to 70,000 European and North American objects Research Grants in Soviet Nonconformist Art. Office of the Executive Director, NAEA; 703/ Cllicago Manllal of Style, 14th edition, to: Elise its storefront gallery space. Open to all artists enhance the quality of library services nation­ from the period 1885-1945. Collections The Jane Voorhees Zimmerli Art Museum of Goodman, "Studies in 18th-Century Art and 860-8000; fax 703/860-2960; [email protected]. working in all media, the exhibition will feature wide and provide an opportunity for collabora­ encompass furniture, paintings, sculpture, glass, Rutgers University announces the availability on com. Postmarked deadline: April 30, 1998. Culture," University of Delaware Press, 326 multiple works by each artist selected. Grand tion between museums and libraries. Awards ceramics, books, and works on paper. The an annual basis of small travel grants to perform Hullihen Hall, Newark, DE 19716; elise. prize: $1,000; 2nd prize: full color, postcard range from $15,000 to $50,0000. All types of fellowship program supports projects examining research at the Zimmerli on the museum's National Art Education Association seeks [email protected]. edition of work. For information and applica­ libraries and museums may apply. Libraries the aesthetics, production, use, and cultural Dodge Collection of Nonconformist Art from the submissions for the anthology Making Invisible tion: Slowinski Gallery, 215 Mulberry St., New may apply individually or in a partnership. significance of the decorative arts, design,. and Soviet Union,. 1956-86. Preference is given to Histories of Art Education Visible, ed. Paul Bolin, York, NY 10012. Deadline: May 30,1998. Museums may apply only in a partnership that architecture of this period. For infonnation: proposals that may lead to publication and/or Research Center Program Officer, Wolfsonian­ exhibitions related directly to the objects in the Kristin Congdon, and Doug Blandy, designed to Calls for Entries includes at least 1 museum partner. Institutions introduce art educators and other professionals Art Without Walls, a nonprofit, independent II of higher education may apply individually or Florida International University, 1001 Washing­ collection. For information: AlIa Rosenfeld, ton Ave., Miami Beach, FL 33139; 305/535-2632; Zimmerli Art Museum, Rutgers University, New to historical perspectives on art education (1930- National Juried Competition, July 3-22,1998. arts council is seeking Polish artists to exhibit in in a partnership. For information: Institute of present) in the U.S. and Canada. It will be Juror: John Walter. Open to all artists working in Holocaust: The Polish Expedence. Artists working Museum and Library Services, 1100 Pennsylva­ fax 305/531-2133. Deadline: May 31, 1998. Bnmswick, NJ 08901-1248; 732/932-7237, ext. in all mediums and styles exploring the personal 631; [email protected]. inclusive of stories, experiences, teaching 2-D media. For prospectus, send SASE to: Bowery nia Ave., N.W., Washington, DC 20506; 202/606- 1999-2000 Fulbright Awards for U.S. Faculty methods, and cultural groups of which art Gallery 121 Wooster St., New York, NY 10012. experiences of Polish survivors and/ or children 5227. Deadline: April 17, 1998. education histories have not been fully explored Deadline: April 10, 1998. of Holocaust survivors are encouraged to enter. and Professionals. Opportunities for lecturing and documented. Emphasis is placed on Contemporary Polish artists exploring Polish Elizabeth Foundation for the Arts grants or advanced research in over 125 countries are Internship personal narratives to the greatest extent Judah L. Magnes Museum announces the 5th themes are also invited. Send resume, 5 slides or program is open to fine artists working available to college and university faculty and possible. The anthology will include fonnal annual Jewish Video Competition. Entries on photographs, and SASE to: Sharon Lippman, Art primarily in painting, sculpture, printmaking, professionals outside academe. U.S. citizenship Exhibitions Intern to assist director of education settings (public and private schools, Jewish themes from every category and level of Without Walls, PO Box 341, Sayville, NY 11782; drawing, or mixed media, whose work can be and the Ph.D. or comparable professional exhibitions and the exhibitions department of preschool through higher education), museums production, including video, audio, and 516/567-9418. Deadline: June 30, 1998. viewed advantageously through slides. Work in qualifications are required. For lecturing awards, museum services organization in managing all and community art settings, and folk group interactive media are welcome. Works shot on photography, video, film, and crafts is not university or college teaching experience is aspects of approximately 40 traveling exhibi­ settings. Research chapters of approximately 12- film for video release are acceptable, as are film Muscarel1e Museum of Art invites artists to eligible. Grants range from $2,500 to $12,000, expected. Foreign language skills are needed for tions. Position is immediate and ongoing for 15- 18 pages and 1-2-page personal testimonials originals edited on video. For information and enter the American Drawing Biennial VI, to be and are targeted to assist the artist in creating some countries; most lecturing assignments are 20 hours per week on a credit or noncredit basis. about a mentor will be considered. If you application: Bill Chayes, Video Competition held October 24, 1998-January 9, 1999. The new work or in gaining recognition for work. in English. For information: USIA Fulbright Submit resume and a letter of interest to: Robin respond with a proposed research chapter, send Coordinator, Judah L. Magnes Museum, 2911 exhibition is open to aU artists residing in the For application: Elizabeth Foundation for the Senior Scholar Program, Council for Interna­ Berg, Director of Exhibitions, Curatorial 3 copies of a I-page abstract and a 1-2-page Russell St., Berkeley, CA 94705; 510/549-6952; U.S. Juror: Ann Philbin of the Drawing Center. Arts, PO Box 2670, New York, NY 10108; fax tional Exchange of Scholars, 3007 Tilden St., Assistance, Inc., 113 E. Union St., Pasadena, CA outline. To respond to the call with a proposed fax 510/849-3673; [email protected]. Deadline: For a prospectus, send #10 SASE to: ADB VI, 212/586-5896. Deadline: May 1, 1998. N.W., Ste. 5L, Box GNEWS, Washington, DC 91103; 213/681-2401, ext. 106. testimonial, send 3 copies of a I-page abstract. April 15, 1998. Muscarelle Museum of Art, College of William 20008-3009; 202/686-7877; apprequest@cies. Doug Blandy, Arts and Administration and Mary, PO Box 8795, Williamsburg, VA National Endowment for the Humanities tie.org (requests for application materials only); Program, School of Architecture and Allied Arts, Phoenix Gallery announces its 1998 national 23187-8795. Deadline: June 30,1998. announces fellowship opportunities for www.cies.org. Deadlines: Lecturing and research grants 1999-2000: August I, 1998; Distinguished Online University of Oregon, Eugene, OR 97403. juried show: July 8-29. Juror: Beth Venn of the university and college teachers and independent Postmarked deadline: May 1, 1998. Print Gub of Albany is sponsoring its 20th scholars. NEH fellowships provide opportuni­ Fulbright chairs in Western Europe and Canada: Whitney Museum of American Art. All media The Architecture of the Getttj Center, lVlVw.reed. are accepted. Award consists of a solo/group National Print Exhibition, September I-October ties for individuals to pursue advanced research May I, 1998; International education and academic edulgettyarchitecture, established to celebrate Institute of Cultural Inquiry seeks contribu­ show. For prospectus, send SASE to: Phoenix 11,1998, at the Schenectady Museum. Juror: in the humanities. Projects may contribute to administrator seminars: November 1, 1998. the architecture and the opening this week of the Robert Kipniss, printmaker and painter. The scholarly knowledge or the general public's tions to an upcoming publication that addresses Gallery, 568 Broadway, New York, NY 10012. Getty Center, attempts to demonstrate the exhibition is open to all artists working in understanding of the humanities. The tenure Foundation for the Advancement of epiphany as a form of methodology. Essays that Deadline: April 23, 1998. potential of the World Wide Wide for making focus on individuals who claim that an printmaking media; monoprints and photo­ period is 6-12 months, the earliest beginning Mesoamerican Studies (FAMSI) announces its available a larger number of reasonably high offset prints are not eligible. Award: $2,000 will January 1999. The maximum stipend is $30,000. annual grant competition for 1998. Grants are epiphanal moment has driven their work, often 7th Annual "Siffowcase" Exhibition, sponsored quality color images than can nonnally be in an obsessive manner over a sustained period by the Alternative Museum in SoHo. AU media be available for prizes. Entry fee: $7.50 per slide For information: 202/606-8467; wlInv.neh.gov. intended to provide assistance for scholarly (minimum of 2). For a prospectus, send SASE to: investigations of pre-Columbian cultures of afforded by print publishers. This site is not of time, are sought. Of particular interest are SASE Postmarked deadline: May 1, 1998. will be accepted. For Information, send to: affiliated with the Getty Trust. pieces on thinkers who fall outside the Alternative Museum, Dept. 117, 594 Broadway, Print Club of Albany, PO Box 6578, Albany, NY Mesoamerica (limited to present Mexico, traditional definition of"artist," who are New York, NY 10012. Deadline: April 25, 1998. 12206-0578. Deadline: July 1, 1998. Guatemala, Belize, Honduras, and EI Salvador). sometimes called inventors, outsiders, collectors, Applicants may be working in such fields as or psychotics, as well as theoretical pieces that anthropology, archaeology, art history,

26 CAA NEWS MARCHI APRlL 1998 CAA NEWS MARCHI APRIL 1998 27 r

Los Angeles. Seeking accommodations for May, Art Guide: The Art Lover's Guide to Britain and Publications for travel and living expenses. Submit a letter of Ireland, www.artguide.org, produced by Information Wanted Classified Ads June, or July accessible to Getty Institute. SaUy application, including an outline of res~arch Cognitive Applications Limited, contains Duncan: 603/924-6847; [email protected]. American Ceramic Society is publishing a new interests and a c.v. with phone number or e-mail CAA News accepts classified ads of a professional information on more than 650 institutions, as to: IRR Summer Workshop, Straus Center for or semiprofessional nature. $1.25/word for members, well as the work of 1,900 artists and hundreds of quarterly magazine, Pottery Making fllustrated, Luxury Florence Apartment. Centrally located featuring well-illustrated techniques, and easy­ Conservation, Harvard University Art $2/word for nonmembers; $15 minimum. In addition, exhibitions. Art Guide contains extensive CAA Directories Update. CAA is updating its 3-bedroom,2-bath duplex with large terrace; to-follow instructions on throwing, hand­ Museums, 32 Quincy St., Cambridge, MA 02138. boxed display advertising is now available through­ facilities for visitors to help fiU in gaps and make directories of MA./PhD. and M.F.A. programs sleeps 4. Spectacular view of cathedral. Walking Deadline: June 1, 1998. out the publication. Contact the advertising manger: comments. building, firing, clays, glazes, tools, equipment, to be published for the next CAA conference. distance to major artistic attractions. $1700/ educational opportunities, and marketing. For 212/691-1051, ext. 213; [email protected]. Any program that did not receive a survey from week, longer stays preferred and discounted. AIt Workshop. Workshop with Linda Goodman All ads must be prepaid. California Mission Studies Association information: ACerS Customer Service; 614/794- Security deposit required. Contact: Lorenzo in color monoprint and chine colle at indepen­ us, should contact us as soon as possible. We are 5890; fax 614/899-6109. Nahum; 212/831-0423; 01139 2 7602 2845. announces a website at bizweb.lightspeed,netl dent graphic art center in Florence. Copper particularly interested in hearing from new -cmsa containing information on the 21 graduate departments with programs in visual Archaeological Institute of America has etching available for experienced etchers. California Spanish missions. The "links" page culture with an emphasis on the visual arts. ParislMarais apartment for rent: charm, calm, published the 1998 Archaeological Fieldwork Concentrated studio work, instruction, and offers a collection of archaeological and Directories will not include undergraduate Amsterdam Center: Sma1l2-bedroom furnished luminous, fully furnished, all conveniences. discourse. 3-week sessions: May-July 1998. For historical information, as well as a "Pictorial Opportunities Bulletin, a comprehensive guide to aparbnent in 17th-century canal house. Huge 212/367-7641. information: Linda Goodman, JvIFA; 330 Park programs. Contact Jessica Tagliaferro, CM 275 Resources" section drawn from the California excavations, field schools, and special programs sunny garden. 5 minutes from museums/ View Terrace, #409; Oakland, CA 94610; 800/ 7th Ave., New York, NY 10001; fax 212/627- Heritage collection in the University of with openings for volunteers, students, and 2381; [email protected]. libraries. Academic year 1998-99. $900/month, Professional Slide Dupes for as low as $0.49 per 484-3789, ext. 2320; phone/fax: 510/834-0968. California, Berkeley library. staff. AFOB also includes a select bibliography negotiable. 510/666-9910; fax 510/540-8825. slide. At David Allen Fine Art, we specialize in and lists of related organizations, state Conservation course syllabi sought for website. artist's slides at bargain prices. We also print text archaeologists, and historic preservation officers. EDSIT'Ement, edsitement.neh.fed.us, the product Send syllabi from current or recent courses, Art Workshop International. Assisi, Italy, June on slide mounts. Other services available. Please Subscription: $10.00 for members; $12.00 for of a collaboration among the National Endow­ formal or informal, offered for academic credit 23-August 3,1998. Uve/work in a 12th-century call,718/624·7504. nonmembers. Add $4.00 for shipping for first ment for the Humanities, the Council of the or not. The course could be a program offered to hill town surrounded by the UmbIian landscape. copy; $0.50 each additional. Call: 800/228-0810, Great City Schools, and MCI Communications professionals in related fields or volunteers. Of Instructional courses in painting, drawing, art Rome Apartment for rent, near American or send orders with payment to: Kendall/Hunt Corporation, is a website that links students, particular interest are teaching materials used to making, all media, art history, opera seminar, Academy. Fully furnished 2 bedrooms, study, Publishing Company, Order Dept., 4050 Datebook parents, and teachers to humanities topics supplement internships and other individual or creative writing. 3, 4, 5, and 6 week sessions. eat-in kitchen, living-dining, bath, balconies, Westmark Dr., Dubuque, IA 52002. available on the web. small group instruction. Include detailed course Hotel, most meals, studio space, critiques, clothes/ dish washers, central heating. Available summary, syllabus or outline, and reading lists, lectures, visiting artists. Art Workshop, 463 West November 1, 199B-May 1, 1999 (all or part). National Initiative for a Networked Cultural Humanist, www.princeton.edul-mccartyl along with course name, instructor, place taught, St., 1028H, New York, NY 10014. phone/fax: $1500 monthly+utilities. Jack Wassennan: 215/ Heritage (NINCH) is distributing the British Art humanistl, is an international electronic seminar April 1, 1998 dates, and intended audience. Sarah Lowengard, 800/835-7454; www.vacation-inc.artworkslwp.html. 625·3902. and Humanities Data Service's Discovering on the application of computers to the humani­ Deadline for submissions to May CAA News PO Box 6611, New York, NY 10128; sarahl@ Online Resources across The Humanities: A ties. Its primary aim is to provide a forum for panix.com. Attention Book Lovers! Book Rome: furnished I-bedroom apartment on top discussion of intellectual, scholarly, pedagogical, Practical Implementation of the Dublin Core, ed. P. May 8, 1998 sale to benefit the Momentum AIDS Project. floor of elevator building. Panoramic terraces Miller and D. Greenstein. The volume will aid in and social issues. Humanist is allied with the Deadline for submissions to June Careers Edward Robert Hughes (1851-1914), Victorian New, used, rare books of all kinds! May 21 and and washing machine. Walk to Vatican, cataloguing, finding, or integrating access to Association for Computers and the Humanities painter in watercolor and oils. Seeking any 22,10:00 A.M.-6:00 P.M. at St. Peter's Church, museums, shops, and subway. $900/month distnbuted online information resources. Cost: and the Association for Literary and Linguistic MayU, 1998 information, including correspondence. Contact: Lexington Ave. at 54th St. (Citicorp Center). (includes heat). Long-term rental only. Available $21.00. For information: NINCH-ARLARL Computing. It is an affiliated publication of the Deadline for submissions of papers to panel Debra N. Mancoff, 720 S. Dearborn St., Apt. 505, Preview party: Wednesday, May 20, 5:30 P.M.- August 1, 1998. 617/969-8307; roberto@wpi. Publications, Dept. #0692, Washington, DC American Council of Learned Societies and a chairs for 1999 Annual Conference in Los Chicago, IL 60605. 8:00 P.M. For details: 212/691-8100, ext. 309. wpLedu. publication of the Office for Humanities 20073-0692; 202/296-5346; fax 202/872-0886; Angeles www-ninch.cni.org. Communication (U.K.). Jessie Marion King (ca. 1875-1949), book Boston Apartment. Furnished, I-bedroom in Truro, Cape Cod, Mass. Artist home and studio: June 1, 1998 illustrator and designer. Seeking location of historic South End. Perfect for scholar. 5-minute 3-bedroom expanded Cape with distant bay New Hampshire Institute of Art is publiShing a International Association of Word and Image Deadline for submissions to July CAA News collections of drawings, designs, watercolors, walk to Public Library; 20-minute walk to MFA. views and 2 level, north-lit studio zoned for new biannual journal,Victol1j Park. The journal is Studies (lAWIS) has a website at www.let. and any related material. Contact: Debra N. Available June I-August 31; $850/month. home business. Sale by owner: 219K. For a literary and visual arts publication featuring Nm.nllscholar-assocsliawislindex.html. July 10,1998 Mancoff, 720 s. Dearborn St., Apt. 505, Chicago, Deposit required. 617/262-1506; ashelton@ information: William Evaul; 508/487-1426. works of fiction, poetry, critical essays, and Deadline for submissions to August Careers IL 60605. massart.edu. visual art. The first will focus on the theme, The The Jewish Museum, one of the world's largest Tuscany (South) Rental. 2- or 4-person Millennium: Buil4ing on Tradition. For infonna­ institutions devoted to Jewish culture, has Lucy Perkins Ripley (1874-1949), American For Sale: visual arts college library collection of apartment in wooded cottage within Etruscan tion: New Hampshire Institute of Art, 148 expanded its presence on the Internet with the sculptor and painter known to have worked in 6,000 titles for sale. Includes up-to-date general archaeological park. Near thermal springs and Concord St., Manchester, NH 03104-4858. creation of T11e Jewish Museum Website, www. Paris before and after WWI. Last confirmed reference, humanities, art history, and design as sea. Long or short periods. 011 39 6 687 2535. thejewishmuseum.org. Internet users may address was Westbury, Long Island, in 1935. well as monographs on individual artists, 7th Edition of the Directory of Electronic explore the museum's permanent collection, as Seeking any information, including past and techniques, and disciplines. Approximate value Video Media Paper sold by Arthur Brown Art well as preview temporary exhibitions, and Journals, Newsletters, and Academic Discussion Corrections present whereabouts of works. Contact: Mary $70,000. Contact: Library, School of Visual Arts, Supplies and others? Was used for silverpoint Lists, www.arl.org/scomm/edir, sponsored by the learn about educational programs. Laing, 231 E. 89th St., Apt. 2RE, New York, NY Savannah, GA; 912/651-1280. drawing. Artist desperate to buy any quantity Association of Research Libraries, includes 10128. available. Contact: Susan Schwalb, 10 Winsor Society for the Preservation of New England listings of journals, newsletters, zines, and Fresco and Scagliola Workshops. CerL Italy (40 Ave., Watertown, MA 02172. 617/926-0188; or Antiquities (SPNEA) has a site at www. professional e-conferences. For information: DIU Ian from Rome) August 6-26, 1998. Live/work In the January 1998 CAA News section "People John William Waterhouse (1849-1917), English 212/674-3434. Mogge, ARL Electronic Services Coordinator; in an unusual 16th-century palazzo amid SPNEA.org. The site includes more than 50 in the News" Ofelia Garcia should be royal academician influenced by Pre­ [email protected]. To order: Ken Rodriguez, ARL magnificent Etruscan landscape. All aspects of individual pages, with color photographs of and announced as dean of the College (not School) Raphaelitism, classicism, and French painting of Women and AIDS, Work, Aging. Lectures, Publications; [email protected]. these techniques covered; field trips included. details on each house museum and study of the Arts and Communication at William the 1880s. Information is sought for a biography photographs, exhibitions, publication. Arm P. Write/call for brochure: Accademia Caerite, Inc., property, landscape views, specialized Paterson University. to be published by Phaidon, particularly Meredith, 309 W. 14th St., #57, New York, NY infonnation on SPNEA's collections and correspondence and location of artworks. Peter 71 Old Post Rd. N., Croton-on-Hudson, NY 10014; 212/691-8452; meredita®newschool.edu. Workshops and Schools 10520; 914/271-3380; fax: 914/271-1238; or 212/ services, and a calendar of events. SPNEA, In the 1999 Call for Participation, mailed to all Trippi, c/o , 10 Art 473-5657; fax: 212/777-7551; [email protected]. headquartered in Boston, is a museum of members in February, the session "Transcen­ Museum Dr., Baltimore, MD 21218. Women Artists of the American West. An cultural history that preserves, interprets, and Straus Center for Conservation, Harvard dent Cultures in the Age of Global Encounter," Internet course offered for graduate or under­ Friendly B&B in artist's loft. 5 minutes to SoHo. collects buildings, landscapes, and objects University Art Museums will hold a workshop, the affiliation of Gauvin Bailey, co-chair of the H. C. Westennann. Museum of Contemporary graduate credit this summer, May 18-July 10. 212/614·3034; fa,,, 212/674·3393; dp_ml@ reflecting New England life (17th century­ August 17-22, 1998, to introduce advanced art session, was ommitted. Contact infonnation Art seeks information about American artist Emoll at either Purdue or Penn State Univer­ earthlinknet. present). history and conservation students to infrared should read: Gauvin Bailey, Dept. of Visual and Horace Clifford Westermann for a September sities. For information, contact: Susan Ressler; reflectography and the study of underdrawings. Performing Art, Clarke University, 950 Main St., 1999 exhibition and catalogue raisonne. Seeking [email protected]; or Jerrold Gay and Lesbian Caucus: For a free copy of It will be held at the Fogg Art Museum, Worcester, MA 01610. owners of the artist's objects, paintings, or any Maddox; [email protected]. For a preview now on Cambridge, Mass. Emphasis will be placed on materials related to his work. Michael Rooks/ H. newsletter and memberShip application: the web, please visit: www.personal.psu.edu/ the use of digital imaging. Cost: $350. Some e. Westermann Research Assistant, MCA, 220 E. Jonathan Weinberg, PO Box 208272, New Jaculty/j/x/jxm22/WAAW/Zopj/Zopjhtml. limited scholarships may be available (send 1 Chicago Ave., Chicago, IL 60611; 312/397-3853; Haven, CT 06520-8272; jonathan.weinberg@ letter of reference); participants are responsible fax 312/397-3'953; [email protected]. yale.edu.

28 CAANEWS MARCH/APRIL1998 CAA NEWS MARCHI APRIL 1998 29 U 980225-400/401 0980225-590 ** The Global Metropolis: o 980225-510/511 Issues in the Community College: Working live Recording by Audio Archives & Duplicators Inc. Re(De-)Signing the NonwSite New Approaches to Eighteenth-Century with a Select Student Body in Unique Take the COIiferelJce IlOlIIe with you! Take advall/age and have a second chalice to learn from the Portraiture Situation Single tape: $10US/$14.50CDN pert presellters. Listen once again to their motivating addresses or hear for the first time a 980225-410/411 (~~ compelling session that you may have missed. With so much vital iliformotion, you WOIl't IValli to miss! .ion as Other European Art and Visnal o 980225-520/521 o 980225-600/601 a single session. Check the listing below and order your selectiolls today. Culture, 1900-1945 Constructions of Public versus Private Space Hybridityand Other Tropes of Change: 1J~1Tru ~1I'I1I'I~~l COll'lf[IK([.II'IC[ Reconceptualizing Mixing for a Post­ 'fOlmll'l'fO o 980225-420/421 o 980225-530/531 Colonial Art History February 25-28, 1998 o 980225-1301131 o 980225-2701271 The Critic as Curator, the Curator as Critic The Future Past: Visualizing History with Conquest and Accommodation: The Representational Painting Today, New Technologies o 980225-610/611 Transformation of Norman Art and Addressing Social, Political, Psychological o 980225-430/431 Japan and Cultural Imperialism: Colonized Architecture (except Speaker #/, Karen and Cultural Issues: Are These the Proper Imag(in)ing Race and Place in Colonialist o 980225-540/541 and Colonizer Mathews) Concerns for Representational Painting Photography and Film Board or Not? 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Dandies: Sartorial Finesse and Cultural o 980225-470/471 Practices in the Frame of Cultural Museums and Contemporary Art o 980225-1601161 Identy Horror Beheld Interaction From Portrait to Icon: "the Holier Souls" in o 980225-650/651 o 980225-010/011 Roman and Early Christian Art o 980225-300/301 o 980225-480/481 o 980225-570 *' Art History Open Session: Pre-Columbian Art History Open Session: African American Ut Architectura Pictura: Architecture, Portraits in the Global Metropolis: Who's Disciplinellnterdisciplinary: Craft in the Art Mt o 980225-1651166 Pictures, and the Significance of Exchange 1990s Town Meeting on Fair Use of Digital Images: o 980225-490/491 Single tape: $10US/$14.50CDN o 980225-660/661 o 980225-020/021 Parts I & II o 980225-305/306 The History of the Book and the Visual Arts: Deacessioning: Who Makes the Rules? Renaissance Sicna: Art in context Publishing in the Fine Arts: Untangling the Contributions to "The History of the Book" o 980225-580/581 (except Speaker#l, Judith Steinhojj) o 980225-170/171 Web Projects in Canada and the United States Italian Art of the Nineteenth and Twentieth o 980225-670/671 Medieval Architecture and Liturgy Centuries: A Legacy of Continuity and Narrative Aspects of Abstract Art o 980225-030/031 o 980225-310/311 o 980225-500/501 Dissonance Off Color o 980225-180/181 Time as Place Africa and the Diaspora: Shaping Discourse Postmodernism and the Post-Colonial 'lut Art in a Post-Colonial World o 980225-0401041 Debate (except o 980225-320/321 Art 101 Speaker #5, Susan Noyes Platt) The Artistic Response to the Dutch Revolt Post Conference Orders: Please check the sessions you wish to purchase, complete this form and send it along with your payment by : ::::.} Mail: (1589-1648) Fax: => Phone:::::> to the address below: o 980225-0501051 o 980225-190/191 Tourist Spaces: Narratives of Travel aod Work in Progress: Presentations by CAA o 980225-330/331 Selections@$IOUS/$14.50CDN.. ___.Selections @$20US/$29CDN .. ____ Encounter in British Art Professional Development Fellowship The Transfer to America: The Contribution of Mexican Art to International Modernism, Recipients Complete Sets @ $954US/$1364CDN ____ o 980225-060/061 1820-1950 (except Speaker #1, Susannah Gay and Lesbian Family Values: Art as o 980225-2001201 Glusker) Process Storage Albums: ...... 16 Capacity Album @ $7: __ The Colonialized Construction of American conference recording 980225-340/341 ArtlHistory o audio, video & "proCDillgs" Oil cd-rom 980225-070/071 o Critical Taste: Rethinking Aesthetics and 12 Capacity albums @ $6 __ 8 Capacity albums @ $4: ____ 100 West Beaver Creek, Unit 18 Immigrant Artists in America: Their o 980225-210/211 Cultural Studies Richmond Hill, Ontario L4B 1H4 Identity, Bicultural Contexts and Art Facing the Snrface I: The Situation of Form TOTAL OF ALL SELECTIONS $ ______(905) 889-6555; FAX (905) 889-6566 Making (except Discussant, Charles Altieri) o 980225-360/361 email: [email protected] Common CulturelElite Culture: Chinese o Mailing & Handling ...... $ __~4~.~OO~_NI A if Picking up at Conference o 980225~090 ** Practices in the Song through Qing Dynasties GUAItANJ:'EEDl'OLICY : - -- -- o 980225-2201221 Subtotal: ...... $ ______Changing Crafts: Practice and Exhibition in Printmaking: Above and Below the Surface If for any re!l5on you ore not happy with the tapes_you have received 7% GST ...... 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TEL: ______FAX: ______JALL SESSIONS ARE 2 TAPES IN LENGTH AND ARE S20USjS29CDN UNLESS OTHERWISE NOTED Free cassette storage album with each 6 tape purchase. E-MAIL Audio Archives was honoured to provide our professional recording services for the College Art Association's 1998 Conference. Our goal throughout the Conference was to provide professional audio recording services that produce clear, verbatim audio cassettes.