NEWS

NEWSLETTER OF THE COLLEGE ART ASSOCIATION Volume 28, Number 6 NOVEMBER 2003 James Cahill CURATORIAL ASSISTANCE IN A CAHILL IS 2004 DISTINGUISHED TIGHT ECONOMY SCHOLAR

n the face of budget cuts and evaporating funding, he CAA Distinguished public and private art institutions throughout the Scholar’s Session was inaugu- United States are scaling back ambitious plans, with rated in 2001 to engage senior Imany struggling to get by. University museums and gal- Tscholars in the Annual Conference and leries are confronted with similar situations. Few major celebrate their contributions to art his- U.S. museums are currently mounting blockbuster exhi- tory. But its aim is greater: At a time bitions. Expensive traveling shows and international of great methodological shifts in the loans are being curtailed or canceled, and institutions are field, this sessions fosters dialogue increasingly relying on their own permanent collections within and among the different genera- instead. While many small and midsize museums own tions of art historians. Past honorees many excellent works of art, some do not have the include James Ackerman, Leo breadth found in major cities. Steinberg, and the late Phyllis Pray How can a museum or gallery maintain a rigorous Bober. This year in Seattle, CAA will exhibition schedule in these difficult economic times? salute James Cahill, a renowned Several nonprofit institutions organize touring exhibi- scholar of Asian art. The Distinguished tions and arrange loans of works of art. Many in the Scholar’s Session will take place on museum world already know these organizations— Thursday, February 19, 2004, 2:30– American Federation of Arts, Smithsonian Institution 5:00 P.M. Temporary Exhibition Service, Independent Curators Cahill was born in Fort Bragg, CA, International, The Exhibition Alliance, and Museum in 1926. He received his B.A. degree Loan Network, among others. Employing a staff of cura- in Oriental languages from the tors, registrars, art historians, artists, designers, and University of California, Berkeley, in administrators, each has a different focus and purpose, 1950, and his M.A. (1952) and Ph.D. but all bring high-quality works of art to audiences—and (1958) in art history from the View of Standing Figure of Tjayasetimu, the results are innovative and surprising. University of Michigan, Ann Arbor, 664–610 B.C., from Eternal Egypt: The best known of these curatorial organizations is Masterworks of Ancient Art from The having worked principally with Max British Museum, as installed at the American Federation of Arts (AFA), founded in 1909. A Loehr. He studied with Shujiro Brooklyn Museum of Art in 2001–2. The membership organization catering to institutions large exhibition is now at the Walters Art CONTINUED ON PAGE 24 Museum in Baltimore. © Trustees of the and small, AFA has at any given time about thirty-five British Museum, courtesy AFA exhibitions in different stages of development. Six are on the road now, including The Drawings of François Boucher, The Sensuous and the Sacred: Chola Bronzes from South India, and Eternal IN THIS ISSUE Egypt: Masterworks of Ancient Art from The British Museum. At AFA, exhibition concepts are developed in-house. Helaine Posner, curator of exhibi- CAA Committee on Women in tions, explains, “We contact museums with strong collections in a certain area or period 3 the Arts Award Winners and work with them to organize an exhibition.” AFA publishes (and sometimes designs) catalogues to accompany their shows, as well as educational materials and brochures for Committee on Intellectual the galleries. 4 Property Q&A Smithsonian Institution Temporary Exhibition Service (SITES) packages shows for Annual Conference Update CONTINUED ON PAGE 23 11 People in the News INSIDE: AFFILIATED SOCIETY DIRECTORY. See insert 17 FROM THE EXECUTIVE DIRECTOR CAA RECOGNIZES GOLDEN JUBILEE THE DIALOGUE BETWEEN AUDIENCE MEMBERS AND OBJECTS he first eight names on the follow- his past Issues Committee; the Association of ing list belong to the CAA mem- August, in College and University Museums and bers who joined the organization less than a Galleries; and, of course, CAA, which Tfifty years ago, in 1953. With this annual Tweek, the art world has a Museum Committee. fall roster, we welcome them to Golden tragically lost two Varnedoe, Romano, and other scholar- Jubilee status. One of the thirty-seven oth- exceptional curators, curators, inspired by the previous genera- ers, Rudolf Arnheim, who celebrated his 99th birthday on July 15, received a PHOTO: ANDREI RALKO J. Kirk Varnedoe, tion and inspiring the next, have helped to Susan Ball, CAA 57, and James F. erase the dividing line that sometimes Special Award for Lifetime Achievement Executive Director Romano, 56. Long exists between academic and museum from CAA earlier this year. Thanks go to associated with the professionals. As a graduate student, I all for their many contributions over five, Museum of Modern Art in New York, gained invaluable experience organizing six, and (in one case) seven decades. Varnedoe was appointed in 2001 to a exhibitions at the Yale University Art position at the Institute for Advanced Gallery, and I later served as faculty advi- Fifty-year members: Dorathea K. Beard, Study in Princeton, NJ. Romano, who sor to students who organized exhibitions Rodman R. Henry, Myron Laskin, Jr., oversaw the reinstallation of the Brooklyn at the University of Delaware. Chu-Tsing Li, Margaret McCormick, Museum of Art’s exceptional Egyptian We are all concerned about the future Seymour Slive, Jack Wasserman, Richard collection, had worked at the museum of the curatorial and museum professions. S. Zeisler; 51 Years: Theodore E. Klitzke; since 1976. Jeanette La Vere, education and outreach 52 Years: John D. Hoag, J. Richard Though their specializations and styles coordinator at the University of Southern Judson, Frank T. Kacmarcik, Olga Raggio, were very different, the two shared a pro- California’s Fisher Gallery, and Lynn Carl N. Schmalz, Jr.; 53 Years: Jane found appreciation for the curator’s abili- Robertson, executive director of the Dillenberger, Alan M. Fern, Sadayoshi ty to shape the dialogue between audience McKissick Museum at the University of Omoto, Charles Parkhurst; 54 Years: and objects. How curators and educators South Carolina in Columbia, cochaired a Dario A. Covi, Sol Alfred Davidson, work together on this task varies, but the session at the American Association of Norman B. Gulamerian, Robert H. notion of the curator solely as advocate Museums’ 2003 Annual Meeting, entitled Rosenblum; 55 Years: Rudolf Arnheim, for the objects and the educator solely as “University Museums: Back on the William S. Dale, Clarke H. Garnsey, Peter advocate for the audience no longer Endangered Species List?” A panel talked H. Selz; 56 Years: Dericksen M. serves, if in fact it ever really did. This is about the impact of budget reductions on Brinkerhoff, David R. Coffin, Ellen P. one of several reasons why such collabo- the very existence of university-based art Conant, Beatrice Farwell, Ilene H. ration is the topic of animated, even institutions. CAA members who have a Forsyth, J. Edward Kidder, Jr., Mary heated, discussion. particular interest in the future of the cura- Meixner, Ruth Philbrick; 57 Years: A session at the 2003 meeting of the torial profession, and the links between Luraine Collins Tansey, Mario Valente; 58 fledgling Association of Art Museum academic art historians and curators, will Years: James S. Ackerman, Ethel R. Curators (AAMC)—at which Romano be interested in the cover story of this Cutler, Rosalie B. Green, Phyllis Williams spoke—dealt with the topic of how exist- issue of CAA News, which describes a Lehmann; 59 Years: Howard S. Merritt, ing collections can be used more effec- number of organizations that offer curator- Marianne L. Teuber; 60 Years: George B. tively in education. AAMC is quickly ial services. Tatum; 61 Years: Charles D. Cuttler; 72 becoming a much-needed forum and col- During periods of economic weakness, Years: S. L. Faison, Jr. lective voice for the curatorial profession, jobs for curators at art institutions large as art museums continue to evolve. A pro- and small are as much at risk as teaching file of this organization, which is apply- jobs in art history. But the fate of college Volume 28, Number 6 ing to become a CAA affiliated society, and university museums and galleries is CAA News is published six times per year by the College Art Association, 275 Seventh Avenue, 18th Floor, New will appear in the January issue of CAA especially worrisome. Campus-based art York, NY 10001; www.collegeart.org. News. museums need, and deserve, our support. Editor Christopher Howard Other organizations that are concerned They are where a key portion of art- Graphic Designer Tom Brydelsky with curatorial issues include the historical training takes place, both for Material for inclusion should be sent via email to Christopher Howard at [email protected]. American Association of Museums, students who become curators and for Photographs and slides may be submitted to the above which has a Curators’ Committee com- those who pursue careers in academia. street and email addresses for consideration. They cannot be returned. All advertising and submission guidelines may prising individuals from the broad range —Susan Ball, CAA Executive Director be found at www.collegeart.org/caa/news/index.html. of museums; the Association of Art Printed on recycled paper Museum Directors, which has an Art © 2003 College Art Association

2 CAA NEWS NOVEMBER 2003 Saar studied at the University of 1970s, and her mural-scale wall-painting COMMITTEE ON California, Los Angeles, and Pasadena installations, begun in the 1980s, lead the City College as an undergraduate, with a viewer through associations and meta- WOMEN IN THE concentration in design and printmaking. phors, gestures and unearthly mutations, ARTS AWARD While attending Pasadena, she “was study- achieved by an array of collage, painting, ing for a teaching credential to teach and printmaking techniques. In these WINNERS design in high school and junior college. spaces lurk fractured visual and textual They had … a strong printmaking depart- narratives brought into focus by an ment … [and she decided] to take print- extraordinary time traveler, a scavenger of AA’s Committee on Women in the making classes. This experience was a the first rank, who observes, apprehends, Arts (CWA) will honor two out- bridge to fine arts.” She then pursued and critiques. Her unique and uncompro- standing women—visual artists graduate coursework at California State mising work has been displayed in numer- CBetye Saar and Nancy Spero—at its 9th University, Los Angeles. ous museums and galleries internationally. Annual Recognition Awards Ceremony at Saar’s distinguished career and creative Spero’s legendary War Series (1966–70) the Sheraton Seattle Hotel and Towers dur- achievements span fifty years. Her work —paintings on paper made in response to ing the CAA Annual Conference in Seattle has appeared in many significant exhibi- the Vietnam War—is among the most sus- on Thursday, February 20, 2004, at 7:00 tions, such as The Decade Show: tained and powerful group of works in the A.M. Please join us in celebrating their Frameworks of Identity in the 1980s at the genre of history painting that condemns amazing and continuing careers! New Museum of Contemporary Art in war and its consequences. The works New York in 1990, and Painting and depict defecating, phallic bombs, anthro- Internationally Sculpture in California: The Modern Era pomorphic helicopters pointing like fore- acclaimed artist at the San Francisco Museum of Modern fingers to targets below, and mutant Betye Saar, born Art in 1977. She has had solo exhibitions humans spewing paroxysms of death and and raised in Los at the Fresno Art Museum, San Francisco chaos. Angeles, contin- Museum of Modern Art, Whitney Museum An antiwar activist and early feminist, ues to intrigue and of American Art, and Studio Museum in Spero was a member of the Women Artists tantalize her audi- Harlem. Her box art pieces are in the col- in Revolution (1969) and a cofounder of ence with her

PHOTO: ROBERT HALE lections of the High Museum of Art, A.I.R. Gallery, the first women’s coopera- strikingly Hirshhorn Museum and Sculpture Garden, tive gallery in New York (1972). She Betye Saar provocative box Metropolitan Museum of Art, National actively confronted sexism and racism in art images. Her Museum of American Art, and Whitney the exclusionary museum exhibition and interest in design and printmaking and her Museum. collection policies of the time. Spero articu- pursuit of the fine arts emerged through For Saar’s exceptional artistic achieve- lated these issues in panel discussions, let- certain events that transformed her way of ments, her efforts to educate her audience ters, and pamphlets, and by participating in working. One such occurrence took place visually, her dedication to artistic excel- demonstrations at New York museums. during a visit to the Pasadena Art Museum lence, and her inspirational influence to By 1971, Spero had developed her in California (now the Norton Simon her daughters, we honor her. pictographic language of gesture and Museum) in 1966, where she saw the eso- —Dori Lemeh, CAA Committee on Women motion in her signature scroll paintings on teric, complex box constructions of Joseph in the Arts member paper: Codex Artaud (1971–72), The Cornell on display. Another opportunity Hours of the Night (1974), Torture of for change emerged in the Civil Rights and Nancy Spero’s Women (1976), and Notes in Time on Black Power movements, as seen in her career as an artist Women (1979). Although her collaged and now-legendary box construction, The and activist painted scrolls (some more than 250 feet Liberation of Aunt Jemima (1972). demonstrates a in length) were Homeric in both scope and Still another influence was motherhood continuous depth, the artist shunned the grandiose in and family. In an interview with curator engagement with her content and style, relying instead on an Robert Barrett in the catalogue for her contemporary intimacy and immediacy while also reveal- exhibition, Betye Saar: Secret Heart, at the political, social, ing a continuum of shocking political real- Fresno Art Museum in California in 1993, and cultural con- ities harnessed to enduring myths. The Saar recalled, “My creative impulse to PHOTO: ABE FRAJNDLICH cerns. For nearly artist re-presented previously obscured make art came after college. The stimulus Nancy Spero fifty years, her women’s history, cultural mythology, and to become an artist came primarily from paintings have chronicled wars and apoca- literary references with expressive figura- my family experiences.” Her mother’s lyptic violence and have articulated tion. Spero’s themes evolved from chroni- “interest in handcrafts—knitting, jewelry visions of ecstatic rebirth and possibility. cling and interpreting the intersection of making, and sewing” also influenced her This complex network of themes and con- history and myth to depicting a unique artistic vision. In those early years of cerns has driven her creation of a figura- representation of the extremes of human watching her mother’s handiwork, she tive lexicon representing women from pre- experience, from the horrific to the tran- learned to interweave the aesthetic of fine history to the present. Her pioneering epic- scendent. Harnessing a capacious imagina- art with the skill of craft. scale scrolls, first appearing in the early tive energy and a ferocious will, she mined

CAA NEWS NOVEMBER 2003 3 This is the sec- ond in a series of articles on copyright issues sponsored by the CAA Committee on Intellectual Property (CIP), in which a hypothetical question is posed on one aspect of rights, permissions, fair use, and related topics. We provide a short answer on the legal aspects of the question, followed by commentary from a practical perspective. This feature is intended to provide gener- al information and does not constitute legal advice. If you have specific legal questions, PHOTO: DAVID REYNOLDS please contact an intellectual-property Nancy Spero. The First Language, 1981. Painted collage and handprinting on paper, panel 19, 20" x 190' total size attorney.

the full range of power relations, unravel- leapt from the scroll surface to the wall I am writing an article for publica- ing the political as a manifestation of per- itself, refiguring representational forms of tion in a journal in the United sonal landscapes and exploring the psy- women over time and engaging in a dia- Q States and would like to illustrate chotopography of individual memory and logue with architectural space. Her wall my text with photographs of works of art. collective witness. paintings in Chicago, Vienna, Dresden, The artworks are all currently protected by In 1987, following retrospective exhibi- Toronto, and Derry form poetic recon- copyright. I photographed some of the tions in Great Britain, the United States, structions of the diversity of representa- works myself; I rented other photos from and Canada, Spero created images that tions of women from the ancient to the the museums that own the works of art. contemporary world, validating a subjec- How should I proceed? tivity of female experience. Her scrolls and murals become symbolic You need written permission from spaces that put women at the center of a the copyright holder of each art- FLORIDA INTERNATIONAL UNIVERSITY universe in which their perceptions, A work to publish the photographs,

A MUSEUM OF ART AND DESIGN, 1885-1945 actions, and choices matter. Spero’s work both the ones you took and those obtained gives visual substance to women’s social from museums. RESEARCH FELLOWSHIP and political concerns, to their emotional The owners of the actual, physical art- The Wolfsonian–FIU promotes lives and their intellectual activities, offer- works are not necessarily—and usually will the examination of modern ing alternative possibilities for being and not be—the holders of the copyrights in the material culture, focusing on imagining. Her art sings as an open-ended decorative, propaganda, and works. The artist who created the work is, fine arts from 1885 to1945. chorus of individual and collective voices. almost always, the initial holder of the The United States, Great As an artist-in-residence, lecturer, pan- copyright.1 These proprietary “copyrights” Britain, Germany, Italy, elist, installation artist, and painter, Spero and the Netherlands are exist independent of the artwork itself: the the countries most extensively continues to be a significant influence on artist can keep the artwork and assign, represented. The Wolfsonian new generations of artists. Her work and transfer, or sell its copyright (or, more library has 50,000 rare books, periodicals, and activism have inspired many artists and often, can sell the artwork and retain the ephemeral items. Holders of opened doors for many more. The insepa- copyright to it). So a museum or collector master’s and doctoral degrees rability of art from life, aesthetics from who acquires a copyrighted painting, photo- and doctoral candidates are eligible. Awards are for three humanity, and knowledge from action, are graph, or sculpture rarely will own the to five weeks. givens for her. Bringing lost history to life, copyright in such works—and therefore The application deadline is Spero offers glimpses into the means of re- may not be able to authorize you to take or December 31, for the 2004– visioning an interplay among the forces of publish a photograph. 2006 academic years. For information, see http://www. the sensual—body in action, mythic arche- The holder of a copyright in a visual wolfsonian.fiu.edu/education types reconfigured, and metaphysical work has multiple rights: the exclusive right /research/index.html, yearnings grounded in the physical. to reproduce the work in any form or or contact: —Deborah Frizzell, CAA Committee on media, to prepare adaptations or modifica- Fellowship Coordinator THE WOLFSONIAN–FIU Women in the Arts member tions of the work (so-called derivative 1001 Washington Ave. works), and to distribute the work (and any Miami Beach, FL 33139 tel:305-535-2613, copies of it) to the public, as well as the e-mail: [email protected] exclusive right to authorize others to do any of the above. Each of these various rights,

4 CAA NEWS NOVEMBER 2003 right” in the work, can be sold, assigned, work (or has been given permission by the including criticism, comment, news report- transferred, or bequeathed to others. The copyright owner to charge reproduction ing, teaching, scholarship, and research. In copyright holder has the right to control if, fees, which rarely happens), the museum principle, “fair use” exists to permit cer- where, or when a photograph of the art- should not charge an additional “copy- tain uses that further public benefit and do work will be published or otherwise dis- right” or permission fee. Only the copy- not negatively affect the commercial inter- played. The copyright holder may make right holder has the right to authorize pub- ests of the copyright holder. If your publi- permission contingent on specified terms, lication of copies and collect fees for cation is a nonprofit, scholarly work being such as prohibiting alterations to the image granting others this right. published and distributed in the United (for example, cropping or overprinting), There is no legal difference between States and your use generally satisfies the approval of text or color quality of the publication in a for-profit and a nonprofit requirements for fair use set out in the reproduction, or requiring a certain credit journal or book with respect to obtaining copyright law, your case for asserting that line. the right to reproduce a photograph of a your use is “fair” may be strong. But “fair Copyrights are property that will pass on copyrighted artwork. However, in practice, use” is a complex topic and will be dis- to the artist’s heirs, who then control these fees are often negotiable and may be cussed in greater detail in the next rights for seventy years after the artist’s reduced or waived on occasion. Rights- Committee on Intellectual Property Q&A death in the United States.2 Hence, getting holders may reduce fees for nonprofit use, article for CAA News. permission to use a copyrighted work after for a publication with a small printing, or 1. An exception is work created on the job under a “work for the author’s death will usually involve for use of an image where the text depends hire” agreement; under these agreements the employer owns dealing with his or her heirs, or a rights- on its illustration, educational use (as in a the copyright. clearance agency. textbook or scholarly text), and so on. 2. This is a simplified rule and applies to works created after If the author of the work (the artist) was Be sure to plan ahead and begin the December 31, 1977, in the United States. This seventy-year not in the United States when the work process of seeking permissions early: the term is the same in many European countries, although laws outside the United States vary. A chart listing years of copy- was created, foreign copyright laws may process can be time-consuming and com- right protection for artworks created before January 1, 1978, apply to rights clearances, even if you are plex. Artists’ websites may provide contact is illustrated in the September 2003 issue of CAA News and is posted online at www.collegeart.org/caa/news/2003/Sept/ publishing in the United States. information. Many well-known artists (and CIPcommittee.html. Conversely, if you are publishing outside their heirs) use agencies to manage per- the United States, other countries’ laws missions for them and/or to provide photo- RULES OF THUMB may be applicable, and these laws may graphs of works. Among these, in the differ from U.S. law on whether you are United States, are the Artists Rights • United States copyright law grants allowed to publish the photograph of the Society (ARS) and the Visual Artists and artists control over the right to copy work without securing the permission of Galleries Association (VAGA). (including by reproducing in photo- the copyright holder, under certain circum- It can be very difficult to locate and con- graphs), publicly display, distribute, and stances. tact copyright holders (often the artist’s adapt their works. heirs) of a dead artist’s work that is still in • Copyrights are property rights separate CIP COMMENTARY copyright. If you make a good-faith effort from the physical work of art itself; the to find and obtain the necessary permis- owner of the artwork and the holder(s) Identifying the copyright holder may sion to reproduce an image of an artwork of the right to reproduce or distribute require several inquiries. The owner of the but are unable to trace the copyright copies (or make derivative works) may artwork (e.g., a museum) can often supply holder, you and your publisher may wish be different parties. you with contact information for the to consider whether your proposed use of • Permission from the copyright holder is holder of copyright, but it is your responsi- the image would be considered a “fair use” required if a photograph of a copyright- bility (or in some cases your publisher’s) under the U.S. copyright law. “Fair use”— ed artwork is to be published, even if to seek the information if it is not supplied which is based on a statutory provision you take the photograph yourself, absent with the photograph. Where the artist cre- and case law—may allow you to use copy- some specific exception (or fair use). ated the work outside the United States, it righted materials without the copyright • A museum or other collecting institution may be more difficult to get necessary per- holder’s consent for some purposes, often has permission to distribute images missions, but permissions are required even if you are publishing reproductions of the work only in the United States. CONTACT INFORMATION FOR VAGA AND ARS Sometimes the artist (or the artist’s Artists Rights Society (ARS) Visual Artists and Galleries estate or heir) grants a museum or collec- 536 Broadway, 5th Floor Association (VAGA) tor a limited license to distribute images of New York, NY 10012 350 Fifth Avenue, Suite 6305 the work for certain specified uses, such as Tel: 212-420-9160 New York, NY 10118 collection catalogues or scholarly publica- Fax: 212-420-9286 Tel: 212-736-6666 tions; if so, the museum will specify those www.arsny.com Fax: 212-736-6767 terms in the permission forms it sends you. [email protected] A museum may charge you a fee for rental of a photograph and processing, but unless For more information on securing copyright permissions, please see the museum owns the copyright to the art- http://copyright.iupui.edu/permsec.htm.

CAA NEWS NOVEMBER 2003 5 of copyrighted artworks only under JHS: In teaching, I have always encour- certain conditions. aged my conservation students to work • Most institutions will advise you to closely with art historians and curators so contact the copyright holder to that their treatments will be sympathetic to authorize publication of a photograph current knowledge about an artist and his of a copyrighted work, and will aid you or her milieu and techniques. These col- in contacting the rights holder. laborations can be very symbiotic, and I • Museums charge fees for renting and try to illustrate this principle in my writ- processing photographs of works of art ing. My dissertation was on James under copyright (and in the public McNeill Whistler’s brushstroke and PHOTO: E. CARL GRIMM domain). These fees are sometimes facture—how his technique reflected his Joyce Hill Stoner in front of John Singleton Copley’s Seige described as “copyright” or “permis- of Dunkirk (ca. 1814–15), from the Muscarelle Museum of friendships with other artists and poets sion” fees, but these terms are mislead- Art at the College of William and Mary, treated by graduate from decade to decade: Courbet to students in the Winterthur–University of Delaware program ing. In most cases, the fees museums in art conservation Rossetti to Fantin-Latour to Mallarmé. charge for use of photographs of art- works under copyright would be more CN: You have studied the work of the three correctly described as rental or licens- A CONVERSATION generations of Wyeth painters, and have ing fees. You may be asked to pay an yourself been painted by Andrew Wyeth. additional fee to the actual holder of WITH JOYCE HILL How did this come about? the copyright (usually the artist or his or her estate or heirs) for permission to STONER JHS: The Wyeth family lives in Winter- publish the images. thur’s “backyard,” and I first interviewed • Keep good records. You should have ast June, Joyce Hill Stoner, profes- Jamie in 1982. Years later, I interviewed paperwork on every image of a sor of art conservation at the him and Andrew for a companion booklet copyrighted artwork you wish to University of Delaware, adjunct for the 1998–99 exhibition Wondrous publish. Consult your publisher to Lpainting conservator at Winterthur, and Strange at the Delaware Art Museum and determine if your documentation is secretary of the CAA Board of Directors, the Farnsworth Art Museum in Maine. I sufficient for publication. received the American Institute for have since become a consultant conserva- Conservation’s University Products Award tor for the family and have done a few for Distinguished Achievement. In collaborative treatments with both Andrew September, shortly after her Glasgow pres- and Jamie, meaning that I would mend a entation of the performance/lecture, tear and do the fill on a work, and the “Whistler Through the Eyes of his artist would do the inpainting. Women,” she spoke with CAA News about I’ve written several articles on the her work as a conservator, teacher, writer, Wyeths, including one published in and performer. American Art in 1999 about the often- ignored friendship between Andy Warhol CAA NEWS: What originally drew you to and Jamie Wyeth, and the portraits they art conservation? did of each other between 1976 and 1980.

JOYCE HILL STONER: Really good CN: One of your major conservation advice from my fine-arts professors at the assignments was Whistler’s Peacock Room College of William and Mary. After I at the Smithsonian Institution’s Freer painted a series of self-portraits in the Gallery of Art. Please describe your most STAY styles of the old masters, my teachers recent Whistler-related project. looked me over, including my interests in DRY math and languages, and said, “You ought JHS: My recent Whistler activity is some- IN to go into art conservation.” “What’s what unusual. I’ve taken my dissertation that?” I asked. Later, in 1968, I was one of and, with my background in theater, SEATTLE four students accepted at the New York turned it into a highly accurate “perform- University Conservation Center—then the ance art history” piece. “Whistler Through with a CAA travel umbrella only fine-art conservation graduate pro- the Eyes of his Women” is a slide lecture FREE with your $50 gift to gram in the English-speaking world. in costume; Joanna Hiffernan, Maud Franklin, and Beatrix Godwin Whistler all the 2003 Annual Campaign CN: You completed your art-history Ph.D. appear. I performed it at the Whistler For information, please visit in 1995, after treating paintings for almost Centenary Festival in Glasgow, Scotland, www.collegeart.org or call twenty years. How has the combination of and again at the Virginia Museum of Fine 212/691-1051, ext. 252 scholary art history and technical practice Arts in January 2004 and at the influenced you? Minneapolis Institute of Arts in March.

6 CAA NEWS NOVEMBER 2003 FOLLOW A FELLOW: CHANGING TIMES

Evelyn Carmen Ramos is in her second year as a CAA Professional Development Fellow. A graduate of the University of Chicago, she is currently assistant curator for cultural engagement at the Newark Museum in Newark, NJ.

bout ten years ago, multicultural- ism was all the rage. Museums everywhere sought to diversify Atheir audiences through an ambitious array of “special” projects, from massive, survey-style exhibitions to educational out- Evelyn Carmen Ramos (right) helps to install Cuando las reach programs. In spite of its prickly gallinas mean (When Hens Pee), a public-art project/vending machine inspired by a Puerto Rican expression, at El Pueblo nature, multiculturalism changed the ways Meat Supermarket in Newark, NJ museums define their missions, collec- tions, and audiences. No longer bastions of the rich and highly educated of the African American artists in special exhibi- American mainstream, art institutions are tions and in integrated permanent-collec- tion installations of American art.

JIM SCHNECK. now much more culturally pluralistic in their audiences, exhibitions, and collec- It is perhaps because of this history that PHOTO: tions, and are increasingly committed to the Newark Museum recently began an Joyce Hill Stoner as Maud Franklin, Whistler’s mistress challenging, yet accessible, interpretation. audience-development program to attract and model in the 1870s and 1880s, in “Whistler Through the two of New Jersey’s fastest-growing ethnic Eyes of his Women,” a costumed performance/slide lecture This context nurtured my early academic and museum career, and I am indebted to enclaves—the Chinese and Latino commu- the paradigm shift it ushered in. nities. I was hired to work on the curatori- But now, in 2003, what lies ahead? In al end of the initiative, which supports exhibitions of contemporary art, collabora- CN: What have been your main concerns my position as assistant curator for cultural tive public-art projects, and larger exhibi- as a member of CAA’s Board of Directors? engagement at the Newark Museum, I ponder this question frequently for two tions that explore aspects of Chinese and Latino cultures. In working on this project, JHS: One of the reasons I’m taking an reasons: one, because I am working at a I am mindful of the critical debate on race- active part in CAA is to encourage more historically unique institution, long com- and ethnicity-based exhibitions. Some con- art historians and artists to embrace artists’ mitted to innovative museum practice; and sider that these exhibitions create ghettos techniques, conservators’ discoveries, and two, because of the precise nature of my or inadvertently affirm erroneous audience technical art history. Also, I would like to position. expectations about the work of racially or see more public-outreach programs, Many know the Newark Museum ethnically marked artists. On the other involving both artists and art historians, through its founder, John Cotton Dana. hand, I firmly believe that all artists oper- which could help the organization become Philosophically committed to what he ate within the context of a culture. There- better known and more useful to the out- called the “new museum,” Dana anticipat- fore, my creative work as a curator exam- side world. ed multiculturalism by nurturing an institu- tion dedicated to community service. In ines Latino and Chinese diasporic cultures his lifetime, the Newark Museum served a in all of their complexity and nuances. host of immigrant groups, who found their I approach this challenge as an opportu- homeland cultures and urban realities rep- nity informed by the particularities of my HAVE YOU resented in exhibitions and programs. host institution. The Newark Museum’s After Dana’s death in 1929, the museum Western art holdings are primarily North VISITEDbegan exhibiting and collecting work by American. Installed in an impressive series African American artists, a commitment of galleries that present American art www.collegeart.org reinforced as the city of Newark became through a social, historical, and aesthetic increasingly African American. After the lens, this presentation serves as both inspi- 1967 Newark riots, the museum renewed ration and catalyst. its early goals by initiating the longest run- Admirably, the installation—appropri- ning, nationwide Black film festival, while ately entitled Picturing America— LATELY? continuing to showcase the work of constructs a story of American art and CAA NEWS NOVEMBER 2003 7 culture informed by questions of national through direct contact with SEPC mem- identity, race, gender, politics, and region. STUDENT AND bers. Therefore, we would like to embark It also raises important questions for the on a new project to encourage greater par- future: which Chinese American and EMERGING ticipation by this potentially powerful, Latino communal experiences should find PROFESSIONALS underrepresented sector of the CAA com- expression in a broadened social history of munity. The SEPC encourages the support American art? And what of the contribu- COMMITTEE: of college and university faculty and tion of avant-garde artists of Chinese and department administrators to increase Latino descent to mainstream art move- NEW PROJECTS awareness of, and involvement in, CAA ments in the U.S.? How should this work and the SEPC. Mention CAA in your be integrated into an expanded narrative of ince its founding in 1998, CAA’s classes, request membership material for American art? And the list goes on. Student and Emerging Professionals distribution in your department, and let While museums interested in global Committee (SEPC) has represented your students know about CAA’s scholarly artistic production focus on international Sstudents of the CAA community and publications available in your library. Chinese or Latin American artists, the col- recent graduates making the transition into SEPC is excited about its full schedule lections and philosophy of the Newark the professional world. In addition, the of events planned for Seattle this year. Museum have influenced me to focus on SEPC bridges the gaps between the disci- Thanks to the hard work of SEPC member artists firmly ensconced in a United States plines of studio art, art history, museum Dara Sicherman, we will establish a art world. I believe this approach helps to studies, and art education. SEPC also edu- Student Center at the conference, staffed expand the borders of American art and cates its constituents about the opportuni- by SEPC members, to answer questions pushes the envelope of previous multicul- ties that the committee can provide, and about the committee and our ongoing and tural approaches, which too often focus on about useful services available through upcoming projects. It will also provide a the experience of art-world exclusion CAA, beyond job placement. We have space for students and emerging profession- rather than the creative strategies and the developed conference sessions and special als from all disciplines to network and share national implications of American artists projects that address the multifaceted ideas. The center’s location and hours will of diverse backgrounds. What lies ahead needs of students and new professionals. be listed in the final conference Program. for mainstream museums? In a phrase: The members of the SEPC have noticed The committee will also sponsor a recep- cultural integration. a marked interest in the committee, and in tion in conjunction with our session, —Evelyn Carmen Ramos CAA in general, shown by undergraduates, “Harnessing the Power of the Pen: especially at recent conferences and Professional Writing Strategies for Future Artists, Art Historians, and Museum Professionals.” We hope that this event will allow panel participants and the audience to Professional continue the dialogue from our session, Development which will offer tips by artists, art histori- Fellowship ans, and museum professionals on the tran- Program sition between academic and professional writing. Since 1993, the College The SEPC also has programs in place to Art Association has helped assist with conference travel costs. Our 65 M.F.A. and Ph.D. Student Host Program, now in its 4th year, LIVE candidates bridge the gap brings together CAA members living in the between graduate study conference area with student members and a professional career. looking for alternative accommodations. If you live in the Seattle area and have an Applications for 2004–5 extra room, couch, or floor space you are available online at would like to donate to a student member, www.collegeart.org. The or if you are a student in need of that extra application deadline is room, couch, or floor, please contact SEPC Friday, January 30, 2004. member Stephanie Thomas at st4w@ LEARN virginia.edu. Thomas is also assembling this year’s “Student Survival Guide” for Seattle, an online resource that provides, among other things, advice on getting around the conference city, locations of Clockwise from top left: Erika Vogt, cheap restaurants, and listings of cultural Shalon Parker, Adam Frelin instructing sites of interest. If you have ideas to con- two Webster University students, Risë Wilson, Jason Weems tribute to this guide, write to Thomas at the GROW above e-mail address. The “Student

8 CAA NEWS NOVEMBER 2003 Survival Guide” will soon be posted on ART JOURNAL WELCOMES agencies as a cost-saving measure, current- CAA’s website. NEW EDITORIAL-BOARD ly fifty state and six jurisdictional govern- The SEPC also maintains a Student ment arts agencies are still operating. The Member listserv, which provides a forum MEMBER various arts agencies help to support both for communication throughout the country established and emerging local artists and John Paul Ricco, assistant professor of art and keeps our constituents informed of art organizations through grants and pro- history, theory, and criticism at the School SEPC activities. If you wish to join, send grams. They also help to bring art to rural of Art at Texas Tech University in an e-mail to STUDENTMEM-L- and other underserved areas of the country, Lubbock, has been appointed to serve on SUBSCRIBE-REQUEST@listserv. providing art education in schools and, in the Art Journal editorial board from July collegeart.org. Do not type anything in the some cases, spurring economic develop- 2003 through June 2007. subject line or message body: this is a “spe- ment through the arts. cial action” address and will automatically CALL FOR DISSERTATION To make up for lost income, state gover- result in a subscription. If you have further nors are urging arts groups to find alterna- questions, please feel free to contact LISTINGS tive funding sources, but corporate, foun- Patricia Flores at [email protected] or dation, and individual charitable giving is Dissertations in art history and visual stud- visit www.collegeart.org/caa/aboutcaa/ drying up as well. Total gifts by the ies, both completed and in progress, are committees/pips/student/studentdescript. nation’s top sixty donors fell from $12.7 published annually in the June issue of html. On behalf of SEPC, I look forward to billion in 2001 to $4.6 billion last year, The Art Bulletin and listed online at www. seeing many of you in Seattle. according to a survey in the February 20, collegeart.org. Ph.D.-granting institutions —Patricia Flores, Chair, CAA Student and 2003, issue of The Chronicle of are requested to send a list of dissertation Emerging Professionals Committee Philanthropy. The following is a more titles of your school’s Ph.D. students to detailed look at the status of state arts [email protected]. Full agency budgets around the country: instructions regarding the format of list- ings may be found at www.collegeart.org Arizona: Governor Janet Napolitano (D) /caa/publications/AB/dissertations/index. CAA NEWS signed a FY 2004 budget that cuts state html; they have also been sent by e-mail arts funding to $1.8 million, a reduction of and fax to department heads this fall. We 16 percent from 2003. In signing, she used NOMINATING COMMITTEE do not accept listings from individuals. her line-item veto for thirty-five sections; SEEKS MEMBERS Improperly formatted lists will be returned three of those affected funding for the to sender. For more information, write to Arizona Commission on the Arts. CAA urges its membership to help shape the e-mail address listed above. Deadline: its Board of Directors by serving on the December 1, 2003. Nominating Committee. Each year, the California: With the FY 2004 state budget committee nominates and interviews can- approved, the California Arts Council’s didates for the Board and selects the final funding has been slashed by approximate- slate for the membership’s vote. ly 86 percent, from $18 million in 2002–3 The current Nominating Committee will ADVOCACY UPDATE to $1 million. (The National Endowment select three new members at its business for the Arts [NEA] is expected to provide a matching $1 million, and another antici- meeting, held at the 2004 CAA Annual UPDATE ON STATE ARTS Conference. Each new committee member pated $1 million in revenues will come in will serve for one year and will be expect- FUNDING from designer license plates, bringing the ed to nominate a minimum of five and a expected state arts budget to $3 million.) With state budgets suffering, most state maximum of ten candidates for the Board. The council reports that this total repre- arts agencies have experienced cuts in Service on the committee involves con- sents a contribution of less than three cents funding in fiscal year (FY) 2004. Of the ducting telephone interviews with candi- per Californian per annum, with the forty-two state arts agencies reporting a dates during the summer months and national average being approximately one budget decrease for the current fiscal year, meeting at CAA’s offices in New York in dollar. Based on this drastic budget reduc- ten had reductions of more than 15 per- September 2004 to select the final slate. cent. Unfortunately, the cuts come after an Nominations and self-nominations already bleak FY 2003. The National should include a brief statement of interest Assembly of State Arts Agencies reports and a two-page c.v. Please send all materi- that forty-two states diminished their arts als to Andrea Norris, Vice President for budgets during the last fiscal year, with Committees, c/o Rebecca Cederholm, California and Massachusetts alone CAA, 275 Seventh Ave., 18th Floor, New accounting for $44 million in losses. State York, NY 10001. Materials can also be e- www.caareviews.org arts funding plunged from $410 million mailed as Microsoft Word attachments to two years ago to about $350 million in FY [email protected]. Deadline: 2003. Despite attempts by some state leg- January 5, 2004. islators to dissolve completely state arts

CAA NEWS NOVEMBER 2003 9 tion, all of its grant programs will be sus- Florida: State lawmakers allocated just resident athletes and entertainers. A total pended and half of its staff positions will under $5.9 million for the Division of of $3,942,520 will be used for the council be eliminated. Cultural Affairs’ grants programs in FY next year. Of that amount, $1.3 million 2004, which received $32 million last year. comes from interest on the trust fund and Colorado: The state legislature, facing a $1 A $200,279 grant from the NEA boosted $700,000 is federal funding from the billion revenue shortfall in FY 2004, the total budget to just over $6 million. The NEA. Unfortunately, the trust money is reduced the Colorado Council on the Arts’ division will continue some of its grant pro- also in danger, because the state legislature budget from $1.04 million to $200,000. grams, though on a much smaller scale, is using the athlete-and-entertainer tax After this 80 percent cut, the council took while temporarily suspending others. The revenue to fund other state programs in another hit when Governor Bill Owens (R) state legislature also voted to eliminate the an attempt to close the state’s estimated ordered it to reduce overhead costs to Corporations Trust Fund (derived from cor- $1 billion deficit. $40,000 a year, which meant that it was porate filing fees in the state), which until forced to vacate its office space and reduce May functioned as a unique funding source New Jersey: Tens of thousands of New its staff from seven to one. For a while it for the division’s operating costs. Now, the Jersey residents spoke out against a pro- looked as if the state’s action would cost the division will be funded from nonrecurring posal by Governor James McGreevey (D) council an additional $614,000 in federal general revenue, thus increasing the level of to eliminate the New Jersey State Council funding, because the NEA only distributes competition for state dollars with other on the Arts by cutting its entire $18 mil- its grants through viably functioning state agencies each year. lion budget, to help close the state’s $5 arts councils. Fortunately, the NEA backed billion deficit. State legislators listened. off their original threat to withhold the Massachusetts: The Massachusetts They passed a FY 2004 budget with $16 money and awarded the council $613,600, Cultural Council has been level-funded at million appropriated to the council, $2.7 allowing it to use some of the grant money $7.3 million for FY 2004. Last year, it suf- million to the New Jersey Historical for operations expenses. However, the NEA fered a 62 percent cut to its state appropria- Commission, and $500,000 for the New warned that they will keep close watch to tion, resulting in the elimination of eight Jersey Cultural Trust. As part of the budget make sure federal standards are being met funding programs and severe reductions to bill, a hotel/ motel occupancy tax, which 1 and made clear that the funding was not its five remaining grant programs. About ⁄4 provides FY 2004 cultural revenue and meant to set a precedent. of council staff were laid off. dedicates funding in FY 2005 for these three organizations, was also passed. Michigan: The state legislature passed a FY 2004 budget that includes a 47 percent Oregon: The Oregon Arts Commission CAA LAUNCHES cut to art and culture grants awarded by the lost all of its legislative funding in March Council for Arts and Cultural Affairs. The as a result of emergency cuts in FY 2003, ONLINE VOTING council also saw a 13 percent cut to their which applied to all state services other administrative budget. That said, it could than health and safety. In August, In an effort to increase member parti- have been significantly worse, as many in Governor Ted Kulongoski (D) asked that cipation in Board elections and the Annual Business Meeting, CAA has developed an the state legislature had called for a total the commission and the Oregon Cultural easy-to-use, secure online voting system. elimination of arts funding. Trust merge their administrations as a Participation in online voting is on a vol- cost-saving maneuver, a suggestion that untary basis—in order to participate, mem- Minnesota: Overall arts funding was was endorsed by both organizations as bers must indicate that you agree to reduced by 32 percent for the next two well as state legislators. As a result, the receive CAA ballot and proxy information years. This included a 60 percent cut to the commission was kept alive with a budget via e-mail, which will allow you to cast state money that supports the Minnesota of $1.2 million, which represents a 50 per- your ballots and proxies through the State Arts Board’s operations budget, a 29 cent decrease. The trust will continue to be online voting system. percent cut to the Regional Arts Councils, funded largely by the special tax credit set All members are encouraged to com- and a 30 percent cut to the board’s grant in place in 2001. plete the e-mail communications section programs. The Minnesota Humanities on your membership form this fall, either by using the new Member Portal at Commission fared even worse—it lost all Tennessee: Despite statewide fiscal prob- www.collegeart.org, or by completing the of its state funding for the next two years. lems, Tennessee has been able to raise its paper form you have received in the mail, level of arts funding for FY 2004. The in order to be able to cast your Missouri: Earlier this year the state Tennessee Arts Commission’s overall e-ballot in the 2004 Board election and removed the Missouri Arts Council from budget will increase to $5.25 million, your e-proxy for the 2004 Annual Business general revenue funding, meaning the coun- nearly 17 percent from last year, because Meeting. Members who do not indicate on cil will receive none of the $3.9 million it the commission’s main funding source is your membership forms that you want to did last year. In just two years, state support derived from nontaxpayer revenue, mainly participate in online voting will continue has gone from $5.3 million to zero. Despite the sale of specialty license plates. to receive paper ballots and proxies. these cuts, the council has not yet been Please direct all questions regarding forced to reduce its operations drastically Virginia: Due to the state budget crisis, online voting to Marta Teegen at [email protected]. because it is partially funded by the the Virginia Commission for the Arts’ Missouri Cultural Trust, an endowment for grant funds were slashed by 45 percent in the arts funded by an income tax on non- FY 2004. The cut follows two budget

10 CAA NEWS NOVEMBER 2003 reductions ordered in FY 2003 that had Jackson Pollock, and Kurt Schwitters. The already taken away $1 million from the ANNUAL first part of the show focuses on the devel- commission’s budget. In total, the accumu- opment of abstraction in Europe and its lated cuts have decreased the commis- CONFERENCE eventual dissemination in the United sion’s annual budget from $4.9 million to UPDATE States as artists fled Europe in the late about $2.7 million. 1930s. The exhibition traces abstraction’s Although states across the country have roots in Germany, Russia, and France to made drastic reductions to a wide variety CONFERENCE EVENTS AT THE its rapidly expanding role in the interna- of programs and services in order to bal- SEATTLE ART MUSEUM tional world. Part 2 looks at the continued ance their budgets, cuts to state arts agen- theme of abstraction from the 1940s to cies are especially troubling, as they will The Seattle Art Museum (SAM) will host today, concentrating on Abstract Express- result in the loss of matching funds from the post-Convocation reception on ionism and Minimalism. Organized by the the federal cultural agencies and private Wednesday evening, February 16, 2004. museum, International Abstraction is a donors alike. Furthermore, it is often very Those attending the reception will be able collaboration between the Modern and difficult to restore an agency’s budget to to experience Robert Venturi’s signature Contemporary Art Department and Marek the funding level it had prior to the cuts, postmodern building, completed in 1991, Wieczorek, assistant professor of art histo- which means that any future budget and view two outstanding exhibitions. ry at the University of Washington. increases to state arts agencies will most The first show, International The second exhibition is devoted to the likely be based on these newly reduced Abstraction: Making Painting Real, illus- work of multimedia artist Christian figures. A good source of information on trates the kaleidoscopic development of Marclay, whose art forges links between state arts funding can be found on the abstraction in painting and sculpture in the contemporary art and music, sound and National Assembly of State Arts Agencies international community after World War vision. His first major U.S. retrospective, (NASAA) website at www.nasaa-arts.org. I. The majority of the works in the exhibi- this traveling show comprises approxi- The NASAA website also includes links to tion are culled from the museum’s collec- mately sixty works spanning two decades; your local state arts agencies at tion and include paintings, sculptures, it includes collage, photography, audio, www.nasaa-arts.org/aoa/saaweb.shtml. prints, and photographs by artists such as video, and installation pieces. The Seattle —Rebecca Cederholm, CAA Governance Jean Arp, Robert Delaunay, Marcel curator is Lisa Corrin, SAM’s deputy and Advocacy Associate Duchamp, Arshile Gorky, Paul Klee, director of art and Jon and Mary Shirley

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CAA NEWS NOVEMBER 2003 11 Curator of Modern and Contemporary Art. ity, sexual orientation, and differing abili- PROFESSIONAL DEVELOPMENT SAM is also hosting an off-site confer- ties—in the studio and art-history class- ROUNDTABLE MENTORS ence session devoted to the aboriginal art rooms? Is it sufficient to use new chapters of Australia. Organized by Brenda Croft, in survey texts or to discuss minority artists SOUGHT senior curator at the National Gallery of when assigning studio projects? How might CAA is seeking mentors and discussion Australia, the session will be held on we move toward a culturally balanced cur- leaders to assist with Professional Friday, February 20, 2:00–4:30 P.M., in the riculum? What innovative ways have art Development Roundtables at the 2004 museum’s lecture hall. It will be followed history and studio teachers found to help Annual Conference in Seattle. by a tour of a local private collection. students gain deeper understanding about Mentors will lead informal discussions these issues, how they influence the work on a wide range of topics relating to career they are doing, and how these issues have CAA TO HOST TOWN choices, professional life, and work strate- affected artists in the past? gies. The roundtables will be geared MEETINGS IN SEATTLE A variety of approaches is sought from toward two groups: emerging profession- teachers of art history and all studio areas. With many of the goals in CAA’s current als and midcareer professionals. Participants may talk about a single project Strategic Plan accomplished, CAA’s Board Roundtable topics will reflect those fre- or take a more global approach. Our goal is of Directors and staff have recently begun quently mentioned by CAA members as to share ideas that can be taken into the work on the next plan, which will guide particular areas of concern within your classroom. Please forward individual pro- the organization in the years to come. As a lives and work. Past topics have included: posals to the session chair, Joseph P. Ansell part of the planning process, the member- Taking a First Job while Finishing School; of Auburn University, at anseljp@auburn. ship, the Board, and the staff need not only Dealing with Demands from All Sides— edu. Deadline: December 15, 2003. to assess CAA’s many strengths but also to The Demands on Junior Faculty Seeking confront its weaknesses. Members are to Secure Tenure; Disappointment, Even encouraged to participate in two town AIC TO HOLD WORKSHOP AT Despair: The Natural Consequences of meetings at the 2004 Annual Conference CAA CONFERENCE Trying to Move Forward; and From in Seattle, where you will be able to dis- Teaching to Administration. cuss issues of concern to you. This year’s American Institute for Prospective mentors do not need to be The first, “CAA Town Meeting: The Conservation of Historic and Artistic career specialists but should have an inter- Future Direction of Art and Art-History Works (AIC) session, “Learning Through est in the emerging generation of scholars Scholarship,” will take place Thursday, Looking: Examining African Art,” will be and artists or the desire to discuss midca- February 19, 12:30–2:00 P.M. The second, held at the Seattle Art Museum (SAM). reer issues with colleagues. Candor, a “CAA Town Meeting: Opportunities for Steven Mellor, conservator and director of sense of humor, the ability to listen, and Artists,” is scheduled for Friday, February conservation at the National Museum of two hours of your time are required. 20, 12:00–1:30 P.M. African Art, Smithsonian Institution, and Interested individuals must be CAA We are counting on your participation Pam McClusky, curator of African and members in good standing, be registered for throughout the planning process; close Oceanic art at SAM, are the featured pre- the conference, and be available on communication among the membership, senters. This gallery-based workshop will Thursday, February 19, 2004, 12:30–2:00 the Board, and the staff will enable us to address questions of construction, surface P.M. Please send a brief letter of interest and set meaningful goals for the years ahead. condition, and evidence of history and use résumé to Manager of Programs, Re: For more information on the town meet- of sub-Saharan African art. Can we deter- Roundtables, CAA, 275 Seventh Ave., 18th ings, contact Marta Teegen at mteegen@ mine the original appearance of these art- Floor, New York, NY 10001. Deadline collegeart.org. works? Do they show evidence of ritual extended: December 12, 2003. use? How much of their appearance CULTURAL DIVERSITY reflects collecting standards and subse- CURATORS AND CRITICS COMMITTEE SEEKS SESSION quent treatments? Attendence will be strictly limited by NEEDED FOR ARTISTS’ PARTICIPANTS advance reservation. Priority will be given PORTFOLIO REVIEW to a balance among academic art histori- CAA’s Cultural Diversity Committee seeks CAA is seeking curators and critics to par- 1 ans, curators, conservators, and working participants for its 1 ⁄2-hour session, artists. To enroll, contact Andrea Kirsh at ticipate in the eighth annual Artists’ Port- “Diversity in the Classroom,” at the 2004 folio Review during the 92nd Annual Conf- Annual Conference in Seattle. In recent 814 S. 48th St., Philadelphia, PA 19143; [email protected]. Please erence in Seattle, February 18–21, 2004. years university and college curricula have The Artists’ Portfolio Review provides an begun to pay attention to issues of diversity, include brief information identifying your training and current work by discipline. opportunity for artists from a wide range of adding diversity-related topics to existing backgrounds to have slides or videos of courses, and creating new classes that may their work critiqued by professionals. The satisfy a “diversity requirement.” How can program pairs a member artist with a critic we encourage students to address issues or curator for a twenty-minute appointment. surrounding diversity—race, gender, ethnic- The individual sessions are scheduled on

12 CAA NEWS NOVEMBER 2003 two days: Thursday, February 19, and Friday, February 20. Whenever possible, 2004 ARTISTS’ PORTFOLIO REVIEW REGISTRATION artists are matched with reviewers based on medium or discipline. THURSDAY, FEBRUARY 19 & FRIDAY, FEBRUARY 20, 2004 Volunteer curators and critics provide an important service to early-career artists, NAME enabling them to receive professional criti- cism of their work. Given the competitive- ADDRESS ness of today’s art world, the value to artists of this contribution cannot be overestimated. CITY / STATE / ZIP Interested candidates must be CAA indi- vidual members in good standing, register for the conference, and be willing to pro- E-MAIL vide five successive twenty-minute cri- tiques in a two-hour period. Please send a PHONE MEMBER ID# brief letter of interest and résumé to Manager of Programs, Artists’ Portfolio DISCIPLINE / MEDIUM Review, CAA, 275 Seventh Ave., 18th Floor, New York, NY 10001. Deadline I WILL BRING: 35-mm SLIDES VHS VIDEO extended: December 12, 2003. Complete and return to Artists’ Portfolio Review, CAA, 275 7th Ave., New York, NY 10001 Deadline: December 12, 2003 MENTORS NEEDED FOR CAREER DEVELOPMENT The workshops are not intended as a January. Send the completed coupon to screening process by institutions seeking Artists’ Portfolio Review, CAA, 275 WORKSHOPS new hires. Applications will not be accepted Seventh Ave., 18th Floor, New York, NY The 2004 CAA Annual Conference will from individuals whose departments are 10001. Deadline extended: December 12, mark the eighth anniversary of the Career conducting a faculty search in the field in 2003. Development Workshops. To date, more which they are mentoring. Mentors should than two thousand CAA members who are not attend as candidates for positions in CAREER DEVELOPMENT the same field in which workshop candi- beginning their careers have met with pro- WORKSHOPS OFFERED fessionals in their respective fields to dates may be applying. Send a current c.v. and letter of interest receive valuable professional advice and Artists, art historians, and museum profes- to Manager of Programs, Career Develop- guidance. sionals at all stages of their careers are ment Workshops, CAA, 275 Seventh Ave., To ensure the continued success of the encouraged to apply for a one-on-one con- 18th Floor, New York, NY 10001. program, we seek mentors from all areas of sultation with veterans in their fields at the Deadline extended: December 12, 2003. art history, studio art, the museum profes- 2004 Annual Conference in Seattle. The sions, and other related fields. Mentors pro- Career Development Workshops offer a vide a significant professional service to ARTISTS’ PORTFOLIO REVIEW unique opportunity for participants to members. Many participants have described OFFERED receive candid advice on how to conduct a this experience as extremely rewarding. thorough job search, present work, and pre- Mentors spend twenty minutes with The Artists’ Portfolio Review at the 2004 pare for interviews. The workshops will take each candidate, reviewing cover letters, Annual Conference in Seattle will offer place on Thursday, February 19, and Friday, c.v.s, slides, and other pertinent material. artist members the opportunity to have February 20. Workshops are by appointment Given the anxiety associated with confer- slides or VHS-format videos of their work only; all participants must be CAA members ence placement, mentors should be sensi- reviewed by curators and critics in private in good standing for 2004. tive to the needs of the candidates and able twenty-minute consultations. To apply, complete the Career Develop- to provide constructive criticism. Appointments will be scheduled for ment Workshop coupon on page 14. Partici- Mentor applicants must be members in Thursday, February 19, and Friday, pants will be chosen by a lottery of applica- good standing, must register for the con- February 20. Interested artists should com- tions received by the deadline; all applicants ference, and must be prepared to give plete the Artists’ Portfolio Review coupon will be notified by mail in January. While three consecutive hours of their time on above. The coupon may be copied and dis- CAA will make every effort to accommo- one of the two days of the workshops: tributed. Be sure to indicate whether the date all applicants, workshop participation is Thursday, February 19, and Friday, work to be reviewed will be on slides or limited. Please send the completed coupon February 20. Art historians and studio video. All applicants must be CAA mem- to Career Development Workshops, CAA, artists must be tenured; curators must have bers in good standing for 2004. 275 Seventh Ave., 18th Floor, New York, five years of experience and have current Participants will be chosen by a lottery of NY 10001. Deadline extended: December employment at a museum or university the applications received by the deadline; 12, 2003. gallery. all applicants will be notified by mail in

CAA NEWS NOVEMBER 2003 13 the visual arts or to the study of some 2004 CAREER DEVELOPMENT WORKSHOPS broad, major area of the history of art; and 3) it possesses a formal organizational THURSDAY, FEBRUARY 19 & FRIDAY, FEBRUARY 20, 2004 structure, that is, elected officers, an identi- Check one topic, indicating your area of specialization. If choosing more than one specialty, please indicate the order of your preference. fiable membership, and signs of ongoing ART HISTORY STUDIO ART OTHER activity such as a newsletter, periodical, _____Ancient to Medieval _____Painting _____Curatorial exhibition record, website, listserv, or other _____Renaissance, Baroque, 18th Century _____Sculpture / Installation _____Publishing documentation. _____19th Century to Modern _____Ceramics / Metal / Jewelry _____Nonprofit Application. Applications for affiliated- _____Contemporary _____Drawing / Printmaking / Works on Paper society status will be screened by the _____Africa, Asia, Oceania, Americas _____Photography / Film / Video _____Architectural History _____Computer Graphics / Illustration / Graphic Design Executive Committee of the Board of _____Performance Directors. The committee’s rulings may be appealed to the Board. CAA’s Director of NAME Programs is the staff liaison and will report annually to the Board and review the status ADDRESS of affiliated societies every two years. CITY / STATE / ZIP CAA News: CAA features information and articles about affiliated societies in each E-MAIL issue of CAA News and publishes the “Affiliated Society Directory” which PHONE MEMBER ID# includes the following information as pro- Complete and return to Career Development Workshops, CAA, 275 7th Ave., New York, NY 10001 vided by the societies: name, date of found- Deadline: December 12, 2003 ing, size of membership, annual dues, name and address of president and/or correspon- PROJECTIONISTS AND ROOM or permanent U.S. residents. Send a brief ding secretary, and a statement of about MONITORS SOUGHT letter of interest to CAA Room Monitors, fifty words on the society’s nature or pur- c/o Manager of Programs, CAA, 275 pose. Each year, affiliates will receive a Applications are being accepted for projec- Seventh Ave., 18th Floor, New York, NY reminder about the directory, at which time tionist positions at the CAA Annual 10001. Deadline: January 1, 2004. the above information, as well as a current Conference in Seattle, to be held February list of individual affiliate members (with 18–21, 2004. Successful applicants will be membership overlap indicated, if possible), paid $10 per hour and will receive compli- should be submitted to the Director of mentary conference registration. AFFILIATED SOCIETY Programs. News of interest to the CAA Projectionists are required to work a min- membership as a whole may be sent by 1 affiliated societies for possible publication imum of four 2 ⁄2–hour program sessions, NEWS from Thursday, February 19, to Saturday, in CAA News under the Affiliated Society February 21, and attend a training meeting News section. Let the CAA community at 7:30 A.M. on Thursday. Projectionists BECOMING AN AFFILIATED know about the new and exciting things must be able to operate a 35-mm slide pro- SOCIETY your organization is doing—activities, jector; familiarity with video and overhead awards, publications, conferences, and projectors is preferred. Candidates must be CAA welcomes, as affiliated societies, exhibition announcements are all accepted. U.S. citizens or permanent U.S. residents. groups of art professionals and other organ- Annual Conference: To the extent possi- Send a brief letter of interest to CAA izations whose goals are generally conso- ble, CAA will provide each affiliated socie- Projectionist Coordinator, c/o Manager of nant with those of CAA, with a view ty with facilities at the Annual Conference Programs, CAA, 275 Seventh Ave., 18th toward facilitating intercommunication and for one business meeting and one special 1 Floor, New York, NY 10001. Deadline: mutual enrichment. It is required that a sub- session lasting up to 1 ⁄2 hours each during January 1, 2004. stantial number of the members of such those time slots not reserved for CAA pro- Room monitors are needed for two of groups will already be members of CAA. In gram sessions. In addition, each year every CAA’s mentoring programs, the Artists’ the colored insert you will find the annual affiliated society will be permitted to pro- 1 Portfolio Review and the Career “Affiliated Society Directory,” which pose one 2 ⁄2-hour program session, which Development Workshops, as well as for describes each society and provides contact will be given special consideration by the several off-site sessions, to be held during information for all fifty-four affiliates. Annual Conference Committee in its delib- the 2004 Annual Conference in Seattle. To be recognized by CAA as an affiliated erations. Note: The program session must Successful candidates will be paid $10 per society, a group must be national in scope address a specific issue of concern to the hour and will receive complimentary con- and must present evidence that: 1) there is affiliated society and cannot be an open ference registration. Room monitors will significant membership overlap between session. work a minimum of four hours, checking in CAA and the group applying for affiliation; Listserv: The affiliated-societies listserv participants and facilitating the work of the 2) it is primarily, or in large part, committed is a forum for organizations to post mentors. Candidates must be U.S. citizens to the serious practice and advancement of announcements, press releases, and other

14 CAA NEWS NOVEMBER 2003 information, as well as to enhance commu- the session entitled “Visual Culture III: Art [email protected] or James nication among the groups or with CAA and Value in Victorian England.” Saslow at [email protected]. staff. We encourage all affiliated societies to The caucus is also pleased to announce participate actively. JAHF LAUNCHES WEBSITE the upcoming exhibition, Neoqueer: New Liaison: Liaison between affiliated soci- Art by Lesbian, Gay, Bisexual, and eties and CAA is maintained by the Direct- The Japan Art History Forum (JAHF) has Transgender Artists, co-organized by or of Programs and the officers of the affili- established a website, www.ku.edu/~jahf, David Lloyd Brown and Maura Reilly, at ated societies. The executive officer of an with entrances for both members and visi- the Center of Contemporary Art in Seattle, affiliated society or his or her representative tors. Members may gain access to informa- January 15–February 28, 2004. The exhi- may be invited to a CAA Board meeting to tion about the current membership, dues, bition will be on view during the 2004 act as a resource person when, in the opin- course syllabi, bibliographies of Japanese CAA Annual Conference. For more infor- ion of the President of CAA, issues arise in artists, JAHF’s activities, and practical mation, visit www.cocaseattle.org. which his or her expertise is needed. advice such as handling art and using and For information, visit www.collegeart. buying digital cameras. Visitors can find SPE ANNOUNCES org and click on the “Affiliated Societies” general information about JAHF and how CONFERENCE PARTICIPANTS link or contact Emmanuel Lemakis, to join. In addition, nonmembers have Director of Programs, at 212-691-1051, ext. access to lists of upcoming events and links The Society for Photographic Education 210; [email protected]; or Lauren to numerous websites devoted to Japanese (SPE) will hold its 41st national conference Stark, Manager of Programs, at 212-691- art. in Newport, RI, on March 25–28, 2004. 1051, ext. 248; [email protected]. Concerning the JAHF listserv, the member- The conference theme is “Photography and ship is presently debating whether to allow Place: Home-Neighborhood-Nation- FATE SEEKS JOURNAL commercial posts; a vote is forthcoming. World”; it will examine what “place” CONTRIBUTIONS means in its broadest sense. We will look NCAA ELECTS PRESIDENT AND inside our homes and outside ourselves to FATE in Review, the journal of Foundations PRESENTS AWARDS our neighborhoods and natural environ- in Art: Theory and Education (FATE), is ment, and further outward to those nations seeking articles and book- and video-review Joseph S. Lewis III, a former CAA Board overseas or across borders where we have submissions for its annual publication. member, was elected president of the lived or visited. Photographer Frank Gohlke Articles and reviews should address con- National Council of Art Administrators will give the keynote address, and Jerome cerns of determining and teaching the core (NCAA) at its 2002 annual conference, suc- Liebling, introduced by his renowned stu- curriculum for the foundations in art (first- ceeding Judith Thorpe. Joel Wachs, presi- dent, filmmaker Ken Burns, will be the year) program. These may include studio dent of the Andy Warhol Foundation, and Honored Educator. For more information, art, design, art history, theory, and criticism. Tom Philabaum, a Tucson-based glass visit www.spenational.org. Articles and reviews may not have been artist, received awards for distinguished previously published. For further details, service to the field. contact Kay Byfield, Editor, Dept. of Art, This year’s conference, hosted by the Northeast Texas Community College, Mt. Memphis College of Art, will take place Pleasant, TX 75456-1307; 903-572-1911, November 12–15, 2003. NCAA will recog- ext. 333; [email protected]. nize Coleman Coker, a Memphis-based Deadlines ongoing. sculptor and architect, and Michael Kimmelman, a New York Times critic, for HBA REPRESENTED AT their achievements and support of the arts. www.wiselephant.com CONFERENCE We clear the path between QUEER CAUCUS HOLDS you and your audience. Several members of the Historians of CONFERENCE AND ART *postcards *business cards *posters British Art (HBA) gave papers or served as moderators at the inaugural conference of EXHIBITION *mailing lists *direct mail *press kits the North American Victorian Studies *websites *professional assistance The Queer Caucus for Art has scheduled its Association, which was held October international conference, “Intersexions: to get started visit our website 17–19, 2003, at Indiana University in Queer Visual Culture at the Crossroads,” or email us at Bloomington (conference information can for November 12–13, 2004. Organized in [email protected] be found at www.sla.purdue.edu/ conjunction with the Center for Lesbian and academic/engl/navsa). HBA sponsored a 718.625.9258 Brooklyn, New York Gay Studies at the City University of New panel, “Desire and Experience: Circuits of York (CUNY), the conference will take Artistic Consumption,” featuring Juilee place at CUNY’s Graduate Center in Decker, David Getsy, and Andrew Manhattan. For information, contact the Employment Display Ads Stephenson and chaired by Anne Caucus cochairs, Maura Reilly at Begin on Page 26 Helmreich. Elizabeth Pergam presented in

CAA NEWS NOVEMBER 2003 15 Nicholas Hill. Dunlap Gallery, Battelle Fine Art Center, Otterbein College, Westerville, OH, September 11–October 18, 2003. Indelible Impressions: The Dresden Journal. Intaglio.

Jonathan W. Hils. Tulsa Artists’ Coalition Gallery, Tulsa, OK, September 5–30, 2003. Progressions. Sculpture.

Michelle Kogan. Mimosa, Highland Park, IL, August 26–October 21, 2003. Images Revealed: Paintings and Drawings.

Pam Longobardi. Hiestand Galleries, Miami University, Oxford, OH, August 26–October 1, 2003. Works: 1996–2003. Painting and works on paper.

John Reth. Robert E. and Martha Hull Lee Gallery, Miami University, Oxford, OH, August 26–October 1, 2003. Excerpts from the Land of Plenty. Elizabeth Hanemann. Apple & Eve, 2003. Solar plate, pronto plate, 6x4" Ginger Sheridan. Oak Street Pears, 2002. Palladium print, 4x5" Installation. Craig C. Walkowicz. Portage County Public Library, Stevens Point, WI, November 1–30, 2003. Logical SOUTH Alderson-Broaddus College, Phillipi, WV, Contradictions. Painting and drawing. SOLO September 15–October 17, 2003. Theft. Brian L. Bishop. Freed-Hardeman Printmaking. University, Henderson, TN, October NORTHEAST 6–31, 2003. [Pause]. Painting. EXHIBITIONS Muriel Hasbun. Conner Contemporary Richard Carboni. Ben Shahn Galleries, Art, Washington, DC, September 5– William Patterson University, Wayne, NJ, Luca Buvoli. Glassell School of Art, October 4, 2003. Watched Over. BY ARTIST October 27–November 26, 2003. Richard Houston, TX, September 12–November Photography. Carboni: Works On Paper. 30, 2003. Luca Buvoli: Flying Prepar- atory Exercises. Mixed media; Devin MEMBERS Patrick Craig Manning. Gallery 1401, Borden Hiram Butler Gallery, Houston, Jane Dickson. Marlborough Gallery, University of the Arts, Philadelphia, New York, September 10–October 4, TX, September 12–November 30, 2003. November 14–December 19, 2003. Only artists who are CAA members are 2003. Recent Works. Painting. included in this listing; group shows are not demarcation. Photography. Gretchen Lee Coles. Terlingua House published. When submitting information, Projects, Alpine, TX, May 2–11, 2003. Adriane Little. Big Orbit Gallery, include name, membership ID number, venue, Annu Palakunnathu Matthew. Gallery Buffalo, NY, September 13–October 25, Apples and Oranges: An Art-Mapping city, dates of exhibition, title of show, and 1401, University of the Arts, 2003. Call Home Mothers Dead. Video Project. Installation. medium. Photographs, slides, and digital Philadelphia, August 22–September 26, installation. images will be used if space allows; please 2003. An Indian in India. Photography. Carola Dreidemie. Texas Woman’s include the work’s title, date, medium, and University, Denton, TX, August 25– size. Please refer to the submission guidelines Leo Mendonca. Southern Vermont Arts Creighton Michael. University of September 5, 2003. Jubilee. Photography. for images on this page; images cannot be Center, Manchester, VT, July 12–August Richmond Museums, Richmond, VA, returned. More artworks can be found on the 5, 2003. Urban Fusions: Portugal. August 20–December 14, 2003. CAA website. Please mail to Solo Member Photography. Christopher Payne. Meridian Museum Exhibitions, CAA News, 275 Seventh Ave., Articulated Spaces: Paintings by of Art, Meridian, MS, September 6– Creighton Michael. October 31, 2003. Christopher Payne. 18th floor, New York, NY 10001; caanews@ Creighton Michael. Collaborative collegeart.org (e-mail preferred). Concepts, Beacon, NY, September Sculpture. MIDWEST 13–November 2, 2003. Dialects of Line: ABROAD Selected Works from 1985–2003. Duane Paxson. Moon Gallery, Berry Barry Anderson. Gallery HQ, Kansas College, Mount Berry, GA, August 25– City, MO, September 5–October 4, 2003. September 19, 2003. Recent Work. Ginger Sheridan. Gallery Ph7, Brussels, Mimi Oritsky. Amos Eno Gallery, New Ghosts. Video installation. Belgium, September 1–October 31, 2003. York, October 29–November 22, 2003. Sculpture. Ginger Sheridan: Recent Palladium Mimi Oritsky. Painting. Work. Photography. Thorsten Dennerline. Contemporary Joseph Whitt. ArtLab, Art Museum of Project Gallery, Saint Louis University the University of Memphis, Memphis, M. Delos Reyes. E3 Gallery, New York, Museum of Art, St. Louis, MO, MID-ATLANTIC September 6–21, 2003. Because of the TN, July 12–September 5, 2003. September 9–October 12, 2003. Our Light…: The Day Series. Photography. Neverland. Installation. Diane Barcelo. Lawrence Art Gallery, Amazing Brutality. Rosemont College, Rosemont, PA, Veronica Szarejko. Soho Photo Gallery, WEST Jill Downen. Ninth Street Gallery, St. November 6–25, 2003. Island/Isla. New York, October 7–November 1, 2003. Louis, MO, October 3–November 14, Installation. Where the Seeds Were Kept. Photography. Robert Buelteman. Silicon Valley Art 2003. Body/Building: Involuntary Museum Headquarters, Belmont, CA, Anatomies. Installation. August 1–November 16, 2003. Through Elizabeth Hanemann. Daywood Gallery, Meera Thompson. Synchronicity Fine Arts, New York, September 2–27, 2003. the Green Fuse. Photography. New Watercolors. If you would like your work to be considered for inclusion in CAA News and/or online at Alice Dubiel. Gallery One, Ellensburg, www.collegeart.org please provide the following: WA, April 4–26, 2003. The Topography Alison Weld. Ben Shahn Galleries, William For CAA News For www.collegeart.org Patterson University, Wayne, NJ, October of Resistance. Works on paper and ONE black-and-white photograph, no larger ONE color photograph, no larger than 5 x 27–November 26, 2003. Alison Weld. collography. than 5 x 7", OR ONE digital (JPEG or TIFF) 7", OR ONE digital (JPEG) file, no larger file, no larger than 5 x 7", with a resolution than 5 x 7", with a resolution of 72 dpi. . Pirate: A Contemporary Gina Werfel. Prince Street Gallery, New Kathy Hutton of 300 dpi. York, September 30–October 25, 2003. Art Oasis, Denver, CO, August 15–31, 2003. Shelter. Installation. PLEASE NOTE: A SEPERATE FILE MUST BE SUBMITTED FOR EACH PUBLICATION Paintings.

16 CAA NEWS NOVEMBER 2003 Julie McNiel. First Street Gallery, Luba of Nebraska, in association with New York’s Whitney Museum of Humboldt State University, Eureka, CA, Freedman. Marquand Books, 2003). American Art and Museum of Modern August 26–September 21, 2003. Glamour The Revival of Art have collected his work. Wood. Painting and drawing. the Olympian Terry Smith. Transformations in Gods in Australian Art, vol. 1, Nineteenth Joseph Lambert Mercedes Shaffer. Vice Chancellor’s Renaissance Century: Landscape, Colony and Nation Cain, an artist and Invitational, University of California, Art (New York: (Sydney: Craftsman House, 2002); vol. 2, educator known as Berkeley, CA, July 12, 2003–January 1, Cambridge Twentieth Century: Modernism and Jo Cain, died in 2004. Portraits of Trees. Painting. University Aboriginality (Sydney: Craftsman House, Fairfield, IA, on Press, 2003). 2002). September 7, 2003, Ali Smith. University Center Gallery, at the age of 99. University of Montana, Missoula, Maribeth Graybill, Johsua S. Mostow, Sarah Stewart Taylor. O’ Artful Death Throughout his MT, October 27–November 21, 2003. and Norman Bryson, eds. Gender and (New York: St. Martin’s Press/Minotaur, Joseph Lambert career, Cain showed Garage Project. Installation. Power in the Japanese Visual Field 2003). Cain his work at many (Honolulu: University of Hawai‘i Press, distinguished U.S. museums. In 1929, he Mel Smothers. Reno Northwest Library, 2003). Franklin Toker. Fallingwater Rising: received a Carnegie Fellowship and was Reno, NV, September 2–October 24, Frank Lloyd Wright, E. J. Kaufmann, and awarded multiple Tiffany Foundation fel- 2003. Melvision. Painting. Maria Fabricius Hansen. The America’s Most Extraordinary House lowships. In 1933, he received a commis- Eloquence of Appropriation: (New York: Alfred A. Knopf, 2003). sion to create what was then the largest Prolegomena to an Understanding of mural in the U.S., a 20,000-square-feet Spolia in Early Christian Rome (Rome: Philip Ursprung. Grenzen der Kunst: series of paintings, presenting an epic L’Erma di Bretschneider, 2003). Allan Kaprow und das Happening, vision of the works of humankind, for the Robert Smithson un die Land Art New York Training School in Warwick. BOOKS Sharon Hirsh. Grace Hartigan: Painting (Munich, Germany: Verlag Silke He became an integral member of the Art History (Carlisle, PA: Trout Gallery, Schreiber, 2003). New York art scene, founding a notable Dickinson College, 2003). coalition of artists called “The Group.” PUBLISHED BY Susan Verdi Webster. Arquitectura y Cain and his wife, painter Matene Evelyn Karet. The Drawings of Stefano empresa en el Quito colonial: José Racheotes, founded and headed the Art CAA MEMBERS da Verona and His Circle and the Origins Jaime Ortiz, Alarife Mayor (Quito, Dept. at the University of Rhode Island in of Collecting in Italy: A Catalogue Ecuador: Editorial Abya Yala, 2002). 1944, where, over the years, he estab- Raisonné (Philadelphia: American lished a distinguished undergraduate pro- Only authors who are CAA members are Philosophical Society, 2002); I Disegni di gram. He remained active as an advocate included in this listing. Please send your Stefano da Verona e della Sua Cerchia e of contemporary art and art education by name, membership ID number, book title, le origini del collezionismi (Verona, Italy: speaking at CAA, major museums, and publisher’s name and location, and year Catalogo Ragionato, Accademia di on the radio, and by hosting art events published (no earlier than 2003) to Agricoltura Scienze e Lettere di Verona, PEOPLE IN THE and organizing art exhibitions. In 1953 he [email protected]. 2003). cowrote, with Frederic Clayton, and self- published an art-appreciation text, Art Is Rozmeri Basic. St. Donat and Alcuin’s Ellen Johnston Laing. Art and NEWS the Artist: A Brief Guide to the Acrostic: Case Studies in Carolingian Aesthetics in Chinese Popular Prints: Understanding of the Visual Arts. Modulations (Fucecchio, Italy: Kim Selections from the Muban Foundation Cain’s work moved from realism in the Williams Books, 2003). Collection (Ann Arbor: Center for IN MEMORIAM 1920s to a highly personal, Cubism- Chinese Studies, University of Michigan, based, abstract style. In the 1950s and Robert Bork. Great Spires: Skyscrapers 2002). 1960s, his work became increasingly of the New Jerusalem (Cologne, Edward Porter Alexander, a museum abstract, finally turning into colorful Germany: University of Cologne, 2003). Sarah McPhee. Bernini and the Bell expert, died July 31, 2003. He was 96. sculptural reliefs made from plastic. Most Towers: Architecture and Politics at the Born in Keokuk, IA, Alexander earned of Cain’s carefully studied compositions Julie F. Codell. The Victorian Artist: Vatican (New Haven: Yale University his B.A. from Drake University, an M.A. feature the human figure, and all of them Artists’ Lifewritings in Britain, ca. Press, 2002). from the University of Iowa, and a Ph.D. convey universal themes. Cain used his 1870–1910 (New York: Cambridge from Columbia University. He was presi- great skill as a draftsman and his sophisti- University Press, 2003); Julie F. Codell, Naomi Miller. Mapping the City: The dent of the American Association of cated sense of color to portray a dynamic, ed. Imperial Co-Histories: National Language and Culture of Cartography in Museums and founded and directed the joyful world that he clearly adored. Identities and the British and Colonial the Renaissance (New York: Continuum Museum Studies Program at the —Michael Peter Cain, artist Press (Madison, NJ: Fairleigh Dickinson Books, 2003). University of Delaware. He wrote several books on museums: University Press, in association with Museums in Motion: John Coplans, a founder and former edi- Associated University Presses, 2003). Josephine Murphy. Novelli: A Forgotten An Introduction to the History and tor of Artforum magazine and a renowned Sculptor (Boston: Branden Books, 2003). Functions of Museums (Nashville: photographer, died August 21, 2003. He David Dearinger and Isabelle Dervaux. American Association for State and Local was 83. Challenging Tradition: Women of the Solveiga Rush. Mikhail Eisenstein: History, 1979), Museum Masters: Their Born in London, Coplans taught and Academy, 1826–2003 (New York: Themes and Symbols in Art Nouveau Museums and Their Influence (Nashville: painted there before moving to San National Academy of Design, 2003). Architecture of Riga 1901–06 (Riga, American Association for State and Local Francisco in 1960, where he continued Latvia: Neputns, 2003). History, 1983), and The Museum in teaching and also worked as a critic and Thomas Andrew Denenberg. Wallace America: Innovators and Pioneers curator. With Philip Leider and John alnut Creek, CA: AltaMira Press, Nutting and the Invention of Old America N. Elizabeth (W Irwin, he helped to found Artforum in 1997). (New Haven: Yale University Press, Schlatter. 1962. He became editor of the magazine 2003). Structures in 1971 and served for about 7 years. of Nature: Harold Altman, a painter, printmaker, Coplans was appointed director of the Rachel Dressler. Of Armor and Men in Photographs by and lithographer, died July 28, 2003, at Akron Art Institute (now the Akron Art Medieval England: The Chivalric Andreas the age of 79. Museum) in 1978 and delved into pho- Rhetoric of Three English Knight’s Feininger Altman taught art at Pennsylvania State tography at that time. His first solo exhi- Effigies (Burlington, VT: Ashgate, 2003). (Richmond, VA: University, the University of Madison, bition was at the Daniel Wolf Gallery in University of Wisconsin, and the University of North New York in 1981; his celebrated series Michelle Facos and Sharon Hirsh, eds. Richmond Carolina, Greensboro. He trained at the of ongoing self-portraits debuted at the Art, Culture, and National Identity in Museums, 2002). Art Students League and Cooper Union Pace/MacGill Gallery in 1986. His work Fin-de-Siècle Europe (New York: in New York and at the Académie de la has appeared internationally, and solo Cambridge University Press, 2003). Daniel A. Siedell. Enrique Martìnez Grande Chaumière in Paris, where he had exhibitions have been held at the Celaya: The October Cycle, 2000–2002. his first solo exhibition in 1951. He Museum of the Art Institute of Chicago, (Lincoln, NE: Sheldon Memorial Art showed his work internationally and the Museum of Modern Art, and Andrea Gallery and Sculpture Garden, University received two Guggenheim fellowships. Rosen Gallery in New York.

CAA NEWS NOVEMBER 2003 17 Bhupen Khakhar, a painter, died August Romano was above all a consummate Learned Societies, and the Samuel H. 8, 2003, in Baroda, India. He was 69. teacher. In his lectures to the public or to Kress Foundation. Slatkes leaves many Khakhar was both an accountant and students, his dealings with those who warm friends and affectionate colleagues. an artist. Largely self-taught, he painted worked for and with him, and in his writ- He will be greatly missed. colorful, narrative-based works that ing, he unfailingly imparted knowledge —Elaine Banks Stainton, Senior Editor, combined images of everyday life and leavened with humor. An audience con- Harry N. Abrams, Inc. fantasy. He was a significant figure in vulsed with laughter while their eyes lit ASSOCIATED PRESS, AP the 1960s Indian art scene. In the 1980s, up with a new understanding of Egyptian Kirk Varnedoe,

his subject matter included his homosexu- PHOTO: art was a familiar sight at his lectures. As an art historian, ality, which was considered a controver- James Frank Romano a fine scholar and a great human being, author, and former sial move. The Centre Pompidou in Paris he enriched the lives of everyone who chief curator in the gave him a solo exhibition in 1986, and a encountered him. Dept. of Painting James Frank Romano, curator in the retrospective was staged at the Reina —Madeleine E. Cody, Research and Sculpture at Dept. of Egyptian, Classical, and Middle Sofía National Art Center in Madrid in Association, ECAMEA, Brooklyn Museum the Museum of

Eastern Art at the Brooklyn Museum of TIMOTHY GREENFIELD-SANDERS 2002. of Art Modern Art Art (BMA), died August 11, 2003. He (MoMA) in New

was 56. PHOTO: Robert Koch, a decorative-arts expert Fred Sandback, a sculptor, died June 23, York from 1988 to Romano was born in Far Rockaway, Kirk Varnedoe who studied the work of Louis Comfort 2003, at the age of 59. 2001, died August Queens, and grew up in Hewlett, Long Tiffany, died on August 13, 2003, at the Since the late 1960s, Sandback created 14, 2003. He was 57. Island. He received his B.A. from Harper age of 85. site-specific works with yarns of various Varnedoe organized many important College, now the State University of New Born in New York, Koch earned a B.A. colors, stretched from walls, floors, and exhibitions at MoMA and wrote their cata- York, Binghamton, in 1969. He often told degree from Harvard University, an M.A. ceilings. He studied philosophy at Yale logues, including Van Gogh’s Postman: the story of how, as an undergraduate, he from New York University, and a Ph.D. University and in 1969 earned an M.F.A. The Portraits of Joseph Roulin (2001); was inspired to study ancient Egyptian art from Yale University. In 1958 he organ- in sculpture at the Yale School of Art and Jackson Pollock (with Pepe Karmel, by the head of a female sphinx in the gal- ized an exhibition of Tiffany’s work at the Architecture. 1998), whose catalogue won CAA’s Alfred leries at the BMA. Astounded by the Museum of Contemporary Crafts in New Sandback became one of a small group H. Barr, Jr., Award in 2000; Jasper Johns: appearance of the carved surface, as York. Koch taught at Southern Connec- of avant-garde artists sponsored by the Dia A Retrospective (1996); Cy Twombly: A smooth as human skin, he vowed to ticut State University. His books include Center for the Arts. With Dia’s support, Retrospective (1994); High and Low: understand the culture that could create Louis Comfort Tiffany, Rebel in Glass Sandback operated the Fred Sandback Modern Art and Popular Culture (with such a masterpiece. (1964) and, with Janet Zapata, Will H. Museum in Winchendon, MA, from 1981 Adam Gopnik, 1990); and Vienna 1900: At the Institute of Fine Arts, New York Bradley, American Artist in Print, A until 1996, which displayed his work. Art, Architecture, and Design (1986). University, he received both M.A. (1972) Collector’s Guide (New York: Hudson Varnedoe was also cocurator of the recent and Ph.D. (1989) degrees in Ancient Near Hills Press, 2003). Leonard J. Slatkes, professor of art his- Matisse Picasso exhibition at the museum. Eastern and Egyptian art and archaeology. tory at Queens College, died August 22, Varnedoe’s interest in exhibiting the In his dissertaton, Romano was the first Anne Paul, a specialist in the pre- 2003, at the age of 73. work of living and women artists resulted to study thoroughly the iconography of Columbian art of South America, died on Slatkes was a New York eccentric of a in 1989 in his “Artist’s Choice” series, in the ancient Egyptian god commonly April 8, 2003, at age 56. high order, a zestful lover of 17th-century which contemporary artists selected and called Bes. As a scholar, Romano’s area Paul received her B.A. from the Dutch painting and famous for his broad installed temporary exhibitions of works of specialization was the sculpture, relief, University of California, Riverside, and erudition, tenacious analytical capacity, from the museum’s collection. In 1993, and personal arts of the 18th dynasty. her Ph.D. from the University of Texas at and outspoken character. He was a famil- Varnedoe oversaw the expansion and ren- Throughout his career, however, he Austin, both degrees in art history. She iar figure at gallery and auction exhibi- ovation of the museum’s galleries for demonstrated his expertise in many other taught at the University of Georgia, at tions of old-master paintings in New contemporary art. He also reinstalled the aspects of Egyptian art, working exten- various institutions in the Dallas area, in York, where his opinions on attribution— permanent collection to include prewar sively with Middle Kingdom objects and Bonn, Germany, and in Nancy, France, sometimes brilliantly on the mark, some- Russian, German, and Italian art. He was publishing a major study of late Old where she moved in the early 1990s with times oddly contrarian—were unfailingly responsible for the acquisition of many Kingdom royal sculpture. her family. The world’s foremost authori- interesting. A generous, outgoing col- important works of both early modern Romano was a member of the Dept. of ty on the embroidered fabrics of the league, he was invariably interesting, and postwar art. Egyptian, Classical, and Middle Eastern Paracas culture of southern coastal Peru, good-humored company, sometimes argu- Before arriving at MoMA, Varnedoe Art at BMA from 1976 until his sudden Paul, at the time of her death, had been mentative, but never unkind. organized shows for other institutions, death, becoming curator in 1988. His involved in the planning of textile exhibi- Slatkes was well known as an authority such as Gustave Caillebotte: A Retro- most recent work there leaves a legacy of tions in Paris, Tokyo, and Göteborg, on the Caravaggesque masters of the spective Exhibition at the Houston newly reinstalled galleries. In November Sweden. Among Paul’s many publications 17th-century School of Utrecht in particu- Museum of Fine Arts in 1976–77 and 2002, he completed the first phase of are Paracas Ritual Attire: Symbols of lar, and he possessed a wide knowledge Northern Light: Realism and Symbolism reinstallation in the Hagop Kevorkian Authority in Ancient Peru (Norman: of Dutch Baroque art in general. He pub- in Scandinavian Painting at the Brooklyn Gallery of Middle Eastern Art, placing on University of Oklahoma Press, 1990) and lished books on Dirck van Baburen, Museum of Art in 1982–83. His first view all of BMA’s Assyrian reliefs as as editor, Paracas Art and Architecture: Rembrandt, Johannes Vermeer, and the curatorial experience was Rodin well as three cases of ancient Middle Object and Context in South Coastal etchings of Adrian van Ostade, as well as Drawings: True and False, organized in Eastern objects. He spent more than 10 Peru (Iowa City: University of Iowa numerous articles on other northern 1971-72 with Albert Elsen for the years as project director for the second Press, 1991). Baroque artists. Caravaggism, both in National Gallery of Art in Washington, and final phase of reinstallation in the Paul, who worked as a lecturer at the northern and southern Europe, was an DC; and his first exhibition at MoMA Egyptian galleries, reviewing over 4,000 School of the Art Institute of Chicago for abiding interest. was the controversial show,“Primitivism” objects in galleries and storerooms, super- several years before beginning graduate Slatkes received a B.F.A. from in 20th Century Art: Affinity of the Tribal vising the installation of more than 600 studies, had interests that ranged far Syracuse University in 1952 and an M.A. and the Modern, organized with William objects, and writing didactics and labels beyond her esoteric specialty. She loved from Oberlin College in 1954. He then Rubin in 1984. that are a model of their kind. The com- French Romanesque sculpture, but was traveled on a Fulbright fellowship to the Varnedoe received his M.A. from plete reinstallation opened to critical equally enthusiastic about the work of University of Utrecht, where he complet- Williams College in 1970 and his Ph.D. acclaim on April 11, 2003. Donald Judd and Christo. Her first arti- ed a Ph.D. in art history in 1962, with a in art history from Stanford University in In addition to his curatorial duties, cles were on French paintings and a dissertation on the Dutch Caravaggist 1972. He taught at Stanford in 1973–74, Romano served as a consultant to several Maya vase. But above all Paul devoted Dirck van Baburen. In 1966, he joined and at Columbia University from 1974 to Egyptian installations at other museums, her scholarly life to the study of Paracas the faculty of Queens College in New 1980. From 1980 to 1988, he taught at taught at Queens College in Flushing, textiles, and her death leaves a very big York, where he remained as a respected the Institute of Fine Arts, New York NY, for many years, and lectured widely. gap in the emerging field of Andean art teacher for the rest of his life. In addition, University. In 1993, he was elected a fel- He was author or coauthor of numerous history. he was a professor at the University of low of the American Academy of Arts scholarly publications, most recently the —Virginia E. Miller, Associate Professor, Chicago and the University of Pittsburgh. and Sciences; in 1999, the government of catalogue for a traveling exhibition that University of Illinois, Chicago He received many awards for his scholar- France declared him an Officier of the he organized, In the Fullness of Time: ly work, including several Fulbright fel- Ordre des Arts et Lettres; and in 2000, he Masterpieces of Egyptian Art from lowships to the Netherlands and fellow- was elected to the American Philosophi- American Collections (Salem, OR: Hallie ships from the National Endowment for cal Society. The MacArthur Foundation Ford Museum of Art, Willamette the Humanities, the American Council of granted him one of its “genius” fellow- University, 2002).

18 CAA NEWS NOVEMBER 2003 ships in 1984; A Fine Disregard: What Summer Fellowship for her research proj- Makes Modern Art Modern (New York: MUSEUMS ORGANIZATIONS ect, “The Importance of Weaving in Harry N. Abrams, 1990) was the outcome Formative Period Gulf Coast Cultures.” of the grant. Robert Fleck, head of the École Lesley A. Martin has been selected exec- She has also won a 2003–4 Faculty As the Andrew Mellon Professor at the Regionale des Beaux-Arts in Nantes, utive editor at Aperture, where she will Research Grant her school for the same Center for Advanced Study in the Visual France, has been selected to the direc- manage their publishing program for project. Arts at the National Gallery in Washing- torship of Hamburg’s Diechtorhallen, books. ton, DC, he delivered the annual Mellon beginning January 1, 2004. Amaury A. García, a student at the Lectures in spring 2001. Varnedoe resign- Mel Watkin, formerly chief curator at the Center for Asian and African Studies, El ed from MoMA in 2001 for a position at Willard Holmes, Contemporary Art Museum St. Louis, has Colegio de Mexico, has been awarded the the Institute for Advanced Study in formerly deputy been appointed director of the new pho- 2003–4 Japan Foundation Fellowship Princeton. director and chief tography project at the Public Policy Program’s grant for doctoral candidates to operating officer of Research Center of the University of conduct research at the International CHARLES THOMPSON the Whitney Museum Missouri, St. Louis. Research Center for Japanese Studies in of American Art in Kyoto, in order to complete his Ph.D. dis- ACADEME PHOTO: New York, has been sertation, entitled “The Control of the Willard Holmes appointed director of Makura-e Prints in Japan, 1660–1867.” Rachel Dressler has been promoted to the Wadsworth Atheneum Museum of Art associate professor of art history in the in Hartford, CT. David Kohan has received a professional Art Dept. at the State University of New GRANTS, fellowship in painting from the Virginia York, Albany. Charles Mason, formerly curator of Museum of Fine Arts for 2003–4. He also Asian art at the Allen Memorial Art received a professional fellowship in Christopher Johns has been named the Museum at Oberlin College in Ohio, has AWARDS, AND painting from the Virginia Commission Norman L. and Roselea J. D. Goldberg been appointed curator of Asian art at the for the Arts for 2001–2. Chair in Art History at Vanderbilt Samuel P. Harn Museum of Art of the HONORS University in Nashville, TN. University of Florida in Gainesville. Petra Kuppers, assistant professor of performance studies at Bryant College in Mark Ledbury, formerly lecturer in art Anne L. Poulet, Only CAA members are included in this list- Smithfield, RI, has received an history at the University of Manchester in former curator ing. Please send your name, membership ID Innovation and Invention Award from the England, has been appointed associate emerita of the number, and grant, award, or honor to National Endowment of Science, director of the Research and Academic Museum of Fine [email protected].

DAVID BARNES Technology, and the Arts (Britain) for a Program at the Sterling and Francine Arts, Boston, has CD-ROM entitled Sleeping Giants: Clark Art Institute in Williamstown, MA. joined the Frick Tom Aprile was awarded an outdoor PHOTO: Community Arts Approaches (see Collection in New sculpture commission at the Virginia Anne L. Poulette www.olimpias.net). The CD-ROM, Donald A. McColl, chair of the Dept. of York as director. Center of the Creative Arts (VCCA), aimed at people interested in running Art at Washington College in where he was in residence in October community arts workshops, presents Chestertown, MD, has been granted Chase W. Rynd, formerly executive 2002. He built a full-scale glass block video poems, photography, and websites tenure, promoted to associate professor of director of the Frist Center for the Visual labyrinth on the lawn in the Russian created with mental-health system sur- art history, and appointed curator of the Arts in Nashville, TN, has been appointed Garden in front of the VCCA fellows’ vivors, as well as information about work Douglass Cater Society of Junior Fellows. president of the National Building residence. processes, session ideas, and access Museum in Washington, DC. issues. Jeff McMahon has been appointed direc- Michael Aurbach, professor of art at tor of the M.F.A. Performance Program in Lynn Upchurch has been selected direc- Vanderbilt University in Nashville, TN, Sharon M. Louden has received the the Theatre Dept. of the Herberger tor of development at the Crocker Art and CAA president, has received a Established Artist Fellowship from College of Fine Art at Arizona State Museum in Sacramento, CA. Tennessee Arts Commission Grant for UrbanGlass in Brooklyn, NY. University in Tempe. 2003–4. Olga Viso has been promoted from cura- Julie McNiel was awarded an artist resi- Patricia Morton has been named chair tor of contemporary art to deputy director Karen Baldner has received a Creative dency by the Morris Graves Foundation in of the History of Art Dept. at the at the Smithsonian Institution’s Hirshhorn Renewal Fellowship from the Loleta, CA, as well as a College of the University of California, Riverside. Museum and Sculpture Garden in Indianapolis Arts Council for the integra- Redwoods Foundation grant, in July 2003. Washington, DC. tion of new skills in text creation and the Myroslava M. Mudrak has been book arts. Richard Meyer has won the Smithsonian appointed chair of the Dept. of History of Adam D. Weinberg, formerly the Mary American Art Museum’s 2003 Charles C. Art at Ohio State University in Columbus Stripp and R. Crosby Kemper Director of Michael J. Brohman has been awarded a Eldredge Prize for Distinguished for the 2003–4 academic year the Addison Gallery of American Art at 2003 artist’s fellowship from the Scholarship in American Art for his book, Phillips Academy in Andover, MA, has Colorado Council on the Arts. He has Outlaw Representation: Censorship and Mara Adamitz Scrupe has been appoint- been appointed Alice Pratt Brown also received an Excellence in Teaching Homosexuality in Twentieth-Century ed to the Barbara L. Bishop Endowed Director of the Whitney Museum of Award from the College of Arts and American Art (New York: Oxford Chair in Art at Longwood University in American Art in New York. Media at the University of Colorado, University Press, 2002). Farmville, VA. Denver, which honors a faculty member The Lyman Allyn Art Museum in New from each academic dept. who has made Christina Nielsen has been awarded an Sally A. Struthers, formerly chairperson London, CT, has appointed Christopher significant contributions to the quality of Andrew W. Mellon Curatorial Fellowship of the Art Dept. at Sinclair Community B. Steiner, associate professor and chair education. in European Decorative Arts at the College in Dayton, OH, has been promot- of art history at Connecticut College, as Museum of the Art Institute of Chicago to ed to dean of fine and performing arts. interim director, and Nancy Stula as Mario Carpo, head of the Study Centre publish a catalogue and work on a reinstal- interim deputy director and curator. of the Canadian Centre for Architecture lation of medieval and Renaissance art. The Dept. of Visual Arts at the New in Montréal, has been awarded a Spiro College of Florida in Sarasota has appoint- The Museum of Modern Art in New York Kostof Award for 2003 by the Society of Constance Pierce, assistant professor of ed Barry Freedland as assistant professor has appointed 2 senior curators to the Architectural Historians for his book, painting in the Visual and Performing and Joseph Whitt as visiting assistant pro- Dept. of Painting and Sculpture: Joachim Architecture in the Age of Printing: Arts Dept. of St. Bonaventure University fessor. Pissarro, formerly of the Yale University Orality, Writing, Typography, and Printed in St. Bonaventure, NY, was awarded 2 Art Gallery, and Ann Temkin, formerly Images in the History of Architectural grants in May 2003 from Journey Project, The Visual Arts Dept. at the University of curator of modern and contemporary art Theory (Cambridge, MA: MIT Press, funded by Lilly Endowment, Inc., to con- California, San Diego, has appointed the at the Philadelphia Museum of Art. 2001). duct summer seminars entitled “Visual following new faculty members: Norman Journal: Creative Renewal and the Inward Bryson, Natalie Jeremijenko, Jordan Billie J. A. Follensbee, assistant profes- Journey” for faculty and staff of the uni- Crandall, Brett Stalbaum, and Roberto sor of art history at Southwest Missouri versity. She also received a James Tejada. State University in Springfield, has been Martine Endowment Grant for the awarded a 2003 Dumbarton Oaks

CAA NEWS NOVEMBER 2003 19 Improvement of Teaching and Learning archives’ unrestricted microfilm. The Woodland Rd., Bristol, BS8 1UU, U.K.; S.A.S.E. (for the return of unselected to support an exhibition of visual journals museum will join the Huntington Library, [email protected]; www. work) to Selina Spinos, Art Editor, The created as an innovative aspect of her Art Collections, and Botanical Gardens in bris.ac.uk/Depts/ArtHistory. Deadline: William and Mary Review, Campus core course in arts and literature. San Marino, CA, and the regional March 31, 2004. Center, P.O. Box 8795, College of archives in New York, in sharing direct William and Mary, Williamsburg, VA Corine Schleif of Arizona State access to the archives’s microfilim hold- 23187; [email protected]. Deadline: University in Tempe has been awarded a ings. The first material will be available February 1, 2004. National Endowment for the Humanities to researchers by appointment as early as TO ATTEND Collaborative Grant to work on the project summer 2004. “Opening the Geese Book,” in collabora- The Dept. of Art History and tion with Volker Schier. The project Archaeology and the Society of Fellows, CALLS FOR focuses on images, music, texts, and Heyman Center at Columbia PARTICIPATION meanings of the 16th-century gradual University will host an international con- Mor ference, “The Persistence of Traditions: gan MS M.905, and employs digital Bridge to Asia, a San Francisco-based media. Monuments and Preservation in Late CONFERENCES Imperial and Modern China,” April 2–3, nonprofit that supports higher education 2004. This interdisciplinary symposium, in China, is seeking art and art-history Tova Snyder received a fellowship from books, journals, magazines, syllabi, the National Academy of Design’s Edwin & SYMPOSIA one of the first of its kind in the West, is cosponsored by the Chiang Ching-kuo museum and exhibition catalogues, lec- Austin Abbey Memorial Fund Workshop ture notes, and slide collections for facul- for Mural Painting in America. Foundation and the Getty Conservation For an expanded list of conferences and Institute and will be devoted to the topic ty and students in China. Sixteen institu- tions urgently need new and used materi- Ellen Handler Spitz, Honors College symposia, visit www.collegeart.org/caa/ of cultural-heritage preservation in China. resources/index.html. Although wenhua yichan (cultural her- als in Western and Eastern art, art educa- Professor of Visual Arts at the University tion, museum studies, and other subjects of Maryland, Baltimore County, has been itage) is a neologism that has become popular in recent years, the preservation and subfields for their libraries, studios, honored with a senior fellowship at the and faculty and student reading rooms. Center for Children and Childhood of historic monuments, buildings, and CALLS FOR PAPERS cultural sites has a long history. Bridge to Asia can receive your donations Studies at Rutgers University for the and forward them to China. Gifts of 2003–4 academic year. Academic studies of this topic are just The 20th Annual Boston University beginning, and research has been frag- funds and materials may be tax- Graduate Symposium on the History of deductible. Please pack your donations in Mark Trowbridge received a Jane and mented into disciplines such as art histo- Art, entitled “Sacred/Profane,” will be an envelope or carton and ship them by Morgan Whitney Fellowship from New ry, architectural history, social and cultur- held at the Museum of Fine Arts, Boston, UPS, or mail them by media-mail rate, to York’s Metropolitan Museum of Art and a al history, history of religions, archaeolo- March 20, 2004. Papers are sought that Bridge to Asia, ART/HISTORY, Foreign 2003–4 fellowship from the National gy, and historic preservation. The goal of address the fine line between the sacred Trade Services, Pier 23, San Francisco, Endowment for the Humanities. He is this symposium is to bring together schol- and profane in visual culture. The nexus CA 94111; or to Bridge to Asia, preparing a book, tentatively entitled ars and professionals working in various of the sacred and profane has been used ART/HISTORY, Follett Higher Education Jerusalem in Bruges: Painted Passions disciplines to initiate dialogue on issues to describe everything from the function Group, 2211 West St., River Grove, IL and Processional Dramas in the Late- of common interest and to promote fur- of carnival in the Middle Ages to the effi- 60171-1800. For more information, con- Medieval Low Countries. ther research in this nascent field. For cacy of blood or bones in some non- more information, contact Guolong Lai at tact Bridge to Asia, 665 Grant Ave., San Western cultural practices, the psycholog- Francisco, CA 94108; 415-678-2990; fax: The Canadian Center for Architecture in 212-854-6774; [email protected]. ical boundaries between the self and 415-678-2996; [email protected]; Montréal has awarded 11 research fellow- other, and the function of excess in con- www.bridge.org. ships for 2003–4. The program facilitates temporary capitalist culture. How are residencies for scholars and architects to boundaries maintained and/or disrupted The Corcoran Gallery of Art is seeking conduct research at the center for 3–8 between what is valued and what is not? artwork by William MacLeod, the first months. CAA members include: Samuel Possible topics include, but are not limit- curator of the museum, and documentary D. Albert, Maarten Delbeke, Anthony ed to: the relationship between the heav- RESOURCES & material related to his life and career. Gerbino, D. Medina Lasansky, Amy F. enly and the earthly; ecstasy and repul- MacLeod was a landscape painter during Ogata, and Timothy Rohan. sion; purity and abjection; high and low OPPORTUNITIES the 1840s and 1850s in New York and culture; cult objects and iconoclasm; the Washington, DC. He worked as a curator The Georgia O’Keeffe Museum Research circulating value and meaning of objects at the Corcoran Gallery of Art in 1873 Center in Santa Fe, NM, has announced in cultural economies; and the social rela- and retired in 1892. His career spanned its 2003–4 scholars. CAA members For an expanded list of resources and tions between self and other. Send a 1- the early-19th-century development of the include: William Louis Anthes, Alan C. opportunities, visit www.collegeart.org/ page abstract and a c.v. to Jaimey art scene in Washington, DC, and the Braddock, Theresa Leininger-Miller, caa/resources/index.html. Hamilton, Boston University, Dept. of Art establishment of modern art museums in Linda Kim, and Mark Andrew White. History, 725 Commonwealth Ave., Rm. America. The gallery is editing 302, Boston, MA 02215; jaimeyh@ MacLeod’s journals for publication and The Radcliffe Institute for Advanced bu.edu. Deadline: December 5, 2003. CALLS FOR ENTRIES planning an exhibition for 2005. Readers Study at Harvard University in with information are requested to contact Cambridge, MA, has announced its The Centre for the Study of Visual and The Women’s Center, a nonprofit sup- Marisa Bourgoin, Archivist, Corcoran 2003–4 fellows. CAA members are: Literary Cultures in France at the port and referral center located in Chapel Gallery of Art, 500 17th St. NW, Wanda Corn, Laura Miller, Erika University of Bristol is organizing a con- Hill, NC, is organizing their annual juried Washington, DC 20006; 202-639-1721; Naginski, A. Laurie Palmer, and Irene ference entitled “Emile Gallé Centenary: exhibition and sale for February 2004. All [email protected]. Winter. La Lorraine Artiste.” Gallé was an North Carolina women artists may enter. extraordinary polymath: artist, author, A maximum of 2 works may be submit- The Fort Worth Community Arts critic, political activist, educator, and ted per artist. Work should not exceed 4 Center (FWCAC) is seeking exhibition botanist. Upon the centenary of his death, ft. in height or width or 50 lbs. in weight. proposals from curators, and slides from this conference, to be held September Work selected for the show is eligible for artists for all art forms, including new 1 18–19, 2004, will explore the rich cultur- sale, with ⁄3 of the proceeds benefiting the media, as it develops its 2003–4 calendar. INSTITUTIONAL al milieu of his native Nancy and center. For more information, call 919- FWCAC is a public space whose mission Lorraine. Papers are invited on a range of 968-4610; www.womenspace.org. to exhibit contemporary art, with a focus NEWS themes relevant to the artistic, literary, Deadline: December 1, 2003. on regional artists. FWCAC is interested historical, and scientific cultures of this in proposals for group exhibitions and complex region. Conference proceedings The William and Mary Review, a liter- solo exhibitions for its multiple gallery spaces. Please note that curators may not The Amon Carter Museum in Fort will be published in an online journal, Art ary and art magazine published by the Worth, TX, has signed an agreement with on the Line (www.waspjournals.com/ College of William and Mary, is accept- be included in their own exhibitions. the Smithsonian Institution’s Archives of AOTL). Send paper proposals by e-mail ing submissions for the 2004 edition. FWCAC is also interested in individual American Art in Washington, DC, to or post to Claire O’Mahony, Dept. of Please send slides of unpublished work artist submissions of personal work to be become an associated repository of the History of Art, University of Bristol, 43 (any media), contact information, and an reviewed for use in curators’ exhibitions.

20 CAA NEWS NOVEMBER 2003 The exhibitions typically run for 6 weeks. al level by making available the art and manent collection. In addition, the book GALLERY OF ART IS PLEASED TO ANNOUNCE Slides and exhibition proposals are archival collections of the museum. will be promoted in Women in the Arts TWO POST-DOCTORAL FELLOWSHIPS FOR reviewed quarterly by the center’s Candidates will be selected either to initi- magazine, and the museum will issue a 2004, FUNDED BY THE ANDREW W. Exhibition Advisory Panel. For more ate new research or to continue work on special press release for the book and dis- MELLON FOUNDATION, FOR OUTSTANDING information, visit www.artscouncil. an existing topic in the art of Cincinnati, tribute it to the press, other media, art SCHOLARS WHO WISH TO EXPLORE A fw.org and click on Artists Opportunities. drawing on the museum’s holdings of libraries, and collectors of artists’ books. CAREER IN ART MUSEUMS. THESE TWO- Deadlines are ongoing. fine and decorative art. Scholars will be The artist is also responsible for design- YEAR FELLOWSHIPS, RENEWABLE FOR A provided access to these collections for ing and printing a promotional brochure THIRD YEAR, WILL PROVIDE CURATORIAL object-oriented research. The fellowship (500 copies), for which additional funds TRAINING AND SUPPORT SCHOLARLY is not intended to support directly thesis will be provided. Selection of a project is RESEARCH RELATED TO THE COLLECTIONS GRANTS AND or dissertation preparation but should be based on aesthetic and intellectual value, OF THE NATIONAL GALLERYOFART. THE FELLOWSHIPS considered an independent study program the applicant’s previous achievements, IMPORTANT COLLECTIONS OF EUROPEAN that reflects the candidate’s major interest the thoroughness of the proposal, produc- AND AMERICAN ART AND THE SCHOLARLY and builds on previously demonstrated tion costs, and the potential market and RESOURCES OF THE GALLERY ARE AMONG The Pembroke Center Postdoctoral proficiency. Proposals are sought from audience for the book. Guidelines can be THE BEST IN THE UNITED STATES, INCLUD- Fellowship for 2004–5, entitled “The Orders of Time,” will investigate the candidates knowledgeable about the his- obtained from the National Museum of ING A MAJOR RESEARCH LIBRARY, PHOTO- question of time, looking at interdiscipli- tory of American art and culture and from Women in the Arts, Library and Research GRAPHIC ARCHIVES, AND EXTENSIVE CON- nary as well as discipline-specific, histor- qualified individuals in related disci- Center, 1250 New York Ave. NW, SERVATION FACILITIES. WASHINGTON, D.C., ical, and cross-cultural conceptions of plines. Preference will be given to pro- Washington, DC 20005; 202-783-7365; IS RICH IN OTHER MUSEUMS, RESEARCH temporality. Rey Chow will place such posals that relate specifically to museum www.nmwa.org/library/guidelines.asp. INSTITUTIONS, UNIVERSITIES, AND discussions in relation to time’s classic collections and resources. Awards are Deadline: January 31, 2004. LIBRARIES, INCLUDING THE LIBRARY OF correlate—space—taking into account based on merit and are open to all quali- CONGRESS. how the intimacy, differentiation, and ten- fied individuals. The fellowship stipend is MELLON CURATORIAL FELLOWS WILL BE sion between time and space have been $3,500 for a minimum 4-week period of ONLINE RESOURCES FULLY INTEGRATED INTO A SPECIFIC CURA- an inherent part of social and cultural ide- full-time research at the museum. TORIAL DEPARTMENT WITH DUTIES, PRIVI- ologies with lingering effects. In addition, Applicants must submit a letter of intent LEGES, AND STATUS EQUIVALENT TO AN The Daumier Foundation is working on we will ask how thinking and writing that includes a detailed plan of work ASSISTANT CURATOR. IN WORKING ON THE (about 4 pages), c.v, official transcripts, a new catalogue on the lithographic work GALLERY’S COLLECTION CATALOGUES, AND about time have informed the construc- of Honore Daumier. The complete cata- tions of gender, class, culture, ethnicity, and 2 letters of recommendation to Anita IN DEVELOPING TEMPORARY EXHIBITIONS, logue will be available at www.daumier. religion, and other important social divi- Ellis, Chief Curator and Director of THE FELLOWS’ TWO MAIN SCHOLARLY org after a period of extensive research sions, and how such social divisions Curatorial Affairs, Cincinnati Art ACTIVITIES, THEY WILL BE INVOLVED IN Museum, 953 Eden Park Dr., Cincinnati, involving all major museums and univer- INTERDISCIPLINARY RESEARCH WITH CURA- themselves are implicated in time. sities in the U.S. and Europe. The website Fellowships are open to scholars from all OH 45202; 513-639-2940; aellis@ TORS, CONSERVATORS, SCIENTISTS, EDUCA- cincyart.org. Deadline: January 5, 2004. is viewable now via the Internet to supply TORS, REGISTRARS, AND ELECTRONIC IMAG- disciplines. Recipients may not hold a researchers, collectors, and students with tenured position in an American college ING STAFF. The Erasmus Institute, an international immediate access to the latest information MELLON FELLOWS WILL DIVIDE THEIR or university. The term of appointment is gathered. September 1, 2004–May 31, 2005; the Catholic center for advanced studies at TIME BETWEEN SPECIFIC RESEARCH PROJ- stipend is $35,000. Selection will be the University of Notre Dame, is accept- ECTS AND MORE GENERAL CURATORIAL announced in February. For application ing applications for 3 types of residential TRAINING AND WORK WITHIN THE DEPART- forms, contact Elizabeth Barboza, fellowships: for dissertation students MENT, INCLUDING RESEARCH ON THE COL- Pembroke Center, Box 1958, Brown (advanced graduate students in the writ- LECTION AND NEW ACQUISITIONS, WORK ON University, Providence, RI 02912; 401- ing phase), for recent Ph.D.s and THE PRESENTATION OF THE COLLECTION, 863-2643; Elizabeth_Barboza@ untenured faculty, and for senior faculty. CLASSIFIEDS PARTICIPATION IN ASPECTS OF SPECIAL EXHI- BITION PROJECTS, AND OPPORTUNITIES TO brown.edu. Deadline: December 12, The institute was founded to foster main- 2003. stream academic research that draws on GIVE PUBLIC LECTURES AND GALLERY the intellectual traditions of the For more information about advertising in TALKS. IN CONSULTATION WITH THE SUPER- Abrahamic faiths. Fellowships are pro- VISING CURATOR, MELLON FELLOWS WILL The American Institute for Yemeni CAA News, visit www.collegeart.org or vided for a complete academic year, ALSO DEVELOP A CONCRETE PROJECT Studies (AIYS), a nonprofit consortium write to [email protected]. of academic institutions, expects to award although applications for a single semes- INTENDED TO COMPLEMENT THEIR OWN pre- and postdoctoral fellowships under a ter will be considered. Fellowships are FOR RENT RESEARCH INTERESTS. variety of programs, subject to the renew- both stipendiary and nonstipendiary. THE GALLERY IS SEEKING APPLICANTS al of funding by the U.S. State Dept.’s Stipendiary dissertation fellowships pro- FOR TWO FELLOWSHIPS. CONSIDERATION EXPERIENCE SEATTLE DURING 2004 CON- Bureau of Educational and Cultural vide $15,000; postdoctoral fellowships WILL BE GIVEN TO CANDIDATES IN THE FERENCE. ARTIST’S HOME (B&B) NEAR Affairs (ECA). AIYS maintains a $35,000; and faculty fellowship stipends FIELDS OF EUROPEAN AND AMERICAN PUGET SOUND OR IN HOUSEBOAT. research center in Sana’a, Yemen, con- vary according to the fellow’s 2003–4 PAINTINGS, DRAWINGS, PRINTS, PHOTO- [email protected]. sisting of a library, hostel, conference/ salary at time of application. The institute GRAPHS, AND SCULPTURE. APPLICANTS working space, and administrative also welcomes applications for residence MUST HAVE COMPLETED A PH.D. BEFORE offices. Scholars in all fields of the from scholars with funding from other LONDON. B&B OFFERED IN WRITER’S BEGINNING A FELLOWSHIP AND WITHIN THE humanities and social sciences and from sources. For application instructions, con- BEAUTIFUL N. LONDON HOUSE. £35.00. LAST FIVE YEARS. THEY WILL BE JUDGED fields in the sciences such as paleontol- tact Erasmus Institute Residential £65.00 DOUBLE. suehubbard.london@ ON THEIR SCHOLARLY EXCELLENCE AND ogy and botany are eligible to apply. It Fellowships, 1124 Flanner Hall, Notre virgin.net. PROMISE, AS WELL AS THEIR INTEREST IN should be noted that ECA-supported fel- Dame, IN 46556-5611; 574-631-9346; THE MUSEUM PROFESSION. CANDIDATES lowships for U.S.-based scholars may [email protected]; www.nd.edu/ PARIS. LOVELY, FULLY FURNISHED ONE OUTSIDE THE UNITED STATES ARE WELCOME only be held by U.S. citizens. Applica- ~erasmus. Deadline: January 30, 2004. BEDROOM APARTMENT; 50 SQ. M.; 17E, TO APPLY. tions for Arabic language study in Yemen NEAR PARC MONCEAU; METRO: THE STARTING STIPEND IS APPROXIMATE- must be related to a research interest in The National Museum of Women in the COURCELLES. TWO WEEKS TO TEN MONTHS. LY $40,000, ADJUSTED ANNUALLY. Yemen. Yemeni citizens may apply to the Arts’s Library Fellows Program will [email protected]. FELLOWS RECEIVE AN ANNUAL TRAVEL program that funds small research grants award $12,000 to support a project to ALLOWANCE AND ARE ELIGIBLE TO OBTAIN produce an artist’s book in a limited edi- MEDICAL AND TERM LIFE INSURANCE for Yemeni scholars. For details, contact VENICE. RIALTO AREA. BEAUTIFUL LARGE tion of 125. The artist will keep 25 copies THROUGH THE FEDERAL GOVERNMENT. Maria Ellis, Executive Director, American APARTMENT FOR RENT, AUGUST TO MAY. as a form of remuneration for their cre- LETTERS OF APPLICATION MUST INCLUDE Institute for Yemeni Studies, P.O. Box CONTACT [email protected] FOR ative efforts. The remaining copies will THE FOLLOWING: 311, Ardmore, PA 19003-0311; 610-896- DETAILS AND PICTURES. be sold by the museum, and the money • A COVER LETTER THAT ADDRESSES THE 5412; mellis@sas. upenn.edu; generated from the sales will benefit the CANDIDATE’S INTEREST IN THE FELLOW- www.aiys.org/fellowships. Deadline: December 31, 2003. Library and Research Center and annual OPPORTUNITIES SHIP. IT SHOULD INCLUDE THE APPLI exhibitions of artists’ books. The award- CANT’S HOME ADDRESS, PHONE NUMBER, winning artist will have the book dis- AND IF AVAILABLE, E-MAIL ADDRESS The Luce Fellowship Program of the ANDREW W. MELLON CURATORIAL played in the center for 1 year, and the AND/OR FAX NUMBER. Cincinnati Art Museum encourages FELLOWSHIPS AT THE NATIONAL book will be added to the museum’s per- • A STATEMENT NOT TO EXCEED THREE research activity at the pre- or postdoctor- GALLERY OF ART. THE NATIONAL

CAA NEWS NOVEMBER 2003 21

DOUBLE-SPACED TYPED PAGES, DESCRIB- INFORMATION SEND S.A.S.E. TO HEARNE WITH A PROPOSAL DESCRIBING THE TYPE OF ING THE APPLICANT’S AREA OF RESEARCH PARDEE, 2855 MALLORCA LANE, DAVIS, RESEARCH TO BE DONE AT THE FOUNDATION, DATEBOOK AND POTENTIAL RELATIONSHIPS TO THE CA 95616. DEADLINE: DECEMBER 19, A PRÉCIS (3 PAGES) ABOUT THE ARGUMENT MUSEUM’S COLLECTIONS 2003. DEVELOPED IN THE THESIS IN PROGRESS AND • A COPY OF A PUBLISHED PAPER OR THE REASON WHY A STAY AT THE FOUNDA- November 7, 2003 OTHER WRITING SAMPLE CALL FOR PAPERS: THE CLEVELAND TION WOULD BE IMPORTANT FOR THE PRO- Deadline for submissions to the January • THREE LETTERS OF RECOMMENDATION SYMPOSIUM, TO BE HELD AT THE DUCTION OF THE WORK. 2004 issue of CAA News (ACADEMIC AND PROFESSIONAL), WHICH CLEVELAND MUSEUM OF ARTONAPRIL 16, RECIPIENTS ARE ASKED TO MENTION THE SHOULD BE SENT DIRECTLY TO THE 2004. OPEN TO CURRENTLY ENROLLED NAME OF THE CENTER ON ANY PUBLICA- December 1, 2003 ADDRESS BELOW GRADUATE STUDENTS. INTERESTED CANDI- TIONS RESULTING FROM RESEARCH CON- Deadline for Ph.D.-granting institutions • A COMPLETE CURRICULUM VITAE OF DATES SHOULD SUBMIT AN ABSTRACT OF DUCTED AS PART OF THE GRANT AND TO to send in dissertation information for EDUCATION, EMPLOYMENT, HONORS, 400 WORDS OR LESS; A COVER SHEET PROVIDE THE CENTER WITH A COPY. their school’s Ph.D. students AWARDS AND PUBLICATIONS INCLUDING THE STUDENT’S NAME, EMAIL FONDATION HANS HARTUNG ET ANNA- APPLICATIONS MUST BE RECEIVED BY ADDRESS, AND TITLE OF PAPER; AND A C.V. EVA BERGMAN, FRANÇOIS HERS / DECEMBER 8, 2003. THEY SHOULD BE PROSPECTIVE PAPERS MAY ADDRESS ANY DIRECTEUR, 173 CHEMIN DU VALBOSQUET, 2004 CAA Annual Conference session MAILED TO ELIZABETH POCHTER, OFFICE CHRONOLOGICAL PERIOD AND GEOGRAPHI- F-06600 ANTIBES, FRANCE; www. chairs receive final drafts of speakers’ OF THE DEPUTY DIRECTOR, NATIONAL CAL AREA OF ART HISTORY. SEND TO: fondationhartungbergman.fr. papers GALLERY OF ART, 2000B SOUTH CLUB [email protected]. DRIVE, LANDOVER, MD 20785. WITH DEADLINE: JANUARY 23, 2004. JENTEL FOUNDATION OFFERS ONE-MONTH December 12, 2003 QUESTIONS, PLEASE CALL 202-842-6012 OR RESIDENCIES IN A RURAL RANCH SETTING IN Deadline for applications to the Artists’ E-MAIL: [email protected]. ENCAUSTIC WORKSHOPS IN SANTA FE. WYOMING THAT INCLUDE ACCOMMODATION, Portfolio Review and Career ALL APPLICATIONS WILL BE REVIEWED BY MONOTYPES, PAINTING, COLLAGE, AND STUDIO, AND $400 STIPEND TO VISUAL Development Workshops for the 2004 A CURATORIAL SELECTION COMMITTEE, AND DRAWING TECHNIQUES. ONGOING SCHED- ARTISTS IN ALL MEDIA AND WRITERS IN ALL Annual Conference in Seattle INTERVIEWS WILL BE HELD IN WASHINGTON, ULE. www.paularoland.com OR 505-989- GENRE. FOR APPLICATION, DOWNLOAD D.C., EARLY IN THE NEW YEAR. BEGINNING 3419. www.jentelarts.org. JANUARY 15, 2004 Deadline for critics and curators to apply DATES OF THE FELLOWSHIPS WILL BE DETER- DEADLINE FOR MAY 15–DECEMBER 13, for the Artists’ Portfolio Review at the MINED BY MUTUAL AGREEMENT. 2004 CAA Annual Conference in Seattle “EXPANDING THE VISUAL FIELD: 2004, AND SEPTEMBER 15, 2004 DEADLINE CONFIGURATIONS OF POWER,” THE 8TH FOR JANUARY 15–MAY 13, 2005. ANDREW W. MELLON PREDOCTORAL ANNUAL GRADUATE SYMPOSIUM SPON- Deadline for mentors and discussion lead- CURATORIAL FELLOWSHIP, THE FRICK SORED BY THE DEPARTMENT OF ART YALE CENTER FOR BRITISH ART ers to apply for the Professional COLLECTION. THE FRICK COLLECTION IS HISTORY AT THE UNIVERSITY OF SOUTHERN VISITING FELLOWSHIPS. THE YALE Development Roundtables at the 2004 PLEASED TO ANNOUNCE THE AVAILABILITY CALIFORNIA, WILL BE HELD IN APRIL 2004. CENTER FOR BRITISH ART OFFERS A LIMIT- Annual Conference in Seattle OF A TWO-YEAR FELLOWSHIP FUNDED BY RECENT WORLD EVENTS HAVE NECESSITAT- ED NUMBER OF ONE, TWO, THREE, OR FOUR THE ANDREW W. MELLON FOUNDATION ED A REEVALUATION OF THE ROLE OF ART IN MONTH RESIDENT FELLOWSHIPS TO SCHOL- Deadline for mentors to apply for the FOR AN OUTSTANDING DOCTORAL CANDI- POLITICAL DISCOURSE. IN THIS LIGHT, ARS IN POSTDOCTORAL OR EQUIVALENT Career Development Workshops at the DATE WHO WISHES TO PURSUE A CURATORI- GRADUATE STUDENTS ARE INVITED TO SUB- RESEARCH RELATED TO BRITISH ART, AND 2004 CAA Annual Conference in Seattle AL CAREER IN AN ART MUSEUM. THE MIT PAPERS FROM ALL AREAS AND PERIODS TO MUSEUM PROFESSIONALS WHOSE FELLOW WILL BE EXPECTED TO DIVIDE HIS OF ART HISTORY AND RELATED FIELDS THAT RESEARCH INTERESTS INCLUDE BRITISH ART. December 15, 2003 OR HER TIME BETWEEN THE COMPLETION OF CONSIDER THE INTERSECTIONS OF VISUAL THESE FELLOWSHIPS ALLOW SCHOLARS OF Deadline for Early Bird registration and THE DISSERTATION AND ACTIVITIES IN THE REPRESENTATION AND THE EXERCISE OF EITHER LITERATURE, HISTORY, THE HISTORY inclusion in the Directory of Attendees CURATORIAL DEPARTMENT. APPLICANTS POWER. PLEASE SUBMIT A 500-WORD OF ART, OR RELATED FIELDS TO STUDY THE for the 2004 CAA Annual Conference in MUST BE WITHIN THE FINAL TWO YEARS ABSTRACT AND CV BY FEBRUARY 13, 2004 CENTER’S HOLDINGS OF PAINTINGS, DRAW- Seattle OF COMPLETING THEIR DISSERTATION. TO: SYMPOSIUM COMMITTEE, DEPARTMENT INGS, PRINTS, AND RARE BOOKS, AND TO THE TERM WILL BEGIN IN SEPTEMBER 2004 OF ART HISTORY, UNIVERSITY OF MAKE USE OF ITS RESEARCH FACILITIES. December 19, 2003 AND CONCLUDE IN AUGUST 2006. THE SOUTHERN CALIFORNIA, VKC 351 – FELLOWSHIPS INCLUDE COST OF TRAVEL Deadline for paying 2004 calendar-year FELLOW WILL RECEIVE A STIPEND OF MC0047, LOS ANGELES, CA 90089-0047. TO AND FROM NEW HAVEN AND ALSO PRO- membership dues to guarantee timely $28,500 PER YEAR PLUS BENEFITS AND A FOR FURTHER INFORMATION, PLEASE CON- VIDE ACCOMMODATION AND A LIVING receipt of the January 2004 issue of CAA TRAVEL ALLOWANCE. FINALISTS WILL BE SULT OUR WEBSITE AT ALLOWANCE. RECIPIENTS ARE REQUIRED TO News INTERVIEWED. THE APPLICATION DEADLINE www.usc.edu/dept/LAS/ Art_History. BE IN RESIDENCE IN NEW HAVEN DURING FOR THE FELLOWSHIP IS FEBRUARY 1, 2004. THE FELLOWSHIP PERIOD. ONE FELLOWSHIP THE FRICK COLLECTION PLANS TO MAKE January 1, 2004 THE HANS HARTUNG AND ANNA-EVA PER ANNUM IS RESERVED FOR A MEMBER OF THE APPOINTMENT BY THE END OF MARCH. Deadline for applications for projectionist BERGMAN FOUNDATION EACH YEAR THE AMERICAN SOCIETY FOR EIGHTEENTH- PPLICATIONS AND LETTERS OF RECOMMEN and room-monitor positions at the 2004 A - MAKES A LIMITED NUMBER OF GRANTS TO CENTURY STUDIES. BY ARRANGEMENT WITH DATION SHOULD BE SUBMITTED TO: Annual Conference in Seattle PROMOTE RESEARCH IN ITS COLLECTIONS. THE HUNTINGTON LIBRARY, SAN MARINO, MELLON CURATORIAL FELLOW SEARCH, THESE GRANTS ARE GEARED TOWARDS CALIFORNIA, SCHOLARS MAY APPLY SEPA- OFFICE OF THE CHIEF CURATOR, THE FRICK January 5, 2004 GRADUATE STUDENTS AND POST-DOCTORAL RATELY FOR TANDEM AWARDS; EVERY OLLECTION AST TH TREET EW C , 1 E 70 S , N SCHOLARS WHO ARE WORKING ON TOPICS EFFORT WILL BE MADE TO OFFER CONSECU- Deadline for nominations and self-nomi- YORK, NY 10021. PLEASE SEE OUR WEB- nations to serve on the CAA Nominating DEALING WITH POST WORLD WAR II ART TIVE DATES. SITE (www.frick.org) FOR DETAILS. Committee AND CULTURE IN FRANCE. GRANTS WILL APPLICATIONS FOR FELLOWSHIPS ALLOW RESEARCHERS TO WORK AT THE CEN- BETWEEN JULY 2004 AND JUNE 2005 ARTISTS’ ENCLAVE AT I-PARK. FOUR TO TER FOR THREE WEEKS IN JUNE SHOULD BE MAILED BY JANUARY 15, 2004, January 8, 2004 FIVE WEEK RESIDENCIES, RURAL NATURAL (7TH–26TH). DURING THE LAST WEEK OF INCLUDING A CURRICULUM VITAE, A BRIEF Deadline for submissions to the March PARK SETTING. OPEN TO ARTISTS, WRITERS, THEIR STAY, RECIPIENTS WILL PARTICIPATE IN OUTLINE OF THE PROPOSED RESEARCH, AND 2004 issue of CAA News MUSICIANS, LANDSCAPE DESIGNERS, AND A SEMINAR WITH 4 SPECIALISTS OF POST- THE PREFERRED MONTH(S) OF TENURE. TWO ARCHITECTS WORLDWIDE. INCLUDES WAR ART AND CULTURE: LAURENCE CONFIDENTIAL LETTERS OF RECOMMENDA- January 12, 2004 ACCOMMODATIONS AND STUDIO SPACE. $20 BERTRAND DORLEAC AND ERIC DE TION SHOULD ARRIVE BY THE SAME DEAD- Deadline for Advance registration for the APPLICATION FEE. I-PARK, P.O. BOX 124, CHASSEY (FRANCE), BENJAMIN BUCHLOH LINE. FOR FURTHER INFORMATION, CALL 2004 CAA Annual Conference in Seattle EAST HADDAM, CT 06423; 860-873-2468 (U.S.A.), SERGE GUILBAUT (CANADA), FOR 203-432-2850, OR VISIT THE CENTER’S OR 877-276-1306 (VOICE MAIL); EMAIL WEBSITE AT . THE YEAR 2004. www.yale.edu/ycba January 31, 2004 [email protected]; www. WITH A PER DIEM OF 1,000 US$ FOR THE APPLICATIONS SHOULD BE SENT TO OFFICE Deadline for applications to the CAA radekassociates.com FOR COMPLETE DURATION, THE GRANT WILL COVER ROUND- OF THE DIRECTOR, YALE CENTER FOR Professional Development Fellowship DESCRIPTION. DEADLINE: JANUARY 15, TRIP TRAVEL TO THE ARCHIVE CENTER, BRITISH ART, P.O. BOX 208280, NEW Program 2004. LODGING AND MEALS. HAVEN, CT 06520-8280. EXPRESS MAIL APPLICATIONS FOR THE PROGRAM MUST ADDRESS: 161 YORK STREET, NEW HAVEN, CT 06510. February 18–21, 2004 THE BOWERY GALLERY IS ACCEPTING BE POSTMARKED BY DECEMBER 1ST FOR 92nd CAA Annual Conference in Seattle APPLICATIONS FROM ARTISTS OUTSIDE THE AWARDS THAT WILL BE ANNOUNCED THE NEW YORK CITY AREA FOR AN INVITATION- FOLLOWING MARCH. AL EXHIBITION IN SUMMER 2004. FOR CANDIDATES SHOULD SEND A CV ALONG

22 CAA NEWS NOVEMBER 2003

March 12, 2004 Deadline for submissions to the May 2004 issue of CAA News

March 15, 2004 Deadline for spring submissions to the Millard Meiss Publication Grant

May 10, 2004 Deadline for submissions to the July 2004 issue of CAA News

July 9, 2004 Deadline for submissions to the September 2004 issue of CAA News

September 10, 2004 Deadline for submissions to the November 2004 issue of CAA News

February 16–19, 2005 93rd CAA Annual Conference in Atlanta

CURATORIAL ASSISTANCE Installation view of IDEA Photographic: After Modernism at the Museum of New Mexico’s Museum of Fine Arts in Sante Fe. The exhibition was organized with grants from the Museum Loan Network (MLN) CONTINUED FROM PAGE 1 municipal libraries, city-hall we sometimes find that while us with an opportunity to cele- strengthening its members’ galleries, and neighborhood an idea may be intriguing, it brate and interpret our own own collections. “In the past community centers, in addition may not be well suited to an collection. However, we do ten years,” Donna to art museums and galleries. exhibition format and may bet- host traveling shows that Ostraszewski, executive direc- Drawing from the many ter exist as a book, article, or underscore various aspects of tor of TEA, says, “We have branches of the Smithsonian television show, for example.” our collection, so we can use responded to an increased call Institution, SITES develops art Costs for exhibition rentals AFA and other like organiza- from museums to help them and photography exhibitions as range widely, and an institution tions to broaden the interpre- plan, design, and implement well as shows of historical, cul- must carefully think through tive scope of our permanent temporary and permanent exhi- tural, and scientific interest, the financial impact of securing collection.” He laments that bitions that remain at home.” such as Close Up in Black: artwork this way. Daniel many traveling shows are Many institutions have small African American Film Siedell, curator at the Sheldon booked well in advance, and curatorial staffs and limited Posters. Proponents of visual Memorial Art Gallery, Univer- tour dates are sometimes filled budgets, and consultation with and material culture may find sity of Nebraska, Lincoln, before his gallery can sign up. TEA can help immensely with much to explore and ponder in agrees: “It takes a tremendous The Exhibition Alliance short- and long-range planning. a show from SITES. amount of intellectual and (TEA), formerly known as the The Museum Loan Network Independent Curators administrative energy to pro- Gallery Association of New (MLN), administered by the International (ICI), founded in duce your own shows, and so it York State (GANYS), concen- Office of the Arts at the 1975, works on the same is often much more efficient— trates on the eastern United Massachusetts Institute of model as AFA, but with a focus although at times not cheaper— States, with special emphasis Technology, operates different- on contemporary art, usually to ‘buy’ an exhibition prepack- on New York State. It provides ly. It awards implementation either solo exhibitions, such as aged, in which the intellectual consultations and services on grants that facilitate the long- Mark Lombardi: Global energy is brought in from the catalogue publication design, term loan of objects, for at Networks, or group shows with outside. I think the develop- gallery installation, exhibition least one year, that otherwise a particular concept, theme, or ment of intellectual component planning and management, would be sitting in storage. critical approach. Shows are is the biggest problem in muse- transportation, and storage; it Museums that are reinstalling a put together by independent ums, particularly midsize also holds workshops and sem- permanent collection and need and institutionally affiliated museums, which may have inars for institutions. TEA is a to fill in gaps may draw upon curators; catalogues and print- only one or two curators.” membership organization but MLN. This program allows ed materials are often provided. Sheldon notes that exhibi- does provide its services to them to use their own creativi- Susan Hapgood, director of tions obtained through a cura- nonmembers. ty and curatorial skills, rather exhibitions at ICI, says, “We torial organization have been The economic downturn in than relying on prepackaged frequently receive unsolicited seen elsewhere, which may the last couple of years has exhibitions. curatorial proposals, and wel- have both advantages and dis- obliged TEA to reduce its trav- MLN also offers survey come them. Proposal ideas advantages. “It may affirm and eling exhibition staff. While it grants to institutions to cata- should be thought through in perpetuate conformity. Getting still assembles shows, the logue their permanent collec- terms of practicality, because ‘outside’ shows doesn’t provide organization now focuses on tion for inclusion in MLN’s

CAA NEWS NOVEMBER 2003 23

whole. Yates says, “As coau- JAMES CAHILL thors of the artists’ biography CONTINUED FROM PAGE 1 and bibliography section of the book and website, the students Shimada at Kyoto University also contributed new history in 1954–55 on a Fulbright and points of view.” Moreover, Scholarship, after holding a the project brought “the class- museum-training fellowship at room to the museum and the the Metropolitan Museum of museum to the classroom— Art in New York. In 1956, he beyond slide lectures and worked with Osvald Sirén in books.” Stockholm on his seven-vol- “All museums have some- ume Chinese Painting: thing to learn from each other,” Leading Masters and says Lori Gross, executive Principles (New York: Ronald director of MLN. Indeed, the Press, 1956–58). five nonprofit organizations On his return to the States in Ram. Qing dynasty, 19th century. Gift of Arthur M. Sackler. From the SITES traveling exhibi- described here are, in one way 1956, Cahill joined the staff of tion, Magic, Myth, & Minerals: Chinese Jades from the Arthur M. Sackler Gallery, on tour or another, working hard to the Smithsonian Institution’s from 2003 to 2006 meet the urgent needs of the Freer Gallery of Art in museum and gallery world. Washington, DC, where he Judith Richardson, executive served until 1965 as curator of digital database of 10,000+ Community College (SFCC) in director at ICI, comments, “It Chinese art. From 1965 until objects that are available for creating IDEA Photographic: is very important to provide his retirement in 1994, he was loan. It also awards travel After Modernism, which was opportunities for artists and art professor of the history of art grants to potential borrowers to on view at the museum from audiences outside major cultur- at the University of California, visit other museums’ collec- October 11, 2002, to January al centers, to give them access Berkeley. CAA awarded him tions to examine potential 19, 2003. Curator Steve Yates to new artistic developments its Distinguished Teaching of loans. Since its inception in and Prof. Siegfried Halus occurring elsewhere, whether Art History award in 1995. 1993, MLN has awarded 304 organized this exhibition based from New York galleries and Cahill’s many publications grants to 210 institutions; 326 on the museum’s postwar pho- international biennials or from include the widely read and organizations have signed up to tography collection and long- other sources.” But, she much-reprinted Chinese use the loan database. term loans (secured through explains, we should not make Painting (Milan: Skira, 1960) Recently, for example, the MLN) from the San Francisco undue assumptions about the and many other books and Museum of New Mexico’s Museum of Modern Art and differences between major exhibition catalogues, as well Museum of Fine Arts used an the Princeton University Art urban centers and the “heart- as numerous articles on MLN travel grant and an MLN Museum. Before the exhibition land,” a somewhat dated term. Chinese and Japanese painting implementation grant to collab- began, Yates and Halus devel- Richardson continues: “There that have appeared in both orate with Santa Fe oped two seminar classes so are major vibrant contempo- scholarly journals and popular that SFCC students could first rary art venues, communities, publications. He was also joint research the more than 125 collections, and institutions For additional information, author of the first volume of artists who were included in throughout the country. Our visit the following websites: The Freer Chinese Bronzes the show and then study the work is more about making (Washington, DC: Smithsonian works of art themselves, before connections among these vari- American Federation of Arts: Institution, 1967). He under- they were hung. The two also ous locations, and finding our www.afaweb.org took a five-volume series on invited guest artists, critics, way to places that are eager to later Chinese paintings, three and scholars, including know more and to introduce Smithsonian Institution of which have been published: Thomas Barrow, Betty Hahn, their audiences to what artists Temporary Exhibition Hills Beyond a River: Chinese and Lucy Lippard, among oth- and curators are thinking and Service: www.sites.si.edu Painting of the Yuan Dynasty, ers, to speak on topics related doing elsewhere.” 1279–1368 (New York: to the project. Yates and Halus —Christopher Howard, Editor, Independent Curators Weatherhill, 1976); Parting at used the grant money to pub- CAA News International: the Shore: Chinese Painting of lish an exhibition catalogue www.ici-exhibitions.org the Early and Middle Ming and create a website, www. Dynasty, 1368–1580 (New museumofnewmexico.org/ The Exhibition Alliance: York: Weatherhill, 1978); and mfa/ideaphotographic. www.ganys.org The Distant Mountains: Students contributed to the Chinese Painting of the Late catalogue and the wall-label Museum Loan Network: Ming Dynasty, 1570–1644 texts—essentially helping to http://loanet.mit.edu (New York: Weatherhill, 1982). shape the exhibition as a

24 CAA NEWS NOVEMBER 2003 He has also compiled An Index were published as Three publication. Another forthcom- and art historian Hsingyuan of Early Chinese Painters and Alternative Histories of ing book is entitled Pictures Tsao, spent the 1998–99 aca- Paintings: T’ang, Sung, and Chinese Painting (Lawrence: for Use and Pleasure: Urban demic year at the Institute for Yüan (Berkeley: University of Spencer Museum of Art, Studio Artists in High Qing Advanced Study in Princeton, California Press, reprinted in University of Kansas, 1988) China. A companion volume, NJ. They now live in 2003 and is working on a com- and the Bampton Lectures tentatively entitled Chinese Vancouver, where she teaches puter database of a similar given at Columbia University Erotic Painting: Supplement to at the University of British index for Ming painting. appeared as The Painter’s Pictures for Use and Pleasure, Columbia. Their twin sons Translations of his books have Practice: How Artists Lived is also in preparation. Julian and Benedict were born been published in Chinese, and Worked in Traditional In 1973 Cahill was a mem- in August 1995. Japanese, Korean, and several China (New York: Columbia ber of the Chinese Archae- European languages. University Press, 1994). The ology Delegation, the first For the 1978–79 academic Reischauer Lectures delivered group of art historians from the year, he was Charles Eliot at Harvard University in 1993 U.S. to visit China, and in Norton Professor of Poetry at were published as The Lyric 1977 he returned there as chair Harvard University in Journey: Poetic Painting in of the Chinese Old Painting Cambridge, MA, delivering a China and Japan (Cambridge, Delegation, which was given series of lectures entitled “The MA: Harvard University Press, unprecedented research access Compelling Image: Nature and 1996), and a fifth lecture to collections there. Since then Style in 17th-Century Chinese series, the Getty Lectures pre- he has visited China frequently, Painting.” These appeared in sented at the University of lecturing at art academies and 1982 as a book, which was Southern California in 1994 as universities, organizing and awarded CAA’s Charles Rufus “The Flower and the Mirror: participating in symposia, see- Morey Prize in 1984. His Representations of Women in ing exhibitions and collections, Franklin D. Murphy lectures Late Chinese Painting,” is and doing research. for the University of Kansas presently being revised for Cahill and his wife, the artist

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CAA NEWS NOVEMBER 2003 27 directory of print study rooms, and much more on the collaboration among scholars, artists, museum specialists, AFFILIATED SOCIETY website. Info: Director: Carol Pulin, 302 Larkspur Turn, and others interested in African and African diaspora arts. Peachtree City, GA 30269; director@ printalliance.org; ACASA’s business meeting is held at the ASA annual con- www.printalliance.org. ference; ACASA holds a triannual conference in varying DIRECTORY locations; ad hoc meetings are held at the CAA Annual American Society for Eighteenth-Century Conference. A triannual newsletter is published. Info: Secretary-Treasurer: Constantine Petridis, Assistant This directory is published annually on the basis of infor- Studies ASECS. Founded: 1969. Membership: 2,600. Annual Curator of African Art, Cleveland Museum of Art, 11150 mation provided by CAA’s affiliated societies. The soci- East Blvd., Cleveland, OH 44106-1797; 216-707-2678; eties listed below have met specific standards for purpose, dues: $50–75 individual, $30 student, $50 retired, $150 institutional. Purpose: To encourage and advance studies [email protected]; www2.h-net.msu.edu/ range of activities, and membership enrollment required %7Eartsweb/welcome/acasa.html. for formal affiliation. and research in the history of 18th-century culture in its broadest sense. ASECS holds an annual conference; pub- lishes a quarterly news circular, a quarterly journal, an Association for Latin American Art American Council for Southern Asian Art annual volume of essays, and a biannual teaching pam- ALAA. Founded: 1979. Membership: 225. Annual dues: ACSAA (formerly American Committee for South Asian phlet; cosponsors joint fellowships with major research $20 general; $10 student, retired, and non-U.S. address; Art). Founded: 1966. Membership: 265. Annual dues: $35 libraries; provides travel research fellowships; and offers a $50 institutional; $100 individual sustaining; $500 institu- regular; $10 student and unemployed; $40 institutional; number of awards to recognize outstanding scholarship in tional sustaining. Purpose: To encourage the discussion, $50 contributing; $100 sustaining. Purpose: To promote the field. Info: Executive Director: Byron R. Wells, teaching, research, and exhibition of Latin American art. the understanding of the arts of all the countries of ASECS, P.O. Box 7867, Wake Forest University, Winston- Annual dues entitle members to newsletters and member Southern Asia, including India, Pakistan, Nepal, Salem, NC 27109; 336-727-4694; fax: 336-727-4697; directory. Info: Joanne Pillsbury (University of Maryland Bangladesh, Sri Lanka, and Southeast Asia. ACSAA pub- [email protected]; www.press.jhu.edu/associations/asecs. and Dumbarton Oaks), Pre-Columbian Studies, lishes a biannual newsletter and frequent bibliographies Dumbarton Oaks, 1703 32nd St. NW, Washington, DC and holds a major symposium every 2 years. Info: American Society for Hispanic Art Historical 20007; [email protected]. Membership: Jennifer Secretary: Joan Cummins, Museum of Fine Arts, Boston, Ahlfeldt, Dept. of Art History and Archaeology, 826 Avenue of the Arts, 465 Huntington Ave., Boston, MA Studies Schermerhorn Hall, Columbia University, New York, NY 02115-5523; [email protected]; http://kaladarshan. ASHAHS. Founded: 1975. Membership: 150. Annual 10027; [email protected]; www.arts.arizona.edu/alaa. arts.ohio-state.edu/acsaa/hp.html. dues: $15 individual; $25 institution; $7.50 student/retired. Purpose: To promote the study of the visual cultures of Association for Textual Scholarship in Art American Institute for Conservation of Spain, Portugal, and their territories through meetings, a newsletter, and scholarly means. ASHAHS presents an History Historic and Artistic Works annual Eleanor Tufts Award for an outstanding English- ATSAH. Founded: 1991. Membership: 70. Annual dues: AIC. Founded: 1958. Membership: 3,200. Annual dues: language publication and an annual photography grant to a $20. Purpose: To promote the study and publication of art- $55 student and retiree; $110 individual; $125/year associ- graduate student writing a dissertation on an aspect of historical primary sources and to facilitate communication ate membership; $185/year institutional membership (plus Spanish or Portuguese art. Info: General Secretary: Susan among scholars working with art literature. ATSAH pub- one-time filing fee of $10 for each category). Purpose: To Verdi Webster, Dept. of Art History, LOR 302, University lishes a biannual newsletter with information and critical advance the practice and promote the importance of of St. Thomas, 2115 Summit Ave., St. Paul, MN 55105; reviews about ongoing scholarship, publications, and con- preservation of cultural property through publications, svwebster@ stthomas.edu. ferences. It also organizes conference sessions at the research, and the exchange of knowledge, as well as by Society of Textual Scholarship meeting at City University establishing and upholding professional standards. AIC of New York, International Congress of Medieval Studies holds an annual conference and publishes a bimonthly Art Libraries Society of North America ARLIS/NA. Founded: 1972. Membership: 1,050. Annual in Kalamazoo, MI, Renaissance Society of America, newsletter, a scholarly journal, an annual membership Southeastern College Art Conference, and the CAA directory, and other publications. Info: Jay Krueger, Senior dues: $50–135 individual (based on income); $40 student; $100 institutional; $135 business affiliate. Purpose: To fos- Annual Conference. Info: President: Liana de Girolami Conservator of Modern Paintings, National Gallery of Art, Cheney, 112 Charles St., Boston, MA 02114; 978/934- Washington, DC 20565. Executive Director: Elizabeth F. ter excellence in art librarianship and visual-resources curatorship for the advancement of visual arts and to pro- 3495; fax: 617/557-2962; [email protected]; “Penny” Jones, 1717 K St. NW, Ste. 200, Washington, DC www.uml.edu/Dept/ History/ArtHistory/ATSAH. 20006; 202-452-9545; fax: 202-452-9328; info@aic-faic. vide an established forum for professional development org; http://aic.stanford.edu. and sources for up-to-date information on trends and issues in the field. It holds an annual conference, sponsors Association of Art Editors awards in art-related activities, and publishes Art AAE. Founded: 1994. Membership: 65. Annual dues: $20. American Institute of Graphic Arts Documentation twice yearly, ARLIS/NA Update bimonth- Purpose: To advance and set standards for the profession AIGA. Founded: 1911. Membership: 15,600. Annual dues: ly, an Annual Handbook and List of Members, and one of art editor; to provide a forum for the exchange of infor- $275 professional; $100 fulltime educator; $65 student. occasional paper series. Info: Executive Director: mation among art editors and others involved in art-related Purpose: To further excellence in communication design Elizabeth Clarke. Association Administrator: Vicky Roper. publications; to provide authors with information about as a broadly defined discipline, strategic tool for business, 329 March Rd., Ste. 232, Box 11, Kanata, ON K2K 2E1, editing and publication procedures; to exchange informa- and cultural force. AIGA holds design competitions in 13 Canada, 800-817-0621; [email protected] Cate Cooney, tion about editing positions available, both freelance and categories to promote excellence in design; mounts exhibi- Marquand Library of Art and Archaeology, Princeton institutional. AAE meets annually at the CAA Annual tions for its New York gallery and to travel; publishes University, Princeton, NJ 08544. Conference and sponsors a session on publishing. examples of design excellence in an annual, large-format Directory of members includes areas of expertise. Info: book; publishes periodicals on design and business, design Art Museum Image Consortium President: Phil Freshman, 3912 Natchez Ave. S., St. Louis education, and visual culture; produces biennial confer- Park, MN, 55416; www.artedit.org. ences on design and design’s role in business strategy and AMICO. Founded: 1997. Membership: 32 institutions. Annual dues: $2,500–5,000, based on institutional annual on individual professional interests, such as design for Association of Art Historians film and television, interaction design, and brand experi- budget. Purpose: To enable educational use of museum multimedia. Members make annual contributions of digital AAH. Founded: 1974. Membership: 1,100+. Annual Dues: ence; organizes educational seminars regionally; supports $92–125 individual (depending on subscription); $37 stu- 46 chapters and student groups on 200 campuses; main- images, text, and other associated multimedia for works from their collections; these are disseminated by AMICO dent/unwaged; $237 corporate; $42 institution (Bulletin tains a website with directory of designers, job board, and only). Purpose: AAH represents the interests of art and information resources. Info: Executive Director: Richard Distributors as an online, licensed database, the AMICO LibraryTM. Subscribers include colleges, universities, K–12 design historians in all aspects of the discipline including Grefé, AIGA, 164 Fifth Ave., New York, NY 10010; 212- art, design, architecture, film, media, photography, cultural 807-1990; [email protected]; www.aiga.org. schools, museums, and public libraries. AMICO members govern the consortium and participate in committees cen- studies, and conservation. Members are active in museums tered on editorial, technical, rights, and user issues. and galleries, publishing, teaching, research, and environ- American Print Alliance AMICO holds an annual members meeting and various mental work. Among the benefits offered to members are APA. Founded: 1992. Council membership U.S. and committee gatherings throughout the year. Info: Executive an annual conference, a journal (Art History), a quarterly Canada: 20 councils, representing 5,000 artists. Annual Director: Jennifer Trant, 2008 Murray Ave., Ste. D, magazine (The Art Book), a triannual newsletter (Bulletin), council dues: $100; subscriptions: $35 regular, $30 council Pittsburgh, PA 15217; 412-422-8533; [email protected]; and a variety of symposia. Professional interest groups o members, $15 students, $50 institutions. Purpose: T www.amico.org. with their own program of activities include: universities advance and promote print, paper, and book arts by pub- and colleges, art galleries and museums, freelance profes- lishing critical literature, organizing exhibitions, collecting Arts Council of the African Studies sionals, schools, and students. Membership is open to art resource information, and encouraging professional prac- and design historians and to all those interested in the tices. APA publishes the journal Contemporary Association advancement or the study of art history. Info: Claire Impressions twice a year, with one commissioned print ACASA. Founded: 1982. Membership: 800+. Annual Davies, Administrator, AAH 70 Cowcross St, London, for subscribers; publishes the Guide to Print Workshops; dues: $50 regular; $20 student, unemployed, and retired; EC1M 6EJ; +44-0-20-7490-3211; [email protected]; sponsors traveling exhibitions; provides competition infor- $75 institutional. Membership runs January 1–December www.aah.org.uk. mation, technical articles, online exhibitions and gallery, 31. Purpose: To promote scholarship, communication, and

Association of College and University Heads of Art and Design Schools (NCHADS); name toral candidates and scholars who have already earned Museums and Galleries changed to ACUADS in 1994. Membership: 30 heads of their Ph.D. in the humanities, social sciences, and allied ACUMG. Founded: 1980. Membership: 425. Annual art and design schools. Annual dues: AUS$700. Purpose: natural sciences who wish to conduct research of regional dues: $25 individual; $10 student; $50 institution; $75 cor- To play a proactive role in shaping quality education for or trans-regional significance. Info: Mary Ellen Lane, porate. Purpose: To address the issues that are relevant and artists, crafts practitioners, and designers and to promote Executive Director, CAORC, Smithsonian Institution, P.O. unique to college and university museums and galleries. the status of the visual-arts industry in the wider econom- Box 37012, NHB Room CE-123, MRC 178, Washington, ACUMG holds an annual issue-oriented, one-day confer- ic, social, and cultural development of Australia. DC 20013-7012, 202-842-8636; fax: 202-786-2430; ence in conjunction with the annual meeting of the AAM. ACUADS represents the concerns and interests of the ter- [email protected]; www.caorc.org. It also publishes News and Issues, a newsletter containing tiary art sector to government and policy-making bodies. information on issues of concern, and offers members a The Executive is an elected body that meets several times Design Forum: History, Criticism, and forum to share information through published articles. a year. ACUADS’s annual conference and AGM is held in Theory Info: President: Lisa Tremper Hanover, Director, Philip September/October each year. Members and interested DF. Founded: 1983. Membership: 130. No annual dues. and Muriel Berman Museum of Art at Ursinus College, parties receive an electronic monthly newsletter. Info: Purpose: To nurture and encourage the study of design his- 601 E. Main St., Collegeville, PA 19426; lhanover@ Chair: Ted Snell, Head, School of Art, Curtin University tory, criticism, and theory. DF holds an annual meeting in ursinus.edu. Membership Dues: Joseph Mella, ACUMG of Technology, GPO Box U1987, Perth, Western Australia conjunction with the CAA Annual Conference and distrib- Treasurer, Vanderbilt University Fine Arts Gallery, 6845; [email protected]; Secretary; Jody utes information about exhibitions, publications, confer- Vanderbilt University, VU Station B, 35-1801, Nashville, Fitzhardinge; j.fitzhardinge@ curtin.edu.au; ences, and employment opportunities via its electronic TN 37203; 615-343-1704; jjoseph. mella@vanderbilt. http://acuads.curtin.edu.au. mailing list. The DF newsletter, Object Lessons, founded edu; www.acumg.org. in 1990, is published occasionally. Info: President: Carma Catalogue Raisonné Scholars Association Gorman, Southern Illinois University, Carbondale, School Association of Historians of American Art CRSA. Founded: 1993. Membership: 120. No annual of Art and Design, Mail Code 4301, Carbondale, IL AHAA. Founded: 1979. Membership: 488. Annual dues: dues. Purpose: To provide a forum for discussing the cata- 62901-4301; [email protected]; http://mypage.siu.edu/ $10. Purpose: To promote scholarship in the history of logue raisonné. Sessions at the CAA Annual Conference cgorman/designforum.htm. American art. AHAA provides a forum for presenting and address authenticity, opinion, research, and other scholarly advancing new approaches to the subject, for examining issues, and funding, legal issues, and publishing, technolo- Foundations in Art: Theory and Education problems that confront the field, and for identifying schol- gy, and similar practical concerns. CRSA sponsors a list- FATE. Founded: 1977. Membership: 400–600. Annual arly needs and opportunities to its members. AHAA is par- serv for news and member discussions. Info: President: dues: $45 for 2 years; $100 institutional. Purpose: To ticularly interested in strengthening ties among museum Nancy Mowll Mathews, Williams College Museum of Art, promote excellence in the development and teaching of curators, museum educators, and college professors. It 15 Lawrence Hall Dr., Ste.2, Williamstown, MA 02167. college-level foundation courses in both studio art and art holds an annual meeting, hosts sessions at the CAA [email protected]; Newsletter editor: Scott Ferris, history, and to foster discussion, analysis, strategies, goals, Annual Conference, publishes a semiannual newsletter, P.O. Box 73, Franklin Springs, NY 13341, and understanding in visual-arts core curriculum. FATE’s and cosponsors symposia. Future plans include launching [email protected]. newsletter, journal (FATE in Review), and regional and a website in order to facilitate syllabi exchange and more national conferences provide a platform for exchange and frequent updating of information. Info: Cochairs: Andrew Coalition of Women in the Arts Organizations publication. Info: Barbara Nesin, CAA Representative, Walker, Senior Curator, Missouri Historical Society, P.O. CWAO. Founded: 1977. Membership: 52. No annual dues. Dept. of Art, 350 Spelman Ln., Box 337, Spelman Box 11940, St. Louis, MO 63112-0400; ajw@mohistory. Purpose: To pursue the achievement of equality for all College, Atlanta, GA 30314; 404-223-7614; batyat@ org; Diana Linden, 272 N. Carnegie Ave., #246, women in the arts. CWAO organizes grassroots lobbying yahoo.com or [email protected], President: Ralph Claremont, CA 91711; [email protected]. with state legislatures, presentations, and lectures at the Larmann, Dept. of Art, 1800 Lincoln Ave., University of CAA Annual Conference. It publishes CWAO NEWS on its Evansville, Evansville, IN 47714; 812-479-2782; RL29@ Association of Historians of Nineteenth- website. Info: President: Kyra Belán, P.O. Box 6735, evansville.edu; Diane Highland, Membership Coordina- Hollywood, CA 33081; [email protected]. Century Art tor, [email protected]; www.foundationsinart.org. AHNCA. Founded: 1994. Membership: 500+. Annual dues: $20; $15 students; $200 benefactors; $100 patrons; Community College Professors of Art and Art Glass Art Society $50 supporting; $30 sustaining. Purpose: To foster com- History GAS. Founded: 1971. Membership: 3,800+. Annual dues: munication and collaboration among historians of 19th- CCPAAH. Founded: 1995. Membership: 25. Annual dues: North America: $45 individual, $70 family, $20 student. century art of all nations through such activities as a $20. Purpose: To provide a forum for community-college Outside North America: $60 international individual, $85 newsletter and research colloquia. AHNCA organizes 2 professors to exchange ideas, formulate curricula, further international family, $30 international student. Purpose: To sessions and holds its business meetings at the CAA define the community college’s role in the education of art encourage excellence, advance education, promote the Annual Conference. It publishes an annual directory of professionals, and develop sessions for the CAA Annual appreciation and development of the glass arts, and sup- members and an online journal (www.19thc-artworld- Conference that are of specific interest in the community- port the worldwide community of artists who work with wide.org). Info: Elizabeth Mansfield, Secretary, AHNCA, college environment. CCPAAH serves as the conduit glass. Membership benefits include 6 newsletters a year, Dept. of Art and Art History, University of the South, through which outreach to community colleges, their fac- the Annual Journal, the Resource Guide, a copy of and Sewanee, TN 37383; 931-598-1493; emansfie@sewanee. ulty, and their students can be done. It also undertakes inclusion in the membership/education roster, a link from edu. Membership queries: Membership Assistant, exhibition development, exchange of student and faculty the GAS website to member website, access to the GAS AHNCA, Dept. of Art History and Archaeology, works of art, curriculum development, facilities surveys, database, opportunity to attend our annual conference, and University of Maryland, 1211-B Art/Sociology Bldg., and publishes a newsletter. Annual meetings are held in eligibility for GAS Funds from the Craft Emergency College Park, MD 20742-1335; [email protected]; conjunction with the CAA Annual Conference. Info: Relief Fund. Info: Glass Art Society, 1305 4th Ave., Ste. www.inform.umd.edu/arth/ahnca. Thomas Morrissey, Community College of Rhode Island, 711, Seattle, WA, 98101; 206-382-1305; fax: 206-382- Lincoln, RI 02865. Correspondence: Alan Petersen, 2630; [email protected]; www.glassart.org. Association of Research Institutes in Art Coconino Community College, Fine Arts, N. 4th St., Flagstaff, AZ 86004; 520-527-1222, ext. 322; Historians of British Art History [email protected]. ARIAH. Incorporated: 1988. Membership: 19 (full); 1 HBA. Founded: 1992. Membership: 260. Annual dues: (affiliate). Purpose: To promote scholarship by institutes of $10 for students, $15 for all others. Purpose: To foster advanced research in art history and related disciplines; to Council of American Overseas Research communication and to promote the study and sharing of exchange administrative, scholarly, and research informa- Centers ideas among those engaged in any type of scholarship or tion; and to encourage cooperation in the development and CAORC. Founded: 1981. Membership: 19. Annual dues: other professional endeavor related to British art of every funding of joint programs. Info: Chair and Treasurer: $2,750. Purpose: To promote advanced research, particu- area and period. HBA has affiliate sessions at the CAA Michael Ann Holly, Sterling and Francine Clark Art larly in the humanities and social sciences, with focus on Annual Conference, in addition to a separate business Institute, 225 South St., Williamstown, MA 01267; 413- the conservation and recording of cultural heritage and the meeting and site visits to examine works of British art 458-2303, ext. 325; fax: 413-458-1873. Vice Chair: understanding and interpretation of modern societies. when possible. HBA Newsletter is published biannually, Roslyn Walker, National Museum of African Art, 950 CAORC, a private, nonprofit federation of independent and a directory of members is available. HBA prizes Independence Ave. SW, Washington, DC 20560; 202-357- overseas research centers, fosters research projects across include 3 awards for books or multiauthored publications 4600, ext. 203; fax: 202-357-4629. Secretary: Georgia national boundaries and encourages collaborative research on British art and a travel award to a graduate student pre- Barnhill, American Antiquarian Society, 185 Salisbury St., and programmatic coherence among member centers, and senting a paper at the CAA conference. Info: Julia M. Worcester, MA 01609; 508-755-5221; fax: 508-754-9069; works to expand their resource base and service capacity. Alexander, [email protected]. www.ariah.info. CAORC member centers maintain a permanent presence in the host countries where they operate—in Europe, Latin Historians of Eighteenth-Century Art and Australian Council of University Art and America, the Near and Middle East, South Asia, West Architecture Africa. Each year the Multi-Country Research Fellowship HECAA. Founded: 1991. Membership: 100. Annual dues: Design Schools Program awards approximately 9 fellowships to U.S. doc- ACUADS. Founded: 1981 as the National Conference of $10 professional; $5 student. Purpose: To promote knowl-

edge of all aspects of visual culture through the encour- Frequent membership meetings are organized nationally through discussions on our e-mail network. The JAHF e- agement of research and publication among members, and and abroad, as well as lectures and symposia, open to mail listserv functions as an active forum for substantive to encourage graduate-student training in the visual culture members and nonmembers. AICA/US also publishes a art-historical discussions, recent research, bibliographical of the long 18th century. HECAA holds sessions at confer- newsletter. Membership is by application and invitation material, and for organizing panels for professional meet- ences and publishes a newsletter. Info: President: Melissa only. President 2000–2: Amei Wallach, 1600 Park Ave., ings. Info: President: Frank Chance; flchance@hotmail. Hyde, School of Art and Art History, P.O. Box 115801, Mattituck, NY 11952; [email protected]; www. com, Lee Butler, Secretary, [email protected]; 302 FAC, University of Florida, Gainesville, FL 32603; aicausa.org. www.ku.edu/~jahf/index.html. 325-392-0201, ext. 245. Membership and Newsletter Editor: Anne Schroder, 2507 Foxwood Dr., Chapel Hill, International Association of Word and Image Leonardo/The International Society for the NC 27514; ph/fax: 919-932-6186; [email protected]; Studies Arts, Sciences, and Technology http://plaza.ufl.edu/mhyde/hecaa. IAWIS. Founded: 1987. Membership: 200. Annual dues: Founded: 1968. Membership: 1,000+. Annual dues: $77 €65–80 for 3 years. Purpose: To provide an international individual associate membership. Purpose: To promote Historians of German and Central European forum for different disciplines and approaches bearing on and document work at the intersection of the arts, sci- Art and Architecture the interaction of the verbal and visual, and to foster the ences, and technology, and to encourage and stimulate col- HGCEA. Founded: 1997. Membership: 115. Annual dues: study of word and image relationships in a general cultural laboration among artists, scientists, and technologists. $25 individual; $15 student. Purpose: To foster the study context and in the arts in the broadest sense. IAWIS has a Projects include the art, science, and technology publica- of visual and material culture in northern and central triennial international conference and publishes a biannual tions Leonardo and Leonardo Music Journal and its CD Europe, and to further communication among scholars newsletter. Info: Michele Hannoosh, Saint Catharine’s series; the Leonardo Book Series; the “Leonardo On-Line” working on the art and architecture of the region through College, Cambridge CB2 1RL, U.K.; mh268@hermes. website, the web journal Leonardo Electronic Almanac, the publication of an annual newsletter (with directory of cam.ac.uk; www.let.uu.nl/ scholar_assocs/I.A.W.I.S.. and the digital Leonardo Reviews. Other activities include members) and through annual conferences and meetings. an awards program, participation in conferences and sym- Info: President: Steven Mansbach, University of International Center of Medieval Art posia, and collaborative events. Info: Melinda Klayman, Maryland, Dept. of Art History, 1211B, Art and Sociology ICMA. Founded: 1956. Membership: 1,400. Annual dues: Director of Development and Communications, 425 Bldg., College Park, MD 20742; 301-405-1494; fax: 301- $55 U.S. active members; $60 non-U.S. active members; Market St., 2nd Fl., San Francisco, CA 94105, 415-405- 314-9652; [email protected]. Secretary: Maria $20 students (all countries); $80 joint membership; $45 3335, [email protected]; www.leonardo.info. Makela, 579 Liberty St., San Francisco, CA 94114; 415- independent scholar/retiree; $1,200 benefactor; $600 sup- 826-0754; [email protected]. Treasurer: Rose-Carol porting; $300 patron; $150 contributing. Purpose: To pro- Mid America College Art Association Washton Long, Ph.D. Program in Art History, Graduate mote the study of medieval art and civilization. ICMA MACAA. Founded: 1936. Membership: Varies by confer- Center of the City University of New York, 365 Fifth Ave., publishes a newsletter and the journal Gesta and sponsors ence; biennial dues included in conference fee. Purpose: New York, NY 10016; 212-817-8042; [email protected]. sessions at international conferences, manages the To promote and foster the making and teaching of art at Newsletter editor: Peter Chametzky, School of Art and Distinguished and Visiting Scholar Lecture Series, and the university and college level in the mid-America Design, Southern Illinois University, 1201 W. Sycamore awards an annual Electronics Prize. Contact: ICMA region, and to enhance the condition of the profession St., Carbondale, IL 62901; 618-453-8632; fax: 618-453- Administrator: [email protected]; through the communication of new ideas, concepts, 7710; [email protected]. www.medievalart.org. processes, and theories of concern to the membership. This artist-led organization holds a biennial conference for Historians of Islamic Art International Sculpture Center the professional benefit of the membership. Membership is HIA. Founded: 1983. Membership: 225. Annual dues: $25 ISC. Founded: 1960. Membership: 6,000+. Annual dues: open to institutions, faculty, and students through atten- regular; $15 student. Purpose: To promote high standards $95 basic; $200 associate; $350 professional; $170 univer- dance at the biennial conference. Info: President: Wayne of scholarship and instruction in the history of Islamic art, sity; $60 student; $60 senior (65+); $50 subscription only. E. Potratz, Dept. of Art, Regis Center for Art, University to facilitate communication among its members through Purpose: To advance the creation and understanding of of Minnesota, 405 21st Ave. S., MN, 55455; potra001@ meetings and the HIA newsletter and directory, and to pro- sculpture and its unique, vital contribution to society. ISC umn.edu; www.uga.edu/macaa. mote scholarly cooperation among persons and organiza- seeks to expand public understanding and appreciation of tions concerned with the study of Islamic art. HIA holds sculpture internationally, demonstrate the power of sculp- National Art Education Association periodic majlis, or meetings, of its members, often in con- ture to educate and effect social change, engage artists and NAEA. Founded: 1947. Membership: 40,000. Annual junction with meetings of CAA or Middle East Studies arts professionals in a dialogue to advance the art form, dues: $50. Purpose: To advance art education through pro- Association. Info: Eva Hoffman, 2003–5 President, Dept. and promote a supportive environment for sculpture and fessional development, advancement of knowledge, and of Art and Art History, Tufts University, Medford, MA sculptors. ISC publishes Sculpture Magazine, an interna- leadership. NAEA conducts research, holds seminars and 02155; 805-893-7584; [email protected]; Rich tional, monthly publication dedicated to all forms of sculp- conventions, and publishes journals, newsletters, and Turnbull Secretary/Treasurer, [email protected]; Oya ture, and maintains a website. ISC also produces interna- books. Members receive a monthly publication, quarterly Pancaroglu, newsletter and website editor, oya.pancar- tional sculpture conferences, education programs, and spe- journal, and discount on other publications. Info: oglu@oriental-institute. oxford.ac.uk; www.historian- cial events. Info: Mary Catherine Johnson, Director of Executive Director: Thomas A. Hatfield. Membership: sofislamicart.org. Programs, International Sculpture Center, 14 Fairgrounds Membership Dept., NAEA, 1916 Association Dr., Reston, Rd., Ste. B, Hamilton, NJ 08619; 609-689-1051 ext. 110; VA 20191-1590; 703-860-8000; fax: 703-860-2960; Historians of Netherlandish Art fax: 609-689-1061; [email protected]; www. [email protected]; www.naea-reston.org. HNA. Founded: 1983. Membership: Approximately 650. sculpture.org. Annual dues: $25 student; $45 regular; $65 supporting; National Association of Artists’ Organizations $100 patron; $200 benefactor; $100 institution. Purpose: Italian Art Society NAAO. Founded: 1982. Membership: 290 organizations, To foster communication and collaboration among histori- IAS. Founded: 1986. Membership: 225+. Annual dues: 320 individuals. Annual dues: variable ($60–$500 yearly) ans of northern European art from about 1350 to 1750. $15 (within the U.S.); $20 (in Canada and overseas); $10 depending on budget. Purpose: To foster communication HNA holds an annual meeting and program in conjunction student; Includes Bibliography of Members’ Publications and interaction among artists and artists’ organizations at with the CAA Annual Conference; publishes two newslet- and Newsletter. Purpose: To foster communication among the local, regional, and national level. An artist-centered, ters per year, which includes HNA Review of Books, and disciplines and scholarship devoted to the study of Italian membership-driven service organization, NAAO is dedi- an online Directory of Members; and holds scholarly con- art and civilization of all historical periods. IAS sponsors cated to mobilizing this broad community by focusing a ferences every 3–5 years. Info: President: Alison Ketering. sessions at the International Congress on Medieval Studies national dialogue, to providing valuable networking Secretary/Newsletter Editor: Kristin Lohse Belkin, 23 S. and the CAA Annual Conference. Info: President: Debra opportunities within the field, to promoting the value of Adelaide Ave., Highland Park, NJ 08904; ph/fax: 732-937- Pincus, National Gallery of Art; [email protected]. artist-driven initiatives to the broader public, and to serv- 8394; [email protected]. Treasurer: Marjorie E. Secretary-Treasurer: Roger Crum, Visual Arts Dept., ing as a national voice for artists’ organizations in forums Wieseman, Cincinnati Art Museum, 953 Eden Park Dr., University of Dayton, 300 College Park, Dayton, OH that debate issues of cultural policy. NAAO enacts pro- Cincinnati, OH 45202; www.hnanews.org. 45469-1690; [email protected]; http:// grams that promote organizational stability, communica- vassun.vassar.edu/%7Ejamusacc/IAS/iashome.htm. tion within the field, increased visibility, cultural plural- International Association of Art Critics ism, and issues related to freedom of expression and the AICA/US. Founded: American affiliate in early 1950s. Japan Art History Forum First Amendment. Info: NAAO c/o Space One Eleven, Membership: 300. Annual dues: $55. Purpose: To promote JAHF. Founded: 1997. Membership: 200. Annual dues: 2409 Second Ave. N., Birmingham, AL 35203-3809; 205- critical work in the field and to help ensure its method- $10 individual; $100 supporting. Purpose: To promote the 328-0553; fax 205-254-6176; annehoward@ ological basis, to create permanent links among members study and understanding of Japanese art history and mate- spaceoneeleven.org; www.naao.net. through international meetings and exchange, and to con- rial culture by coordinating structured and informal oppor- tribute to the international understanding of different cul- tunities for interchange and dialogue among members at National Conference of Artists tures. AICA/US aims to protect and further art criticism as special exhibitions and symposia of Japanese art and at NCA. Founded: 1958. Membership: 500. Annual dues: a profession in the U.S. and to act on behalf of the physi- other scholarly conferences in North America, and by $35 general; $10 student; $100 institution; $50 chapter; cal preservation and moral defense of works of art. encouraging research and dissemination of research $500 life. Purpose: To preserve, promote, and develop the creative forces and expressions of African American artists [email protected]; and James Saslow, Queens College and Chapel Hill, NC 27514-0508; 919-933-1777; atsecac@ and other artists of African heritage. Through its research the Graduate Center, City University of New York, saslowj bellsouth.net; www.furman.edu/secac. in the arts, annual convention, regional meetings, and cor- @aol.com; http://artcataloging.net/glc/glcn.html. respondence, NCA seeks to bring artists together to dis- Southern Graphics Council cuss mutual concerns, exchange ideas, and promote cultur- Radical Art Caucus SGC. Founded: 1973. Membership: 1,050. Annual dues: al exchange and interchange of works of local, national, RAC. Founded: 2001. Membership: 40+. Annual dues: $15 Student; $35 Regular. Purpose: To educate the public and international origin. Members receive a quarterly $20 faculty and employed; $5 students and underem- and promote the appreciation of the art of making original newsletter and are invited to attend the annual convention. ployed. Purpose: To promote art and art-historical scholar- prints, books, handmade paper, and drawing. SGC serves Info: President: Napoleon Jones-Henderson, President, ship that addresses historical and contemporary problems as a resource to educational and nonprofit organizations, NCA, 12 Morley St., Roxbury, MA 02119; of oppression and possibilities for resistance, and to pro- universities, and the public at large, providing for the http://ncanewyork.com/index.html. vide an intellectual and professional environment for the exchange of technical and critical information on the art of discussion of labor and social justice issues specifically printmaking. It also promotes the art of printmaking National Council of Art Administrators related to contemporary practices of art and art history. through traveling exhibitions, annual conferences, and a NCAA. Founded: 1972. Membership: 200. Annual dues: RAC brings together scholars and artists whose work cri- newsletter. Though SGC began as a regional organization, $50. Purpose: To provide a forum for the exchange of tiques the fundamental issues of unequal distribution of its membership has grown to represent a national and ideas, the identification of problems, and the generation of resources, social hierarchies, and unjust political authority international voice. Info: Anita Jung, Treasurer, Associate shared solutions to the issues that confront visual-art that affect disenfranchised populations in all periods of Professor of Art, School of Art, 1715 Volunteer Blvd. professionals in higher education today. NCAA supports history. Members will debate and advocate for a more crit- University of Tennessee, Knoxville, TN 37996-2410; 865- an annual conference hosted by an educational institution ical institutional practice in order to promote radical dem- 974-3408; [email protected]. to encourage dialogue and networking. Members receive a ocratic principles within and outside the academy. Info: newsletter and directory. Info: Joseph Lewis, NCAA Executive Officers: Stephen Eisenman, Northwestern Visual Culture Caucus President, Dean, School of Art and Design, State University; Janet Koenig, School of the Art Institute of VCC. Founded: 2000. Membership: 100. Annual dues: University of New York/Fashion Institute of Technology, Chicago; Andrew Hemingway, University College $10 tenured; $5 untenured; $1 student/adjunct faculty. Seventh Ave. at 27th St., New York, NY 10001-5992; 212- London. Treasurer: Barbara McCloskey, University of Purpose: To promote and advance the discussion of visual 217-7665; [email protected]. Pittsburgh. Secretary and Membership: Paul Jaskot, Dept. culture in both critical and artistic practice and interdisci- of Art and Art History, DePaul University, 1150 W. plinary contact with those working to similar ends in other Pacific Arts Association Fullerton, Chicago, IL 60614; [email protected]. visual media. VCC maintains a listserv for discussion and PAA. Founded: 1974. Membership: 390 (130 institutional, sharing information that can be joined by signing up for 260 individuals). Annual dues: $40 individual and institu- Renaissance Society of America the visual_culture list at www.yahoogroups.com. Info: tional; $30 visual and performing artists, students, and RSA. Founded: 1954. Membership: 3,700. Annual dues: Nicholas Mirzoeff, Art Dept., State University of New retirees. Purpose: To make members more aware of the $60 regular; $30 student; $45 retiree; $70 dual; $90 insti- York, Stony Brook, NY 11794-5400; nmirzoeff@notes. state of all arts in all parts of Oceania; to encourage under- tutional; $100 patron; $2,500 life. Membership runs cc.sunysb.edu; Laurie-Beth Clark, Art Dept., University standing among nations of the region and greater coopera- January 1–December 31. Purpose: To promote and encour- of Wisconsin, Madison, WI 53706; lbclark@education. tion among the institutions and individuals involved in and age the study of the Renaissance period. RSA holds an wisc.edu. associated with the arts of Oceania; to promote high stan- annual conference and publishes Renaissance Quarterly dards of research, interpretation, and reporting on this art; and a triannual newsletter, Renaissance News and Notes. Visual Resources Association to stimulate more interest in the teaching of courses on Membership includes password to ITER (Electronic VRA. Founded: 1982. Membership: 600. Annual dues: Oceanic art, especially, but not only, at the tertiary educa- Bibliographic Database). Info: RSA, Graduate Center, City $35–110 individual; $125 institutional. $25 student; $25 tional level; to encourage high standards of conservation University of New York, 365 Fifth Ave., Rm. 5400, New retired; $100–299 contributing; $300+ patron; in and preservation of the material culture of Oceanic arts. York, NY 10016-4309; 212-817-2130; fax: 212-817-1544; Subscriptions: $100 VRA Bulletin subscription only; $25 International symposiums are also organized. Publications [email protected]; www.rsa.org. VRA Listserv subscription only. Purpose: To provide lead- include Pacific Arts, published annually, and The Pacific ership in the field of image management, to develop and Arts Association Newsletter, printed twice a year. Info: Society of Historians of East European and advocate for standards, and to provide educational tools Membership: Hilary Scothorn, Treasurer, P.O. Box 6061- Russian Art and Architecture and opportunities for a multidisciplinary membership. 120, Sherman Oaks, CA 91413; paatreasurerhls@aol. SHERA. Founded: 1995. Membership: 135. Annual dues: VRA offers a forum for vital issues, including documenta- com. Carol S. Ivory, Vice President North America, Fine $18; $12 students and other limited income. Purpose: To tion and access to images of visual culture, integration of Arts Center, P.O. Box 647450, Washington State maintain an international network for scholars working in technology-based instruction and research, and intellectu- University, Pullman, WA 99164-7450. 509-335-7043; fax: the field of Russian and East European visual culture. al-property policy. Through collaboration and partnership 509-335-7742; [email protected]; www.pacificarts.org. SHERA publishes a triannual newsletter that includes bib- with the broader information management and educational liographic citations of new research in the field, notices of technology communities, VRA actively supports the pri- Private Art Dealers Association conferences and exhibitions, and state-of-research essays. macy of visual culture in the educational experience. Our PADA. Founded: 1990. Membership: 55. Annual dues: SHERA panels are held at the CAA Annual Conference. international membership includes: information and digi- $650. Purpose: To represent a select group of dealers who Info: Pamela Kachurin, 137 Coolidge St., Brookline, MA tal-image specialists; art, architecture, film and video work from nonpublic spaces and who are specialists in 02446; [email protected]. librarians and archivists; museum curators; architectural specific areas of the fine arts. Membership is by invitation firms; galleries; publishers; image-system vendors; rights- and is based on a dealer’s experience, scholarship, ethics, Society for Photographic Education and-reproductions officials; photographers; art historians; and contributions to the arts community. PADA supports SPE. Founded: 1963. Membership:1478. Annual dues: $60 artists; and scientists. Info: President: Elisa Lanzi, Smith scholarship through public lectures, symposia, and grants. regular; $35 student and senior. Purpose: To provide a College, Director of Image Collections, Art Dept. Imaging It is also a member of Confédération Internationale des national forum for the discussion of photography as a Center, Brown Fine Arts Center, Northampton, MA 01063; Négotiants en Oeuvres d’Art (CINOA). A membership means of creative expression and cultural insight. Through 413 585-3106; [email protected]. President-Elect, Kathe directory is published annually. Info: Timothy Baum, its programs and publications, SPE seeks to promote a Hicks Albrecht, Visual Resources Curator, Art History PADA, P.O. Box 872, Lenox Hill Station, New York, NY wider understanding of photography in all of its forms, Program, American University, 4400 Massachusetts Ave. 10021; 212-572-0772; fax: 212-572-8398; pada99@ and to foster the development of its practice, teaching, NW, Washington, DC 20016, 202-885-1675; kalbrec@ msn.net; Daisy Walker, Administrator; www.pada.net. scholarship, and critical analysis. Info: Jennifer Yamashiro, american.edu; www.vraweb.org. Executive Director, Miami University, 110 Art Bldg., The Queer Caucus for Art: The Lesbian, Gay, Oxford, OH 45056; 513-529-8328; SocPhotoEd@aol. Women’s Caucus for Art Bisexual, and Transgender Caucus for Art, com; www.spenational.org. WCA. Founded: 1972. Membership: 2,000. Annual dues: Artists, and Historians $30 regular; $50 professional member; $75 institution; QCA. Founded: 1989. Membership: 300. Annual dues: Southeastern College Art Conference $100 supporting; $25 subsidized (student/limited income). $25 employed; $5 low income and students. Purpose: To SECAC. Founded: 1942. Membership: 576 individual Purpose: To serve to win parity in the valuation of creative nurture and encourage the study of lesbian, gay, bisexual, members, 38 student members, and 122 institutional mem- and scholarly work by women, to create new opportunities and transgender history, theory, criticism, and studio prac- bers. Annual dues: $35 individual; $10 student; $45 con- for women to document, produce, and exhibit works, and tice in the arts, and to foster, through its various activities, tributing; $100 institutional. Purpose: To promote art in to assemble for the exchange of ideas. WCA offers a better communication and understanding among its mem- higher education through facilitating cooperation among national network of 33 local chapters, exhibitions, publica- bers, academic communities, lesbian, gay, bisexual, and teachers and administrators in universities, colleges and tions, a monthly email bulletin, a triannual newsletter, and transgender communities, and the public at large. Activ- junior colleges, professional art schools, and museums in regional and national conferences hosted by local chapters, ities include a newsletter and conference panels. Info: the 12-state southeastern region. SECAC holds an annual which provide an occasion to teach, learn, present work, Cochairs: Maura Reilly, Dept. of Art and Art History, Tufts conference; publishes a journal, the SECAC Review, and a and celebrate scholarly and creative achievements by women. Info: National Administrator: National WCA, P.O. University, 11 Talbot Ave., Medford, MA 02155; maura. triannual newsletters; and awards an annual artist’s fellow- ship. Info: Anne W. Thomas, Administrator, P.O. Box 508, Box 1498, Canal Street Station, New York, NY 10013; [email protected]; www.nationalwca.com. NEWS

NOVEMBER 2003

College Art Association 275 Seventh Avenue New York, NY 10001 www.collegeart.org

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

Kaucyila Brooke Kevin Consey Irina D. Costache Nicola M. Courtright Diane Edison Michael Ann Holly Dennis Y. Ichiyama Tran T. Kim-Trang Dale Kinney Joan Marter Virginia M. Mecklenburg Nicholas D. Mirzoeff Ferris Olin Gregory G. Sholette Christine L. Sundt Mimi Hall Yiengpruksawan