NEWS

NEWSLETTER OF THE COLLEGE ART ASSOCIATION Volume 27, Number 3 MAY/JUNE 2002 MEET MICHAEL AURBACH t its February meeting, CAA’s Board of Directors elected Michael Aurbach to serve as CAA president. A sculptor, he is the first visual artist to become president Asince 1996; he succeeds Ellen T. Baird, who will remain on the Buzz Spector, as if, 2002, 9" x 11.5", paper, fabric, and Board for one year as immediate past president. Aurbach’s term thread, edition of 60 is from 2002 to 2006. Aurbach has taught at Vanderbilt University in Nashville, NEW BUZZ SPECTOR TN, since 1986. He earned an M.A. in the history of art (1979), a B.F.A. in studio art (1981), both from the University of PRINT AVAILABLE Kansas, Lawrence, and an M.F.A. in sculpture (1983) from ranklin “Buzz” Spector, three-time Southern Methodist University (SMU) in Dallas. Aurbach has recipient of a National Endow- had many solo and group exhibitions at museums and galleries Michael Aurbach, Witness: Conspiracy No. 1, 1998, mixed ment for the Arts Fellowship, is across the United States. An installation entitled The media, 50” x 44” x 25” Fthe fifth artist to create an artwork for Administrator (2001) was the inaugural exhibition of contem- sale by CAA to benefit its Professional porary art at the Frist Center of Visual Arts in Nashville, TN. Development Fellowship Program. The This work was reviewed in Sculpture and Art Papers; others print, entitled as if, was produced in an have been reviewed in New Art Examiner, Metalsmith, and The edition of sixty this year at the Rutgers New York Times. Center for Innovative Print and Paper in Aurbach took an unusual path to arrive at his present aca- New Brunswick, NJ. demic position. He completed two bachelor’s degrees—in biol- Echoing the shape and size of a book, as if is composed of three chine ogy and journalism—in the mid-1970s, prior to earning his collé layers of handmade hemp paper degrees in art and art history. Those early studies gave him an with embedded red string and linen ele- activist perspective: “I learned how to create opportunities, ments. A thread and a torn line form the while many artists tend to wait for them to be announced. I work’s title in cursive letters. learned a great deal about marketing, and when I applied some “The book is one of Buzz Spector’s Michael Aurbach, Witness: basic marketing principles to my art career I quickly learned Conspiracy No. 2, 1998, mixed obsessions and persistent themes,” notes how ineffective it would be for me to depend on commercial media, 68” x 46” x 26” Emmanuel Lemakis, CAA’s Director galleries because of the complex nature of and the time needed to complete my work. And because I live outside a major cul- CONTINUED ON PAGE 22 tural hub, I needed to work independently of that system—and it has paid off.” IN THIS ISSUE Aurbach has had many proud moments as an artist and an instructor. “Surviving academia, and maintaining an active pro- They Represent You: The fessional record at a southern institution, has been quite a chal- 3 2002–6 Board Members lenge,” he says. “I have done this without regular gallery repre- sentation or sales. I am also pleased that I have continued to Strategies for Publishing in the challenge myself with each piece I make. I don’t always suc- 4 Arts ceed, but I still feel the excitement that I experienced in grad school. I think my students pick up on my desire to grow as an Moral Rights for Artists: artist. My students and I are not worried about our artistic Michael Aurbach, Witness: 6 The Visual Artists Rights Act immortality, so the teaching environment at Vanderbilt is Conspiracy No. 3, 1998, mixed wonderful.” media, 40” x 36” x 15” CONTINUED ON PAGE 22 12 Advocacy Update 2004 CALL FOR ANNUAL CONFERENCE SESSION Call for Book-Reviews Editor, PROPOSALS: SEE PAGE 9 14 The Art Bulletin

FROM THE EXECUTIVE DIRECTOR

CHANGING OF THE GUARD: NEW BOARD OFFICERS

pring is a planning process, are an increasingly time of important part of CAA governance. The rebirth and new officers are Michael Aurbach, Stransition, when Vanderbilt University, President; Thomas The Museum’s entrance facade, seen from the tram arrival new leaders on the F. Reese, Tulane University, Vice palza at the getty center. The Museum’s collection of paint- ings, sculpture, decorative arts, drawings, illuminated manu- CAA Board of President for External Affairs; Ellen K. scripts, and photgraphs are exhibited in five gallery pavil- Directors are wel- Levy, School of Visual Arts, Vice lions around a central courtyard. Designed by Richard Meier & Partners, the Getty Center opened to the public on Susan Ball, comed and those President for the Annual Conference; December 16, 1997. CAA Executive Director PHOTO CREDIT: ANDREI RALKO stepping down are Andrea S. Norris, Spencer Museum of PHOTO CREDIT: Tom Bonner © The J. Paul Getty Trust gratefully Art, Vice President for Committees; acknowledged. At the Board meeting held Catherine Asher, University of on May 12, 2002, four newly elected Minnesota, Vice President for PROFESSIONAL Board members began a four-year term. Publications; and Joyce Hill Stoner, DEVELOPMENT I would like to congratulate these Winterthur Museum of Art and University four: Kaucyila Brooke of CalArts, Diane of Delaware, Secretary. The Board also WORKSHOP AT Edison of the University of Georgia, renewed the terms of John Hyland, Jr., Dennis Ichiyama of Purdue University, as Treasurer and Jeffrey P. Cunard as GETTY and Mimi Hall Yiengpruksawan of Yale Counsel. Ellen T. Baird will continue to University. serve on the Board for one more year as AA and the Getty Research A day-long orientation, conducted on Immediate Past President. Together, these Institute will co-sponsor a one-day May 10 at CAA’s home office in New officers constitute CAA’s Executive Regional Professional Develop- York, was an intensive introduction to the Committee. This committee meets Cment Workshop and Seminar for graduate organization in all its complexity: staff, bimonthly online, communicates on a list- students to be held at the J. Paul Getty departments, organizational chart, serv, and takes action as needed between Center in Los Angeles on November 2, finances, and the Board’s role in areas meetings of the full Board. I greatly look 2002. This is the first time CAA has taken such as fundraising and advocacy. Board forward to working with this excellent its mentoring programs, so popular at the members were walked through CAA’s team this year. Annual Conferences, on the road; it is lim- governance procedures and informed of Since 1986, I have worked with eight ited to the Southern California region. their fiduciary responsibilities. They are presidents. The CAA presidency is a Future workshops will be offered in other required to act in good faith and in the demanding job. Perhaps its greatest chal- U.S. locations. best interests of the organization, to honor lenge is one faced by every leader in a The day will begin with a morning CAA’s articles of incorporation and by- democratic system: How to inspire while Seminar for University and College laws, to exercise care in making deci- remaining impartial, and how to move Administrators. This session will introduce sions, to be loyal to CAA, and to be faith- forward while allowing every point of CAA programs and services and provide ful to our mission and goals. view to be heard. Aurbach has shown his guidance to administrators who wish to Stepping down from the Board are ability to meet this challenge in his years develop mentoring and professional devel- Joe Deal, Nancy Friese, Joanna Frueh, of dedicated service to CAA. Of course, opment programs in their schools. Alison Hilton, Dorothy Johnson, and he has a hard act to follow. Ellen Baird The day’s events will center on two Bruce Robertson. Deal and Robertson repeatedly proved both a good listener concurrent afternoon Studio Art and Art served on the Long Range Planning and a strong manager, sensitive to the History Workshops. These are designed Committee and as the first officers in the range of opinions represented on the for students who seek guidance as they new governance structure. Frueh served Board and in the membership, and com- approach the job market for positions in as Board liaison to Art Journal’s editorial mitted to CAA’s development. CONTINUED ON PAGE 20 board. Friese remains on the Publications Implementing the current strategic plan Task Force. We thank them all warmly has truly been a team effort, but every CAA News is published six times per year by the College Art Association, 275 Seventh Avenue, New York, NY for their service. team needs a good captain. For the past 10001; www.collegeart.org At its February 2002 meeting, the two years, Bebe Baird has been our cap- Editor-in-Chief Susan Ball Board elected six new officers. All tain. I’d like to take this opportunity to Managing Editor Christopher Howard Graphic Designer Tom Brydelsky elected officers serve a one-year term thank her once again, and to say how Material for inclusion should be sent via email to (renewable once), with the exception of pleased I am that she will remain on the Christopher Howard at [email protected]. Black- the president, who serves a two-year, Board for 2002–3, a year that promises and-white photographs may be submitted to the above street address for consideration. They nonrenewable term. Each of the vice many new accomplishments for CAA. cannot be returned. presidents chairs a key committee. Their —Susan Ball, CAA Executive Director Printed on recycled paper positions, defined through our strategic © 2002 College Art Association

2 CAA NEWS MAY/JUNE 2002 excluded from the discourse. I would like As the arts continue to transform and THEY REPRESENT to help make CAA more relevant to these embrace the computer, I will encourage artists and to develop strategies to make it the Board to create and support sessions YOU: a vital network. Increasing the prestige that focus on issues related to the use of THE 2002–6 associated with the Annual Conference, technology in the education and training of making attendance financially and profes- the artist, designer, and historian. I also BOARD MEMBERS sionally attractive, developing the quality endorse attempts to highlight employment of presentations, increasing the focus on issues related to the use of part-time facul- new-media and visual-culture issues, and ty and teaching assistants in academia. AA’s members have elected four looking at European cultural systems’ sup- Finally, the Board should take an active new members to the Board of port for conceptually challenging artistic role in investigating and researching the Directors. Now, 73 percent of the production are some immediate methods to role of assessment and accreditation of Cvoting members on the Board are now consider. professional programs in design, museum women and 27 percent are men. In com- studies, arts administration, and the like at parison, 62 percent of the overall member- Diane Edison, the postsecondary level. ship is female, and 38 percent male. In University of terms of professional specialization, 59 Georgia: I joined Mimi Hall percent are art historians or work in muse- CAA in 1990, obtain- Yiengpruksawan, ums and galleries, and 41 percent are visu- ing a teaching post Yale University: To al artists, while 56 percent of the overall during that year’s have been elected to membership work as art historians or in conference. This con- the CAA Board of museums and galleries, and 44 percent are fluence of events Directors is an visual artists. A total of 1,542 ballots were Diane Edison served to solidify my honor, but even returned in this year’s Board election out belief in the impor- more so a daunting Mimi Hall Yiengpruksawan of 14,000 sent to the membership—an 11 tance of the role that visual artists play in responsibility. Our percent voter response rate. the organization. Being mentored by other community of artists has made it possible for me to find a artists and art historians is a diverse one. Following are the new Board members’ balance between my work as a practicing Some of us inhabit realms of practice and statements: visual artist and as an art professor. As a thought that seem at times incommensu- new Board member, my emphasis and rable. And yet we share common cause on Kaucyila Brooke, energy will be on the career development many grounds, from freedom of statement CalArts: I began and mentoring of emerging visual artists to creative practice to intellectual inquiry. exhibiting as an and scholars. My service at the Annual The challenge before us, in our occasional- artist nationally and Conference as a Career Development ly difficult times, is to seek that common internationally in Workshop mentor and my work on the ground whose figure is diversity. I am 1986, a time when Services to Artists Committee have committed to thinking imaginatively about artists could build enabled me to gauge the continuing need what CAA means as a cultural and politi- strong dialogues for support and outreach services to artists. cal space. I look forward to my time on Kaucyila Brooke with others in the As a former member of the Art’s Place the Board and to the challenges that lie field through the task force, I see real opportunities in the ahead. alternative networks of artist-run spaces programming to help integrate this new and publications. CAA’s Annual space for artists into the conference and, in Conferences were a vital part of building doing so, to make it more reflective of the that discourse and provided a forum and membership as a whole. context for emerging, midcareer, and emi- TREASURER JACK nent conceptual and political artists. Since Dennis Y. Ichiyama, the partial de-funding of the NEA and the Purdue University: It HYLAND LAUNCHES demise of many artist-run institutions, is my hope that CAA mid-career artists have been increasingly will continue to focus CAREER AS AUTHOR isolated, and continue to practice without on the needs of the the benefit of community—and sometimes individual artist, Curiosity and perhaps family pride recent- without access to audiences. It is essential designer, and histori- ly led CAA Treasurer Jack W. Hyland, Jr., that CAA become a center for alternative an. Initiatives such as to become a published author. forms of networking to the market. Dennis Y. Ichiyama the Professional A writer by avocation, Hyland began Currently, museums and art publications Development Fellow- researching his book, Evangelism’s First are almost completely dependent on the ship Program and the Career Development Modern Media Star: The Life of Reverend gallery-and-collector system, while arts Workshops have had a tremendous impact Bill Stidger (New York: Cooper Square professionals whose critical practice exists on the membership. I support initiatives Press, 2002), after reading in Mark outside that hegemony are consistently that develop and expand such programs. Shorer’s biography of novelist Sinclair

CAA NEWS MAY/JUNE 2002 3 Lewis that Stidger, Hyland’s grandfather, publishing issues in the arts. In upcoming WHAT MATERIALS SHOULD AN was a “boor.” years, CAA hopes to present panels on AUTHOR SEND? “Those were fighting words,” says picture rights and permissions, the chang- Among CAA’s principal publications, Hyland, who works for the investment ing face of professional art publishing, CAA.Reviews does not accept unsolicited bank McFarland Dewey & Co. “The glove problems in publishing for tenure and pro- manuscripts, but The Art Bulletin and Art had been thrown down, and I decided to motion in the arts, and other related sub- Journal welcome them. find out the truth of that statement.” jects of particular interest to members and The Art Bulletin invites contributions The story of how Stidger sparked to the larger arts community. in all areas and periods of art history, but Lewis’s novel Elmer Gantry, then fought Six editors participated in the discus- does not accept previously published mate- with him over the negative portrayal of the sion, three from CAA’s own publications rial. Only complete manuscripts in title’s main character, is told in Hyland’s and three from other art presses: Janet English, accompanied by all notes, biblio- biography. Other chapters deal with Kaplan, executive editor of CAA’s Art graphic materials, and photocopies of Stidger’s time as an ambulance driver in Journal, H. Perry Chapman, editor-in- images, will be considered. An article World War I, his work for Henry Ford and chief of The Art Bulletin; Larry Silver, should be submitted by mail to the editor- Franklin D. Roosevelt, his Depression-era executive editor of CAA.Reviews (our in-chief in paper manuscript form and on radio program “Getting the Most Out of online book-reviews project, disk. The paper copy must be submitted in Life,” and his teaching at Boston www.caareviews.org); Nancy Grubb, triplicate, with all elements double-spaced. University. executive editor for art books at Princeton Photographs and illustrations should In the book’s introduction, Hyland University Press; Lee Ripley Greenfield, always be photocopies, not originals, recalls visiting his grandparents as a boy. director of the college and fine-art division accompanied by captions. Also include a “In that idyllic week in Boston,” he writes, at Laurence King Publishing, London; and cover sheet with your name, full address, “I experienced firsthand, albeit through the Susan Chun, general manager for electron- phone number, email address, a word eyes of a ten-year-old, a giant in his ic information planning and senior editor count, a fifty-word biographical statement, world—one who knew his fellow man so for new media at the Metropolitan and a 100-word abstract of the article. well that he could inspire hundreds, even Museum of Art, New York. The CAA Don’t forget to number your pages. The thousands, of people to find better, more director of publications, Eve Sinaiko, mod- accompanying disk must be clearly labeled confident, and more productive lives for erated the discussion. and should contain the complete manu- themselves.” At the same time, Hyland These representatives of scholarly, script, captions, notes, bibliography, also suggests that Stidger introduced the university, museum, and commercial art abstract, and author bio. The manuscript ministry to the modern marketing tech- presses gave authors practical information must be saved in a common word-process- niques now often associated with Billy on submitting a proposal for consideration ing format, and the disk should contain no Graham and Pat Robertson, among others. to a journal or book publisher; what mate- other files. More information about Evangelism’s First rials to include; how to identify the right Submissions should not be sent to the Modern Media Star may be found at publisher(s) for a project; and how long to CAA office, but directly to the editor-in- www.stidger.com. expect the process of review and accept- chief, whose address is listed at Hyland is now at work on “a novel of ance, request for revision, or rejection to www.collegeart.org/caa/publications/AB/ intrigue involving international investment take. A question-and-answer period fol- ABStyleGuide.html. Submissions by banking, archaeology on the Palatine Hill lowed, in which panelists addressed some email are not accepted. Rejected materials overlooking the Roman Forum, the of the problems faced by art authors today. are usually not returned. Vatican, and some very nefarious The cost and complexity of obtaining pic- Art Journal welcomes submissions on characters.” ture permissions was a prime topic of con- a wide range of topics in contemporary cern, as were issues related to publishing (twentieth- and twenty-first century) art in an electronic format. history, criticism, theory, and practice, This article presents some basic infor- including projects by artists and transcripts mation on how to submit a project to an of interviews. All submissions should be editor. Future CAA News articles will offer sent to the CAA office, addressed to the STRATEGIES FOR introductory information on author con- Art Journal executive editor. Complete PUBLISHING tracts, picture rights and permissions, and manuscripts or proposals may be submit- the editing process. Readers should bear in ted. As at The Art Bulletin, submissions by IN THE ARTS mind, however, that all scholarly and trade email are not considered. publishers—whether of journals or A proposal should comprise a short books—have their own rules and ways of description of the project, including the t the 2002 Annual Conference in working. The information offered here kind of text it will have (scholarly, literary, Philadelphia, the CAA Publica- may not be accurate for all publishers, and poetic, or other), estimated word count, tions Committee sponsored a panel should not be taken as infallible. Most some sample text, a description of the pic- discussionA for authors who seek to publish publishers provide submission guidelines ture program, a maximum of ten sample in the fields of art, art history, and art criti- on their websites; before preparing a man- color images (in photocopy or printout for- cism. This was one in a planned series of uscript or proposal for submission, be sure mat) with captions, and the names and practical lunchtime conference sessions on to consult them. c.v.s of all confirmed participants. Images

4 CAA NEWS MAY/JUNE 2002 or artists’ projects submitted digitally must posals should display economy, clarity, (New Providence, NJ: R. R. Bowkers, be in .tiff or .eps format, with accompany- and elegance of style, just as your manu- 2001), available at most libraries. It lists ing complete color printouts in triplicate. script does. publishers by areas of specialty and pro- Label your disk with file names, program vides addresses and sometimes the names used, and your name, and remove all unre- WHERE SHOULD AN AUTHOR of editors. lated files from the disk. SUBMIT A PROPOSAL? In most cases it is perfectly acceptable Complete manuscripts should follow Publishers look for books that will to submit the same manuscript or proposal the same submission guidelines as those advance the field, contribute new research, to more than one press at a time, as long for The Art Bulletin, but no abstract is offer a fresh perspective, and stimulate as you tell all the publishers that you are needed. Rejected projects will only be new ideas. Because of the high (and doing so. Some university presses will not returned if accompanied by an S.A.S.E. increasing) cost of pictures and color print- compete for a monograph; if you are in Book publishers usually have their ing, art books in particular must have a doubt about this, send the proposal to your own guidelines for submitting a project or clearly identified market. A book should first choice and ask in your cover letter if manuscript for consideration. Some prefer understand who its core audience is, multiple submissions are discouraged. A to receive only a proposal; others welcome whether scholarly specialist, educated gen- brief follow-up phone call to obtain an the submission of a complete manuscript. eralist, enthusiastic amateur, or some well- answer is not intrusive, but do not attempt Before an author submits a proposal to a defined combination of these, and it to engage the editor in a longer conversa- particular press or editor, he or she should should be able to communicate this knowl- tion about the book unless invited to do so. check the press’s website for guidance. edge in the quality and style of its prose, Never send a proposal to more than one Some guidelines for book submissions organization, and presentation. editor within a publishing house, either are a matter of common sense. For exam- Nancy Grubb of Princeton University simultaneously or serially. ple, textbooks are usually commissioned Press notes that she aims to sell at least If you make a multiple submission by the publisher, who will wish to be 1,000–1,500 copies of an art monograph, and receive a good offer from one press, it closely involved in its planning and struc- and at least 3,000 or more (depending on is courteous to inform the other publishers tural organization. If you are working on a its price and subject) of a general-interest and withdraw the project from their book intended primarily for classroom use, title. Commercial trade publishers, which consideration. you should not develop your manuscript often have larger programs of color print- past the proposal stage before seeking a ing, must usually sell larger print runs. HOW LONG WILL IT TAKE? publisher. Doctoral dissertations frequently have a The peer-review process at The Art Phone calls, verbal descriptions, and narrow and specialized focus, and can be Bulletin and Art Journal is important and email communications are rarely wel- difficult to sell in the necessary numbers. may take several months (usually between comed; an editor needs to see the quality Even the most popular, lively, and well- one and six). An author may be asked to of the author’s prose before expressing written dissertation will require some revi- revise the text for content, length, or style interest. A well-organized, well-written sion before it can be accepted for and resubmit, or to supply additional pic- proposal is as persuasive at the first stage publication. tures or other supporting materials. as a complete manuscript, and sometimes Before submitting a proposal, famil- As at scholarly journals, the review more so. iarize yourself with a press’s particular process for a book may also be slow. Most Indeed, many presses prefer to receive areas of strength or interest. A publisher presses send proposals and manuscripts to a proposal, rather than a complete manu- may be especially interested in architec- outside readers. Academic publishers also script. A proposal should include a cover ture, American art, or critical theory. Send submit all projects to an editorial board. letter that provides a brief, accurate your project to the presses that are likely Some editorial boards meet frequently, description of the project, including the to be interested in your subject. Remember others only once or twice a year. As when estimated number of words and a proposed that if a press rejects your project with the submitting a text to a journal, an author number of images; it should describe the words “not right for our list,” it probably should be prepared to respond to a request current state of the manuscript and esti- means just that and is not a reflection on for revisions. mate the date of completion. The package the quality of your work. You may wish to —Eve Sinaiko, CAA Director of should also include a table of contents, the consult an annual publication entitled The Publications author’s c.v., photocopies of selected Literary Market Place 2002, or LMP 2002 images, and a sample chapter of text (gen- erally no more than about twenty double- spaced pages). Frequently, the introduction Please visit text is particularly useful. Do not send dig- ital files or disks at this stage. www.caareviews.org/books/publishers Unless an editor has requested them, never send original photographs or any for a list of art and art-history-oriented presses, and other materials that are valuable or must www.collegeart.org/ publications be returned. Remember that all your com- munications reveal to an editor your skill for additional information about CAA’s journals. as a writer. Your letters, abstracts, and pro-

CAA NEWS MAY/ JUNE 2002 5 mixed-media or craft work would be pro- FROM THE CAA COUNSEL tected, or a piece of performance art “fixed” on videotape, has been left to the VARA encompasses two basic rights: courts to decide. MORAL RIGHTS FOR the right of attribution and the right of Keep in mind that any damage must integrity. Under the right of attribution, an be to the physical work of art itself, not to ARTISTS: THE VISUAL artist has the right to: (a) claim authorship a print or other image of it. A good illus- ARTISTS RIGHTS ACT of his or her own work; and (b) disclaim tration of this distinction between the pro- work that is not his or her own or that is tection afforded art under VARA and other distorted, mutilated, or otherwise modified copyright law is Peker v. Masters n February such that it would be prejudicial to his or Collection, 96 F.Supp.2d 216 (E.D.N.Y. 21, 2002, her honor or reputation. The second right, 2000). Here, an artist had licensed a com- CAA’s and probably the more important, is that of pany to produce posters of his work. OCommittee on integrity. Under this right, an artist may Masters Collection, a business that special- Intellectual Property prevent or claim damages for (a) any izes in reproductions of art designed to held a panel discus- intentional distortion, mutilation, or other look and feel like a real painting, pur- sion on moral rights modification of the artist’s work that chased the posters and, without seeking for artists entitled would be prejudicial to his or her honor or the artist’s permission, backed the poster “Beyond Copyright: reputation; and (b) any intentional or on canvas and applied a clear gel to the Jeffrey P. Cunard, Do Artists Have grossly negligent destruction of a work of surface, thereby imitating the sweep of CAA Counsel Rights?” at the recognized stature. brushstrokes and the impasto of paint. The 2002 CAA Annual Conference. This article These provisions are based on certain artist sued Masters Collection under both is based on Jeffrey Cunard’s opening pres- fundamental ideas. VARA acknowledges VARA (for modification) and under copy- entation for the panel on the Visual Artists that an artist has a form of property right right law. The court dismissed the VARA Rights Act (VARA). The panel was chaired in his or her creation that others may not claim on the grounds that the modification by Robert Baron, acting chair of the CAA claim nor prejudicially alter. This is not a was to the posters, not to the artist’s “work Committee on Intellectual Property. Other natural right based on the European model, of fine art,” the original canvas. The court, panelists included Patricia Failing, Athena but rather a grant of the Constitution and however, found for the artist on the copy- Tacha, and Harriet Senie. Congress. It is granted because an artist right claim on the grounds of unauthorized develops his or her reputation and career reproduction. It still comes as a surprise to many people, through the works of art themselves, so Unlike moral rights in Europe, in the including some artists, that under both fed- that any compromise to that art, or the law in some U.S. states and in the first eral law and some state laws, artists retain public perception of it, directly makes an drafts of the federal legislation, only the certain rights to their works of art—the impact on the artist’s future livelihood. artist whose work has been compromised physical objects themselves—even if the As a threshold matter, only certain art has standing to sue under VARA. Thus, artist no longer owns the art. Such rights is protected by VARA: works that fit a VARA rights may not be sold, bequeathed, are known as moral rights and, although definition of “Works of Visual Art” in § or transferred in any way. They may, how- acknowledged and protected for a long 101 of the Act. Works in traditional media ever, be waived, typically by contract at time in Europe, they are relatively new to such as painting and drawing are covered, the time of commission or purchase. In the American law. Starting with California in but multiples such as sculpture and prints case of works by joint artists, waiver by 1979, numerous states enacted legislation are only protected if the work is a unique one contributor is binding on all. If the giving artists a range of moral rights. In print or if it is in signed and numbered edi- rights are not waived, they survive until the late 1970s, Congress also began con- tions of 200 or less. Similarly, still photo- the death of the last surviving contributor. sidering a federal moral-rights provision, graphs produced for exhibition purposes Moreover, the intent of the defendant mat- but it was not until after the U.S. adhered are protected only if they are unique or are ters. For example, the Act only protects to the Berne Convention in 1988 that those in signed, numbered editions of 200 or against the intentional distortion, mutila- efforts bore fruit in the Visual Artists less. Specifically excluded are numerous tion, or other modification of a work of Rights Act of 1990 (VARA). items listed in the statute, such as posters, art. But if the work is completely VARA, like other statutory copyright maps, models, applied art, motion pictures, destroyed, then any grossly negligent legislation, has both a private and a public or other audiovisual works, periodicals, behavior that caused the destruction may justification. The first aim of the Act is to databases, and art produced for primarily be actionable. A final and important limita- encourage visual artists to make and dis- commercial purposes, such as advertising, tion on the art covered by the Act is that seminate works of art by affording them packaging, or promotional material. Also no work for hire is protected by VARA. certain protections and remedies against excluded is any portion of a mixed-media One of the more controversial details the destruction or damage to that art. The work of art incorporating one of the of VARA is the “recognized stature” hur- second aim is to preserve the artistic her- specifically excluded items. By listing dle for protection against complete itage for the benefit of society on the prin- inclusive and exclusive works, the status destruction of a work. Many other coun- ciple that living and working among works of works in media not listed at all remains tries give no moral-rights protection of art has positive societal effects. uncertain. For example, to what extent a against an artwork’s complete destruction

6 CAA NEWS MAY/JUNE 2002 on the principle that a piece which ceases What constitutes mutilation or English v. BFC & R East 11th Street LLC, to exist cannot be prejudicial to an artist’s destruction of a work of art? In many 1997 WL 746444 [S.D.N.Y. 1997].) honor and reputation in the way that an cases, of course, the answer is obvious. The English opinion was motivated by existing work which misrepresents the But in others it is not. For example, to pro- concerns for the legitimate needs of urban artist can. This misguided view was reject- tect commercial galleries and museums, development. The same concerns had led ed by the framers of VARA, but a remnant exceptions were carved out so that no to the inclusion of a building exception to survives in the “recognized stature” work is distorted, mutilated, modified, or VARA. Under the exception, which is requirement (and in the similar “recog- destroyed if the damage is the result of echoed in several state statutes, works of nized quality” requirement in some state conservation or public presentation art that are incorporated into a building statutes). The statute does not define “rec- (including lighting and placement), unless before 1990 (or post-1990 with a waiver ognized stature,” leaving it to the courts to caused by gross negligence. Similarly, from the artist) and that cannot be set the bar. Nevertheless, it is clear that it damage caused by the passage of time or removed without damaging or destroying was not intended to be a high hurdle, but the works are not covered by the Act. If rather a gatekeeping mechanism to prevent the art can be removed and the building frivolous suits. Moreover, the inquiry is owner wishes to remove it, he must make into the stature of the individual work of The second right, and a diligent good-faith effort, in writing, to art, rather than the stature of the artist gen- probably the more notify the artist, who has ninety days to erally, although of course the latter remove the work or pay for its removal. If informs the former. important, is that of the artist complies, the title to the work The most influential case on this and integrity. Under this rests with the artist. It is therefore impera- many other VARA issues is Carter v. tive that an artist either record the work Helmsley-Spear, 861 F.Supp. 303 right, an artist may with the Copyright Office or make sure (S.D.N.Y. 1994), aff’d in part, vacated in that the building owner has the artist’s cur- part, 71 F.3d 77 (2d Cir. 1995). Two sculp- prevent or claim rent address. Experience with the statute tors sued building owners under both the damages for (a) any suggests that the removal of a work is usu- modification and destruction clauses of ally possible; for example, murals have VARA for damage to their lobby installa- intentional distortion, been held removable even if painted tion. Judge Edelstein of the Southern mutilation, or other directly on outside brickwork (See District of New York enunciated a test for Hanrahan v. Ramirez, No. 97-CV-7470 recognized stature that required a two-part modification of the [C.D. Cal. June 3 1998].) inquiry—that the work in question was The actions for a violation of VARA meritorious and that the merit was recog- artist’s work that are the same as for other copyright provi- nized by some relevant section of society would be prejudicial sions. The artist can obtain an injunction to (critics, collectors, art historians, the local prevent damage to or destruction of the community, and so on). Although it was to his or her honor or work if he or she can show that the danger not the intent of the Act to require judges reputation; and (b) of damage is imminent. If the damage has or juries (recognized stature is a question already been done, actual or statutory of fact) to make aesthetic judgments, such any intentional or damages, costs, and reasonable attorney a test comes perilously close to it, and it fees are available. Statutory damages are appears that some judges since may have grossly negligent attractive because they require less proof allowed their personal aesthetic bias to destruction of a work than actual damages. They range from color their opinions. (See the dissenting $750 to $30,000 per artwork ($150,000 for opinion of Judge Manion in United States of recognized stature. a willful violation). Given the high cost of v. Martin, 192 F.3d 608 [7th Cir. 1999].) litigation, especially of expert testimony, In assessing recognized stature, courts and the subjective nature of the court’s generally rely on expert testimony, but, as the inherent nature of the materials is not inquiry, decisions to sue should be careful- the Martin case illustrates, such testimony actionable—there is no duty to maintain or ly weighed. A final factor should be the is not always necessary. Other forms of conserve under VARA. Open questions sympathy of the region in which the court evidence—reviews of exhibitions in which remain. For example, are site-specific sits. For example, the record of VARA the work appears, other critical comment, works considered modified or destroyed recovery in New York is very poor, where- catalogues, and newspaper articles can all when they are moved to another location? as Los Angeles and San Francisco, with be employed. Interestingly, Judge Moreover, the line between modification their active mural programs, have seen a Edelstein noted that VARA does not speci- and destruction can be counterintuitive as, number of successful suits. The most suc- fy when a work might have obtained rec- for example, in the case of a Southern cessful result yet was the $200,000 settle- ognized stature, raising the possibility that District of New York court that determined ment in San Francisco regarding the the destruction of the work and the subse- that the complete obstruction of an exterior destruction of Chuy Campusano’s “Lilli quent litigation might alone “generate” the mural by a new brick wall did not consti- Ann” mural. (See Campusano v. Cort, No. required stature. tute destruction of the mural, if the mural 98-3001 [N.D. Cal. Filed July 13, 1998].) itself remained intact but invisible. (See

CAA NEWS MAY/JUNE 2002 7 Other open issues remain to be litigat- ed. First, while in the English case the COPYRIGHT LAW 2004 CALL FOR court held that a work may not be protect- UPDATE ed by VARA if it was created without the SESSION PROPOSALS property owner’s knowledge and permis- The CAA membership comprises artists, sion, there is no statutory reason why other AA will hold its 92nd Annual authors, and scholars and artists whose courts would reach the same decision in Conference in Seattle from work draws on the work of others. CAA all cases. Second, although unauthorized Wednesday, February 18, to News will occasionally publish notes on CSaturday, February 21, 2004. This confer- modification of a work of art is usually a recent activity in the courts and violation of VARA, the accused, for exam- ence will be the fourth to implement the Congress that affects copyright law. changes recommended to the Board of ple, may nonetheless be able to invoke a The Uruguay Round Agreements type of “fair use” defense and claim that Directors by the Annual Conference Act (URAA) of 1994 restored the copy- Committee. The success of the new pro- his or her modification was in the interests rights of certain foreign works that had of parody or political comment, although gram criteria and categories is evident in fallen into the public domain in the U.S. the exciting programs developed since the no case has yet tested this possibility. In addition, the Sonny Bono Copyright 2001 conference in Chicago. The new sys- Third, and probably most important, is the Term Extension Act (CTEA) of 1998 tem has produced a conference program relationship of VARA to the prior state extended copyright protection by an that more effectively embraces the diversi- moral-rights laws. To the extent that additional twenty years, so that the stan- VARA offers equivalent protection to state dard term of copyright is now the life- ty of CAA’s growing membership and the rights, the latter are explicitly preempted time of an individual rights-holder plus variety of methodological approaches to by the federal legislation. But many gray seventy years, and the term for a corpo- the study and practice of art. An equally areas remain so that, for example, state rate author’s copyright (e.g., Disney) is stimulating program is expected in Seattle. laws which offer protection for multiples now ninety-five years from first of more than 200, or grant a cause of publication. INTRODUCTION AND CALL action in some third parties, such as the There is much current debate con- FOR PROPOSALS California, Massachusetts, and cerning whether such changes in the The Annual Conference Committee invites Pennsylvania statutes, are probably still copyright law and related court prece- session proposals that cover the breadth of viable. Indeed, the Act specifically does dents represent a trend toward limiting current thought and research in art, art and fair use and shrinking the public not preempt those state statutes that pro- architectural history, theory and criticism, domain. In a recent lawsuit, Golan v. vide for a cause of action for a limited pedagogical issues, museum and curatorial Ashcroft (U.S. Attorney General), time by the artist’s heirs or devisees. An practice, conservation, and developments Lawrence Golan and other plaintiffs in technology. aggrieved artist should always consider who want to publish and perform older whether both a federal and state claim is The process of fashioning the pro- works sued the government, claiming grams is a delicate balancing act. The available. the term extension and the copyright In spite of VARA’s limitations, artists 2004 program is shaped by three broad restorations violated the constitutional submission categories: Historical Studies, would be well advised to become better guarantee of free speech, and the acquainted with it, not only because it Contemporary Issues/Studio Art, and Copyright and Patent Clause, which pro- Educational and Professional Practices. acknowledges that an artist invests more vides that Congress may enact copyright Also included in the mix are the sessions of him or herself in a work of art than is laws “[t]o promote the progress of sci- presented by affiliated societies, commit- given up at sale, but also because it pro- ence and useful arts, by securing for tees of the Board of Directors, and, for vides some real incentives to collectors, limited times to authors and inventors administrators, government officials, and the exclusive right to their respective balance and programmatic equity, open property owners to treat both the work and writings and discoveries.” In responding sessions. The majority of sessions, howev- the artist with respect. Only a few VARA to this case, the U.S. government has er, is drawn from submissions by individ- cases have been fully litigated. Nonethe- argued for broad powers, claiming that ual members, and the committee greatly less there is strong anecdotal evidence that Congress has the power not only to depends on the participation of CAA the existence of VARA has had significant extend existing copyrights, but also to membership in the conference. effects in negotiating rights between an restore the copyright of work that has The Annual Conference Committee artist and patron and in settling disputes entered the public domain. The govern- welcomes session proposals that include outside court. As public commissions pro- ment also takes the position that the the work of senior scholars and artists, liferate and artists become more familiar general structure of copyright law is along with that of younger scholars, immune from First Amendment scrutiny, with moral rights, we can expect more liti- emerging and midcareer artists, and gradu- because the concept of “fair use” gation to throw light on the areas of uncer- ate students. Particularly welcome are already allows the types of uses typical- tainty in the Act. those that highlight collaborative and ly considered protected by the First —Jeffrey P. Cunard, CAA Counsel, with interdisciplinary work. Artists are especial- Amendment ly encouraged to propose sessions appro- the assistance of his colleague Christopher The government has filed a motion J. Robinson, to whom he is grateful priate to dialogue and information to dismiss the case, which is pending in exchange relevant to artists. These ses- federal district court in Colorado. sions need not conform to traditional panel

8 CAA NEWS MAY/JUNE 2002 formats; indeed, experimentation is highly solely on the basis of merit. Where propos- for expenses and income, showing other desirable. Sessions may bring together als overlap, CAA reserves the right to anticipated sources of funding or in-kind scholars in a wide range of fields, includ- select the most considered version, or, in support; and 5) a stamped, self-addressed ing, but not limited to, anthropology, some cases, to suggest a fusion of two or postcard, for the receipt of the proposal (or history, economics, philosophy, religion, more versions from among the proposals you can send your proposal via certified literary theory, and new media. In addi- submitted. mail). tion, the committee seeks topics that have The committee may invite open ses- Please send proposals to CAA not been addressed in recent conferences sions—submissions from members who Director of Programs, Members’ Exhibi- or areas that have traditionally been under- have not submitted proposals, but whose tion, CAA, 275 Seventh Ave., New York, represented. expertise and range of knowledge would, NY 10001. Deadline: November 1, 2002. in the committee’s opinion, be important SESSION CATEGORIES in shaping a balanced program. In doing Historical Studies: This category broadly so, we will consider a number of factors, embraces all art-historical proposals up to including whether or not topics were cov- the mid-twentieth century. ered in recent conferences. RESEARCH IN THE Each CAA affiliated society and TWENTY-FIRST Contemporary Issues/Studio Art: This Board committee may submit one proposal category is intended for studio-art propos- that follows the call for proposals and the CENTURY als, as well as those concerned with con- guidelines outlined above. A letter of sup- temporary art and theory, criticism, and port from the affiliated society or commit- AA committees serve as a conduit visual culture. tee must accompany the submission. The among the membership, Board of Annual Conference Committee will con- Directors, and staff, giving voice to Educational and Professional Practices: sider it, along with the other submissions, Cthe members for the expression of key This category pertains to session proposals on the basis of merit. issues faced by our professions. At the that develop along more practical lines and Proposals and the submission form 2002 Annual Conference in Philadelphia, address the professional concerns of CAA (located on page 23) should be sent by the Professional Practices Committee members as teachers, practicing artists and mail to Director of Programs, Sessions (PPC) held a series of concurrent round- critics, or museum curators. 2004, CAA, 275 Seventh Ave., New York, table discussions on a range of issues, NY 10001. Deadline: September 13, 2002. including tenure and promotion, the exhi- PROPOSAL SUBMISSION bition/museum catalogue and university- GUIDELINES MEMBERS’ EXHIBITION press publications, research and funding The Proposal: Prospective chairs must PROPOSALS SOUGHT for part-time and community-college fac- submit eighteen collated and stapled FOR 2004 ulty, and financing artists. The grassroots copies of their session proposals to the CAA invites members to submit proposals feedback from the conference provides a CAA Conference Director. Each copy for an exhibition, whose opening will blueprint for a continuing dialogue about must include: coincide with the Annual Conference in research in the twenty-first century. 1) a completed session proposal form Seattle, February 18–21, 2004. There are The session provided a great opportu- (located on p. 23); no limitations on the theme or the media nity for CAA members to discuss their 2) a one-page statement that describes the of work to be included in the exhibition, concerns with the committee and to help session topic and explains any special or except that it must be a group show of set the agenda for the coming year. For timely significance it may have for a par- CAA members’ work (membership during example, the session on tenure and promo- ticular field or discipline; the year of the show is required). CAA’s tion offered a wide number of perspec- 3) a c.v., no more than two pages in Director of Programs will convene a com- tives, including those of students, job seek- length; mittee to review and judge the proposals ers, professors, and department chairs. 4) a self-addressed, stamped postcard, so on the basis of merit. CAA will provide During the discussion it became clear that that CAA can acknowledge receipt of the support for the exhibition with a $10,000 many members are not aware that CAA proposal (or you can send your proposal grant. Proposals of no more than three has published its “Standards for Tenure via certified mail). pages should include the following infor- and Promotion,” as well as recommended mation: 1) name(s) of curator(s) or organ- conventions for curriculum vitae and slide Guidelines: The Annual Conference izer(s), affiliation(s), and CAA member- labeling, and etiquette for CAA interview- Committee considers proposals from CAA ship number(s); 2) a brief statement of no ers. (All of these can be found at www. members only. Once selected, session more than 250 words describing the exhi- collegeart.org/caa/ethics/index.html.) An chairs must remain members in good bition’s theme and explaining any special important outcome was the decision to standing through 2004. No one may chair or timely significance; 3) the designated publicize this through CAA’s own a session more than once in a three-year venue, including a brief description of the resources and those of related organiza- period (i.e., individuals who chaired ses- exhibition space, its staffing and security tions and publications. It also became clear sions in 2002 or 2003 may not chair a ses- features, and the approval for this exhibi- that changes in the nature of publishing sion in 2004). tion by the venue’s appropriate officer or have had an impact on the research profile. The committee makes its selection authority; 4) a detailed exhibition budget In addition, the fluid relationship of elec-

CAA NEWS MAY/JUNE 2002 9 tronic media to art and art history in the goals is the general lack of aid for the arts, Kittelson, Southern Methodist University; form of web exhibitions, design, and elec- fueled by a lack of understanding. The Billy X. Curmano, XART; Patricia tronic publication necessitate a revision in group noted that artists are too isolated, Cheyne, Pacific University; Maria Creypts, the “Standards for Tenure and Promotion” and should take a cue from Christo and go William Carey College; Lauren Eisen, for both visual artists and art historians. It out into the fields to chat with the farmers. Denison University; Rich Eisen, Columbus was also agreed that CAA should develop The group working on the status of College of Art and Design; Katherine better guidelines for outside evaluator let- nontenured, adjunct, and community-col- Huntoon, Old Dominion University ters for tenure and promotion. lege faculty suggested that PPC recom- Gallery; Claire Lieberman, Illinois State Each group followed a four-part mend standards for teaching loads, release University; Agnes Murray, Brooklyn Arts process to elicit democratic feedback. This time, and research support, define the role Council; Chitra Ramanthan; and Teressa consisted of identifying the issues, creating of adjunct faculty, and develop criteria for Valla. Adjunct and Community College: a purpose statement for the group, stating hiring, job descriptions, status, and access Irina D. Costache, California State its highest hopes, and identifying obsta- to resources for teaching and research. The University, PPC Member, CAA Board; cles. A model for how this process worked group encouraged CAA to advocate for Elizabeth Burin; Greg Constantine; Janice can be seen in the session’s financing more resources and support dedicated to Gordon; Rebecca Horne; Graham Lane; artists group. It comprised a diverse group part-time faculty, such as orientation, Michelle Linoblom, Bismark State of affiliated and independent artists, cura- office space, use of phones, administrative College; Jill Miller, Armstrong Atlantic tors, and arts administrators. The main support, and mentoring, in order to State University; Constance Moffatt, issue it identified was the artist’s need to empower adjunct faculty and thus encour- Pierce College; Ferris Olin, CAA Board; obtain funding for studio practice and age them to make a commitment to the Anne Swartz, Savannah College of Art and exhibitions. The studio artist stands at an department. In general, argued group Design; and Marjorie Van Cura, University intersection of the academy, cultural insti- members, a better dialogue needs to devel- of Pennsylvania. Exhibition/Museum tutions, and the marketplace unique in the op between full- and part-time faculty. Catalogue: Dewey Mosby, Colgate academic setting. When some art is intend- Gender bias, with women still often in University, PPC member; Kristi Nelson, ed to be sold as a commodity and other art lower-status positions, was also discussed. University of Cincinnati, PPC member; is created for experimental or educational The tenure and promotion group reported Ellen Konowitz, State University of New purposes, funding issues become confused. that one of the principal issues in art York, New Paltz, PPC member; Stanley Both galleries and universities vary widely departments today is strategic planning Bulbach; and Chimedu G. Okala, Norfolk in their support for individual artists. With and its possible effect on funding for State University. Our appreciation also no set standards, the individual artist is research initiatives. It also suggests that goes to Marta Teegen, CAA’s Manager of often left bearing the burden of producing PPC create a position paper on the M.F.A. Governance, Advocacy, & Special and exhibiting the art without a supporting vs. Ph.D. debate, observing that faculty are Projects, for her vital role in organizing the structure. These costs are compounded sometimes denied promotion because their event. when the work is large in scale or format. terminal degree is in studio art. —Debra Drexler, University of Hawaii, The geographic location of the artist can The exhibition/museum catalogue Manoa, PPC member also create obstacles. group discussed a lack of critical and com- The focus statement created by the prehensive literature addressing the medi- financing artists group is: “Art makes a um of fiber art. The sessions left PPC with fundamental contribution to the evolution an ambitious, membership-driven agenda of culture and the advancement of ideas. for the coming year. CAA COMMITTEE Our objective is to raise the level of sup- The PPC warmly thanks all partici- ON CULTURAL port and recognition from colleges, univer- pants in the roundtables. Co-Chairs: sities, museums, and commercial venues in Dewey Mosby, Colgate University, PPC DIVERSITY a manner that advances the individual member; and Debra Drexler, University of artist.” On a broader level, the group’s Hawaii, PPC member. Promotion and DIRECTORY highest hopes were to raise the level of Tenure: Anna Calluori Holcombe, Kansas appreciation for art in society at large by State University, PPC member; Michael increasing public arts education. It also Aurbach, Vanderbilt University, PPC t the 2002 Annual Conference, stressed that artists need to be proactive in member, CAA president; Dorothy CAA’s Committee on Cultural building grassroots support organizations Johnson, University of Iowa; Robert Diversity launched a new project, that can augment and challenge existing Lyons, University of South Carolina; Athe development and publication of a institutional structures. It suggested that Aaron Crayne; Vince Hron; Ellie Cultural Diversity Directory. CAA begin by developing standards for Moseman, Bryn Mawr College; John As part of this undertaking, the com- the financial support of artists working Neeley, Utah State University; and mittee hosted a well-attended Diversity within the academy. An institution that Jennifer Williams Terpstra, University of Networking Event. This reception was requires national or international exhibi- Wisconsin, LaCrosse. Financing artists: enhanced by the generosity of Harry N. tions to achieve tenure and promotion Debra Drexler, University of Hawai’I, Abrams, Inc., a publisher whose textbooks, should assist with the funding of their fac- PPC member; Gary Keown, Southeastern in particular, have helped to expand and ulty. The major obstacle to reaching these Louisiana University, PPC member; Karen diversify the art-historical canon. Julia

10 CAA NEWS MAY/JUNE 2002 Moore, senior editor, was on hand to pres- Lisa Lodeski Fine Arts, a fine-art services lows for this year ent the door prize, a gift of $500 in books company that specializes in art consulting speak about their of the winner’s choice from Abrams. and artist career development. work—all very fas- The Cultural Diversity Directory will Parker and Lodeski met at the confer- cinating—during a list artists, art scholars, and scholarship by ence for the first time and let us in on panel session spe- or about cultures, ethnicities, or other some of their discussion. cially organized for groups whose art and scholarship is gener- us. I also attended ally underrepresented in mainstream stud- LISA LODESKI: How have you spent the several other ses- Shalon Parker, 2001 PDFP ies of art. It will provide institutions and first year of your Professional Develop- fellow sions and heard individuals access to representatives and ment Fellowship? some really com- experts in a wide variety of fields and pelling presentations. I found myself tak- expressions, and to offer the artists and SHALON PARKER: I’ve spent this first ing copious notes at times. I came back to scholars themselves an enhanced opportu- year revising and completing chapters of California inspired and revived. nity for networking. my dissertation. The CAA fellowship and At present, the committee is develop- a second award have made it possible for LL: What are your post-dissertation plans? ing the tools for the gathering and organiz- me to devote myself full-time this year to ing of the information for the directory. dissertation writing. SP: This summer I’m teaching a course in Our intent is to do much of the work my department here at the University of online, and our next communication on the LL: And how is the writing process going? California, Berkeley. It’s on women artists directory will announce the ways in which from the mid-nineteenth to mid-twentieth you may participate: how to be listed, how SP: Slowly but surely. This whole revision century in Europe and North America, and to help us expand the listings in your area process is something of a love/hate experi- it will not only focus on women as makers of expertise, and so on. The Cultural ence for me. I’ve discovered that, on the of art, but also address how women have Diversity Directory will be available one hand, it is a chance to revisit my mate- been represented by men and other online at www.collegeart.org, as well as rial, think further about it, and then realize women. The course will revolve around a in hard copy form, in 2004. that I actually do have something more to series of case studies, but will also exam- —Ofelia Garcia and Amy Kirschke, say about a particular topic or image. On ine various themes, such as women and Committee on Cultural Diversity co-chairs the other hand, revising means I’m also modernism, women and abstraction, visu- constantly revisiting my greatest weak- alizing “female” experience, and the inter- nesses as a writer. And ideas or arguments section of gender with race, class, and/or that were not fully developed in a first sexual identity. draft still need to be refined. I have also FOLLOW-A-FELLOW discovered that dissertation writing has LL: Given that your dissertation studies warped my sense of time. I can look up the tradition of the Salon nude in late nine- from my computer after what seems like teenth-century France, why have you AA’s 2001 Professional Develop- forty-five minutes and realize that two decided to teach a course on women ment Fellowship Program (PDFP) hours have passed, and all I’ve produced artists? fellows kept busy at the Annual are three sentences! But overall this has ConferenceC in Philadelphia this year— been an exhilarating, if at times frustrating, SP: My dissertation topic is the very rea- between visiting the city, attending ses- experience. I’ve been able to see my work son why I want to teach a course about sions, and presenting their own papers at evolve into a much leaner, sharper text. So women as art makers. I’ve devoted the the PDFP session, “Work in Progress,” the opportunity to devote the entire year to past four years to researching and writing there was a lot to do. The conference was my dissertation has been most welcome. about the female nude—paintings of naked also a time for fellows to meet the mentors women by men—and I’m just ready to with whom they have been paired. This LL: Well, you were able to take a break think and talk about female agency for a pairing is designed to help PDFP fellows from writing, I hope, during the Annual while. The course should provide a bal- establish a professional network and gain Conference in Philadelphia. How was your ance to all of the time that I have spent moral support during their job searches. experience at CAA this year? reading, thinking, and writing about male Likewise, mentors find working with the representations of the female body. fellows rewarding. SP: Great. And quite honestly, better than One such mentor relationship is expected. I was very hesitant to take near- LL: And after this summer? between Shalon Parker, a 2001 fellow, and ly a week off from “dissertating” so early Lisa Lodeski. Parker is a Ph.D. candidate in the semester, and Philadelphia in the SP: I don’t know. There are a few possibil- at the University of California, Berkeley, middle of February definitely didn’t excite ities, but nothing definite yet for the sec- interested in nineteenth-century visual cul- ond year of my fellowship. ture in France. Lodeski received an M.A. me as a native Californian. But I really in art history from San Francisco State enjoyed meeting and talking with past and LL: Well, good luck! University in 1997 and currently teaches present CAA fellows in attendance at the art history at Long Beach City College in Terra Foundation for the Arts reception, SP: Thanks, Lisa. California. She also owns and operates and I got a chance to hear the other fel-

CAA NEWS MAY/JUNE 2002 11 of American cultural leadership. Agencies—the group that oversees funding ADVOCACY UPDATE While making several congressional for federal cultural agencies. We explained visits during Arts Advocacy Day, Teegen that NEA and NEH Challenge Grants have REPORT FROM WASHINGTON: and Skiff met with other arts advocates. allowed CAA to offer awards to individu- ARTS ADVOCACY DAY AND Unfortunately, the vast majority of these als from traditionally underrepresented JEFFERSON DAY advocates scoffed at our attempt to populations at the professional level in CAA cosponsored Arts Advocacy Day on reestablish a dialogue with our elected museums and universities through its March 11–12, 2002, hosted by Americans officials about grants to individual artists, Professional Development Fellowship for the Arts, and Jefferson Day on March more often than not stating that ours is a Program. CAA Director of Marketing and 21–22, 2002, hosted by the National lost cause. To be sure, if arts advocates Communications and a New jersey resi- Humanities Alliance (NHA), in dent, Richard Selden, also participated in Washington, DC. Both events brought visits (organized by Princeton University’s together a broad cross-section of national Office of Government Affairs) to the cultural organizations, academics, and offices of several New Jersy members of grassroots arts leaders to promote the arts, Congress. Unfortunately, the NEH falls arts education, and humanities to Congress under the radar in most congressional through increased support for the federal offices. We need to help raise the agency’s cultural agencies. profile—to increase awareness of the work In addition to requesting more funding that it makes possible, including support for the National Endowment for the Arts for art-historical research and exhibitions, (NEA), National Endowment for the and to improve the understanding of its Humanities (NEH), and the Institute of mission. CAA will continue to work with Museum and Library Services (IMLS), the National Humantities Alliance, a non- Bruce Cole, new chair of the National Endowment for the partisan advocacy group in Washington, CAA representatives Marta Teegen and Humanities. Paul Skiff focused on two key policy PHOTO CREDIT: TIM LLEWELLYN DC, of which CAA is a member, to issues on Arts Advocacy Day this year: address these issues. grants for individual artists and fair-mar- from around the country are afraid or Also during Jefferson Day, CAA and ket-value tax deductions for artists. unwilling to broach this important subject NHA cosponsored a reception at the Concerning grants for individual with members of Congress, then it will, Folger Shakespeare Library in honor of the artists, Teegen and Skiff argued that the sadly, forever be lost. We therefore strong- new NEH Chair, Bruce Cole, an art histo- NEA has always sought to promote ly urge all CAA members to engage your rian. It was well attended by congressional America’s cultural heritage and values elected officials in a dialogue about the staff, humanities advocates, and NEH staff both domestically and abroad through importance of grants to individual artists members. these grants. Specifically, NEA grants have and to ask them to sponsor legislation that As reported in the March/April issue supported and encouraged ingenuity, free- will fund them. of CAA News, President George W. Bush’s dom of expression, and risk taking. On the issue of fair-market-value tax budget, which was released in February of Since Congress eliminated grants to indi- deductions for artists, CAA has been an this year, calls for modest increases in the vidual artists in 1995, the NEA has placed advocate for pending legislation for well NEA’s and NEH’s budgets in FY 2003, the majority of its emphasis on education over a year now. Sponsored by Amo just enough to cover the costs associated and access programs. To remove artists Houghton (R-Corning, NY) and Ben with the proposed legislative change in from the grants program, however, leaves Cardin (D-Baltimore, MD) in the House accounting for retirement and health bene- this national arts-funding initiative without and Patrick Leahy (D-VT) and Robert fits costs; thus, program budgets for the positive examples of individual achieve- Bennett (R-UT) in the Senate, the pro- two agencies are nearly identical with the ment, which provide high standards upon posed legislation would allow artists to present fiscal year, at about $117.4 million which to base educational goals. A pro- deduct the donation of an artwork at its for the NEA and almost $126.9 million for gram for funding the arts that does not full market value. This will greatly aid NEH. The IMLS, on the other hand, is have examples of individual professional museums and other nonprofit recipients of scheduled for an increase of 8.1 percent achievement, much less encourage ingenu- art gifts by making the donation process over last year’s budget. While advocates ity and risk taking, does not allow the U. easier and more valuable for the donor. In urged members of Congress to support a S. to establish cultural authority or credi- all likelihood, the bill will be amended to a funding increase to $155 million each for bility worldwide. Therefore it is necessary larger tax bill; however, it is unclear both the NEA and the NEH during Arts that the NEA recognize individual artists whether or not there will be such a tax bill Advocacy Day and Jefferson Day, it is still with longstanding achievement, and this year. unclear whether such increases will occur encourage them to be outspoken with their For Jefferson Day, a humanities in the coming fiscal year. unique viewpoints and innovative, advocacy event that focuses on increasing —Marta Teegen, Manager of Governance, advanced ideas. After all, it is artists who support for the NEH, Teegen and CAA’s Advocacy, & Special Projects, with Paul are recognized by the national and interna- Executive Director, Susan Ball, met with Skiff, Assistant Director of Annual tional public for being positive examples several members of the Senate Conference. Subcommittee on Interior and Related

12 CAA NEWS MAY/JUNE 2002 (AMICO) welcomes four new institutional Legal U.S. visas are included for this AFFILIATED members: the Newark Museum in New nineteen-day cultural and educational Jersey, Louisiana State Museum in New excursion. The cost, which is less than SOCIETY NEWS Orleans, Chicago’s Terra Museum of $2,400, includes roundtrip airfare from American Art, and the Victoria and Albert Miami, airport transfers, in-country trans- ACUADS TO HOLD Museum in London. These four join thirty- portation, hotel, and breakfast each day. CONFERENCE two other museums in building the For detailed information, please contact The Australian Council of University Art AMICO Library, an online multimedia Thomas Morrissey, President, CCPAAH, and Design Schools (ACUADS) is the pri- resource that documents works of art from at 401/333-7270; [email protected]; mary professional organization for art and its members’ collections. [email protected] design education in Australia. The The AMICO Library is made avail- ACUADS annual conference will be held able through an educational license to uni- HBA ANNOUNCES TRAVEL October 3–5, 2002, in Brisbane, versities, public library systems, and K–12 AWARD Queensland, at the Queensland College of schools, enabling each subscribing institu- The Historians of British Art (HBA) is Art at Griffith University and the tion to obtain digital images for education- pleased to announce the HBA Travel Queensland University of Technology; its al use. A variety of delivery systems is Award. This award is designated for an theme is “De-skilling, Re-skilling, Old available. AMICO’s newest distributor, M.A.- or Ph.D.-level graduate-student Skills, New Skills.” Sessions will address Cartography Associates, will give access member of HBA who is presenting a paper topics relating to fine arts, design, to educators and scholars within institu- on British art or architecture in any session indigenous art, craft, regional art, and tions, as well as to individual, unaffiliated at a CAA Annual Conference. The $200 studio research. ACUADS conferences scholars, using Luna Imaging’s Insight award is is intended to offset travel costs. attract attendees from all states and software as the delivery platform. For To apply, the graduate student must send territories in Australia, and from Asia and more information about AMICO, write to the HBA president a letter of request and a New Zealand. For conference information, [email protected]; www.amico.org. copy of the session chair’s letter of accept- contact Virginia Freebody at ance to the session. Requests must be [email protected]. For ARIAH WELCOMES received by January 15 of the year in information on ACUADS, write to Jody INSTITUTIONAL MEMBERS which the conference will be held. The Fitzhardinge at J.Fitzhardinge@curtin. The Association for Research Institutes in student will be presented with the travel edu.au; http://acuads.curtin.edu.au. Art History (ARIAH) welcomes two new award during the HBA business meeting institutional members: the Frick Collection concomitant with the conference. If the AIHA MERGES WITH NCIS and Frick Art Reference Library in New student is unable to attend the business The Association of Independent Historians York and the Georgia O’Keeffe Museum meeting, other arrangements will be made of Art (AIHA) recently merged with the Research Center in Santa Fe, NM. to present the award during the National Coalition of Independent ARIAH’s twenty institutional members conference. Scholars (NCIS), and is no longer an affil- will meet this October in Santa Fe. For iated society. Barbara Mitnick, former more information on ARIAH’s activities, NCAA TO HOLD ANNUAL president of AIHA, wrote to CAA express- individual research sites, and a variety of CONFERENCE ing her thanks: “We wish to acknowledge fellowship programs, please visit The National Council of Art the help that CAA has given to AIHA and www.fiu.edu/~ariah. Administrators (NCAA) annual conference to independent art historians over the years will be held November 14–16, 2002, at the by providing opportunities for our organi- CCPAAH OFFERS TRAVEL TO Omni National Resort and Spa in Tucson, zation to sponsor panel discussions and CUBA AZ. The University of Arizona School of various programs at annual conferences.” The Community College Professors of Art Art will host the event, which will feature For information on NCIS, please contact and Art History (CCPAAH) is sponsoring interactive sessions with two resource- Charles R. Schrader, President, c/o NCIS, its fourth semiannual educational- development experts, Kent Chabotar and P.O. Box 5743, Berkeley, CA 94705. exchange travel program to Cuba July Kay Sprinkel Grace. A preconference 9–27, 2002. The trip is open to full-time workshop for new administrators will be ALAA APPOINTS NEW postsecondary educators through a license held on November 13. Up-to-the-minute PRESIDENT for Educational Exchange from the U.S. details of conference activities and regis- The new president of the Association for Department of the Treasury. Space is limit- tration may be found at www.arts. Latin American Art (ALAA) is Joanne ed to fourteen travelers, so please make arizona.edu/ncaa. Pillsbury, who will serve through 2005. plans soon. The group will have free time Information on ALAA, including member- as well as formal and informal interaction ship forms, is available at www.arts. with Cuban artists, museum directors, and arizona.edu/alaa. educators. Through this program, we are developing support for artists in Cuba by AMICO WELCOMES NEW supplying needed art supplies and much MEMBERS needed interchange with individuals in the The Art Museum Image Consortium field.

CAA NEWS MAY/JUNE 2002 13 CAA, will draft the amicus brief on behalf of art. Committee members serve a term of CAA NEWS of CAA. four years. The committee meets twice a For more information on any of the year in New York in spring and fall; CAA BOARD OF DIRECTORS items listed above, please contact Marta reimburses committee members for travel APPROVES NEW INITIATIVES Teegen, Manager of Governance, expenses in accordance with its travel poli- At its February 2002 meeting following Advocacy, & Special Projects, at cy. For more information on the Millard the Annual Conference in Philadelphia, [email protected]. Meiss Publication Fund, see www. CAA’s Board of Directors approved sever- collegeart.org/caa/resources/meiss/index. al new initiatives. First, the Board estab- html. Candidates must be CAA members lished a new award for distinction: the NOMINATIONS SOUGHT FOR in good standing, and nominators should Distinguished Lifetime Achievement 2003 CAA AWARDS FOR ascertain their nominees’ willingness to Award for Writing on Art. This award cel- DISTINCTION Would you like to recognize someone who serve. Applications by specialists in non- ebrates the career of an author who is a has made extraordinary contributions to Western fields of art history are especially citizen or permanent resident of the U.S., the fields of art and art history? Nominate welcomed for the current opening. its territories, Canada, or Mexico. “Writing someone for a CAA Award for Distinction. Candidates should submit a c.v. and a let- on art” includes art criticism, art history, Awards committees consider your personal ter explaining their interest in and qualifi- art biography, and art theory. The award is letters of recommendation when making cations for appointment. Nominations and presented to an author who, among other their selection. In your letter, please state self-nominations should be sent to Chair, distinctions, has demonstrated particular who you are; how you know (of) the nom- The Art Bulletin Editorial Board, CAA, commitment to his or her work throughout inee; how the nominee and/or his or her 275 Seventh Ave., New York, NY 10001. a long career and whose writing has had work or publication affected you, your Deadline: July 1, 2002. an impact nationally and internationally on studies, or the pursuit of your career; and the field. why you think this person (or, in a collab- The Board also moved to form a task CALL FOR BOOK-REVIEWS oration, these people) deserves to be rec- force to reevaluate CAA’s Guidelines for EDITOR, THE ART BULLETIN ognized. We urge you to contact five to ten The Art Bulletin Editorial Board invites Part-Time Employment in light of current colleagues, students, peers, collaborators, nominations and self-nominations for the practices in the fields of art history and and/or co-workers of the nominee to write position of book-reviews editor for the studio art. All recommended revisions to letters as well. The varying perspectives term of summer 2002 to summer 2005. the guidelines must be presented to the and anecdotes from multiple letters of Supervised by the Editorial Board, the Board at its April 2003 meeting. Similarly, nomination provide the committees with a book-reviews editor is responsible for the outgoing President Ellen T. Baird reported clearer picture of the qualities and attrib- commissioning of all book reviews in The that she will appoint a task force this year utes of the candidates. Art Bulletin. He or she will select books to to develop an ethics statement for CAA’s All nomination campaigns should be reviewed, choose reviewers, and deter- awards committees. include one copy of the nominee’s c.v. mine the appropriate length and character In response to recent U.S. court deci- (limit: two pages). Nominations for book of reviews. The book-reviews editor also sions regarding copyright law, the Board awards and exhibition awards should be works with reviewers and CAA’s directo- will file an amicus curiae brief in Eldred v. for authors of books published or works rof publications in the development and Ashcroft, a case to be heard by the exhibited or staged between September 1, preparation of review manuscripts for pub- Supreme Court in fall 2002. Eldred chal- 2001, and August 31, 2002. Note that no lication. He or she is expected to keep lenges the 1998 Copyright Term Extension more than ten letters per candidate will be abreast of newly published and/or impor- Act (CTEA), which retroactively extends considered. Please use the form on the tant books in the fields of art history, criti- the term of copyright by twenty years. back page of this issue of CAA News, or cism, theory, and museum publishing. This CAA’s brief will present the researcher’s print, fill out, and mail the online form. is a three-year term, which includes mem- point of view, detailing the difficulty For more information, please see bership on the Art Bulletin Editorial scholars face in obtaining permissions for www.collegeart.org/caa/aboutcaa/ Board. The book-reviews editor reports to use of older works (such as picture repro- awards_comm.html. the editor-in-chief and submits an annual ductions and text quotations), as well as Deadline: August 31, 2002. report to CAA’s Publications Committee. the copyright law’s chilling effect on fair- The Editorial Board meets in New York in use provisions, as publishers grow more the spring and fall, and in February at the fearful of litigation. Our brief will argue CALL FOR MILLARD MEISS CAA Annual Conference; CAA reimburses that the retroactive term extension does PUBLICATION FUND Editorial Board members for travel nothing to increase the value of future COMMITTEE MEMBER The Art Bulletin Editorial Board seeks expenses for the spring and fall meetings works and therefore does not encourage nominations and self-nominations for an in accordance with its travel policy. The future creators; at the same time, it does individual to serve on the Millard Meiss position includes an annual honorarium of diminish the public domain available to Publication Fund Committee from summer $2,000, paid quarterly. Deadline: July 1, everyone. As a result, it curtails freedom 2002 to summer 2006. The committee 2002. of speech without constitutional justifica- serves as a jury to award grants twice a tion. Jeffrey Cunard, of the legal firm year to subsidize the publication of book- Debevoise & Plimpton and counsel to length scholarly manuscripts in the history

14 CAA NEWS MAY/JUNE 2002 CAA.REVIEWS APPOINTS NEW Workers: Photography, Photographers, Louisiana, Lafayette; Chinedu Okala, FIELD EDITOR and the Farm Worker Experience in Norfolk State University; and Karen Emily Braun, professor of art history at California, 1850–2000 (Stanford Patterson, Kane University and Elizabeth the City University of New York’s Hunter University Press); and Amelia Trevelyan’s High School. The Roundtables for Mid- College, is CAA.Reviews’s new field editor Miskwabik: Metal of Ritual (University of Career Colleagues were led by Danielle for twentieth-century art, succeeding Mark Kentucky Press). Rice, Philadelphia Museum of Art; Antliff. She received her Ph.D. from the For a Meiss Fund application and Morgan Paine, Florida Gulf Coast Institute of Fine Arts at New York guidelines, write to publications@ University; David M. Sokol, University of University. Her most recent book is Mario collegeart.org or visit www.collegeart. Illinois, Chicago; Charles McWeeny, Sironi and Italian Modernism: Art and org/caa/resources/meiss/index.html. Ohio University; and Martha Oats, Politics under Fascism (New York: Deadlines: March 1 and October 1 of Princeton University. CAA extends its Cambridge University Press, 2000). Last every year. warmest thanks to these participants. year, Braun wrote “Klimtomania/ Klimtophobia” in Gustav Klimt: CAA NEWS INTRODUCES NEW AFFILIATED SOCIETY INVITES Modernism in the Making (Ottawa and SECTION PROPOSALS FOR PAPERS New York: National Gallery of Canada In an upcoming 2002 issue, CAA News The CAA affiliated society Historians of and Harry N. Abrams Inc., 2001) She is will introduce a new feature of the Netherlandish Art is sponsoring a special 1 currently co-organizing the exhibition The newsletter: “Books Published by CAA 1 ⁄2–hour session at the 2003 Annual Con- Power of Conversation: Jewish Women Members.” This section, which will also ference entitled “Exploring the Boundaries and their Salons for the Jewish Museum in be posted on the website, will parallel the of Public and Private in Northern New York for 2004. popular “Solo Exhibitions by Artist European Art, 1350–1600,” chaired by Editor’s statement: CAA.Reviews Members” section of CAA News. If you Lisa Deam, Valparaiso University, and should publish the most representative are an author of a recently published book Andrea Pearson, Bloomsburg University. choice of recent publications, covering a in art, art history, criticism, or theory, and Scholarship on the art of early modern wide range of subjects and methodologies. would like to be listed, please send your northern Europe is sensitive to the issues I hope to find the finest reviewers for name, membership number, title of your of “public” and “private,” but often casts books and exhibition catalogues on early book, publisher’s name, city of publisher, these categories in mutually exclusive twentieth-century art, written by both spe- and year published to Christopher Howard, terms. Recent research, however, has cialists in the field and by informed read- Managing Editor, CAA, 275 Seventh Ave., begun to argue for more flexible bound- ers from other areas and disciplines. New York, NY 10001; caanews@ aries between the two categories. collegeart.org. The chairs invite papers that test the MILLARD MEISS AWARD parameters of public and private art from a WINNERS ANNOUNCED range of perspectives. Papers might focus CAA is pleased to announce four Millard on a particular locale (such as a courtly Meiss publication subsidies for spring ANNUAL center); a group or category of objects 2002. Millard Meiss grants are awarded (princely collections or devotional art); or twice annually for scholarly manuscripts CONFERENCE a type of architectural or conceptual space from CAA members that have been (the Burgundian “theater state,” the accepted by publishers to assist in publica- UPDATE domestic setting, or the enclosed convent). tion costs. Grants are also available for How do such objects and spaces operate authors to subsidize photography THANKS TO ROUNDTABLES within or transgress the boundaries of pub- expenses. MENTORS lic and private spheres of influence? Also The most recent winners are: Patricia CAA’s Professional Development welcome are papers that question the Berger’s Empire of Emptiness: Buddhist Roundtables program was introduced at applicability of the terms public and pri- Art and Political Authority in Qing China the 2002 Annual Conference in vate to the art of the early modern period. (University of Hawaii Press); Michael Philadelphia. For her leadership in organ- Please send a cover letter (including Camille’s The Gargoyles of Nôtre Dame izing the program, CAA is indebted to CAA membership status and ID number), (University of Chicago Press); Sarah Annie Storr. The moderated roundtables— a one-page abstract, and a two-page c.v. to Fraser’s Performing the Visual: Making directed to new professionals and mid- Lisa Deam, Linwood House, Valparaiso Wall Paintings in China and Central Asia, career colleagues—provided frank discus- University, Valparaiso, IN 46383. 618–960 (Stanford University Press); sion on the opportunities and challenges Postmark deadline: July 15, 2002. Dario Gamboni’s Potential Images that affect professionals on the job. Look (Reaktion Books); Lynn Gamwell’s for this program at next year’s conference Exploring the Invisible: Art, Science, and in New York. the Spiritual (Princeton University Press); Leading the conversations at the New Christina Kiaer’s Imagine No Possessions: Professionals Roundtables were Philip The Socialist Objects of Russian Van Keuren, Southern Methodist Constructivism (Yale University Press); University; Ferris Crane, University of Richard Steven Street’s Shooting Farm

CAA NEWS MAY/JUNE 2002 15 March 10–April 12, 2002. alter/pieces. Painting and drawing. PEOPLE IN THE Heather Ryan Kelly. Allied Irish Bank, New York, May 16–June 30, 2002. NEWS Studies After Finnegan’s Wake.

Dianne Lancia. The Earlville Opera House Gallery, Earlville, NY, March IN MEMORIAM Norman S. Hirschl, a founder of the 2–30, 2002. Surface Noise. Mixed media. Hirschl & Adler Galleries in New York and an American painting expert, died Soraya Marcano. Mixta Gallery, New April 2, 2002. He was 86. York, April 4–30, 2002. Mixed media. As a teenager, Hirschl worked for his uncle, Frederick Frazier, who ran a SOUTH gallery in Manhattan. In 1938, Hirschl opened his own in New York, specializ- Michael Aurbach. Louisiana Tech ing in 19th-century American paintings, University, Ruston, LA, March 17–April particularly the 12, 2002. The Administrator. Sculpture. Hudson River and Ash Can Les Barta. University Center Gallery, Schools. Three University of Tennessee, Knoxville, TN, years later he May 1–August 14, 2002. Designed Leo Mendonça, Deconstruction: New York City, Columbus Circle, 2000, gelatin-silver closed his Reality. Photoconstructions. print, 16” x 20” gallery and became man- Alonzo Davis. Memphis College of Art, ager of the March 11–April 15, 2002. Alonzo Davis: September 13–October 26, 2002. A John Levy Recent Works. Mixed media. SOLO Record of Baby’s Days: An Installation. Gallery, where Drawing, painting, prints, and found Norman S. Hirschl he stayed until Dorotha (Dori) Lemeh. Ben Bailey PHOTO CREDIT: HIRSCHL & objects. ADLER GALLERIES 1952, when he Gallery, Texas A&M University, EXHIBITIONS and Abraham Kingsville, TX, May 2002. New Works. Matthew LaRose. Sleeth Gallery, West Adler, a friend and colleague, opened Virginia Wesleyan College, Buckhannon, Hirschl & Adler Galleries. Among the BY ARTIST Mark Sawrie. Erin Devine Gallery, WV, February 13–March 15, 2002. new gallery’s first exhibitions was Two Louisville, KY, May 15–June 29, 2002. Ancestors and Others. Painting and Hundred Years of American Art, which True Enough: New Photographs. MEMBERS prints. featured works by Thomas Eakins, John Singleton Copley, Winslow Homer, and Leo Mendonça. Lore Degenstein Gallery, Edward Hicks; Hirsch & Adler Galleries Only artists who are CAA members are Susquehanna University, Selinsgrove, PA, would become been best known for its included in this listing. Group shows are not January 26–February 24, 2002. Urban listed. When submitting information, include holdings in American art. name, membership number, venue, city, dates Fusions: Photography by Leo Mendonça. Adler died in 1985. Hirschl retired of exhibition, title of show, and medium (or in 1982, but remained active in many art website address of online exhibitions). MIDWEST organizations. From 1982 to 1984, Omission of membership number from your Hirschl was president of the Art Dealers submission will prevent your listing from Barbara Cooper. Elmhurst Art Museum, Association of America, and he helped being published. Black-and-white photo- Elmhurst, IL, January 24–May 12, 2002. found the Art and Antique Dealers graphs are welcome but will be used only if Beyond the Surface. Sculpture. League of America. space allows. Photographs cannot be returned. Please be advised that listings and Bill Gorcica. Kiehle Visual Arts Center, Harvey Quaytman, an abstract painter, images also may be reproduced on the CAA St. Cloud State University, St. Cloud, died April 8, 2002. He was 64. website. Please mail to: Solo Member MN, March 20–April 12, 2002. Digital Quaytman’s painting combined aus- Exhibitions, CAA News, 275 7th Ave., New Plus: New Works by Bill Gorcica. tere geometry and a powerful sensuality York, NY 10001; [email protected]. of surface and color. His spare, layered NORTHEAST compositions of gridded, hard-edged ABROAD bands or centered crosses, often on Claudia Chapline. Anagma Arte Anna Held Audette. Gallery of the shaped canvases, were realized in sub- Contemporaneo, Valencia, Spain, March College of Staten Island, Staten Island, dued yet lush hues. Emerging in the 15–April 14, 2002. Painting. NY, March 6–April 6, 2002. Paintings. 1960s, he responded to Minimalism and Anna Held Audette, Blast Furnaces, formalist abstraction by producing sleek Julie McNiel. Vallila Library, Helsinki, Barbara Bachner. Gallery@49, New 2001, oil on canvas, 60” x 42” hybrids of painting and sculpture, and in Finland, August 2002. Chromatica. York, February 7–March 9, 2002. the 1970s he began to focus on more reductive abstract painting that recalled Painting. Steven W. Teczar. Morton J. May Jessica Damen. Hudson D. Walker the work of artists like Kasimir Malevich Foundation Gallery, Maryville University Gallery, Fine Arts Work Center, and Piet Mondrian. MID-ATLANTIC of St. Louis, St. Louis, MO, January Provincetown, MA, May 3–13, 2002. Born in Queens, NY, Quaytman 16–February 15, 2002. Autobiographical Through Children’s Eyes. Painting. studied at Syracuse University, and in Roberto Bocci. Fine Arts Gallery and Fragments: A Gallery Installation. Mixed 1959, he earned a bachelor’s degree in Johnson Center Gallery, George Mason media. University, Washington, DC, August Adrienne Der Marderosian. Tisch fine arts from the Boston Museum School Library, Tufts University, Medford, MA, and Tufts University. He had more than 20–October 1, 2002. Parallel Visions, WEST Photography and Multimedia,1995–2002. April 29–June 27, 2002. One Vision/One sixty solo exhibitions around the world Voice: Selected Works; Henderson Hall since 1962. His works are included in the Photography and multimedia installation. Michelle Handelman. Catharine Clark Gallery, Middlesex Community College, collections of the Tate Gallery in London; Gallery, San Francisco, April 4–27, 2002. Bedford, MA, March 25–April 18, 2002. Corcoran Gallery of Art in Washington, Jessica Damen. Lipsett Gallery, National Trans>portal. Institutes of Health, Bethesda, MD, Works on Paper. DC; Fogg Art Museum in Cambridge, March 3–April 28, 2002. A Matter of MA; and the Museum of Modern Art and Place. Painting and prints; Montpelier Lynn Imperatore. William Holland Whitney Museum of American Art in Cultural Arts Center, Laurel, MD, Drury and William Holland Drury, Jr., New York. Gallery, Marlboro College, Marlboro, VT,

16 CAA NEWS MAY/JUNE 2002 During his career, Quaytman Iowa City, has been appointed F. Wendell uscript of the Four Gospels in the muse- received two Guggenheim fellowships, an Miller Professor at the school. um’s collection. CONFERENCES artist’s fellowship from the National Endowment for the Arts, the Elizabeth Daniel Weiss, an art historian and a Julie M. Johnson, assistant professor of Foundation Prize for Painting, and an member of the Johns Hopkins University art history at Utah State University, has & SYMPOSIA Academy Award in Art from the faculty since 1993, has been appointed been awarded a 2002 Fulbright grant to American Academy of Arts and Letters. dean of the university’s Krieger School of complete research on “The Incompetent Arts and Sciences. Spectator: Theaters in Lower Austrian For the most up-to-date and expanded list of conferences and symposia, please consult Burton G. Tremaine, Jr., a business Insane Asylums.” www.collegeart.org. executive who managed his family’s large MUSEUMS art collection and philanthropic founda- Margot Lovejoy, professor of visual arts Vicki Sant has been named chairman of CALL FOR PAPERS tion, died April 6, 2002. He was 79. the Phillips Collection in Washington, at the State University of New York, Technology and the Home, a session of His father and stepmother, Burton DC, succeeding Laughlin Phillips. Purchase, has received a 2001–2 New G. Tremaine, Sr., and Emily Hall York State Council on the Arts Media the Mid-Atlantic Popular/American Culture Association conference, will be Tremaine, amassed a major collection of Deborah Schwartz has been appointed production grant for her website project held November 1–3, 2002, in Pittsburgh, 20th-century art, including works by the deputy director of education at the TURNS, which was included in the 2002 PA. The domestic environment has been European modernist masters Mondrian, Museum of Modern Art in New York. Whitney Biennial. An installation version Picasso, and Braque, as well as American of the site has been featured in Taiwan at shaped, protected, improved, and compro- mised by technology. We seek papers in artists such as Jasper Johns. Tremaine’s Kathleen Walsh-Piper, formerly director the Museum of Contemporary Art, Taipei, all disciplines that explore the various mother died in 1987, and his father four of education and public programs at the and the Kaoshiung Museum of Fine Arts. interactions between the two from all years later; their collection was sold at Dallas Museum of Art, has been appoint- time periods. Presentations may focus on auctions in 1988 and 1991. ed director of the University of Kentucky Thomas Morrissey, professor at the real, imagined, or speculative homes and Tremaine, Jr., studied at Yale Art Museum in Lexington. Community College of Rhode Island in University in New Haven, CT, and served Warwick, received a grant from the technologies. Send a 1-page proposal and in the U.S. Army during World War II. He Rhode Island Foundation’s New Work c.v. to Loretta Lorance, CUNY Graduate was on the board at the Wadsworth ORGANIZATIONS program to develop a series of images Center, P.O. Box 461, Inwood Station, Atheneum Museum of Art in Hartford, Carmine Branagan has been appointed using lenticular imaging technology. The New York, NY; www.siue.edu/ CT, from 1965 to 1985, serving as its executive director of the New York–based body of work will be based on ~rdonald/mapaca/call00.htm. Deadline: president from 1978 to 1981. In 1991, he American Craft Council. Morrissey’s photographic images from June 15, 2002. became the first chairman of the Emily Cuba, Vietnam, and the U.S. Hall Tremaine Foundation, which awards Diane Brigham, formerly head of educa- Double-Sight: Copies, Likenesses, and grants to support the arts and environ- tion for the J. Paul Getty Museum in Los Richard Weis, professor of art at Green Translations in Early Modern Visual mental issues and to raise public aware- Angeles, has been named executive direc- Mountain College in Poultney, VT, has Culture will take place at the Courtauld ness about learning disabilities. tor of the Ryman-Carroll Foundation, a been awarded a Fulbright Scholar Grant. Institute of Art, London, December 12, nonprofit organization based in Los During the 2003 spring semester, he will 2002. This conference addresses changing Barbara Lee Williams passed away Angeles dedicated to teaching and be an artist-in-residence at Hannam attitudes toward visual replication during March 16, 2002. She was 48. encouraging young artists. University in Taejon, South Korea. the 16th and 17th centuries, a period An art historian, she was educated when visual mimesis and new construc- at the University of California, Berkeley, Diane Wolfthal, associate professor of tions of knowledge became interconnect- and Harvard University in Cambridge, art history at Arizona State University in ed and contested. The iconic concept of MA. Her career included positions as Tempe, has been awarded a National the replica (the authority of sacred model curator, teacher, lecturer, writer, and critic GRANTS, Endowment for the Humanities multiplied and disseminated by faithful in the history of art from Impressionism Fellowship for 2002–3 to research her imitation) was challenged by a view of to the contemporary era. During her book Jewish Ritual, Romance, and the copy as an empty, mechanical repro- career, she served as a member of the AWARDS, & Remembrance: Images in Early Yiddish duction opposed to a unique, authored board of directors for the International Books. She also received a Lucius original. Yet new incentives for replica- Society for Arts, Science, and HONORS Littauer Foundation grant for the same tion, whether through the technology of Technology, publishers of the journal project. print, formation, and relocation of picture Leonardo; writer of criticism and reviews collections, persistence of religious prac- for many publications, including Three Only grants, awards, or honors received by The Sterling and Francine Clark Art tices, or translation of pictorial vocabular- Penny Review, Southern Quarterly, and individual members are listed. Submit name, Institute in Williamstown, MA, has ies across cultural divides, called into Wired; instructor in art history at the membership number, institutional affiliation, selected the following CAA members as question the relation between original and College of Marin in Kentfield, CA, and and title of the grant, award, or honor, and 2002–03 Clark Fellows: Joseph copy, unique and multiple, and mimesis use or purpose of grant to Christopher Dominican University of California in Connors, Paul Duro, Carter E. Foster, and translation. We seek papers that Howard at [email protected]. San Rafael; guest lecturer and European- Marc Gotlieb, Guy Hedreen, James D. address diverse theoretical and geographi- art tour leader at the Fine Arts Museum of Herbert, Andrew McClellan, Nicholas cal terrain and prompt questions about Michael Aurbach, professor of art at San Francisco; intern in painting at the Mirzoeff (CAA Board), John Onians, how images become meaningful across Vanderbilt University and CAA president, auction house Butterfield & Butterfield; Ruth B. Phillips, Ellen Wiley Todd, and the spaces of representation and in the has received a Puffin Foundation grant archivist at the San Francisco Museum of Janet Wolff. gaps between diverse visual vocabularies. for his work in sculpture. Modern Art; and assistant curator at the Please send to Rose Marie San Juan, Art M. H. De Young Museum in San The Foundation for the Advancement of History and Visual Art, University of Mary Weaver Chapin has been awarded Francisco. Williams was recipient of the Mesoamerican Studies, Inc. has awarded British Columbia, 6333 Memorial Rd., an Andrew W. Mellon Curatorial American Medical Women’s Association 2001 grants to these CAA members: Vancouver, BC V6T 1Z2, Canada; san- Fellowship in the Dept. of European Research Grant for a study of the Jennifer Ahlfeldt, Bryan Just, and Jeff [email protected]; or Joanna Painting at the Art Institute of Chicago Surrealist artist Dora Maar. Kowalski. Woodall, Courtauld Institute of Art, for 2002–5. She will focus on the Donations in Williams’s memory Somerset House, Strand, WC2R ORN, research and presentation of the perma- can be made to the Ida and Joseph Friend The Louis Comfort Tiffany Foundation UK; [email protected]. nent collection, and will also work on Cancer Resource Center, University of has awarded grants to the following CAA Deadline: June 30, 2002. planning exhibitions of late nineteenth- California, San Francisco, 1600 artist members: John Bankston, Nina century French painting. Divisadero St., B 101, San Francisco, CA Bovasso, Francis Cape, Lisa Corinne Early Modern Women: Structures and 94143-1725, Davis, Diana Guerrero-Maciá, A. Subjectivities will be held November Marilyn E. Heldman, adjunct associate —Ann Gilkerson, Harvard University, Laurie Palmer, Sheila Pepe, Sondra 6–8, 2003, at the University of Maryland professor of art history at the University Ph.D. expected November 2002 Sherman, Marc Trujillo, and Tetsuya in College Park. For information on pro- of Missouri, St. Louis, has been awarded Yamada. posing a workshop, please visit a Sylvan C. Coleman and Pamela www.inform.umd.edu/atw5. Deadline: ACADEME Coleman Memorial Fund Art History June 30, 2002. Dorothy Johnson, professor of art histo- Fellowship by the Metropolitan Museum ry and director of the School of Art and of Art in New York. She will conduct Recovery, an interdisciplinary conference Art History at the University of Iowa in research on the Ethiopic illuminated man- on premodern responses to catastrophe

CAA NEWS MAY/JUNE 200217

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18 CAA NEWS MAY/JUNE 2002 and convulsion, will be held November essay, artwork is needed for a center folio Humanities seeks proposals for individual 1–2, 2002, at the Center for Medieval and RESOURCES & that addresses global issues of public and group exhibitions for its 2002–04 Renaissance Studies, Binghamton space, forces of acceleration and transfor- seasons. This call is open to all artists 18 University in Binghamton, NY. The expe- mation, and measures of ethical and aes- and older, and all media are welcome. rience of convulsion and cataclysmic OPPORTUNITIES thetic agency. We also welcome work by The gallery will provide insurance for destruction was frequent in premodern artists whose that in some way are shaped work in gallery. Artists are responsible for times, when fear of catastrophe—whether or influenced by Bhabha’s writings. delivery and pick-up of work. Please send For the most up-to-date and expanded list of from military action or a hard winter— Submissions should be in 35-mm slide or an S.A.S.E. with a brief description of resources and opportunities, consult was constant. Yet premodern people were CD-ROM and be of sufficient quality for exhibition, maximum of 20 slides (with www.collegeart.org. often remarkably resilient. We are solicit- high-quality reproduction. Please include size, title, media, and artist’s name), ing papers and session proposals on full identifying information (title, medi- résumé, and related material to Gallery recovery and reconstruction in Eurasia AWARDS um, date, name, address, and phone num- Director, Visual Arts Dept., SCGSAH, 15 from the fall of the great empires of Canson, Inc., a manufacturer of art ber) and an S.A.S.E. for the return of sub- University St., Greenville, SC 29601. For antiquity (the Roman and Han) to 1700. papers in France since 1557, requests missions; no entry fee is required. Mail to more information, visit the Visual Arts Also welcome are comparative discus- nominations for the Distinguished Art T. Warpinski, School of Architecture and area at www.scgsah.state.sc.us and scroll sions and of Africa and the precolonial Educator Award. This award will recog- Allied Arts, 5249 University of Oregon, down to Lipscomb Gallery. Deadline: and colonial Americas. There will be nize instructors doing innovative work Eugene, OR 97403; warpinsk@ October 15, 2002. some emphasis on architectural and urban with traditional or digital media. The darkwing.uoregon.edu. Deadline: July history, i.e., on physical rebuilding, but recipient will be profiled on the Canson 1, 2002. Art Start is a nonprofit organization that we are also interested in the reconstitu- website, where examples of their work has worked with more than 3,700 kids in tion of social and cultural worlds and the will also be featured. Nominations by col- Abstract Earth Gallery, an online New York—with those in homeless shel- (re)activation of memory through literary leages and self-nominations are welcome. gallery dedicated to promoting the best ters and with those coming out of jail and and artistic production. A volume of pro- Candidates must be participants in the abstract artwork on the Internet, is cur- in “last chance” high schools. We are ceedings is projected. Send abstracts to Canson Masters’ Circle program, rently seeking abstract art in any medium looking for volunteer artists and creative- Recovery Conference Committee, Center designed to provide support, information, by established and emerging artists. Our minded people to help develop visual-arts for Medieval and Renaissance Studies, and creative teaching aids to art educators gallery features a unique 3D-like system workshops with kids ages 6–12. Please Binghamton University, Binghamton, NY in North America. For more information, of rotating images and richly detailed contact Margot Liebman at 212/966- 13902-6000; [email protected]. visit www.canson-us.com or email close-ups that allow pieces to be viewed 7807, ext. 4; [email protected]. Deadline: June 30, 2002. [email protected]. realistically. Artwork sold through our gallery is subject to a 30 percent commis- CATALOGUES RAISONNÉS TO ATTEND CALLS FOR ENTRIES sion. Our gallery pays for all the shipping David Cohen is compiling a catalogue The Art Libraries Society (ARLIS/UK The Canson Student Art Contest is and returns costs on any sold pieces. raisonné of the collages of Alex Katz to & Ireland) annual conference, open to all students at degree-granting art Submissions of sample photographs, be published by Colby College Museum “Gateways to the Changing Landscape of schools in the U.S. and Canada for the slides, or CDs, and an S.A.S.E. for the of Art in summer 2003. Any information Art Information,” will be held August fall 2002 and spring 2003 semesters. return of materials can be mailed to 1695 on the subject can be sent to 15 E. 30th 15–18, 2002, in Glasgow, Scotland. The Categories include watercolor, acrylic, Old Henderson Rd., Columbus, OH St., #2E, New York, NY 10016; 212/532- conference will consider issues such as oil, or pastels; the judging of each catego- 43220; 866/423-4278; submissions@ 1111; fax: 212/859-7300; the digital imperative, users’ changing ry will be done separately. Winners will abstractearth.com; www.abstractearth. [email protected]. needs, the lifelong learning agenda, and be awarded Canson artists’ materials, val- com. safeguarding our cultural heritage. For ued at $1,000 for first prize; $500 for sec- GRANTS & FELLOWSHIPS ond place; $300 for third, $200 for fourth; Florida’s Art in State Buildings more information, contact Sonia French, The TransCoop Program of the Alexander and $100 for fifth. The winners’ work Program is currently advertising 11 new ARLIS/UK & Ireland, 18 College Rd., von Humboldt Foundation provides funds will be showcased at www.canson-us. public-art projects with submission dead- Bromsgrove B60 2NE, U.K.; tel/fax: for research collaboration between com. Submitted slides, prints, or other lines in June, July, August, and (+44) 152/757-9298; sfrench@arlis. German, U.S., and/or Canadian scholars materials will not be returned; please do September 2002. The art budgets range demon.co.uk;http://arlis.nal.vam.ac.uk/ in the fields of humanities, social sci- not send original artwork. Competing stu- from $4,360 to $100,000, and the various even/conf.html. ences, economics, and law. Research col- dents should include complete documen- art selection committees are searching for laborations are especially welcome. The tation of each entry, including artist’s a wide variety of art, from existing 2D The American Folklore Society will TransCoop Program provides funding for name, address and phone number, school, interior artwork to large-scale indoor hold its 114th annual meeting, with the up to 3 years, which must be matched by title of work, specific media and paper and/or outdoor commissioned works. For theme of “Image, Object, and Processes funds from U.S. and/or Canadian sources. employed, and size of actual work. There more information and to receive the of Documentation,” in Rochester, NY, For applications and further information, is no limit for the number of entries. descriptive booklet April 2002 Call to October 16–20, 2002. For meeting details please contact the Alexander von Works entered for the spring semester Artists, which is also posted to and membership information, visit Humboldt Foundation, U.S. Liaison may not be reentered in the fall. Mixed- www.dos.state.fl.us/dca, contact Lee www.afsnet.org. Office, 1012 14th St. NW, Ste. 301, media works may be entered in more than Modica, Art in State Buildings Program, Washington, DC 20005; 202/783-1907; one category. Entries must be created on Division of Cultural Affairs, 1001 DeSoto Grave Matters: Memory, Memorial, fax 202/783-1908; [email protected]; Canson or Arches paper, using Van Gogh Park Dr., Tallahassee, FL 32301; Mourning is an interdisciplinary sympo- www.humboldt-foundation.de. Deadline: or Rembrandt paint or pastel for at least a 850/487-2980, ext. 116; fax: 850/922- sium to be held November 8–9, 2002, at October 31, 2002. the Massachussets Museum of portion of the work. Digital-image entries 5259; [email protected]. may be submitted to masterscircle@ Contemporary Art (Mass MoCA) in The Canadian Studies Grant Program canson-us.com; 35-mm slides or 8 x 10" The Gallery at the University of New North Adams, and the Sterling and announces its 2002–3 competition, color prints can be mailed to Art Contest, Haven invites work in oil, watercolor, Francine Clark Art Institute in designed to support projects that examine Canson, Inc., 21 Industrial Dr., South acrylic, drawings, mixed media, graphics, Williamstown, MA. Organized in con- Canadian culture and society. For more Hadley, MA 01075. Spring 2003 post- photography, digital imaging, and sculp- junction with the exhibition Grave information and deadlines, visit mark deadline: July 1, 2002; prizes to be ture for its fall 2002–summer 2003 aca- Matters at Mass MoCA, the symposium www.canadianembassy.org. will probe the ways in which modern awarded by August 1, 2002. Fall 2003 demic year. Artists should submit up to postmark deadline: January 21, 2003; 12 slides, slide list, résumé, artists’ state- artists, writers, philosophers, and archi- The Humboldt Research Fellowship tects have struggled to figure death. For prizes to be awarded by March 1, 2003. ment, S.A.S.E., and 1 color or b/w slide for exhibition promotion (to be retained by Program supports highly qualified schol- more information, contact the Clark at ars of all nationalities and disciplines to The University of Oregon School of the university library). Entry fee is $20; 413/348-2303, ext. 260; research@ carry out long-term research projects Architecture and Allied Arts is seeking make checks out to UNH Foundation: clarkart.edu. (from 6 to 12 months) in Germany with a submissions of art for publication in its The Gallery. Send materials to The monthly stipend. Applicants must have a next issue of the Koehn Colloquium Gallery, University of New Haven, 300 doctoral degree and be less than 40 years Working Papers, which will include an Orange Ave., West Haven, CT 06516. of age. In addition, U.S. citizens in all essay by Homi K. Bhabha, the 2001 disciplines may apply for the summer Koehn Visiting Scholar, entitled “Space CALL FOR PARTICIPATION research fellowship and for the 2-year Agency: Ethics and the Enunciation of Lipscomb Gallery at South Carolina postdoctoral fellowship, both for U.S. sci- Equality.” For the publication of this Governor’s School for the Arts and entists and scholars. Applications may be

CAA NEWS MAY/JUNE 2002 19 submitted at any time. For more informa- taught 4 times per year and are limited to tion, workspace, and $400 stipend to November 7, 2002 tion and application, contact Alexander 6 participants. No prior knowledge of artists and writers. For application, down- Deadline for submissions to the January con Humboldt Foundation, U.S. Liaison encaustic or printmaking is required. load from www.jentelarts.org or send issue of CAA News Office, 1012 14th St. NW, Ste. 301, Each artist’s goals are addressed and request with self-addressed label and $.57 Washington, DC 20005; 202/783-1907; hands-on work is emphasized. The work- postage to Admissions Committee, Jentel December 2, 2002 fax 202/783-1908; [email protected]; shop is suitable for accomplished artists Artist Residency Program, 11 Lower 2003 Annual Conference session chairs www.humboldt-foundation.de. or adventurous beginners. The next Piney Creek Rd., Banner, WY 82832. receive final drafts of speakers’ papers announced workshop dates are August January 15–May 13, 2003, season dead- The Institute for Advanced Study in 9–13 and September 9–13, 2002. For line: September 1, 2002. May 15-July 13, February 19–22, 2003 Princeton, NJ, announces the competition more information and a schedule, write to 2003, season deadline: January 2, 2003. 91st Annual Conference in New York for membership for the academic year Paula Roland, 523 Cortez St., Santa Fe, 2003–4. The Institute was founded as a NM 87501; 505/989-3419; Large art-history library available as February 18–21, 2004 community of scholars in which intellec- [email protected]; www. gift to educational institution. Collected 92nd Annual Conference in Seattle tual inquiry can be carried out in the most paularoland.com. thirty years of teaching. Western: favorable circumstances; it provides Classical through modern. Depth: late members with libraries, office spaces, and medieval, fifteenth-century Italy and CONTINUED FROM PAGE 2 other services. Qualified applicants are Flanders, modern, religious iconography. invited to apply. Apart from residence in [email protected]. teaching, museum work, and Princeton during the term, the only obli- CLASSIFIEDS gation of members is to pursue their own The University of Northern Iowa seeks allied professions. The work- research. Candidates may apply for 1 or 2 to commission a $62,000 artwork for the shops will provide insights and terms. For further information and appli- Do you want to guarentee that your event or Maucker Union/Center for Multicultural practical advice on such salient cation materials, contact Administrative listing will be published by CAA News? We Education Project. Proposal to be post- Officer, School of Historical Studies, accept classified ads of a professional or marked by September 2, 2002. The com- questions as: What is the rela- Institute for Advanced Study, Einstein semiprofessional nature. $1.50/word for mission is for a frieze measuring 4’ x tionship between the job Dr., Princeton, NJ 08540; mzelazny@ias. members ($15 minimum); 2.50/word for 120’ along an exterior colonnade. Any edu; www.hs.ias.edu. nonmembers ($25 minimum). Classified ads permanent, outdoor medium will be con- description and my qualifica- must be paid in advance of publication. sidered. For information packet: Art and tions? How can I create a pro- James Marston Fitch Charitable CAA News also accepts boxed display Architecture Committee, Department of fessional résumé that will help Foundation will award a $25,000 advertising. Contact Christopher Howard, Art - 104 KAB, University of Northern research grant to a midcareer professional Managing Editor, at caanews@collegeart. Iowa, Cedar Falls, IA 50614-0362; get me an interview? What who has an advanced or professional org or 212/691-1051, ext 220, for details. 319/273-2077; [email protected]; additional application materials degree and at least 10 years experience in www.uni.edu/artarch. should I include? How do I historic preservation or related fields, FOR RENT including landscape architecture, architec- Florence. Unique small penthouse, his- prepare for a successful tural conservation, urban design, architec- toric center, spectacular terrace. Sleeps interview? How do I appropri- tural history, and the decorative arts. The two-plus, completely furnished, elevator, ately follow up after the inter- grant is intended to support projects of AC, washing machine, one-month mini- DATEBOOK original research or creative design that mum, rental references required. 508/877- view is over? How do I prepare June 17, 2002 for a new job and my future advances the practice of historic preserva- 2139. 2003 Annual Conference session chairs tion in the U.S. For application require- notify applicants of the acceptance or career development? Should I ments, call 212/691-3229; fax: 212/691- Umbria. Rustic farmhouse with basic rejection of preliminary proposals. CAA 2435; [email protected]. amenities. Near Gubbio. Sleeps 6+, investigate alternative careers? conference director receives session ros- Michael Aurbach, sculptor, Beautiful landscape. September–May. ters and a-v request forms from session ONLINE Contact 518/279-9290; nogna4@ chairs. (This information is used for the professor of art at Vanderbilt eSpectra, the online news portal from the aol.com. Preliminary Program and conference University, and president of Museum Computer Network, is updated scheduling) monthly and includes time-sensitive Umbria/Umbertide (Perugia). Restored CAA, will lead the Studio Art centro storico apartment. Alberti, two information like event and conference June 28, 2002 Workshop. Aurbach developed announcements and job postings, as well bedrooms. Details: 937/325-1837; Deadline for submissions for the August the popular Career Develop- as short features and late-breaking [email protected]; issue of CAA Careers announcements. Check out ww.mcn.edu/ www. umbrialink.com. ment Workshop for the Annual espectra. June 28, 2002 Conference, the centerpiece of FOR SALE Deadline for joining or rejoining CAA, or CAA’s mentoring programs, on RESIDENCIES Art Bulletin, 1963–87; American Art renewing CAA membership, for calendar which this program is modeled. Independent Day School seeks an enthu- Journal, 1969–86; JSAH, 1964–200l. year 2002 siastic working artist to produce his or her Reasonable. Name/address to David M. Sokol, professor [email protected]. own work during a 4–8 week on-campus June 30, 2002 of art history and chair of the residency. The ability and willingness to Deadline for preliminary proposals for art-history department at the provide K–12 students access to their OPPORTUNITIES the Committee on Cultural Diversity University of Illinois, Chicago, artistic thoughts and processes is needed; The Dedalus Foundation Senior Roundtable Discussion at the 2003 exhibition and public-lecture opportuni- Fellowship Program supports projects Annual Conference will lead the Art History Work- ties are available. A stipend, housing, stu- related to the study of modern art and shop. A specialist in American dio, and material allowance will be pro- modernism. Applicants must be U.S. citi- August 2, 2002 art and architecture and a cura- vided. Please send a letter of interest or zens and may not be candidates for an Deadline for submissions to the intent, résumé, list of references and academic degree. Awards of up to September issue of CAA News tor, Sokol has chaired the CAA phone numbers, 10 slides of work, and an $30,000 will be made for periods of up to Professional Practices Commit- S.A.S.E. for the return of slides to Todd one year. The deadline for applications is August 30, 2002 tee and has been active in CAA Johnson, Webb School of Knoxville, October 1, 2002; winners will be 2003 Annual Conference session chairs 9800 Webb School Dr., Knoxville, TN announced by the end of December. receive final abstracts from speaker mentoring programs for many 37923. Deadline: June 15, 2002. Fellowship application forms and guide- years. lines may be obtained from: Senior August 31, 2002 CAA staff members will WORKSHOPS Fellowship Program, Dedalus Deadline for nominations for the 2003 An Encaustic Monotype Workshop in Foundation, Inc., 555 West 57th Street, CAA Awards for Distinction be on hand to assist partici- Santa Fe, NM, will help artists learn tech- Suite 1222, New York, NY 10019. pants and provide copies of niques of encaustic printmaking, as well September 17, 2002 sample résumés for art histori- as encaustic painting and wax collage. Jentel Artist Residency Program is Deadline for submissions to the These 3-day and 5-day workshops are offering one-month residencies in a rural, November issue of CAA News ans, museum professionals, and ranch setting, which include accommoda- visual artists, plus other useful

20 CAA NEWS MAY/JUNE 2002 guidelines and conventions for those who are negotiating the job market. As a fitting conclusion to MASTER OF PROFESSIONAL the day’s activities, a special STUDIES IN ART THERAPY evening event is planned; it at the School of VISUAL ARTS will feature Thomas Crow, a renowned scholar and director The School of Visual Arts’ artistic This full-time two-year MPS program of the Getty Research Institute, and academic traditions offer an offers students a choice of two in conversation with distin- outstanding forum for students inter- specializations in the second year: guished guests. ested in pursuing a comprehensive Challenged Populations education in art therapy. The College’s · art therapy in a variety of settings location draws on the diversity of · working with the physically disabled New York City’s population and the CONTINUED FROM FRONT PAGE · the impact of disability on the family excellence of its art, health care and community institutions. Addictionology of Programs, who commis- · substance abuse SVA offers art therapy students a sioned the work. “We’re grate- · diagnosis and treatment unique blend of opportunities for · the physiology of addictions ful for his donation of this artistic development and clinical imaginatively conceived work, application. admired by many at CAA’s Trade and Book Fair last For more information, contact: Deborah Farber February in Philadelphia.” ® S chool of VISUA L A RTS Chair, Art Therapy Department The members-only intro- 209 East 23 Street Tel: 212.592.2610 ductory price for as if is $575 New York, NY 10010-3994 Email: w w w. s ch o o l o fvi s u l a r t s . e d u (unframed). Add $150 for [email protected] framing, if desired. A Chicago native, Spector © 2002, Visual Arts Press, Ltd. was named chair of the Depart- ment of Art at Cornell Univer- sity’s College of Architecture, Art, and Planning in Ithaca, NY, last year. Formerly on the faculty of the University of Illinois, Urbana-Champaign, he was a regional chair for CAA’s 2001 Annual Conference in Chicago. He has recently shown his art at Cristinerose Gallery in New York, Zolla- Lieberman Gallery in Chicago, and Marsha Mateyka Gallery in Washington, DC. To date, CAA has awarded Professional Development Fellowships to fifty-nine stu- dents completing the M.F.A., terminal M.A., or Ph.D. degree. The other artists who have made and donated prints to support the program are Sam Gilliam, Faith Ringgold, Miriam Schapiro, and Kiki Smith. For information about purchasing any of these prints, contact Susan Sacramone at 212/691-1051, ext. 252; [email protected]; www.collegeart.org/ 2002prints.html.

CAA NEWS MAY/JUNE 2002 21

CONTINUED FROM FRONT PAGE support given to senior profes- The Professional Practices process. Universities looking sionals at CAA. The Career Committee, of which Aurbach for guest artists, jurors, special- Aurbach joined CAA in Development Workshop, a was chair from 1998 to 2000, ists for workshops, and artists- 1982 as a graduate student at mentoring program that he has generated several new fea- in-residence could turn to it. It SMU. His first job interview helped develop for the Annual tures for CAA’s website that might even facilitate initiating was at the 1983 Philadelphia Conference, has assisted more aid artists and art historians to faculty exchanges in the U.S. conference; soon thereafter he than 1,850 members with job- prepare c.v.s, label slides, and and abroad.” began teaching at Hamilton search concerns since 1997. In format works in new media for Aurbach envisions CAA College in Clinton, NY. He this program, students and professional presentation. (See sponsoring lectures by out- became increasingly active in recent graduates meet one-on- www.collegeart.org/caa/ standing artists and scholars: CAA in 1990, when he sought one with art-history, studio-art, ethics/index.html.) “Maybe it’s time to initiate a guidance from the organization Aurbach is a creative and program that honors outstand- on promotion and tenure mat- innovative thinker. As chair of ing CAA members and shows ters. CAA’s professional guide- the Nominating Committee the next generation of artists, lines made it the prime source from 2000 to 2002, which art historians, and curators of such information. At about selects the slate of candidates what excellence really means.” the same time, Aurbach chaired who run for the Board, he He can imagine taking greater a CAA conference session on recalls, “One year we had a advantage of the cities where promotion and tenure. Because lively discussion about the the Annual Conference is held, of tremendous interest in the meaning of ‘diversity.’ Though and where many of CAA’s subject, Ruth Weisberg, then one tends to think of it only in more prominent artists main- CAA president, asked the pan- Michael Aurbach terms of race, gender, cultural tain studios. “Perhaps,” he sug- elists to form a committee and PHOTO CREDIT: ANDREI RALKO background, and sexual identi- gests, “We might ask some of reexamine the CAA’s current ty, for me the word includes these better-known artists to standards. Aurbach recalls, “I and museum professionals to people in community colleges open their doors to our mem- helped develop a questionnaire receive valuable professional and part-time employees.” He bers for a studio visit.” This that served as an eye-opening advice and career guidance. also helped usher in a new pol- would give the membership snapshot of the status of the Mentors spend twenty minutes icy that requires members of first-hand contact with artists, profession.” The work of this with each candidate, reviewing the Board either to give $500 of a sort that cannot be committee led to a much-need- their cover letters, c.v.s, slides, to CAA or to find a donor to described in a publication or ed revision of the “Standards and other pertinent materials; contribute that sum. shown on a website. for the Retention and Tenure of they also give helpful hints and Studio artists comprise 44 But the CAA president and Visual Arts Faculty”, which provide constructive criticism. percent of CAA’s membership, committees should not set too was more than twenty years Aurbach says, “It is the kind of and the last three CAA presi- strict an agenda. Senior schol- old. (This document can be face-to-face program that pro- dents have been art historians. ars and artist members submit found at www.collegeart.org/ duces real results. Some of the Many consider the organiza- fewer proposals for conference caa/ethics/va_fac_stands. ‘mentorees’ are coming from tion’s profile somewhat sessions than they might. (To html.) programs that provide little weighted toward art historians, submit a proposal, see the 2004 Since then, Aurbach has guidance for graduate students, but Aurbach feels this is a mat- Call for Proposals on page 8.) served on the Executive, so this is an opportunity for ter more of perception than of Aurbach notes that good rela- Finance, Annual Conference, CAA to save them from years fact. Nonetheless, he com- tionships with the major arts Advocacy, Nominating, and of bad job searches. Even a ments, “It’s important to pay organizations representing the Professional Practices commit- graduate with Ivy League cre- attention to the needs of all its disciplines of ceramics, sculp- tees, as well as the Working dentials does not necessarily members. CAA carries more ture, printmaking, and design Group on Committee Structure, know how to write a decent weight as an advocate when it could provide a critical mass of Subcommittee on Part-Time cover letter.” represents a broad range of artists to help to energize Employment, and Committee Until now, this workshop visual-arts professionals.” CAA’s conference through an on Revising Tenure has been held only once a year. Aurbach has many ideas to enrichment program of exhibi- Procedures. He was elected to CAA is, however, working to present to the Board. For tions, additional artists’ panels, the Board of Directors in 1999. extend the program beyond the example, he would like to see panels mixing artists with crit- On the Board, he has served as conference. This November, a CAA’s website provide a direc- ics, historians, and theorists, vice president for committees similar workshop, co-spon- tory of links to artists’ and art and other special events. and for external affairs. sored by the Getty Research historians’ websites: “The ben- —Christopher Howard, Through his committee Institute, will take place in Los efits of such a directory could Managing Editor, CAA News and Board work, Aurbach has Angeles (see related article on be quite direct. For example, championed the needs of page 2). “If this program artists, art historians, and For more information about CAA’s student members and proves successful, we can take administrators could search for Michael Aurbach, visit young professionals, working it on the road to other cities and identify outside reviewers www.vanderbilt.edu/AnS/ to gain them the same level of and regions,” Aurbach hopes. for the promotion and tenure arts/aurbach.

22 CAA NEWS MAY/JUNE 2002 CAA 2004 ANNUAL CONFERENCE Session Proposal Submission Form

Check one session category (*letter of support from sponsor required):

Historical Studies Educational and Professional CAA Committee-Sponsored* Practices Contemporary Issues/Studio Art Affiliated Society Sponsored*

Session title ______

Sponsoring affiliated society/CAA committee (if applicable)______

Brief synopsis of session topic______

______

______

______

______

______

Chair 1______CAA membership #______CAA membership from submission of proposal through 2004 is required of all chairs. If not a member, call 212/691-1051, ext.12, for an application.

Address______

Telephone: office/studio______home ______

Email______

Chair 2 (if applicable)______CAA membership # ______CAA membership from submission of proposal through 2004 is required of all chairs. If not a member, call 212/691-1051, ext.12, for an application.

Address______

Telephone: office/studio ______home______

Email______

Make 18 copies of (1) completed form, (2) 1-page proposal, (3) c.v. (2 pages max) and collate, staple, and mail to:

Conference Director, Sessions 2004 College Art Association 275 Seventh Avenue New York, NY 10001 Deadline: September 13, 2002 NOMINATION FOR 2003 CAA AWARDS FOR DISTINCTION MAIL TO: CAA Award Chair FAX TO: Deirdre Barrett c/o Deirdre Barrett 212/627-2381 College Art Association 275 Seventh Avenue New York, NY 10001

NAME OF AWARD:

NAME OF NOMINEE

TITLE:

AFFILIATION:

ADDRESS:

PHONE: FAX: EMAIL:

PERSON SUBMITTING THIS NOMINATION:

PHONE: FAX: EMAIL:

DEADLINE: AUGUST 31, 2002

NEWS

MAY/JUNE 2002

College Art Association 275 Seventh Avenue New York, NY 10001

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

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