newsletter Volumne 14, Number 2 Summer 1989 CAA SPONSORED BAY AREA MFA EXHIBITION HELD AT SAN FRANCISCO STATE UNIVERSITY

Organized to coincide with the 77th CAA pointed out, "although artists, like art his­ In her Introduction to the Exhibition Annual Meeting in San Francisco, The Bay torians, meet in regular sessions at the an­ Checklist, Susan Ball wrote, "We dedicate Area MFA Exhibition 1989 was held nual meetings, talking about their work is the Bay Area MFA Exhibition to Anne February 15th to March 10th at the San no substitute for showing the works them­ Coffin Hanson, one of the most dedicated Francisco State University Art Department selves. This exhibition thus marks a new and inspired presidents of the CAA, sup­ Gallery. Art work from MFA students from direction for the interchange of information porter of art historian and artist alike, and Stanford University, San Jose State among studio (artist) members of CAA faithful member of the CAA. As a tribute to University, the University of California, which is more comparable to that which the her dedication and commitment, we add our Berkeley. Mills College, the San Francisco art historians have long enjoyed." own commitment to provide a forum for the Art Institute, California College of Arts and exhibition of works by young, unrecog­ Crafts, and San Francisco State University An annual or at least regular exhibition in nized artists at the CAA annual meeting. were presented. This exhibition was a long the many different locales is essential to overdue sequel to an exhibition sponsored presenting the whole picture. Each city can Despite our good intentions, this exhibi­ by the College" Art Association in 1974, offer a different approach to presenting tion would have been nothing more than Drawings by MFA Candidates from varied aspects, of the studio arts throughout just that without the efforts of Judith American Colleges and Universities, which the country. With that in mind, CAA Bettelheim, her' assistant Nancy Ely who is was on view at Wayne State University in Executive Director, Susan Ball initiated completing a degree in Museum Studies, and conjunction with the 62nd CAA Annual discussions with Professor Judith the Department of Art at San Francisco Meeting in Detroit. In the exhibition cata­ Bettelheim at San Francisco State State University. Professor Bettelheim logue, then CAA President, Anne Coffin University. Professor Bettelheim proposed conceived the plan for the exhibition and Hanson wrote, "it is hoped that it will be the "Bay Area MFA" exhibition, in which SFSU Art Department Gallery Director John the first among many such exhibitions to seven Bay Area colleges and universities Leighton carried out the challenging in­ be held in conjunction with Annual would be invited to submit juried works by stallation. Professor Bettelheim deserves Meetings in the future." We salute their MFA students to the collective our warmest thanks for making it possible Professor Hanson's efforts and share her exhibition. The Board of Directors of the to revive the CAA annual meeting exhibi­ hope that this exhibition, fifteen years College Art Association voted to give new tion. " later, will be the second among many such and sustained momentum to Hanson's "new annual exhibitions to be held in conjunc­ direction" by sponsoring this exhibition. San Francisco State University also pro­ tion with CAA annual meetings, for as she vided gallery space, student assistants, reg­ istrarial services, and a special opening re­ ception for members of the CAA at the Annual Meeting. And last, but most cer­ tainly not least, we want to express our gratitude to all the artists who submitted their works to the exhibition and to the participating institutions which selected the works:

INDEX CAA Announcements/News ...... 2 1990 Annual Conference Update ... 3 Message from CAA President ...... 4 Affiliated Society News ...... 5 1991 Washington, D.C ...... 6 Legal Update ...... 8 Grants/Awards/Honors ...... 12 Solo Shows by Artist Members ... 15 People and Programs ...... 16 Opportunities ...... 18 Conferences and Symposia ...... 24 Information ...... 27 Classifieds ...... 28

The Bay Area MFA Exhibition 1989 Photo: Irene Poon CAA Newsletter CAA ANNOUNCEMENTS/NEWS

Stanford University: Dana Chodzko, AWARDS COMMITTEES be rumounced by both CAA and NICCP. A Robin Dolarian, Frank Isaac, Nor m FRANK JEWETT MATHER AWARD NEW BOOK REVIEW EDITOR ANNOUNCED committee representing both organizations Rosenberger, Michael Shuster. Douglas Crimp, October and ACTUP FOR THE ART BULLETIN will be assigned the responsibility of re­ University of California, Berkeley: Maria The President of the College Art (chair); Xenia Zed, Art Papers, Atlanta; viewing nominations. The award commit­ Cray, Pauletta M. Chanco, Kyung­ Assocition, with the advice of the Board of Hunter Drokojowska, Venice, California. Keith Moxey, professor and chair of art tee, co-chaired by NICCP Treasurer Susan SUD Cho, A. Eilene Houston­ Directors, has appointed the following CHARLES RUFUS MOREY BOOK history at Barnard College, has been named Bandes and CAA Officer Egbert Haverkamp­ Carver, Linda Kalin, Suzanne CAA members to ~erve on CAA Awards AWARD the new book review editor of The Art Begemann, will develop the criteria for the Lacke, Bill Scholer, Dean Smith, Committees to select the awardees to be Richard Brilliant, Columbia University Bulletin, effective July 1. He replaces Jim award. Teresa Smith. announced at the 1990 Annual Conference (chair); Irene Biennan, University of M. Jordan, professor of art history at San Jose State University: Joseph Convocation, Friday, February 16: California, Los Angeles; Susan Nelson, ARTIST AWARD FOR A Dartmouth College, whose three year term DeLapp, Holly Lane, Michael University of Indiana, Bloomington. has expired. DISTINGIDSHED BODY OF WORK Martin, Sonya Pop OW, Gary ARTHUR KINGSLEY PORTER Houston Conwill, New York (chair); Ruth Quinonez. PRIZE Professor Moxey received his Ph.D. from Mills College: Susan Androff, Bill Fine, National Gallery of Art, Washington, Edward Kaufman, Columbia University; READER'S DIGEST the University of Chicago in 1974. He is Bury, Suzann Dunaway. Dan D.C.; Phyllis Bramson, University of Debra Pincus, University of British ARTISTS AT GIVERNY the author of Pieter Aertsen and Joachim Gillespie, Margaret Moulton. nlinois, Chicago; Mary Lovelace O'Neal, Columbia; Thalia Gouma-Peterson, CoUege PROGRAM APPLICATIONS Beuckelaer and the Rise of Secular Painting San Francisco Art Institute: Galen University of California, Berkeley; Juan of Wooster. HAVE BEEN MAILED in the Context of the Reformation (1977) Sanchez, New York. Brown, Machele Civery, Karen For the third consecutive year, CAA is and Peasants, Warriors and Wives: Popular ALFRED H. BARR, JR. AWARD Jelenfy, Thomas Sicurella, Bonnie pleased to announce the Reader's Digest Imagery in the Reformation (1989). He is Weinstein. Edith Tonelli, Wight Gallery, University of Artists at Givemy Program Residency, ad­ also editor (with Norman Bryson and California, Los Angeles (chair); Sam California College of Arts and Crafts: NOMINATIONS INVITED ministered by the CAA. TIrree artists will Michael RoIly) of Visual Theory: Painting Sachs, Detroit Institute of Arts; Lowery Hedi K. Ernst, Lisa Friedlander, FOR CAA AWARDS have the opportunity to live at the home of and Interpretation (1989 - forthcoming). Kimiko Kogure, Carol Ladewig, Sims, Metropolitan Museum of Art. Nominations from the membership are in­ Impressionist painter Claude Monet, in Keith Moxey Seuug Lim Lee, Sachi Mizutani, DISTINGUISHED ARTIST AWARD vited for: Giverny, France, where a furnished apart­ The Art Bulletin Book Review Editor FOR LIFETIME ACIDEVEMENT Professor Moxey taught at Tufts University Jeremy Popelka. Steven Mark 1) Distinguished Teaching of Art ment and working studio will be available 1971-74 and at the University of Virginia Raskin, Vicki Van Winkle. Sam GilIiam, Carnegie Mellon, Pittsburgh and the Distinguished Teaching of for their use. All CAA members were re­ (chair); Audrey Flack, New York; Keith 1974-88. While at Virginia, he served as San Francisco State University: George Art History Awards. Letters of recom­ cently mailed an application brochure. Morrison, University of Maryland; Anne chair of the art department in 1976-78 and Fellow in West Berlin in 1982-83. He was C. Berticevich, Catherine Crider, mendation and supporting materials should Non-members may receive an application 1981-82. He was a member of the Institute co-director of the Institute on "Theory and Margaret K. Haydon, Bodil Volmer Page, Los Angeles; Esther Parada, Oak be sent to: Teaching Nominations, CAA, by sending a self-addressed stamped stan­ Park, Illinois. for Advanced Study, Princeton in 1978-79, Interpretation in the Visual Arts" at Hobart Nielsen, Kate Pixley. 275 Seventh Avenue, New York, NY 10001 dard size envelope to: Reader's Digest a Senior Fellow at the Center for Advanced and William Smith Colleges in the summer DISTINGUISHED TEACIDNG OF by 1 October. Artists at Giverny Program, CAA, 275 Sev­ Study in the Visual Arts, Washington, D.C. of 1987 and at the University of Rochester ART AWARD 2) Award for a Distinguished Body enth Avenue, New York, NY 10001. in 1980-81 and a Humboldt Foundation in the sununer of 1989. • Vivian Browne, Rutgers University (chair); of Work, Exhibition, Presentation Applications must be postmarked CAA is sponsoring an exhibition to co­ Harry Nadler, University of New Mexico; incide with the 1990 Annual Conference in or Performance, mounted in the year on or before 8 September 1989. Adolf Rosenblat, University of Wisconsin, preceding the award (1988-89 academic year New York. The newly revived "tradition" Milwaukee. Winners will be notified by November 15 for 1990 award), by a living artist who is a for the 1 April - 30 Sept 1990 residency. will be continued to 1990 for New York area DISTINGUISHED TEACHING OF 1990 ANNUAL MEETING UPDATE M.F.A. students and hosted by Cooper citizen or permanent resident of the United ART IDSTORY AWARD States, its possessions, Canada, or Mexico. Union. Lee Anne Miller, Dean of Cooper John Paoletti, Wesleyan (chair); Linda Union, will chair the organizing commit­ Send a minimum of 6 and a maximum of 20 Seidel, University of Chicago; and one slides, a catalogue if applicable, as well as servator's task wiII be explored. The con­ tee. II other person to be announced later. CHANGES IN ART the invitation or announcement of the ex­ PARTICIPATE IN CAA'S HISTORY SESSIONS servator is frequently confronted with com­ hibition or event to: The Award Committee PEOPLE OF COLOR IN THE plex problems when deciding on the proper for a Distinguished Body of Work, CAA at ARTS SURVEY treatment. Changes in tonality, changes in the above address. Deadline: 1 Oc­ CAA Board Member, Faith Ringgold, has Session Cancellation composition made by the artist, as weIl as tober. spearheaded a significant effort by the CAA The Session: The Problem of Fetishism (see alterations made during previous restora­ 3) Distinguished Artist Award for to identify people of color in the visual Art History Call for Participation, p. 4, col. tion can present challenges that the con­ Lifetime Achievement by a living arts. This survey is being conducted to aid 1) chaired by David Freedberg, Dept. of Art servator can appropriately address through artist who is a citizen or permanent resident 'the CAA board in accomplishing its goal of History and Archaeology, Columbia Uni­ the technical study of the creative process. of the United States, its possessions, bringing more people of color into the nu­ versity, has been postponed until the 1991 To submit proposals, follow the Guidelines Canada, or Mexico. Send nominations and cleus of CAA's governing body, member­ Annual Conference in Washington, D.C. , from the Art History Call for Participation, appropriate documentation to: Distin­ ship activities, programs, sessions, p.l. Deadline for sending propos­ guished Artist Award Committee, CAA at committees, and award nominations. It Addtional Theme Session als for this session is August 1. the above address. Deadline: 1 Octo­ may also provide the CAA with some rough An additional session has been organized to ber. evidence of the status of people of color in replace this cancellation. The Hidden ALUMNI REUNIONS and the academic and museum worlds. Help Image: A View of Technique, RELATED RECEPTIONS the CAA identify people of color Materials and Conservation of At the 1989 Annual Meeting in San Fran­ in the visual arts by completing a Paintings. cisco, CAA provided its institutional mem­ survey form. Write or call: Julie JOINT AWARD TO BE Ingrid C. Alexander, Smithsonian bers, affiliated societies and special interest Silliman, CM 275 Seventh Avenue, New Institution, Conservation Analytical groups with space free of charge to hold GIVEN FOR EXCELLENCE York, NY 10001. 212/691-1051. Laboratory, Museum Support Center, alumni reunions and receptions. Informa­ IN SCHOLARSHIP AND Washington, DC 20506. tion, including a space reservation form, CONSERVATION This session will examine the artist's mate­ will be mailed in September to all those The National Institute for the Conservation rials and painting techniques and how they who held receptions at the San Francisco of Cultural Property (NICCP) and the CAA relate to the visual image. An artist's style meeting. Any other institutions interested are pleased to announce the establishment 1992 CHICAGO is closely related to the choice of materials. in hosting a reunion or reception should of a joint award to recognize the outstand_ The 1992 CAA Annual Conference will be A close scrutiny of a painting's structure write now so that we may send you the in­ ing cooperative efforts of art historians and held in Chicago at the Chicago Hilton can reveal how materials and working formation in September. Please write to: The Bay Area MFA Exhibition 1989 conservators that result in new light being Photo: Irene Poon February 12-15 and will focus on the com­ methods affect the stability, condition, and JoAnne Capozzelli, CAA, 275 Seventh Av­ shed on works of art. The arumal award will memoration of the quincentenary. legibility of a work. In addition, the con- enue, New York, NY 10001. II 2 CAA NeWSletter Summer 1989 3 MESSAGE FROM CAA PRESIDENT PHYLLIS PRAY BOBER

Printed here are two recent letters. one sent to the British government and one to UNESCO, expressing concerns of the Col1ege Art Association's Board of Directors and President on behalf of its membership. AFFILIATED SOCIETY NEWS

Letter to UNESCO regarding northern Cyprus WCA's MEETING - The honorees exhibition held at the Vorpal A SUCCESS Gallery, curated by Anne Meissner and Sent 8 May 1989 to: Mr. Federico Mayer, Director-General of UNESCO, 7 Place de Fontenay. Paris 75700 France The 1989 National Conference of the organized by Lenda Barth and Jeanne Women's Caucus for Art was held in San L'Heureux, recognized the outstanding As President of the College Art Association, I address you, the bead of the extra-national body charged with cultural cooperation. On behalf of Francisco on the Monday, Tuesday and achievements of five women (See Grants/ the College Art Association's 11,000 members here and abroad - historians of art and architecture. archaeologists, museum professionals and independent Wednesday before the CAA Arumal Meet­ Awards/Honors) At the Monday night scholars and artists -- the Board of Directors has authorized me to write of our deep concern that the destruction to archaeological sites, museums, Christian membership banquet, organized by Maude churches and their works of art reported over a decade ago by the UNESCO envoy, Mr. Jacques Dalibard, continues to this day. We urge that UNESCO assume 'ing. Ann Meredith, Maude Church responsibility for and promote an immediate international campaign to save historic monuments and artistic treasures which are still being vandalized in and Margaret Stainer put together an Church, CAA Board member Whitney northern Cyprus. outstanding program which attracted a Chadwick gave the keynote address record attendance, with many members from entitled "Negotiating the Feminist Divide: As of 1985, the disgraceful story was revealed by an exhibition: Cyprus-The Plundering of a 9000 Year-old Civilization, sponsored by the Greek out~of-state. The theme "Bridging the 20 Years of Art and Politics in the Women's Ministry of Culture and Sciences and the Committee for the Preservation of Cyprus, among others. The catalogue of this exhibition has been republished :in Gaps" was realized in several ways: The Movement. It (See Grants/Awards/Honors 1988 and it is joined by other publications which provide photographic documentation of persisting vandalism in northern Cyprus. At the same time, Northern California chapter involved more for mid-career achievement awardees). icons, church furnishings, details cut from murals and mosaics (thus mutilating what remains on walls or in floors), indeed a vast array of works of art in all minority women than ever before, both as media, are appearing in the art markets of Europe and America. The most recent of these thefts sutfaced just a few weeks ago, offered for sale to a mid-west attendees and participants in panels and ex~ The bridge between art and politics was a U,S, museum, hibitions. Several sessions focused on is­ recurrent theme in sessions and related events, among them "Artist Activists: A It is difficult to make representations in protest of this plundering of a land which has stood at the crossroads of civilization, a meeting-place for sues of special interest to minorities: "Las cultures of the Mediterranean, of Anatolia and the Levant, and of Egypt since pre-historic times, when diplomatic recognition has not been extended to the Chicanas: An Overview," "Coast to Coast Woman's Art for the Transformation of administration of northern Cyprus by nations other than Turkey, Because Turkey is a member of your organization and because the situation is so dire for A Woman of Color National Artist's Book Culture," "Social and Political Activism in all those who value the unique artistic heritage transmitted by Cypriot history, we call upon you most urgently to request Ihe Turkish Government to use its Project," and "The Impact of Race and Gen­ the Arts," "Would Sofonisba ever make Full influence with the regime in northern Cyprus to bring a halt to these artistic atrocities. We call upon UNESCO also to develop international initiatives to Susan Ball (CAA executive director) and der on the Depiction of the Female Nude." Professor -- or Would She Want to?" protect and conserve historic monuments which still survive there. Ofelia Garcia (CAA board member) at the Furthermore, the exhibit "Autobiography "Working in Communities," "Is the Here­ Education in Art: Future Building conference in her own Image" at Mills College, Oak­ sies Collective an Avant-Garde?" "Art and The College Art Association intends also to address -- in part through copies of this letter -- other international agencies which we hope to sponsored by the Getty Center for Education in land, curated by Howardena Pindell, Radical Social Thought in 19th Century encourage to cooperate in a collective venture. At the same time we intend to alert museums and dealers' associations to the problems of stolen works on the the Arts America," and "Ideas into Practice: Be­ art market. showed work by 20 women of color. An­ other highlight of the trip to Mills College tween Politics and Art." Guidance for artists Thanking you in advance for your kind consideration, was a book signing by four recent authors: and activists was provided by workshops Linda Nochlin. Arlene Raven, on community building/leadership training Yours sincerely, Phyllis Pray Bober, President, CAA and Leslie Oark Professor:in the Humanities, Bryn Mawr College Further reading concering the Cassandra Langer, and Miriam and arts legislation, as well as sessions on Victoria and Albert Museum Schapiro. A "Meeting the Authors Re­ building professional art careers and over­ Controversy: ception" was organized at the Hilton by coming difficulties and prejudice. The first - Bolger, Doreen and Ad Hoc Committee for Elsa Honig Fine and Betty Nelson. Guerrilla Girls West Awards Presentation Letter to the British Minister for the Arts regarding the Victoria And Albert Museum the Victoria and Albert, Metropolitan Ruth Waters coordinated a rich selection for the Worst Offenders Against Women Museum of Art, ''No Way to Run the V. and of satellite exhibitions in Bay Area gal­ Artists was a satire of great seriousness, Sent 28 February 1989 to: Hon. Richard Luce, M.P., Minister for the Arts, The House of Commons, LONDON SWlA OAA, England A.?", letter to The New York Times, March leries by both local artists and national ju­ reminding us that women still have a long 19, 1989. ried groups. way to go before the gap is closed. III On behalf of the more than 11,000 members of the College Art Association of America, and in the wake of a resolution passed :in the course of our - Brighton, Andrew, "Margaret, Elisabeth, annual meeting last week, I write to express our deep concern about recent developments at the Victoria and Albert Museum, Victoria, and Albert: New director squeezes Art historians, museum professionals, and artists in the College Art Association enjoy many special and productive relationships with the V and A for Thatcher," New Art Examiner, scholar/curators at the Victoria and Albert, and we are strongly persuaded that a reorganization of the V and A which involves the separation of scholarship May 1989. from "collections management," as it has been termed, that dismantles a structure of unique and proven benefit to those collections, to research, and - "Keepers or housekeepers?", editorial, SCholarship, and to education of a wide public has international repercussions. The Burlington Magazine, Volume CXXXI, Number 1032, March 1989. The apparent intention to sacrifice scholars of world renown to solve short-term financial problems and "modernize," as reported in the press, is - Kemp. Martin, '1'he Crisis at the Victoria a chilling prospect that may ultimately destroy the high international standing of the V and A. The scholar/curators at the V and A are not merely members and Albert Museum, A loss of balance: The of the staff of a British institution; they are active and respected participants in the world community of art historians, and whatever affects them will affect us all. Their heretofore undivided curatorial responsibility for every aspect of acquisition, conservation, research, and display is to be destroyed in the new Trustees Boards of National Museums and order. Galleries," The Burlington Magazine, Volume CXXXI, Number 1034, May 1989. Yet, the treasures of the V and A do not merely represent the patrimony of the British people, - Melikian, Seuren, "New V &A: Socks in but artistic properties which, in some sense, belong to the entire world. Uniquely organized into Museum, Silver at Harrods," International departments based as a first principle upon the medium of the object, this museum, over the years, has Herald Tribune, March 11-12, 1989. been able to develop specialized connoisseurship and scholarship which has not been and could not be - Pope-Hennessy, John, "The Fall of a achieved in other institutions. Great Museum," The New York Review of Books, April 27, 1989. We understand that there is a need for administrative change; at the same time, however, we would like to have reassurances from you that whatever administrative changes which are deemed - Russell, John, "At the Victoria and necessary do not ultimately damage the long established functional relationships of the art Albert, A Collection of Missteps," The historian/curators with the collections. Accordingly, we urge that the pace of administrative change at New York Times, May 14, 1989. the V and A be slowed and that the deadlines for "voluntary redundancy" to take effect be postponed until ~ Save The Victoria and Albert Museum the full consequences of any new arrangements can be thoroughly studied, preferably by a Parliamentary Campaign, Newsletter, Number 3, April 3, commission, We further urge that any plan adopted should balance professional art-historical concerns 1989. against responsible fiscal management without sacrifice of one to the other. • Trucco, Terry, "The Victoria and Albert Tries to Catch Up," The New York Times, Sincerely yours, Phyllis Pray Bober, President, CAA and Leslie Oark Professor in the Humanities, Phyllis Pray Bober February 25, 1989. Bryn Mawr College CAA President Diane Burko 1989 Reader's Digest Artists at Givemy Resident 4 CAA Newsletter Summer 1989 5 r 1991 WASHINGTON, D.C.

6) Role of theory and criticism in the 1991 ANNUAL CONFERENCE ANNOUNCEMENT OF PROGRAM CHAIRS AND CALL education of artists. FOR SESSION PROPOSALS -- DEADLINE: 1 OCTOBER 1989 7) New themes/trends for the 1990s. 8) Working with one's personal experience The 1991 CAA Annual Conference will be Art History Program: Marianna Shreve Manuscripts (New York and London, 1979); and/or cultural heritage. held in Washington, D.C. Headquarter Simpsen, asseciate dean, Center for Ad­ Arab and Persian Painting in the Fogg Art 9) Appropriation from history. hotels will be the Washington Sheraton and vanced Study in the Visual Arts, National Museum (Cambridge, 1980); and L'Art de 10) Role and function of alternative art the Omni Shoreham. Sessions will start Gallery of Art, Washington, D.C. 20565. I'lslam en Asie (Paris, 1983; Spanish edi­ Thursday, February 21 and run through Sat­ Studio Program: Richard J. Powell, 3525 spaces. tion, Barcelona and Buenos Aires, 1986); 11) What are people creating, and why? urday, February 23. Davenport Street, NW, Apt. 501, Washing­ and ce-editer with Herbert L. Kessler of ton, D.C. 20008. Joseph Ansell, Depart­ 12) The 1991 conference will be a national Pictorial Narrative in Antiquity and the arts meeting in the nation's capital, but the PROPOSAL ment of Design, University of Maryland, Middle Ages (Washington, D.C., 1985). In College Park, MD 20742. region has other qualities than just its fed­ SUBMISSION GUIDELINES addition she has published articles in Ars eral identity. Proposals should be submitted to the pro­ Orientalis, Orientations, Studia Artium gram chair or co-chairs (a copy to each co­ ART HISTORY OrienJalis et OccidenJalis, Art et societe Interpret these as yeu wish; or ignore them. chair) the form of a (one to two in short PROGRAM CHAIR dans Ie monde Iranien, Asian Art, as well as Loek for new connections between studio. page) letter-essay framing the topic of the Marianna Shreve Simpson, associate varieus dictionary articles and reviews. At areas or between studio and art history; ex­ session/panel and explaining any special dean ef the Center for Advanced Study in the present she is completing a monograph on plore connections between studio activity or timely significance it may have for your Visual Arts at the National Gallery of Art, the celebrated Haft Aurang of Sultan and ether disciplines. particular field and/or discipline. For Stu­ earned both her undergraduate and graduate Ibrahhu Mirza in the Freer Gallery of Art. dio panels in particular, please outline degrees in the history of art (B.A., Univer­ Please submit proposals which interest you potential panelists and procedures. sity of Pennsylvania 1970; Ph.D., Harvard and which yeu feel are of interest to CAA's Explanatory or supportive materials may be ART HISTORY PROGRAM University 1978). She has been at the artist members and to all artists. II included with the proposal. Please include a Center for Advanced Study since its incep­ CHAIR STATEMENT c.v. or biographical statement, preferred The 1991 art history program in Wash­ tion in 1980, and has served as associate Richard Powell and Joe Ansell, co-chairs 1991 Studio Program mailing address, and both work and home ington. D.C. proposes to continue the var­ dean for the past five years. During this photo: Adriana Cordero telephone numbers. We recommend that same period she also has held an ap­ ious experiments in substance and structure you include a self-addressed stamped post­ pointment as prefessorial lecturer in the initiated at recent annual meetings. Differ­ card so that the chairs can acknowledge re­ fme arts at Georgetown University. Previ­ ent kinds of sessions will be possible, in­ ceipt of yeur propesal, and a S.A.S.E. if ous positions include that of research asso­ cluding (but not necessarily limited to): STUDIO PROGRAM Richard J. Powell, program director of i you wish any material returned. ciate at the Freer Gallery of Art. Smithso­ 1) Panels devoted to broadly-defmed issues CO-CHAIRS the Washington Project for the Arts (WPA) nian Institution; and visiting professer at and themes which cut across the cultural The 1991 Studio Program will be chaired in Washington, D.C., received a Ph.D. in To. summarize briefly eur procedures: 1) the University of California, Los Angeles. fields of art history and/or intersect with jointly by Joseph Ansell and Richard J. the history ef art, a M.Phil. in the history The Art Histery chair will consider pre­ Simpson's field ef research is medieval Is­ other disciplines. The venue for the 1991 Powell. of art and a M.A. in Afro-American Studies ,'': posals only from CAA members; Studio co­ lamic art. with special emphasis en Iranian meeting suggests the following possible from Yale University. He also holds a ' chairs will give preference to. members. 2) illustrated manuscripts of the 14-16th Cen­ topics for such sessiens: nationalism and Joseph Ansell is assistant prefessor of M.F.A. in printmaking from Howard Uni­ No. ene may chair a sessien mere than ence turies. She is the author of The Illustration the fermation of national artistic identities; design at the University of Maryland, Col­ versity, and a B.A. in art and English from every three years. i.e. sessien chairs in of an Epic: The Earliest Shahnama the design and development of capital lege Park where he served as coordinator of Morehouse College. Powell has taught at 1991 will net have chaired in 1989 er _cities; political uses of the arts; efficial the Visual Communication Design program Middlebury College, the University of ' from 1983-1988. Educated at Knox College 1990. 3) Program chair/co-chairs will make architecture and commemorative monu­ Hartford and Norfolk State University. He (B.A) and The George Washington Univer­ their selectien frem ameng those eligible ments. was a pre doctoral fellow with the Natienal sity (M.F.A.), his professional activity proposals purely en the basis of merit; 2) Panels concerned with the method­ Museum of American Art. a guest curator > encompasses painting; design and illustra­ however, if essentially the same proposal elogies and/er historiography of art his­ with the Field Museum of Natural History in " tion, as well as the histery of design and il­ is received from two. er more individuals, tory. The recent "state of the field" series Chicago, and a Rockefeller Foundatien Fel­ lustration. His paintings have been ex­ preference may be given to the individual in The Art Bulletin could be considered a low with the Metropolitan Museum of Art. from the region in which the meeting will conceptual model here, with perhaps a hibited throughout the United States and in He has published articles in African Arts, be held. 4) Where studio proposals overlap, broader scope of inquiry (e.g .• fields other Japan, Israel, England, and Ireland, while The Chicago Reader, and Siksi: The Nordic the studio. co.-chairs also reserve the right to. than western). his work in the areas of design and illustra­ Art Review; he has centributed to Winslow select the mest considered version or may 3) Panels devoted to. specific periods, re­ tion includes corporate identity materials, Homer's Images of Blacks: The Civil War in some cases suggest a fusion of two er gions and media. Again, sessions con­ exhibition design and editorial illustration. and the Reconstruction Years (University of ' more versiens from ameng the proposals cerned with cultures other than western and He has published articles and essays en the Texas Press, 1988), and AfricanwAmerican submitted. The program chair/co.-chairs with media such as the graphic arts, the history of poster design and the history of Artists, 1880-1988: The Evans-Tibbs may invite submissiens from peeple who "decerative" arts, the arts of the boek. illustration and is currently completing a Collection (University, ef Washingten, have not submitted proposals, but whese photography and ,film, and costumes are book en the beok illustrations, political 1989); and has written numerous exhibition experience, expertise, and eutreach, would, encouraged. cartoons, miniature paintings, and illumi­ catalogues. in the chair's/ce-chair's epiniens. be im­ 4) Workshops on individual werks of art, nated manuscripts of the 20th Century Pol­ portant to shaping an interesting and bal­ artists. collectiens, and related topics ish-American artist Arthur Szyk. In 1986 STUDIO PROGRAM anced pre gram. In doing so., pre gram which might be discussed in an informal and 1987 he co-chaired design education CO-CHAIRS STATEMENT chair/co.-chairs will censider a number ef gathering. It is expected that such work­ sessions at the meetings of the University We have few. if any, preconceived notiens factors, including which tepics were net shops will take advantage of the variety and Cellege Designers Asseciation and in about the topics and/or structure ef the stu­ cevered in recent CAA annual meetings. As (and accessibility) ef museums and art col­ 1988 he co.-chaired that organization's na­ dio sessiens fer the 1991 CAA annual con­ above, all ether things being equal, prefer­ lections in Washington, and that they tienal conference. CAA activities include: ference. The fellowing is a possible shop­ ence may be given to. artists/schelars from might take place outside the regular meet­ Panel Co.-Chair: "The Poster - An Ex­ ping list: the regien in which the meeting will be ing spaces. pression of Its Thue" (1983); Co-Editor: 1) "Fine" art and "Folk" art held. 5) Workshops on current research. Such Art lournal (Spring 1984 issueffhe Poster); 2) How do we teach studio art? sessions. introduced at the 1990 annual Sessions Coordinater, Design Forum 3) Design, crafts, etc.; areas other than Please submit proposals to the Art History" Marianna Shreve Simpson. meeting, are designed fer a limited number (1987); presently 2nd Vice President of De­ mainstream "fme" arts. by chair 1991 Art History Program Chair amI/or Studio Program Co-Chairs ef papers and/or informal discussion on re­ sign Forum; and Treasurer ef the CAA Gay 4) Artists in museums. 1 October 1989. search currently in progress. and Lesbian Caucus. 5) How artists live; Where artists live.

6 CAA Newsletter Summer 1989 7 ;-

LEGAL UPDATE by Barbara Hoffman, Esq.

SUPREME COURT RENDERS The first condition under Section 101(1) is employee of CCNV but an independent contractor. True, CCNV members directed STATE SOVEREIGN IMMUNITY AND COPYRIGHT INFRINGEMENT DECISION IN "WORK FOR where a work is "prepared by an employee In the Spring CAA Newsletter this coluIIUl reported on a recent decision of the U.S. Supreme Court which held that states and their within the scope of his or her employment. enough of Reid's work to ensure that he political subdivisions were not liable for copyright infringements. Several members of Congress have responded by introducing bills to HIRE" CASE The second provision "deals with specially produced a sculpture that met their specifi­ Freelance artists and writers gained an clarify Congressional intent with respect to copyright infringement and the sovereign immunity of states under the 11th Amendment of ordered and commissioned works and re~ cations. But the extent of control the hir­ the Constitution. fu the House, Congressman Robert Kastenmeier (D-WI), the Chairman of the House Subcommittee on Courts, important legal victory on Iune 5. 1989 ing party exercises over the details of the when the U.S. Supreme Court ruled in an suIted from lobbying pressure exerted by Intellectual Property and Administration of Justice introduced H.R. 1131 while in the Senate, Senator Dennis DeConcini (D-AZ) Chainnan the publishing industry. Section 101(2) al­ product is not dispositive. Indeed, all the of the Senate Subcommittee on Patents, Copyrights and Trademarks introduced S. 497. Key points of these bills are summarized below. unanimous opinion in favor of James Earl other circumstances weigh heavily against Reid, a sculptor in the case of Community lows the commissioning party to obtain Following the summary is a reprint of the Statement of Ralph Oman, Register of Copyrights, on this matter. CAA thanks Paul A. Skrabut, the copyright for a work that falls within finding an employment relationship. Reid for Creative Non-Violence v. Reid. The Jr., a Washington lobbyist with the firm of Palumbo & Cerrell, mc. who often works on artists' issues, for much of the information on one of nine classes of specially ordered or is a sculpture, a skilled occupation. Reid H.R. 1131 and S. 497 that appears below. Supreme Court. upheld the literal inter­ commissioned works, including "a contri­ supplied his own tools. He worked in his pretation of the "work made for hire" bution to a collective work, as part of a own studio in Baltimore, making daily su­ 1. H.R. 1131 and S. 497 reaffirm Congress' original intent. provision under the 1976 Copyright Act motion picture or audio visual work; as a pervision of his activities from Washing­ - In 1976 Congress made clear that: 1) states are liable for money damages under the Copyright Act, and 2) the 11th Amendment to adopted last year by the United States Court translation; as a supplementary work; as a ton impossible. Reid was retained for less the Constitution is not a bar to such a lawsuit. of Appeals for the District of Columbia and compilation; as an institutional text pro­ than two months, a relatively short period - However, in 1985 the U.S. Supreme Court. in a non-copyright case, said that Congress must be far more specific whenever it discussed favorably in this column in the vided that the parties expressly agree in of time. During and after this time had no intends to offset the 11th Amendment to the Constitution. As a result. three federal appeals courts have since held that the 1976 spring. writing that the commissioned work in is­ right to assign additional projects to Reid. Copyright Act does not contain the specificity needed to subject states to money damages. sue will be considered a "work made for Apart from the deadline for completing the - S. 497 and H.R. 1131 respond to these court decisions by making it unmistakably clear that states can be sued in federal court for Reid involved a dispute over the copyright hire." In all other cases copyright must be sculpture, Reid had absolute freedom to de­ money damages in copyright infringement cases. ownership of a statute commissioned by the obtained from the creator by written trans­ cide when and how long to work. CCNY 2. Enactment of this legislation is necessary to protect the property rights of copyright owners. Community for Creative Non-Violence fer. paid Reid $15,000, a sum dependent on - The Copyright Office concluded after an extensive study that "copyright owners ... will suffer immediate harm if they are unable to (CCNY). a Washington. D.C. organization "completion of a specific job, a method by sue infringing states in federal court for money damages." dedicated to the elimination of Reid dealt with the issue of copyright own­ which independent contractors are often - Wholesale immunity from damages means that states cannot be forced to compensate copyright owners. This is so even if states homelessness. One of its trustees entered ership by virtue of Reid's employee status compensated." Reid had total discretion in were to appropriate the valuable property of others by the systematic and unauthorized copying of books, information products, into an oral agreement with James Reid. a within Section (1) since a sculpture is not hiring and paying assistants. "Creating video products. and other copyrighted materials such as works of visual arts and photographs. Baltimore sculptor to produce a st~tue dra~ listed among the nine categories of Section sculptures was hardly 'regular business' for - Nor would states face monet8I)' liability if they publicly performed such copyrighted works as music, motion pictures, or TV matizing the plight of the homeless for (2). Was Third World America a work pre­ CCNY." Indeed CCNY is not a business at programs without permission. display at a 1985 Christmas pageant in pared by an employee within the scope of all. Finally, CCNY did not pay payroll or 3. As Chairman Kastenmeier has emphasized, this legislation IIdoes not in any way change the substantive Washington. Reid donated his artistic ser­ his employment? Under the broadest test, social security taxes, provide any employee rights of copyright owners. II , vices free of charge and CCNV paid for the adopted by the Second Circuit which in­ benefits, or contribute to unemployment - These bills do not expand the rights of copyright holders. They merely make a technical correction in the Act and, by doing so, cost of materials needed to .. produce the cludes New York. a freelance artist was an insurance or workers' compensation funds. restore the careful balance ,between copyright owners and users struck by the 1976 Copyright Act. work. CCNY also conceived the idea for the "employee," whenever the party 4. Moreover, as Chairman DeConcini stated at the time he introduced S. 497, liThe simple fact is that sculpture--a modem day Nativity scene in commissioning the work exerted "actual The significance of Reid. protecting copyright from this particular form of infringement does not render any conduct unlawful that is which, in lieu of the traditional Holy Fam­ supervision and control" of the work. Under the Reid test, most freelance artists not already unlawfuI.1I ily. the two adult figures and the infant who do not fall within one of the nine enu­ - The Copyright Act applies to state governments and their instrumentalities. It is illegal for states to violate the Copyright Act. would appear as contemporary homeless The definition of employee. merated categories of Section 101(2) will This basic fact would be unchanged by H.R. 1131 and S. 497. people huddled on a streetside steam grate. The Supreme Court rejected this interpreta~ be able to avoid the "work made for hire" 5. These bills ensure that copyright owners have an effective remedy when States vioiate the Copyright Act. They also selected upon a title for the work­ tion and correctly adopted a literal interpre­ exception and retain the right to reap the - Today, state officials and state employees may be enjoined from future violations of the Copyright Act; but, under these recent -Third World America. CCNV also tation of the "work made for hire" provi­ benefits of copyright. The supervision and appellate court decisions, the states for whom they work may not be sued for money damages. commissioned a Hollywood special effects sion. control test had rendered the nine categories - But, injunctions are simply no substitute for damage awards. They do not compensate copyright owners for past wrongs. Nor do company and a cabinetmaker to create a of specially ordered on commissioned they effectively deter unlawful conduct. working steam grate, which would comprise We conclude that the language and structure works in 101(2) superfluous. After Reid. the 6. Copyright owners should have a chance to go to court to seek damages when their property rights are the sculpture base. of Section 101 of the Act do not support fee that businesses such as advertising violated. either the right to control the product or the agencies, computer software companies and - Federal courts have exclusive jurisdiction over copyright matters and federal law preempts all state copyright laws. While Reid worked on the sculpture. CCNV actual control approaches. The structure of magazine publishers pay to freelance artists _ If copyright owners cannot seek monetary damages in federal court. they have no place to turn. As the Federal Court of Appeals for members visited him to check on his Section 101 indicates that a work for hire will be a fee for one time use and not has as the Ninth Circuit has declared, 'The choice is not between the federal forum and the state forum -- it is between the federal forum and progress. Reid accepted most of CCNV's can arise through one of two mutually been common practice, for the right to no forum." suggestions and directions as to the sculp~ exclusive means, one for employees and reprint or reuse the material without further ture's configuration and appearance. After one for independent contractors. compensation based on the theory that the Statement of Raiph Oman, Register of Copyrights, dated April 12, 1989: . the completed work was delivered to Wash­ Transforming a commissioned work into a work was the product of an "employee" and The Copyright Office support enactment of H.R. 1131. the Copyright Remedy Clarification Act. which would amend the CopyrIght ington, the sculpture was joined to the base work by an employee on the basis of the Art of 1976 to clarify Congress' intent that states and their instrumentalities should be subjected to suit in federal court for infringements and displayed. The parties, who had never hiring party's right to control or actual of both copyrights and mask works. discussed copyright on the sculpture then control is inconsistent with the language, The Eleventh Amendment has recently been interpreted as conferring immunity on the states against suit for copyright infringement filed competing copyright registration structure and legislative history of the work in federal courts. certificates. CCNV based its position on for hire provisions. To determine whether a As the request of this Subcommittee (on Courts, Intellectual Property and Admin. of Iustice). the Copyright Office filed a report in the theory that by virtue of its supervision work is a work for hire made the art, a court June 1988, in which the Office recommended remedial legislation to clarify what it perceived to be the original intent of the Congress in and control over the creation of the statue, should first ascertain, using principles of passing the Copyright Act of 1976. CCNV was the owner of the copyright under general common law agency, whether the Under H.R. 1131, owners of copyright and mask works would have available to them the full panoply of civil remedies: mJunctive the "work made for hire" provision of the work was prepared by an employee or an relief, actual and statutory damages, and seizure of infringing articles. Of course, no criminal penalties apply. In the case of copyrights, Copyright Act of 1976. independent contractor. criminal penalties apply only to commercial activities ... The bill, if enacted, would not apply to cases filed before the date of enactment. The Copyright Office supports this limited The Copyright Act of 1976 provides that The common law rules of agency basically qualification on retroactivity. As we understand the qualification, the intent is to avoid interference with any pending cases. the copyright in a work vests initially in define the conventional employer-em­ Authors and copyrigl}t proprietors have demonstrated the potential for immediate harm from the uncompensated use by states and the author or creator of the work. One ex­ ployee relationship. Under the test adopted state entities of works protected under the federal Copyright Act. The public would lose as well -- other groups of consumers woul.d bear ception to this rule is the "work made for in Reid, numerous factors on a case by case Barbara Hoffman, Esq. is CAA's Honorary the brunt of increased costs; without compensation, the incentive to create would be significantly diminished and fewer works publIshed. hire" provision which allows an employer basis are considered to determine whether a Counsel. She is a practicing arts lawyer and law There is no policy justification for full state immunity to copyright damage suits. Injunctive relief alone i~ inad~quate. Nor ~~uld it or commissioning party to be considered hired party is an employee. Applying t:hiB professor. Her recent publications include a be fair to leave the state damage-proof and require copyright owners to seek out some compensation through SUltS agamst state offlcials as the "author" for copyright ownership pur­ test to Reid _the court stated: We agree with book on the Richard Serra controversy entitled, individuals. During the information-gathering phase of preparing the Copyright Office Report, no state official made any policy poses if either of two condition are met. the Court of Appeals that Reid was not an The Tilted Arc on Trwl. argument that the states should be exempt from copyright liability. The Copyright Office knows of no opposition to this legislation. Summer 1989 9 8 CAA Newsietter 'I

LEGAL UPDATE •••

thus, a work for hire. is defined as a work "prepared by two or The Berne provisions on moral rights are more authors with the intention that their contained in Article 6bis: "Independently The Ad Hoc Report stated ''There are no ex­ the public or published at all in an altered fme art cannot be removed from a building plicit 'moral rights' provisions in the U.S. The crucial point is that if an artist doesn't contributions be merged into inseparable or of the author's economic rights and even defaced, mutilated or modified form, and without substantial alteration or Copyright Act. The relevant federal statu­ bars work from being displayed, made agree in writing that a work is a "work made interdependent parts of a unit." Joint own­ after the transfer of the said rights, the au­ any defacement, unless otherwise provided in a for hire" if one of the enumerated categories ers of a copyright in a work are considered thor shall have the right to claim author­ tory provisions and other t:-ources of accessible or published as the work of an written and recorded instrument. protection are: artist without the artist's consent when it is in Section (2). and considering the factors tenants in common and each joint owner ship of the work and to object to any Louisiana, Rhode Island, Maine, New of agency, the artist is not an "employee" has equal right to use or license the copy­ distortion, mutilation or other- modification 1) Section 106(2) of the U.S. "known to be generally regarded by the York, and New Jersey provide specific within Section (1). the artist owns the right subject to a duty to account to the of, or other derogatory action in relation Copyright Act, which grants authors the public as that of the artist, or under exceptions to coverage for alteration, circumstances in which it would be copyright. In this connection, the court other for the profits. to, the said work, which would be prejudi­ exclusive right to make derivative works defacement, mutilation or modification rejected the agreement of R.!ili:l and several cial to his honor or reputation." The article based on their works; and section 101 reasonably regarded as being the work of resulting from the passage of time or the which defines 'derivative work' to include the artist, and damage to the artist's inherent nature of the materials, providing friends of the court like Volunteer Lawyers Reid. thus, offers the possibility of a loop­ also provides that redress for safeguarding abridgements, condensations, editorial re­ reputation is reasonably likely to result that this was not the result of gross for the Arts, that the term employee referred hole to circumvent the literal reading of rights is governed by the legislation in the visions or other modifications. In addi­ therefrom." There are subtle differences in negligence in maintaining or protecting only to "formal salaried" employees, the "work for hire" to commissioning parties. country where protection is sought. tion, the mechanical license of secion how Louisiana, Maine, New York, New the work. view of the court in Dumas in the ninth cir­ Initially publishers sought to justify work On March 1, 1989 the Berne Convention 115(a)(2) contains a moral rights provi­ Jersey, and Rhode Island treat Conservation is explicitly protected cuit in California. Nevertheless, the court for hire on grounds that the initial idea and the money came from the client. It is not Implementation Art (the "Act") became sion. "reproduction. " from liability by seven states within the cites with approval as one of the factors the U.S. law. In the Spring CAA Newsletter, 2) Section 43(a) of the Lanham Act The definitions of what constitutes limits of "gross negligence" (Pennsylvania fact of withholding taxes and other em­ inconceivable that publishers and those who commission works could simply con­ this column discussed superficially the ef­ (the federal Trademark Law), which pro­ "fme art" also vary. The New York statute and California) or "negligence" (New York, ployee benefits considered as determinative fect of Berne on moral rights doctrine in hibits false designations of origins of defines it as "a painting, sculpture, New Jersey, Louisiana, Rhode Island and in Dumas. tribute uncopyrightable ideas or titles or hire a third part to do an insignificant por­ this country. Because of the importance of works, including intellectual and artistic drawing, or work of graphic art, and print" Maine). tion of the work to become a joint author the subject and the apparent confusion sur­ works, and prohibits false descriptions and of a "limited edition multiple of not more California is unique in the United rounding it, a more in depth discussion is representations of such works. than three hundred copies," while in the States in providing another statutory right Reid does not resolve all "work for hire" is­ with the commissioned party. Most trou­ warranted; recognizing, however, that it 3) Decisions under section 43(a). Maine, New Jersey, and Rhode Island for artists following a European model: The sues. Reid does not change the situation blesome would be the right of the commis­ sioned party to create derivative works, a would be premature to predict either the fu­ 4) State and Federal decisions protect­ statutes fine art is defined to cover "any right to resale royalties, known in France where the freelance artist is not an clear dissolution of the artist's right of in· ture of moral rights doctrine in the U.S. or ing various rights equivalent to those original work of visual or graphic art of any as the droit de suite. Under a 1976 law, sales "employee." Abuses by magazine publish­ tegrity. The suggestion of "joint" author­ the effect of the Act as a whole on the con­ granted in Article 6bis under state common medium which includes. but is not limited of fine art in California (and sales outside ers have been widespread in forcing artists ship on facts such as Reid clearly under­ troversy. law principles. to, painting, drawing, print, photographic the state by California residents) are subject and writers to sign "work for hire" agree­ 5) State statutes protecting rights print or sculpture of a limited edition of no to royalty equal to 5 percent of the gross ments under subsection 101(2) even though mines and misconstrue& the idea of creativ­ ity which the copyright act was meant to The questions of whether U.S. law is com­ equivalent to those granted by Article 6bis. more than 300 copies." All four of these sales price payable to the artist (or to the the work is not commissioned but is sub­ provide. patible with Article 6bis and whether to states specifically exclude 'sequential artist's estate for 20 years after death), mitted as an existing work To prevent this amend the Copyright Act to accord express Fred Kellog, General Counsel of the imagery such as that in motion pictures." unless the sales price is less than the discrimination based on the superior bar­ The "joint work" issue is likely to emerge moral rights were central to the congres­ National Endowment for the Arts, has The Louisiana statute is similar, but previous purchase price. gaining power of magazine publishers, as the next controversial copyright issue sional hearings on U.S. adherence to Berne. provided us with an analysis of the various includes the requirement that the work be There are as yet no cases dealing with California enacted a law in 1982 requiring pitting publishers and commissioners, and The argument was put forth and accepted state statutes: shown by expert testimony to be of whether these state statutes are preempted commissioning parties to give certain of that present U.S. law provides sufficient State Legislation. "recognized quality." California, by the federal copyright law. the benefits of employee status to freelance disseminators of copyrighted materials against creators. though minimal protection for moral rights In the last decade California, Massachusetts, and Pennsylvania also artists when work for hire contracts are to satisfy Berne (See generally 4 Law and Louisiana, Massachusetts, Maine, New require proof of recognized quality, but Recent Court Decisions. used. To prevent the unintentional loss or shar­ the Arts, "Final Report of the Ad Hoc York, Pennsylvania, and Rhode Island have differ in defingin fine art. California Three recent cases further highlight the Working Group on U.S. Adherence to enacted legislation creating moral rights defines it as "an original painting, status of moral rights doctrine in the United R..ti.d. supports existing copyright law. ing of copyright. the freelance artist should have a written contract prior to the com­ Berne." Summer 1986, hereafter "Ad Hoc: for artists. While all of these states grant sculpture, or drawing, or an original work States. Section 201(c) specifically deals with mencement of work which clearly specifies Report"). The conculsion of the Ad Hoc the artist broad rights to claim or disclaim of art in glass." The Massachusetts statute contributions to derivative works defmed as what rights are retained, what rights are Report, that the protection of moral rights authorship. the scope and protection applies to "any original work of visual or The case of Richard Serra and the Tilted Arc magazines, newspapers, anthologies, etc. transferred, and whether it is a work of joint in the U.S. is compatible with the Berne against prohibited conduct with regard to graphic art of any media which shall is well known. As the last column noted, The copyright in the contributions belongs authorship. convention. has been challenged as error woiks of art varies in each statute. include, but not be limited to, any painting, an eleventh hour effort based on Berne to to the contributor. The law provides that in by a number of scholars insofar as this Prohibitions against alteration, drawing, sculpture, craft object, prevent the removal of the sculpture from a case where there is no express agreement, conclusion is based on the determination mutilation, and destruction of art protect photograph, audio or videotape, film, Federal Plaza in Manhattan failed based on the owner of copyright in the collective that "substantial protection" is available what is often called the "right of integrity." hologram, or any combination thereof." the clear Congressional intent that Berne work gets the following rights: (1) the MORAL RIGHTS DOCTRINE for the "real equivalent" of moral rights un­ The California, Massachusetts, and The Pennsylvania law covers any original not be used as a basis for expansion of nonexclusive right to use the work in that AND BERNE der American statutory and common law. PennsylVania laws are violated if a work of work of visual or graphic art of recognized existing moral rights. issue, (2) the right to use the contribution The personal rights of artists and authors As Edward J. Damich, a legal scholar on the fine art of "recognized quality" is quality created using any medium... (which) in a revision, (3) the right to use the con­ were first recognized in France under the subject, has stated "More accurate is the intentionally defaced, mutilated, altered, or shall include, but not be limited to, a At the heart of Serra's moral right claim was tribution in any later collective work in the concept of droit moral. The concept of statement that the totality of U.S. law pro­ destroyed, but the Pennsylvania law applies painting. drawing. or sculpture." the premise that relocation of Tilted Arc same series. droit moral or moral rights gives the artist vides protection for the rights of paternity "only to works of fme art displayed in a All eight states provide for injunctive would destroy his site specific sculpture certain non-pecuniary rights, among them and integrity sufficient to comply with 6bis place within this Commonwealth relief as well as monetary damages; the since the site is an integrial part of the B&i!! will not prevent commissioning par­ the right to be credited as the creator of the as it is applied by various Berne countries. accessible to the pUblic." Massachusetts Massachusetts. California and work. Ironically; Tilted Arc was located in ties with superior bargaining power from work (paternity) and the right to prevent It is the lack of effective compliance among defines "intentional" to include "gross Pennsylvania statutes provide for recovery New York, a state with moral rights demanding "all rights"; however, the cre­ alterations of the work (integrity). Berne countries, rather than the protection negligence." The New York, New Jersey. of attorneys' fees and expert witness costs, legislation but the state legislation did not ator as the "author" will still have the right given moral rights in American law that Maine. and Rhode Island statues only and California and Pennsylvania permit apply because the sculpture was sited on to terminate the transfer after thirty-five Full "moral rights" protection would allow removes Article 6bis as an obstacle to U.S. prohibit the display, publication, or punitive damages, payable not to the artist Federal property. Although under the New years. a photographer to prevent cropping of his adherence. A comparison of the language making accessible to the public an altered, but to charitable organizations in the arts. York Artists Authoriship Rights Act, the photographs, an artist to object to the re­ of Article 6bis with the protection afforded defaced, mutilated or modified work of fine The California, Massachusetts, and destruction of artwork is not prohibited, A work of joint authorship. sale or exhibition of his work in separate moral rights in the U.S. leads to the in­ art without the artist's consent, as the work Pennsylvania statutes all contain a relocation to a site in New York on Serra's There is one troublesome aspect of the the parts or in an otherwise distorted form, a escapable conclusion that this protection is of the artist or under circumstances in which provision allowing the rights protected theory would have constituted display of court opinion. The D.C. Circuit indicated film director to object to the colorization or vitually non-existant." it would reasonably be regarded as the work under them to be waived by a written the artwork in an altered form and assuming and the Supreme Court did not disagree that editing of her film, and an author or artist of the artist. New York, New Jersey. and instrument. Louisiana. Maine, New Yark, Serra's ability to show injury to his honor The Act as fmally enacted is designed to because CCNY hired a cabinetmaker and a who has transferred his copyright to a pub­ Maine also require a showing that "damage New Jersey, and Rhode Island do not and reputation would probably trigger the leave U.S. law on this subject entirely special effects company to manufacture the lisher to prevent pUblication of his work to the artist's reputation is reasonably provide for written waiver. California, protection of the law. base, the sculpture while not a "work for without credit regardless of the conveyance unaffected; thus, an inquiry as to existing likely to result." Louisiana prohibits a Massachusetts, Pennsylvania, and hire" might be a "joint work." A joint work of property rights or contract rights. law on the subject is appropriate. work of "recognized qUality" from being Louisiana all provide that the protected (continued page 14) knowingly displayed, made accessible to rights are deemed waived where a work of 10 CAA Newsletter Summer 1989 11 ~,-- if GRANTS/AWARDS/HONORS

Publication policy: Only grants, awards, or Culture by the Women's Caucus for the Penny McCall Painting in the Renaissance, University of losophy and adjunct professor of art at the honors received by individual or institutional Popular and American Culture Associations Chicago Press. . University of California. San Diego and a members, or awarded by institutional members, Foundation Awards. for their Feminist Art Criticism: An The Penny McCall Foundation announced Conrad Rudolph, University of Notre fellow at the Woodrow Wilson of the Col/ege Art Association will be pUblished. International Center for Scholars, for her We do not publish 1M award/grant/honor amount. Anthology, UMI Research Press, 1988. receipients of its awards which are designed Dame, for "Things of Greater Importance": Please note the following format: for artists in financial need. Recipients are Bernard of Clairvaux's' Apologia and the Conceptual art; Barbara Maria Individual members: cite name, institu- nominated by an anonymous committee. Medieval, Attitude toward Art, University of Stafford, professor of art history at the tional affiliation, grant, award, or honor title. CAA members among this year's awardees Pennsylvania Press. University of Chicago, for her work on the Institutional members: cite name of 1989-90 American Academy In are: Martha Jackson-Jarvis, Sharon Gold, John W. Williams, University of imaging of the unseen in Enlightenment art institution/organization; the full title of the Rome Prize Fellows Robert Storr, Julias Tobias, and Larry Day. Pittsburgh, for The Illustrated Beatus, and medicine. grant, award, or honor; and (optional) use or pur­ Harvey Miller Publishers, London. pose of grant. Twenty four Rome Prize winners were se­ In all cases, please note that you are a CAA memo lected from among more than 1,000 appli­ ber. cants in the fields of architecture, urban planning, design, landscape architecture, The Yale Center for British Art graphic design, painting, sculpture, litera­ 1989 J. Paul Getty Postdoctoral Appoints Visiting Fellows 1989 Guggenheim INDIVIDUALS ture, musical composition, classical stud­ Fellowships The Yale Center for British Art has ap­ Fellows In the Arts. ies, art history, and post-classical and Senior Research Grants pointed 10 Visiting Fellows for the aca­ The John Simon Guggenheim Memorial Fifteen scholars, who received their doc­ Banerjee. a doctoral candidate at humanistic studies. Winners in the field of demic year 1989-90. The purpose of these Foundation 1989 Committee of Selection torates within the past 6 years, were Columbia University, has been awarded a painting were: Ann McCoy and grants is to enable scholars engaged in has chosen 198 artists, scholars, and awarded stipends designed to free them at grant from the Adolph and Esther Gottlieb Christopher Wool, both of New York Foundation for his Fumage works on can­ postdoctoral or equivalent research related scientists from among 3,144 applicants for the beginning of their professional careers Bob Timberlake City; in sculpture: David Hammons of vas. to British art to study the Center's holdings fellowship awards. Guggenheim Fellows are for a full year of research and writing. Albert Schweitzer Medal For Art Awardee New York City and David Winter of of British paintings, drawings, prints and appointed on the basis of unusually distin­ Seven scholars, who are beyond the post­ Brooklyn; in the history of art: Patricia rare books and to make use of its photogra­ guished achievement in the past and excep­ doctoral level, received Senior Research Elmer Bischoff, artist and teacher from Fortini Brown from Princeton Berkeley, CA, and Miriam SChapiro, phy archive and art reference library. tional promise for future accomplishment. Grants of varying amounts and duration to University, Margaret A. Kuntz of artist and teacher from New York City, were Visiting Fellows for 1989-90 are the fol­ Among those selected to receive fellow­ pursue advanced research projects. Among NYU's Institute of Fine Arts, and Sheila ships in the arts are the following CAA awarded honorary doctorates from the lowing: Jennifer Watson, curator of the the awardees are the following CAA mem­ McTighe of Cornell University; in Post­ members: Ann Hamilton, artist and lec­ California College of Arts and Crafts in Smithsonian's National Museum of Kitchener-Waterloo Art Gallery in bers: Classical Humanistic Studies: Deena turer in art at the University of California, Oakland during its commencement activi­ American Art. Kitchener, Ontario; Reva Wolf, assistant POSTDOCfORALFElLOWSINTHE Copeland Klepper of Evanston, IL. Santa Barbara, for her sculpture installa­ ties in May. professor of Modem art at Boston College; HIS1DRY OF ART AND THE HUMANITIES: tions; Patricia Leighten, associate Elaine Pawlowicz, a student at the Michael Baridon, professor of English Hilary BaIlon, assistant professor, .professor of art history at the University of Blll Burk, au artist from West Hartford, Meadows School of the Arts, Dallas, Texas, at the University of Burgundy in Dijon; Columbia University, for The Architecture Delaware, for her work on art and social cr, received an Individual Artist's Grant for has received an award in recognition of out­ American Academy and Institute of Richard Stein, professor of English and of Louis Le Vau; S. Shelby Brown, as­ radicalism in France, 1900-1914; David 1989 from the Connecticut Commission on standing artistic achievement through the Arts and Letters - New Artist associate dean of the College of Arts & sistant professor, Dartmouth College, for M. Lubin, assistant professor of art and the Arts. Liquitex Art Materials Awards Program. Mem bersl Awards Sciences at the University of Oregon, The Art of the Arena; Elizabeth Childs­ American studies at Colby College, for his The American Academy and Institute of Arts Eugene; Rica Jones, conservator at the Johnson, independent scholar, New York Julie F. Codell, associate professor of Rosemary Redmond, an artist from New and Letters inducted new members into the Tate Gallery, London; Jane Munro, work on art and social change in 19th City, for Ritual Art of Ancient China: art history and criticism at the University York City, has been selected to participate Academy in a recent ceremony. The organi­ assistant keeper of paintings and drawings 'Century America; Michael Marrinan, Imagery and Function; Maribeth of Montana, has been awarded a NEH in an exhibition, New American Talent zation bestowed its highest award, the Gold at the Fitzwilliam Museum in Cambridge, associate professor of art history at Graybill, assistant professor, Univ. of stipend to attend the Summer Institute on 1989. sponsored by the Texas Fine Arts Medal, on 4 individuals including sculptor England; Ursula Seibold, assistant lec­ Columbia University, for his work on California, Berkeley, for Narrative Structure Theory and Interpretation in the Visual Arts Association that will travel to museums, Louise Bourgeois. During the cere­ turer at the University of Munster, West Antoine·Jean Gros and the death of history in Twelfth-Century Japanese Handscroll at the University of Rochester. galleries and community art centers mony, Jasper Johns was formally in­ Germany; Warder Cadbury, associate painting; Julia Meech, scholar, New Paintings; Mary Linda, independent throughout Texas. ducted into the Academy's limited 50 person professor of philosophy at the State York City, for her work on Frank Lloyd scholar, Jersey City, NJ, for Temples of Michael Milkovich, director of the ranks. New artist members of the Institute University of New York in Albany; Roger Wright and Japan; Graham Nickson, Stone: Form and Context in Indian Art; Museum of Fine Arts in St. Petersburg, Stephanie SkaIisky has been awarded a are Christo, Jan Freilicher, Agnes White, secretary of The Georgian Group, artist and dean of the New York Studio David Lubin, assistant professor, Colby Florida, has been honored by the gov­ New Works Grant from the Sacramento Art Martin and George McNeil. Works by London; and Sean Shesgreen, professor School of Drawing, Painting, and College, for Picturing a National: Art and ernment of the Republic of France with the Commission for her artist's book project new members and award recipients were of English at Northern Illinois University. Sculpture, for his paintings; Adrian Social Change in 19th Century America,' title Chevalier de I'Ordre des Arts et des entitled, The Alphabet for Extraordinary placed on display in the Academy's gallery Piper, artist, associate professor of phi- Nancy Stieber, assistant professor, Lettres. Children and Demented Adults. on Broadway at 155th Street. University of Massachusetts-Boston, for Mellon Fellows Twentieth-Century Urban Planning and the Mitche Kunzman, a graduate student in Michael Sorkin of New York City has in the Humanities Pictorial Representation of the City in The art at Lehman College, has won The been selected as the 1988 recipient of the Women's Caucus for Art The Woodrow Wilson National Fellowship Netherlands; Jean Wilson. assistant National Arts Club First Prize in Painting Arnold W. Brunner Grant from the New 1989 A wardslHonors Foundation has named 126 Mellon Fellows professor, SUNY, Binghamton, for From for his oil on paper work, Hymn to Gaia, York Chapter of The American Irutitute of During the 1989 National Conference of the in the Humanities. The fellows, the 7th Workshop to Marketplace: Painting in entered in the Club's 13th annual student Architects. WCA. a number of awards and honors we~e since the program was established by the Late Medieval Bruges. exhibition. bestowed. An exhibition at the Vorpal Andrew W. Mellon Foundation, will begin SENIOR RESEARCH GRANTEES: Bob Tim berlake, an artist from North Gallery honored the outstanding achieve­ graduate study next fall. Those named in Eve Blau, curator, The Canadian Centre Nancy Macko has been awarded a Faculty Carolina, has been awarded the Albert ments of 5 women: Margaret Craver, the field of art history were: Stacy W. for Architecture, for The Architecture of Sabbatical Research Grant from Scripps Schweitzer Medal for Art. He is the first metalsmith; Clair Leighton. print­ Garfinkel, University of Pennsylvania; 'Red Vienna' 1919·1934; Thomas College to study Chinese methods of pa­ painter to be honored in the 6-year history maker; Samella Lewis, art historian and and Erik W. Inglis, Oberlin College. Mathews, professor, The Institute of Fine permaking and printmaking for the Fall of these awards. curator; Betye Saar, sculptor; and Arts, New York University, for The Birth of 1989. Bernarda Bryson Shaho, book illus­ Christian Art; Barbara Stafford, profes· AWARDS TO 'trator and painter. At the Monday night sor, University of Chicago, for Edward J. Nygren, director of the Smith MULTIPLE INDIVIDUALS membership banquet 2 mid-career achieve­ CAA Awards Visibilizing the Invisible: Somatic College Museum of Art in Northampton, ment awards were made: Betsy Damon MlIlard Meiss Subsidies Metaphors of Interiority and Exteriority in MA, has been selected as the first recipient Arlene Raven, Cassandra Langer, was selected for her contributions as artist, CAA is pleased to announce three recent Enlightenment Art and Medical Theory; Michael Milkovich of the Charles C. Eldredge Prize for out­ and Joanna Frueh have been awarded the teacher, and founder of "No Limits for Millard Meiss Publication subsidies: Nancy Shatzman Steinhardt, assis­ Museum of Fine Arts standing scholarship in American art given 1989 Susan Koppelman Award for the best Women Artists," and Moira Roth for her Clark Hulse, University of Illinois at tant professor, University of Pennsylvania, by the American Art Forum of the anthology in Feminist Studies in American writings, exhibitions, and teaching. Chicago, for The Rule of Art: Literature and for Liao: Imperial Art and Architecture.

12 CAA Newsletter Summer 1989 13 GRANTS/AWARDS/HONORS ••• SOLO SHOWS BY ARTIST MEMBERS

Current NEH Fellows Architecture, 1675-1775; Timothy J. Northeast: Edna Andrade. Marian Locks Athena Tacha. High Museum of Art, 4. New Work. The National Endowment for the Human­ Standring, Pomona College. for LEGAL UPDATE ... GaJlery, Philadelphia, PA, April 4-29. Atlanta, GA, June 27-August 29. Sleven Teczar. B.Z. Wagman Gallery, ities has published a comprehensive list of Patronage in 17th-Century Rome: The Paintings and Collages. Retrospective. St. Louis, MO, January 27-March 4. New current NEH Fellows in its publication, Picture Collection of Cassiano dal Pozzo,' Leslie Barta. The Center for Roy Wilson. Three Christina Centre, the Work on Paper & Constructions. Humanities. Those CAA members who re­ Josephine von Henneberg, Boston The Serra controversy involved the right of Photography, Woodstock, NY, April 29- Lomas USA Building, Wilmington, DE, James B. Thompson. Miriam Perlman ceived fellowships/grants in the field of College. for Master Drawings by Giorgio integrity. Even in Europe, the exact June 4. Photocollages. April 7-May 30. A Site Specific Sculpture. Gallery, Chicago, IL, June. Mixed-Media arts, history and criticism are the follow­ Vasari and His Circle. contours of the right are not identified. Frances Barth. Tomoko Liguori Gallery, Philiia Changhi Yi. Susan Isaacs Works. ing: S~ERSENITNARSR>RSCHOOL What constitutes distortion, mutilation? N.Y.C., March 25-April 22. Paintings. Gallery, Wilmington, DE, April 7·29. UNNERSITYTEACHERS TEACHERS What criteria should be used to ~easure Cynthia Carlson. Freedman Gallery, Works on Paper. West: Noreen Dean Dresser. The James E. B. Breslin, University of Robert G. Calkins, Cornell University, threatened harm to honor or reputation? Is Albright CoJlege, Reading, PA, March 14· Institute of Buddhist Studies, Berkeley, CA, California, Berkeley, for A Biography of for The Gothic Cathedral as a Mirror of the total destruction of a work an injury to April 23. Installations 1979-1989 (A South: John Halaka. Graham Gallery, AprilS-May 5. Paintings. Mark Rothko; Anna C. Chave. Harvard Medieval Culture. reputation? As one author, Paul Geller Decade. More or Less). Houston. TX, May 19-June 24. Encaustic Wolf Gowin. University Art Museum, University, for Rebirth and Reconstruction: noted in his comments on U.S. adherence to Joseph Coco. Apshawa Arts Center. Paintings. Arizona State University, Tempe, April 2- Brancusi and the Avant-Garde; Charles Berne, ''This component of the moral right Bloomingdale, NJ, April 23·May 22. Eleanore Berman Lazarof. Lisa Kurts September 10. Egyptian Cenodoxus, cop­ E. Cohen, University of Chicago, for INSTITUTIONS! has a rather protean ability to grow into Foliage, series of oil paintings and an in­ Gallery, Memphis, TN, March 31·April 22. per assemblages and concrete sculptures. Lorenzo Lotto: A Critical, Monographic ORGANIZATIONS many shapes. even when conditioned by a strumental music soundtrack. A Garden Observed, Recent Paintings and Marc Lancet. Gallery 44, Oakland, CA, Study of His Art in Context; Suzanne E. showing of possible injury to honor or Elizabeth (Sue) Coilier. Adelphi Drawings. April 26-May 20. Sculpture. reputation. There is now, for example, University, Manhattan Center Gallery, Susan Schwalb. Brad Cooper Gallery, Lewis, Stanford University, for The The Brooklyn Museum has armounced a Sarah Levine. The Arlington Gallery, both judicial and public debate in Italy over N.Y.C., May I-June 30. Recent Paintings Tampa, FL, May 8-June 10. Silverpoint Gothic lllustrated Apocalypse and Its 13th· major gift from Iris and B. Gerald Cantor to Oakland, CA, May 8-12. M.F.A. California when interrupting televised movies with & Drawings. Drawings. Century English Archetypes; Margaret College of Arts & Crafts Graduate fund the Museum's new auditorium. "spot" commericals violates that country's M. Lovell, University of California. Bogdan Grom. Gallery of the Yugoslav Exhibition. moral rights provisions which basically Press and Cultural Center, N.Y.C., April 27· Midwest: Daniel Coileran. 7th Floor Berkeley. for Interpreting a Continent: The Visual Collections in the Fine Arts Nancy Macko. Double Rocking G translates article 6bis." May 15. Tapestries, Collages. Sculptures. Gallery, Humanities Building, Madison. Landscape. Cityscape. and Seascape in Library at Harvard University has Gallery, Los Angeles. May 7-June II. Sara Haviland. The Jamaica Arts Center, WI, May 5-12 .• Painting in the Dark, 19th·Century American Painting. been awarded a Henry Luce Foundation grant Shifting Cycles, paintings, prints and Serra's moral right alternative claims were Jamaica, NY, May 10-July 2. Painted M.F.A. Exhibition. ffiUEGE TEACHERS AND INDEPENDENT to aid it in expanding its exchange program works on paper. based on contract, trademark and copyright Sculpture from Workspace Residence Peter Gooch. Rosewood Arts Centre SCHOLARS for photographs of Oriental art. David Palmer. Schwartz Cierlak Gallery, Barbara A. Barletta, University of infringement The merit of these arguments Award. Gallery, Kettering, OR, April4-May 6. New Santa Monica, CA, April 7-May 7. Recent was never ruled on since the district court Carol May. Leonarda Di Mauro Gallery, Paintings. acrylics on paper & canvas. Florida. Gainesville, for Regional Elements The Annenberg Corporation for Public Paintings. held that these claims could only be raised N.Y.C., May 4-27. Jack Girard. Xavier University Art of Western Greek Architecture of the Broadcasting Project has awarded funds to Richard Ross. University Art Museum, in the Court of Claims. Nevertheless, Judge Jill Reiss. 80 Washington Square East Gallery, Cincinnati, OH, August 25- Archaic Period; Christine M. Guth. in­ The George Washington University of California.. Santa Barbara, Pollack did discuss Serra's trademark claim. Galleries, N.Y.U., N.Y.C., April 19-May September 22. New Collage/Mixed Media dependent scholar, for Art Collecting in University for the pilot lesson of March 8-April 16. Museology. The site of the sculpture is distinct from the 12. Drawings and Constructions. Early Modern Japan: Industrialist Masuda Chinese Civilization: Change and Vera Henderson Sprunt. The Teaching Takashi. His Friends and His Rivals; name of the art,' the name is not in Paula Rendino. Cambridge Multicultural Milton Horn. Spertus Museum, Chicago, Gallery, University of New Mexico, April Continuity, a television-based college Arts Center, East Cambridge, MA, March IL, March 17-July 30. Artist as Franz Schulze, Lake Forest College, for course. controversy. The identifying mark of the 10-22. Aerial Journeys mward, M.F.A. The Life and Work of Philip Johnson; art in any relocated site would remain the 16-23. Other Worlds: An Environment of Mythmaker/60 Years of Sculpture. Exhibition. . same. The purpose of a trademark is to give Illuminating Wax Painting and Sculpture, Donna Meeks. Art GaJlery 240-A, Christopher K. Wilson, Middlebury The Henry Art Gallery of the James B. Thompson. Francine Seders Changing Light and Sound. Illinois Central College, East Peoria. IL, College, for The Battlefield and the Bible: University of Washington has an' Mtice of who was the producer of the art. Gallery, Seattle, WA, April 14-May 21. No action of the government threatens the Lisa Rosen. 80 Washington Square East March 14-April 13. Religious Typologies in the Art of Civil nounced the major sponsorship by U S Mixed-Media Works. War America. identification of Serra with Tilted Arc. Galleries, N.Y.U., N.Y.C., April 19·May Jim Nickel. Atrium Gallery, St. Louis, West of an exhibition and catalogue of the 12. . MO, April 7-May 13. Evolutions: SUMMER SEMINARS R>R ffilLEGE work of Thomas Hart Benton. There is no such thing as an abstract TEACHERS trademark apart from the work that the artist Allen Schill. Nicholas Roerich Museum, Paintings into Sculpture. Europe: LesI1e Jackson. Galleria La N.Y.C., April 2-26. Mandalas and Related Athena Tacha. Cleveland Center for Stephen Murray, Columbia University. The Indianapolis Museum of Art has created. The Judge apparantly missed the Pigna, Rome. April 1-15. Cities: Myths, Works. 1972-1988, works in various me­ Contemporary Art, September 8-November for Gothic in the Re·de·France. received a grant from the NEA for the retro­ point of Serra's claim which was based on works in acrylic and mixed media on paper. dia. SUMMER STIPENDS spective exhibition. Richard Pousette-Dart: false representation and false designation Susan Schwalb. SOHO 20 Gallery, Julia F. Andrews. Ohio State Uni­ Inner Realms and Outer Space. of a products origin and read the claim as versity, Columbus, for Government Art one of attribution, not false attribution Invitational Space, N. Y.C., May 9-27. Illuminations-Silverpoint Drawings. Policies and the Development of Regional The Metropolitan Museum of Art has based on distortion of the work. Anne Seelbach. The Connecticut Schools of Painting in China, 1949·79; received a gift from Lawrence 1. Mohr of an Gallery, Marlborough, April 23-June John R. Clarke. University of Texas, endowment fund for the purchase of con­ Federal and state unfair competition laws cr. 18. Paintings. Austin. for Social Change, Patronage, and temporary sculptures. In celebration of the have previously been used successfully to Christopher Semergieff. Prince Street Style in Late Roman Art; Patrick M. de 50th anniversary of The Cloisters, Enid protect an author's right of integrity in a GaJlery. N.Y.C., May 5-24. Recent Winter, independent scholar, for French A. Haupt has generously provided an en­ work which has been distorted or altered by Paintings. Renaissance Art: A Synthetic History; dowment to maintain its gardens. anouther but attributed to the author. For JerrUynn D. Dodds, Columbia Univer­ example, in the case of "Monty Python" an Stan Smokier. LedisFlam GaJlery, N.Y.C., May 6-June 3. Steel Sculpture. sity, for The Earliest Romanesque Archi· The Philadelphia Museum of Art has appeals court held that extensive editing so Gina Werfel. Prince Street Gallery, tecture of the Spanish Christian Kingdoms; been given a gift from the estate of Ann mutilated the work that it could not be Patricia Lelghten, University of considered that of the author. A disclaimer N.Y.C., March 24.April 12. Colby College Newman to endow the conserv ation of Museum of Art, Waterville, ME, April 16- Delaware, Newark. for Art and Social American decorative arts. It has also re­ often satisfies an integrity claim based on May 10. Gallery 127, Portland, ME, May Radicalism in France, 1900·14; Charles ceived a grant from the Hunt Manufacturing trademark or unfair competition; however. 16-June 10. R. MaCk, University of South Carolina, Co. to continue the acquisition of contem­ there may be some works for which Columbia, for Spa Architecture in 15th­ porary works of art on paper for the Hunt arguably no disclaimer is effective. In such MidAtlantic: Rod MacKiilop. Asheville Century Italy; Patricia M. Mainardi, Collection at the Museum. cases, this moral rights equivalent theory The Graduate Center, CUNY and Brooklyn should not be overlooked. In this Art Museum, N.C., May 2-June 25. Fayetteville Museum of Art, N.C., July. St. College, for The Politics of Display: Art The University Art Museum of the connection, it is importent to mention the Exhibitions and the French State, 1751- University of California, Berkeley specific federal trademark statute (the John's Museum of Art, Wilmington, N.C. September. Hickory Museum of Art, 1889: Gil R. Smith, Ball State has received an exhibition planning grant Lanham Act) as opposed to general laws of University, for Rome's Accademia de San from the NEH for Anxious Visions: unfair competition. It is of note that the January 1990. Retrospective, acrylic Luca and· Its Influence on European paintings. The Bay Area MFA Exhibition 1989 Surrealist Art. .. (continued page 23) Photo: Irene Poon

14 CAA Newsletter Summer 1989 15 PEOPLE AND PROGRAMS

IN MEMORIAM seminal articles in The Art Bulletin, Art Divinity degree from the Hartford Seminary Northeast: James Cuno, director of the Museum in Los Angeles. Journal, and other periodicals, that further Foundation in 1969 and was a 1966 gradu­ Grunwald Center for the Graphic Arts at the expanded knowledge of the field and opened ate of the University of North Carolina at University of California at Los Angeles, South: Maria M. Munoz-Blanco has Martin L. Deck, an architect who taught been appointed to the position of curator of at the Princeton School of Architecture new directions of inquiry. Professor Martin Chapel Hill. Parrish was one of-the longest has been appointed director of the Hood exhibitions at The Meadows Museum in from 1929 to 1942, died in May at the age also encouraged the work of other scholars serving members of the staff at the Museum of Art at Dartmouth College. Dallas, Texas. of 88. He served as director of planning and by serving as Guest Editor of the Futurist Wadsworth Atheneum where his personal France Morin will be leaving his posi­ supervising architect. of New York issue of the Art Journal (Vol. 41, 1981). devotion to the coIIections, exhibitions. tion as director of the 49th Parallel - Centre

University from 1961 to 1965. In retire w More recently, she had begun a major and artistic program was unsurpassable. for Contemporary Canadian Art in New ment, he became a professional artist in investigation of the relationship of art and York to pursue independent curatorial pro­ watercolors, lithographs and etchings. dance in the early years of the twentieth Gertrude Rosenthal, chief curator jects and to act as Canadian commissioner ACADEME century. emeritus of the Baltimore Museum of Art, to the 20th Sao Paulo Bienal. Linda Jerry Bywaters, professor emeritus at Professor Martin received a bachelors died in May at the age of 85. Born in Shearer, curator in the department of Midwest: Anne-Bridget Gary has re­ Southern Methodist University and long­ degree from Hunter College and her M.A. Germany. Rosenthal graduated from the painting and sculpture at The Museum of cently been added to the department of art time arts leader in the Southwest, died in and Ph.D. degrees from Bryn Mawr College. Kaiserin August Schule in Cologne, at­ Modern Art in New York, will become and design faculty at the University of March. Bywaters graduated from Southern She taught in a number of institutions in­ tended the Sorbonne, and was awarded her director of the Williams College Museum. Wisconsin, Stevens Point. Methodist University in 1927, and in cluding Vassar and Bard Colleges, Rutgers, doctorate in 1932 by the University of Donald A. Rosenthal, chief curator and 1936, he returned to SMU, where he taught Northwestern, and New York Universities Cologne. In 1940, after a year at the curator of European art at the High Museum Northeast: At the State University of New studio art and art history until 1980. In before coming to Boston College as Courtauld Institute in London, Rosenthal in Atlanta, has been named curator of York at Binghamton: C h a r I e s 1943, Bywaters was appointed director of Professor and Chair of the Fine Arts was the art librarian at Goucher College for collections at the Bowdoin College Burroughs has been promoted to as­ the Dallas Museum of Fine Arts, a position Department. She was also founder of the 5 years. Jointing the BMA staff in 1945 as Museum of Art in Brunswick, ME. Linda sociate professor in the department of art he held until 1964. He returned to SMU's Boston College Gallery and its first direc­ director of research, she served as general Ayres, former curator of painting and and art history; Janet Wolff and Stuart Meadows School of the Arts in 1965 to tor. Professor Martin had held a Bunting curator, senior curator, and for a time. the sculpture at the Amon Carter Museum, has Hall have been appointed distinguished serve as chair of the Division of Fine Arts Fellowship of the Radcliffe Institute, a acting director. She was a visiting lecturer been hired as associate director for pro­ visiting scholars for Spring 1989. Bette and director of the Pollock Galleries. SMU Guggenheim Fellowship and a National at The Johns Hopkins University and spoke grams and exhibitions at the Wadsworth Mammone London has been appointed named Bywaters professor emeritus in Endowment for the -Humanities Senior at COlleges, universities and museums Atheneum in Hartford, CT. Adam D. director of communications for the 1972. In 1975, a major retrospective exhi­ Fellowship. throughout the country. She served as and studied towards a law degree at Stanford Weinberg, formerly the director of educa­ Munson-Williams-Proctor Institute in bition of his works was held at SMU's Marianne Martin will be remembered Deputy U.S. Commissioner to the Venice University, before deciding to enter the art tion at the Walker Art Center, has assumed Utica, New York. University Gallery. In 1980. Bywaters not only for her publications and her fonnal Biennale in 1960. In 1968, both Goucher field. From 1965 to 1979, Wilder's gallery the position of director of the Whitney founded the Jerry Bywaters Research teaching, but also for her enormous gen­ College and The Maryland Institute awarded was a lively and discriminating showcase Museum of American Art at Equitable MidAtlantic: James Mahlon Rosen Collection on Art of the Southwest at SMU. erosity. Her commitment to her field meant her honorary doctorates; she had also been for new art in the U.S. He had his first one­ Center. Paolo Cherchi Usai has been will become the first William S. Morris Bywaters also received many honors and a commitment to all students, colleagues a NEA senior fellow. man show in 1986 at the James Corcoran appointed as the new assistant film curator Eminent Scholar in Art at Augusta College, awards for artistic service. and friends whom she could help to find Gallery in Los Angeles. In New York he was at the International Museum of Photog­ Augusta. Georgia beginning this fall. S uzi their way in the study of early twentieth J. Carson Webster, professor emeritus represented by the Max Protech Gallery. raphy at George Eastman House; Usai is Gablik, artist, author and critic from century art. For those she directed and en­ of art history and former chair of the art best known as the founder of the Silent London, England, will be the second C.C. couraged as for those who read her work, history department of Northwestern Uni­ Film Festival held in Pordenone, Italy, Garvin Visiting Endowed Professor in the hers will be a lasting contribution. - Anne versity, died in February. He received B.A., Domitor. and co-founder and editor of College of Arts and Sciences at Virginia Segnocinema. Reilly Rhodes has been Coffin Hanson M.F.A., and Ph.D. degrees in art history MUSEUMS/GALLERIES Tech. from Princeton University. Webster came named executive director of The National Art Museum of Sport in New York; he was West: Wendy Salmond has accepted the Bill Olander. curator of the New Museum to Northwestern in 1934 and continued Midwest: The Detroit Institute of formerly the executive director of the Sodaro Professorship of Art History at of Contemporary Art since 1985. died in teaching classes there until his retirement Arts has announced the selection of Museum of History and Industry in Seattle. Chapman College in Orange, California. March. Olander was the curator of the Allen in 1973. His book The Labors of the Michael Graves as the master plan ar­ Memorial Art Museum at Oberlin College Months in Antique and Medieval Art chitect for the museum's renovation and from 1979 to 1984. He received a Ph.D. in MidAtlantic: Robert N. Leitch. former (Northwesten University Press, 1938), proposed building expansion. John A. art history from NYU's Institute of Fine long considered an important work in the development director of Emory University's ORGANIZATIONS Mahey has been appointed to the position School of Law, has been named director of Arts. The Village Voice characterized him field. was succeeded by many articles on of director of the Flint Institute of Arts; he as "a model for museum curators" for "he the High Museum of Art's department of de­ European and American art and architecture, was previously the director of the San Northeast: Anthony S. Kaufman has saw the museum as a place where cultural including the descriptive text for Chicago's velopment. The S mit h son ian been made publisher and John T. Spike, Antonio Museum of Art. Joseph D. Institution and the Japanese Agency practitioners - in the most diverse sense of Famous Buildings (University of Chicago Ketner II has been appointed director of general editor, of Abaris Books, which was that term - could challenge entrenched atti­ for Cultural Affairs (Bunkacho) an­ Press, 1969). His most recent work, fin­ the Washington University Gallery of Art recently acquired by the Woodner tudes toward aesthetic experience and com­ ished and published after his retirement, nounced the development of a collaborative in St. Louis. Missouri; he was acting direc­ Foundation, a not-for-profit foundation. bat what he considered the debilitating ef­ was Erasmus Palmer: Sculpture -- Ideas program in conservation studies involving tor of the gallery since 1988 and gallery fects of media representations and the con­ (University of Delaware Press, 1983). He Japanese and U.S. scientists. Ruth K. curator and registrar since 1982. At the servative ideology that the latter invariably also served as editor of The Art Bulletin. Beesch, acting director of University MidAtlantic: W. Robert Connor, pro­ Nelson-Atkins Museum of Art in Kansas reproduced." He was responsible for the ex­ The Department of Art History is currently Gallery at the University of Florida, has Marianne Winter Martin (1924-1989) City. Missouri, Christina Nelson has fessor of classics and chairman of the hibitions Homo Video; Where We Are Now, soliciting contributions to the J. Carson been named director of Weatherspoon begun work as curator of decorative arts and Council of the Humanities at Princeton Let the Record Show, The Art of Webster Memorial Fund, from which the Gallery at the Univ"ersity of North Carolina Kathleen Garland has been hired as the University, has been elected president and Memory/The Loss of History, and Fake, as department will award scholarship prizes to at Greensboro. Carol S. Harding, for­ director of the National Humanities Center. Museum's fIrst objects conservator. David Marianne Winter Martin is known to well as producer of Adrian Piper's It's Just graduate and undergraduate students in art merly the director of membership, has been W. Steadman, director of The Chrysler many members of CAA for her great book, Art. Towards the end he was quoted as say­ history. Please send your contribution, appointed to the position of deputy director Southwest: Beryl Smith, assistant art Museum in Norfolk, V A, has been ap­ Futurist Art and Theory, published by ing, "Let the record show that there are made payable to Northwestern University, for external affairs at the Winterthur librarian at the Rutgers University Art pointed as director of The Toledo Museum Clarendon Press in 1968, with a new edi­ many in the community of art and artists to: Department of Art History. Northwest­ Museum and Gardens in Delaware. Oleg Library has been selected by the ARLIS/NA of Art. At the Cincinnati Art Museum four tion by Hacker ten years later later in 1978. who chose not to be silent in the 1980s." ern University, 254 Kresge Hall, Evanston, Grabar. professor of fme arts at Harvard (Art Libraries Society of North America) recent appointments have been made: It remains an essential work in the field; its IL 60208. University, will be the 1989 Andrew W. Executive Board as the new editor of Art factual riches and sharp perceptions make it David Monroe Parrish, registrar of the Anne P. EI-Omami is now the curator of Mellon Lecturer in the Fine Arts at the education; Susan Holmberg Currie, Documentation. a necessary starting point for all new Wadsworth Atheneum since 1972, died in Nicholas Wilder, a former art dealer in National Gallery of Art. scholarship on modem Italian art. In the February in Paris, France at the age of 45. Los Angeles and painter, died in May at the the assistant registrar for the Museum; Marrow has been ap­ Kevin Honeycutt, development officer; West: Deborah years following the initial publication of Parrish was on museum business at the time age of 51. Wilder was born in Rochester, of The Getty Grant and Paul Vlen Nguyen, the library West: Jerome R. Selmer has been pointed director the book Professor Martin produced several of his death. He received a Master of graduated from Amherst College in 1960 circulation desk clerk. named executive director of the Southwest Program. •

16 CAA Newsletter Summer 1989 17 OPPORTUNITIES Ucross Foundation Residencies for filiation to women scholars and visual National Humanities Center offers Artists and Scholars may run from 2 artists at the postdoctoral or equivalent 35-40 fellowships each year for both American Council of Learned So­ ,,:eeks to 4 months. Ucross provides indi­ ~rofess~onal stage to complete a substan­ you!lger (3-10 years beyond doctorate) and Note: All repeated listings are designated The National Endowment for the cieties (ACLS) 1989-90 Fellow­ ':ldual workspaces and living accommoda­ tial project in their field. Office or studio semor scholars. Emphasis is inter­ with a (*). Humanities Reference MaterialS Program supports projects that organize ships and Grants. The general pro­ tIons for selected artists and scholars to space, stipend, and access to Rad­ disciplinary, including not only humanities essential resources for scholarship and im­ grams of the ACLS support postdoctoral re­ ~oncentrate. without interruption. on their cliffe/Harvard facilities are provided. For b~t also sciences, the arts. and the profes­ SIons. Most fellowships are for the aca­ prove access to information and collec­ search in the humanities. A Ph.D. or its Ideas and work. The Big Red historic ranch more information write: MffiI, Radcliffe The Women's Studio Workshop has tions. Awards are made in two categories: equivalent is required. Younger scholars complex where the Foundation is located in College, 34 Concord Avenue Cambridge de~ic year, a few for a single semester. placed a call for slides for "New Prints Tools and Access. Dictionaries. historical and independent scholars who do not hold the foothills of the Big Horn Mountains MA 02138; or call: 617/495-'8212. Dead: StIpends. b~ed on u~ual academic salary. For applicatIo.n matenals write: Fellowship Northeast," an exhibition of all print media or linguistic atlases, encyclopedias. con­ academic appointments are strongly en­ and rests at the confluence of Piney and line: 2 October 1989. Program, NatIonal Humanities Center. PO except silver photography to be held at cordances, catalogues raisonnes, linguistic couraged to apply. Requests for application Clear Creeks. For further information and Box 12256, Research Triaongle Park, NC WSW in the Fall of this year. Open to resi­ grammars. descriptive catalogues and data fonn must contain the following infonna­ an application form write: the Ucross At The Institute for Advanced 27709; or call: 919/549-0661. Deadline: dents of the New England states, NY. NJ and bases are eligible in the Tools category. tion: citizenship or permanent residence, Foundation, 2836 Highway 14-16 East Stu d y, the School for Historical 15 October 1989. PA. Entry fee $10. Submit 6 slides and send Archival arrangement and description pro­ highest academic degree held and date re­ Clearmont, WY 82835; or call: 307n37: Studies has fellowships for research in SASE. For prospectus write: NPNE, WSW, ceived, academic or other position, field of 2291. Deadline: 1 October 1989. the history of western civilization with jects, bibliographies, bibliographical data (*) The Institute for Research In PO Box 489, Rosendale, NY 12472. bases. records surveys. cataloguing pro­ specialization, proposed subject of research emphasis upon Greek and Roman ci~iliza­ The Woodrow Wilson International Humanities of the University of Wis­ Deadline: 1 July 1989. jects, indexes and guides to documentation or study, period of time for which support is tion. medi~val and modem European his­ Center for Scholars awards approxi­ consin-Madison invites applications for are eligible in the Access category. For requested, and the specific program under !ory, the ~story of art and the history of mately 40 residential fellowships each year several postdoctoral fellowships, tenable at The Texas Fine Arts Association in­ more information write: Reference Mate­ which application is contemplated. Avail­ ~deas. QualIfied candidates of any national­ for advanced research in the humanities and the Institute during the academic year 1990- vites artists living in New York, California rials, Room 318, NEH, Washington, DC able programs are: Ity may apply. A Ph.D. (or equivalent) aod social sciences. Applicants from all na­ 91. Applicants must have a doctor's degree or Texas to enter "New Art: Paintings from 20506. Deadline: 1 Sept 1989. ACLS FELWWSHlPS for research in the subs~antial publications are required of all NY, CA, TX," to be held at Laguna Gloria humanities. Tenure: minimum of 6 months tions and backgrounds are welcome. Each candIdates. NEH fellowships are available at the time of application. The Institute Art Museum (Austin's museum of 20th-Cen­ to maximum of one year 1 July 1990 - 31 must hold a doctorate or have equivalent fo~ U .. S. nationals. For information and ap­ supports research in history, philosophy. (*) The Council for International professional accomplishments. Fellows language and literature. The stipend is cur­ tury art) and will then travel throughout Exchange of Scholars has announced December 1991. Deadline: 30 plIcation materials write: Administrative Texas. Entry fee for 3 slides is $15 for Septemher 1989. are provided offices, access to the Library Officer, School of Historical Studies, Insti­ rently $22,000, but may be adjusted for in­ the opening of competition for 1990-91 of Congress and other research facilities flatIon. Contact: the Institute for Research members, $22 for nonmembers. To receive Fulbright grants in research and ACLS RESEARCH FELWWSHlPS FOR tute for Advanced Study, Princeton. NJ a Call-for-Entries, send a SASE to "New RECENT RECIPIENTS OF THE Ph.D. for re­ manuscript typing services, computers, and 08540; or call 609n34-8201. Deadline: in t~e Humanities, Old Observatory, Uni­ university lecturing abroad. Application verSIty of Wisconsin-Madison, Madison, II research assistants. Fellowships are usually Art, Texas Fine Arts Association. 3809-B materials will be available in April. For search in the humanities for applicants 15 October 1989. W. 35th Street, Austin, TX 78703, or call whose Ph.D. degree will have been con­ for the academic year, although can vary WI 53706. 608/262-3855. Deadline: more infonnation and applications, call or from 4-12 months. Stipends are based on a 15 October 1989. 512/453-5312. Deadline: 7 July write: Council for International Exchange ferred between 1 Jaouary 1987 aod 31 De­ The Columbia Society of Fellows In no gain/no loss principle, although there is 1989. of Scholars, 3400 International Drive. cember 1989. Tenure: 6 months to 1 year the Humanities, with grants from the a limit to available funds. Travel expenses The Interpretive Research Program Suite M-500, Washington, D.C. 20008- between 1 July 1990 aod 31 December Andrew W. Mellon Foundation and the of the National Endowment for the ~e pro,:ided. For infonnation and applica­ The Women's Studio Workshop is 3097. 202/686-7866. Deadlines: 15 1991. Deadline: 30 September William R. Kenan Trust, will appoint a Humanities welcomes applications for looking for interns to work in its pa­ 1989. hon wnte: Fellowship Office Woodrow number of postdoctoral fellows in the hu­ September 1989 for Africa, Asia, Eu­ Wilson Center, Washington, DC 20560; or collaborative or multi-year projects that permaking, silkscreen, bookbinding and rope, the Middle East, and lecturing awards ACLS GRANTS-IN-AID to support expenses manities for ~he academic year 1990-91. cannot be accomplished through individual printmaking studios. Experience is not re­ of humanistic research in progress. Tenure: call 202/357-2429. Deadline: 1 Octo­ Applicants must have received their Ph.D. to Mexico, Venezuela, and the Caribbean, ber 1989. I-year fellowships. All topics in the hu­ quired. Write or call: WSW, PO Box 489, and travel-only awards to France, Italy, and grants to be expended between 1 May 1990 be.tween 1 ~anuary 1985 and 1 July 1990. manities are eligible. and projects are ex­ and 1 May 1991. Deadline: 15 Decem­ StIpend available - half for independent re­ Rosendale, NY 12472, 914/658-9133. West Germany; 1 November 1989 for M!lIard Meiss Publication Fund. ~t~d to lead to significant scholarly pub­ search and half for teaching in the under­ Deadline: 15 July 1989. institutional proposals for Scholar-in-Res­ ber 1989_ ~dlard Meiss Publication Fund grants are lIcatIOns. Awards usually range from idence Program, for International Education ACLS GRANTS FOR TRAVEL TO IN­ gIVen out by CAA twice annually for publi­ g~~duate program in general education. Ad­ $10,000 to about $150,000 for up to 3 Administrators Program in West Germany, TERNATIONAL MEETINGS for scholars in cation subsidies. Applications will be con­ dItIonal funds are available to support re­ years duration, depending upon the size of The Service League of Port Arthur United Kingdom, and Japan, and for the humanistic disciplines to participate in in­ sidered only from authors whose book­ search. Fot application forms write: Direc­ this project. For application materials and ternational meetings held outside the U.S., tor, Society of Fellows in the Humanities has announced a competition for its Seminar in German Civilization; 1 Jan­ length scholarly manuscripts have been ac­ ~rther information write or call: Interpre­ "Tenth Biennial Five State Art Exhibition." uary 1990 for NATO Research Fellow­ Canada, Mexico and the Carribean. When cepted by a publisher on their merit, but Heyman Center for the Humanities Bo~ tIve Research, Room 318, Division of Re­ Artists from Texas. New Mexico. Okla­ ships and Spain Research Fellowships. requesting application include name, date, cannot be published without a subsidy 100 Central Mail Room. Columbia U~ver­ search Programs. 1100 Pennsylvania Ave sity, New York, NY 10027. Deadline: 15 homa, Arizona, and Louisiana are eligible. place and sponsorship of the meeting, as Publishers, not authors, must submit th~ NW, Washington, DC 20506. 202/786: The exhibition will include works on paper, well as a brief description of the nature of October 1989. Call for Slides: Women's Studio application. Commercial as well as univer­ 0210. Deadline: 15 October 1989. photography and sculpture only. $4,000 in the applicant's scholarly interests and pro­ WorkshOp. WSW is soliciting slides sity presses are eligible. While all periods cash and purchase awards are available. En­ posed role in the meeting. Deadlines: 1 Student Paper Award. The Art Libraries from artists who wish to exhibit in 1990. ~d all areas of art history may be consid­ (*) The Basil H_ Alkazzl Award is an try fee is $10 for first entry and $7.50 for October 1989 for meetings January-June ered, eligibility does not embrace cata­ Society of North America (ARLIS/NA) 1989 annual travel award of $2,000 to be given Small (22' x 30') works on paper are pre­ 1990; and 1 March 1990 for meetings each additional entry. For prospectus send logu~s. excavation reports, articles, or Gerd Muehsam Award. The award is given to th~ best ~t s~dent and/or artist to spend ferred, but any media will be considered. July-December 1990. SASE to: Service League of Port Arthur, Send 10 to 20 slides, an SASE and a current multI-author volumes. Subsidy is inter­ ann~ally to ~ student in a graduate program a penod of tlIDe m London and is open only Attn: Sylvia Williams, PO Box 3134, port FELWWSIDPS FOR CIllNESE STUDIES for of library SCIence for the most outstanding resume to: Exhibition, WSW, PO Box 489, preted to mean less than the total costs of to U.S. citizens, aged 18--30. There are no Arthur, 77640; or call 409/963-1019. postdoctoral or graduate research and train­ paper on art or visual resource librarian­ TX Rosendale, NY 12472. 914/658-9133. production, that is. a substantial portion of application forms. Applicants must send 6 ing in China area studies. These programs, ship. Entrants must be enrolled in an ac­ Deadline: 1 August 1989. Deadline: 15 September 1989. production costs must be met by the pub­ transparencies, 4 color or b&w prints of which are subject to funding. are not in­ lisher or from other sources. Awards are not credited institution during the calendar year your work, a full resume, place and date of tended to support research within the Peo­ restricted to scholars of any nation. Appli­ 1~89. Suitable. papers done in conjunction birth, a head & shoulder photograph a Dallas WCA's 4th Annual Jurled ple's Republic of China. Deadline: 15 WIth course aSSIgnments are admissible and Colorado 1990 exhibition com­ ~ants must be CAA members in good stand­ handwritten statement as to why ;ou Exhibition. As part of the November Fo­ November 1989. should be no less than 2000 words in petition. The Denver Art Museum is aC­ mg. The Committee meets in the spring and want/need this award, and how best you ex­ cus on Women's Art, the Dallas Women's FELLOWSffiPS FOR EAST EUROPEAN length, with an abstract of 250 words. cepting entries from Colorado artists of all the fall to consider awards. Please call CAA pect to use the time in London. Interna­ Caucus for Art is coordinating the 4th an­ STUDIES for postdoctoral or graduate re­ office at 212/691-1053 for an application Cash award, plus one year ARLIS/NA mem­ tional Reply Coupons should be enclosed nual juried exhibition 1-24 November open media for Colorado 1990 to be held 28 search and training in East European area April _ 24 June 1990. Submit slides of up to form. Deadlines: 1 October 1989 bership and travel reimbursement for annual to cover the cost of return postage of entry. to women artists in Texas. Oklahoma and studies. These programs, which are subject and 1 March 1990. meeting. Mail entries to, or contact for The award will be juried by Basil Alkazzi New Mexico. Open to women over 18 years 5 artworks which would be available for the to funding, are not intended to support re­ exhibition. Entry forms must accompany more information: Laurie Reese Chair and an art critic yet to be named. Entries of age. in all media. Awards total $1. 000. search within East Europe. Deadline: 15 FellOWShips for Women Artists Gerd Muehsam Award Committee, Los An~ should be sent to: The Basil H. Alkazzi Fees are $15 for 3 entries/WCA members, each submission. fo:r:ms are available at the museum's information desk, or by writ­ November 1989. and. Scho~ars. The Mary Ingraham geles Public Library, 861 AI Marial Drive Award, BCM Box 6314, London, WCIN or $23 for 3 entries/non-WCA members. Additional information or an application ing: Contemporary Art Department, Denver B.untmg InstItute of Radcliffe College pro­ Pacific Palisades, CA 90272. 213/459: 3XX, England. Deadline: 31 October Send SASE for PROS to: Dallas Women's form may be secured by writing to: ACl.Sc Art Museu~ 100 West 14th Avenue Park­ VIdes fellowships and opportunities for af- 2754. Deadline: 15 October 1989. 1989. Caucus for Art, Dept CAA, PO Box 106, 228 East 45th Street, New York, NY Coppell, TX 75019. 214/462-1922. way, Denver, CO 80204. 303/575-2794. Deadline: 15 September 1989. 10017-3398. 212/697-1505. Deadline: 1 September 1989. Summer 1989 19 CAA Newsletter 18 I

OPPORTUNITIES •••

1990-91 Fulbright Scholar-In­ pean applicants may also obtain in­ b/w prints of art work, a resume, place and port of American and Asian scholars partic­ Smithsonian InstItutIon Intern­ DIVISION OF EDUCATION PROGRAMS: Residence Program. American colleges fonnation from: The Getty European Of: date of birth, a head and shoulder photo­ ipating in conferences, exhibitions, visit­ ships and Fellowships. Smithsonian Higher Education in the Humanities 1 Oc­ .and universities are invited to submit pro­ fice, 13, rue Casimir Perier, 75007 Paris, graph, and a SASE to: The Springfield Mu­ ing professorships, and similar projects. internships are structured learning experi­ tober 1989. posals to host a visiting scholar from France. 33-1-47-53-91-97. Deadline: 10 seum of Art, 107 Cliff Park Road, Spring­ -Grants range in duration from 1-12 months. ences scheduled within a specific time DIVISION OF FELLOWSHIPS AND SEM­ abroad for all or part of the 1990-91 aca­ November 1989. field, OH 45501. Deadllne: 5 Decem­ For further information write: Asian Cul­ frame, usually 2 months to 1 year. A INARS: Travel to Collections: Grants for demic year. Of particular interest for this ber 1989. tural Council, 280 Madison Avenue, New stipend may be offered in support of an in­ Research Travel in the US and Abroad 15 year's program are scholars interested in the The American Academy in Rome has York, NY 10016; or call: 212/684-5450. ternship, but most interns receive ap­ July 1989; Summer Stipends 1 October bicentennial of the U.S. Constitution and announced the 1990-91 Rome Prize (*) Camelot Publlshlng Company is Deadline: Open. pointments without a stipend. Smithsonian 1989. the quincentennial of Columbus' discovery Fellowship Competition in the fields sponsoring a Computer Art Contest fellowships support. independently con­ DMSION OF GENERAL PROGRAMS: Hu­ manities Projects in Media 15 Septem­ of the Americas; and, from the Western Eu­ of Architecture, Landscape Architecture, for students (secondary school and col­ The Pollock-Krasner Foundation ceived and designed research study by per­ sons at advanced academic levels. Stipends ber 1989; Public Humanities Projects 15 ropean countries. scholars interested in Painting, Sculpture, Musical Composition, lege/adult) or artists engaged in produc­ awards grants to professional artists for are offered for some fellowships. For further Septem ber 1989; Humanities Projects topics related to European economic unity Literature, Classical Studies, Classical Art ing computer art. Winning entries will be their personal, professional, or medical information write: Office of Fellowships in Libraries and Archives (Planning grants) in 1992. For detailed program guidelines and Archaeology, History of Art and Post­ published in a new annual publication needs. The amount of the grants depends on and Grants, SI, 955 L'Enfant Plaza, Suite 4 August 1989 (Implementation grants) and proposal forms write: Council for In­ Classical Humanistic Studies. Recipients Computer Images 1990 and prizes of com­ the individual situation with equal weight 7300, Washington, DC 20506; or call: 15 September 1989. ternational Exchange of Scholars. 3400 In­ are provided with a stipend, travel al­ puter science/computer graphic library given to the merit and .financial need of the 202/287 -3271. Deadline: Open. DIVISION OF RESERACH PROGRAMS: ternational Drive, NW, Suite M-500, lowance to and from Rome, housing, most books ranging from $50 to $200 will be applicant. Grants range from $2,000 to Reference Materials (Tools) 1 September Washington, DC 20008-3097; or call: meals, and a study/studio space at the awarded. Categories for entries are: 1) Sec­ $20,000. For application write: P-K Foun­ 202/686-7866. Deadline: 1 November MInorIty/Native American In- Academy's 10-acre, 10-building facility in ondary Schools (grades 6-12) color art; 2) dation, PO Box 4957, New York, NY 1989 (Access) 1 September 1989; In­ 1989. ternship Program SmIthsonian Rome, Italy. For application write: Fel­ same, but for black and white art; 3) Col­ 10185; or call: 212/517-5400. Deadline: terpretive Research (Projects) 15 October lowship Coordinator, AAR, 41 East 65th lege Level/Adult (over 18 years of age) Open. Institution. Internships are available for 1989 (Humanities, Science and Technol­ At The Institute for Advanced minority/Native American students to par­ Street, New York, NY 10021-6508; or call: color art; 4) same. but for black and white ogy) 15 October 1989; Regrants Stu d y, the School of Historical ticipate in research or museum-related 212/517-4200. When requesting applica­ art. Contact: Camelot Publishing Com­ The New York City Percent for Art (Conferences) 1 July 1989. Studies also has 2 year memberships tion, please specify field of interest. pany, Computer Art Contest, P.O. Box Program reminds artists that they may activities for periods of 9-12 weeks. available to assistant professors for re­ Deadline: 15 November 1989. 1357, Ormond Beach, FL 32075. Dead­ register with its slide registry, an im­ Stipends are available to undergraduate and search in the history of Europe and its ex­ graduate students. For information and Summary of Upcoming NEA dead­ line: 31 December 1989. portant component of its selection process. lines. Upcoming National Endowment for pansion from antiquity to the present. At American Council on Education deadlines write to: the Office of Fel­ Architects, panelists, and agencies consult the Arts deadlines, which are relevant to our the time' of their arrival members must have 1990-91 Leadership for Higher Ed­ Grants for Foreign Students to At­ the registry in selecting an artist; it is also lowships and Grants at the above address. served at least 2 years but not more than 4 Deadline: Open. membership, are listed below. For guide­ ucation Fellows Program will provide tend 1990 CAA Annual Con­ available to the art community for private lines/applications, write to either: Public years in an institution of higher learning in the opportunity for 30 selected participants ference. CAA has once again been or other city related projects. Obtain an ap­ the U.S. or Canada and have written assur­ Programs Sponsored by the ACLS Information Office, NEA, 1100 Pennsylva­ to: gain a campus-wide point of view by awarded a grant by the Institute of inter­ plication by writing: NYC Percent for Art nia Avenue, NW , Washington, DC 20506 ance that they may return to their position. and Other Organizations. The Ameri­ serving as an intern to a college or univer­ national Education's Short Term Enrich­ Program, City of New York Department of (contact the program directly); or call: For infonnation write to the Institute at the sity president or vice president; learn a new ment Program (STEP) to provide funds to Cultural Affairs, 2 Columbus Circle, New can Council of Learned Societies has in­ above address. Deadline: 1 November formed eAA of the following fellow­ 202/682-5400. administrative skill through seminars and allow foreign graduate students to attend the York, NY 10019. Deadline: Open. ARTS IN EDUCATION: Arts in Schools Ba­ 1989. ships/programs which they sponsor. For practical experience; and understand higher 1990 CAA annual conference in New York. further information, contact the organiza­ sic Education Grants/planning Grants 6 education in national and regional contexts Applicants must be citizens of a foreign Aperturefs Work-Scholar Program 16th Annual Miami Beach Festival tions listed below. October 1989. by talking to national leaders and visiting country and be enrolled as full-time graduate allows participants to become involved EXPANSION ARTS: Expansion Arts Or­ of the Arts exhibition com­ INTERNATIONAL RESEARCH EX­ many campuses. Application forms will be students at a U.S. institution of higher edu­ with the writing, editing, design, produc­ CHANGES BOARD for postdoctoral or pre­ ganizations 19 September 1989; Ser­ petition. The City of Miami Beach Fine available in September. Write to: American cation. They must not be receiving any tion. distribution of photographic publica­ Arts Boards will hold its annual Festival of doctoral exchanges with Bulgaria, vices to the Field 1 December 1989. Council on Education, One Dupont Circle. other U.S. Government funds, for either tions; to be involved with its exhibition VISUAL ARTS: Art in Public Places 13 the Arts, 10-11 February 1990. Over Czechoslovaki~ the German Democratic Washington, DC 20036. Deadline: 15 academic or travel expenses. The maximum space; to work with the Paul Strand photo­ October 1989; Visual Arts Forums 1 $11.000 in total awards available. Send 3 November 1989. Republic, Hungary, the Mongolian Peo­ award is $300. CAA also extends waiver of graphic archive; and to learn business prac­ November 1989. slides, $150 entry fee, plus $5 application tices associated with a non-profit organiza­ ple's Republic, Poland, Romania, the Grant for foreign art historians to annual meeting registration fees for STEP ARTS ADMINISTRATIVE FELLOWSHIPS processing fee. For application write: Fes­ tion. Stipend is $250/month for periods of U.S.S.R. and Yugoslavia. For information attend 1990 CAA Annual Con­ grantees. Eligible students should request 21 July 1989. tival. Dept. FL, PO Bin "0", Miami Beach, an application by writing: STEP, CAA, 275 6-9 months. For information write: Lisa write: International Research & Exchanges ference. CAA is proud to announce that Board, 126 Alexander Street, Princeton, NJ FOLK ARTS: National Heritage Fellowship FL, 33119; or call: 305/673-7733. Dead- Seventh Avenue, New York, NY 10001; or Rosset, Work-Scholar Program, Aperture, the Librarie Leonce Laget in Paris will, for 08540-7102. Nominations 1 November line: 1 November 1989. call: 212/691-1051. Deadline: 24 20 East 23rd Street, New York, NY 10010; the second consecutive year, award $750 COMMITIEE ON SCHOLARLY COM­ 1989. November 1989. or call: 212/505-5555. Deadline: Open. The Getty Grant Program announces (U.S. dollars) to a foreign art historian to MUNICATION WITH THE PEOPLE'S RE­ enable him/her to attend the 78th CAA an­ PUBLIC OF CHINA for research in China by its Research Grants in the history of-art Asian Cultural CouncIl offers two (.) Vermont Studio School nual conference in New York in February advanced graduate students or postdoctoral and the humanities for the academic year fellowships for Americans concerned grants/residencies. Work exchange PROGRAMS and SUMMER 1990-1991: 1990. The award is available to foreign art scholars in the humanities or social sci­ with the study of Asian arts and culture: grants, teachers grants, and 12 week SCHOOLS historians residing outside of North Amer­ ences. For information write: CSCPRC, POSTDOCTORAL FELLOWSHIPS will be ASIAN ART FELLOWSHIPS for scholars, work/staff residencies are available at the ica. For information or application form National Academy of Sciences, 2101 Con­ awarded in an open competition to out­ curators, and conservators of Asian art to Vermont Studio School from mid-May to The Women's Studio Workshop of­ standing young scholars for a period of write: Laget Award. CAA, 275 Seventh Ave, mid-October. The grants offer an opportu­ stitution Avenue, Washington, DC 20418. New York, NY 10001; or call 212/691- conduct research and travel in East and fers summer classes in book arts, study and research. Eligible candidates nity to study with some of this country's Deadlines: Various. artists books, handmade paper, silkscreen, 1051. Foreign members who wish to apply Southeast Asia. Eligible for support are in­ must have received their Ph.D. degree, or top artists and faculty. For more informa­ fabric printing, intaglio, performance and should request applications no later than 1 dividual research projects, visits to Asian equivalent qualification in countries outside institutions in connection with proposed tion write or call: Vermont Studio School, Summary of Upcoming NEH dead­ more. For a catalog, write: WSW, PO Box the U.S., between 1 January 1984 and 1 November. Application Deadline: 24 Box 613, Johnson, VT 05656. 802/635- November 1989. exhibitions of Asian art in the U.S., and Jines. The National Endowment for the 489, Rosendale, NY 12472; or call: January 1990. observation tours to collections, sites, and 2727. Deadline: Open application Humanities has announced in its publica­ 914/658-9133. SENIOR RESEARCH GRANTS are available conservation facilities in Asia. Grants period, monthly review. tion Overview of Endowme14l Programs ~ for a limited number of mid-career and se­ The Springfield Museum of Art an­ range in duration from 1-3 months. January 1989 upcoming deadlines for some National Gallery of Art forms nior-level scholars who are beyond the nounced its annual Sheldon Bergh Ac­ HUMANITIES FELLOWSHIPS assist schol­ of its programs. Guidelines and application summer art education teacher postdoctoral level. quisition Award which will be given to ars, doctoral students, and specialists in the (*) The Vermont Studio Colony has forms for all programs listed below are institute. The NGA announced that its For further information about eligibility an art student or artist (aged 18-50) born in humanities to undertake research, training, also announced the availability of grants available from either the program or the has established an annual summer institute requirements and application procedures, or presently living in Ohio. 6 finalists will and study in Asia in: archaeology; conser­ for 4 or 8 week residencies for Office of Publications and Public Affairs, to better prepare elementary and secondary contact: The Getty Grant Program, 401 been presented in an exhibition at the Mu­ vation; museology; the theory, history, painters and sculptors. Call or write the NEH, 1100 Pennsylvania Avenue, NW, level teachers to teach art and the humani­ Wilshire Blvd., Suite 1000, Santa Monica, seum. Entry fee is $5. There are no applica­ and criticism of architecture, art, design, Colony at the above address. Deadline: Washington, DC 20506. 202n86-0438. ties. A pilot program will be held this CA 90401-1455. 213/393-4244. Euro- tion forms. Send 6 slides, and 4 color or fihn, and photography. It also allows sup- Open. Deadlines: summer for the institute, which will com-

20 Summer 1989 CAA Newsletter 21 • OPPORTUNITIES ••• LEGAL UPDATE • ••

to-date guide to fellowships and grants for mence in the summer of 1990. For informa­ federal administrative body which rules on visual artists working in the U.S. General The district court concluded that by Protection of an author's right to integrity tion about the summer teacher institute and registration appeals has declared that the courses during 1989-90 school year, write information, application procedures and borrowing and mounting the preexisting based on moral rights equivalent was also name of an author/artist can be registered as selection processes for 80 grants are given copyrighted individual art images without afforded recently by a New York Court. Of call: Julie Springer. National Gallery of a trademark for the full work the in concise detail with easy-to-use indices to the consent of the copyright proprietors, Judge Freedman of the New York Supreme Art, 4th Street at Constitution Avenue, NW, author/artist produces. The full implication pinpoint the most appropriate sources. An the company had infringed the copyrights Court in the case of Society of Survivors of Washington, DC 20565. 202/842-6249. of this for moral rights has yet to be introduction written by Michael Faubion, the Riga Ghetto v. Huttenbach adressed the explored. (W.M. Borchard, Trademark and in the individual images and also conculded The Summer Museum School of the acting director of the NEA's Visual Arts the Arts, 1989.) that the resulting products comprised issue (..f the rights of an author and a School of the Boston Museum of Program, gives a unique insight and precise derivative works. In affirming the district publisher where the author has granted full analysis of the application and selection Fine Arts offers art courses in Boston Serra also argued that reslhng of the court, the appellate court stated. "the property rights in a work to the publisher. processes for awarding NEA grants. Order (animation, ceramics, drawing. film, sculpture would constitute an unauthorized protection of derivative rights extends graphic design, landscape, metalsmithing, your copy for $8.00 (includes postage) mutilation or other modification and thus beyond mere protection against On June 14. 1982, the parties entered into painting. photography. printmaking. from: Art Resources International, 5813 an infringement of copyright. As noted, unauthorized copying to any other form in their first agreement for a book. It was to be sculpture, silkscreen, video, watercolor, Nevada Avenue. NW, Washington, DC the Copyright Act does not grant a general which a work may be recast, transformed or entitled The Holocast in Riga: A History of stained glass); in Ireland (painting in the 20015. 202/363·6806. moral right to prevent distortion, adapted. In rejecting the company's the Riga Ghetto. Connemara area); and in New Mexico (at mutilation or other modification of a work. argument that it had not engaged in art Ghost Ranch in photography). For more The National Endowment for the Section 106(2) does. however, prevent reproduction,. the court stated, "the Disagreements broke out between the information write: The Summer Museum Humanities 23rd Annual Report Is anyone from making a derivative work company has by removing the individual parties. At issue was whether the publisher now available. It contains brief as owner of the copyright has the right to School, School of the Museum of Fine Arts, Jerome Selmer based On the author's work without his images from the book and placing them on 230 The Fenway, Boston, MA 02115. descriptions of NEH programs as well as a Southwest Museum (See People & Programs) consent. The resiting would constitute an the tiles, while not accomplishing drastically change or revise the author's 617/267-1219. complete listing of all NEH grants. entered unauthorized derivative work. reproduction, has certainly transformed and manuscript and then publish it either under by the division and program in which they art. The announced purpose of this year­ recast the individual images by another authorship or combined book will be to allow these un-sung. but were funded for fiscal year 1988. The report Section 106(2) was successfully invoked as incorporating them into its tile preparing au thorship. In this case the specific doubtlessly highly motivated would-be The Royal Academy of Drama tic is free while the supply lasts. Single copy a moral rights equivalent in another case. process. " contract provisions states, "The manuscript scholars to share with their more successful Arts of London has announced the ini­ requests may be sent to: NEH 1988 Aonual In the recent case of Mirage Editions. Inc .. agreed upon shall be published under the co\leagues those articles they they WOULD tiation of a 2~week intensive techni~ Report, Rm 406, 1100 Pennsylvania Ave, Jennifer Dumas. et al v. Albuquerque A.R.T. While this case goes farther than previous authorship of professor Henry R. have written. that is had they ever found the Huttenbach. " cal summer school in set design NW, Washington, DC 20506. 202/786- Co., the United States Court of Appeals for cases in reading into the Copyright Act a and scenic techniques. The course runs 0438. inclination to expend the energy required right of integrity, the analogy is not the Ninth Circuit (California), held that a from 7 August to 18 August. For more in­ for the onerous production of self-seeking without its conceptual difficulties given as Justice Freedman held that neither party company that sold tiles upon which works formation write: Shirley Matthews, Royal The Division of Research Programs publications. All submissions should fol­ Professor Damich has stated the lack of may publish or use the work without the full of art were mounted infringed the artist's Academy of Dramatic Arts, 62-64 Gower low the style of the MLA handbook, and clear distinction between economic and consent of the other. Use of either the of the National Endowment for the widow's copyright to make derivative Street, London, WCIE 6ED, England; or should be sent to: Padre Marcus Angelicus, moral rights in U.S. copyright law. For manuscript prepared by Professor Humanities has armounced the availabil­ works by creating tiles using artwork for ity of its guidelines. The Division has S.J., Editor, FAR: RlTIPHA, Dept of Art example, an important limitation on using Huttenbach or any of his work product, like call: 01-636-7076. which the artist's widow and magazine Historical Aggrandizement. New Mexico Section 106 as a moral" rights equivalent his tapes would violate the contract and four major grant program areas: Texts, Ref­ publisher held the exclusive right. The Residential Studio Program in erence Materials. Interpretive Research, University, Las Cruces, NM, 88003-0003. lies in the fact that an author who has would also constitute passing off in China has programs for visual artists at Regrants. For a copy of the guidelines licensed a derivative work may generally no violation of the author's moral rights. Patrick Nagel was an artist whose works China's National Academy of Fme Art and write: Division of Research Programs, Rm The Foundation Center has announced the longer object to the alteration of the work Justice Freedman mentioned approvingly appeared in many media including Design in the Peoples Republic of China. publication of Grant Guides for the unless the contract specifically limits the several recent cases in New York which 318, NEH, 1100 Pennsylvania Ave, NW, lithographs, posters, serigraphs and as Partial assistantship available for person Washington, DC 20506. Arts, including: Grants for Arts & Cultural alterations or reserves to the author the relied on unfair competition and industry graphic art in many magazines, most with administrative, teaching or China ex­ Programs; Grants for Museums; and Grants right to approve the alterations. This right practice to protect the authors right of notably Playboy. Nagel died in 1984 perience (submit in writing only). For more A Cumulative Index of Volumes 1~ for Film, Media & Communications. These of "integrity" is a copyright owner's not an leaving the copyright to his wife. Mirage integrity. So for example. where a contract information contact: J. Sugarman. Program 6, 1982~87, of Art Documentation guides list thousands of recent grants in the author's right. The issue of whether the provided that the publisher reserved the editions is the exclusive publisher of Director, CVASP, Providence, RI 02906. has been published by ARllS/NA. This in· arts field. and provides statistics on funding moral rights can be waived by transfer of Nagel's works. (continued page 27) 401/751-8888 or 800/225-4262. dex provides access to a substantial body of trends. For more information call or write: economic rights and still be in accord with valuable material published in the first 6 The Foundation Center, Dept TS, 79 Fifth Berne is also unclear. Center for the Arts and Public Pol­ years of Art Documentation, and will be Avenue, New York, NY 10003. 800/424- icy formed. The University of Florida, in continued by annual indexes included in Art 9836. Gainesville has armounced the existence of Documentation for volume 7 and continua­ the Center for the Arts and Public Policy. tio'n. Copies can be ordered for $10 prepaid Established in February 1988, this unique (a $1 fee will be added for orders that require Modern Language Association has avail­ Please attach your old mailing label here: new Center provides a research and service invoicing and an additional $1 for shipping able Software for Scholars and component not current available in the U.S. outside the U.S.) from: ARLIS/NA Publica­ WrIters including: Pro·Cite, a powerful Its purposes are to examine the connection tions, 3900 E. Timrod Street, Tucson, AZ bibliographic database program, available between artists, arts institutions and the 85711. for ffiM and Macintosh computers; Nota MOVING? rest of society. For more information con­ Bene, aD. advanced word processing pro­ tact: John A. O'Connor, Director, Center A new scholarly journal, FAH: RITIPHA gram with special features for scholars and for Arts and Public Policy, Univ. of Florida, (Fragmenta Artibus Historiae: Revue Inter­ teachers (flexible layout, keyboards for all Gainesville, Florida, 32611. 904/392- nationale des Titres In6dites pour l'Histoire major Western European languages, lists of illustrations, etc.); Word Cruncher. a pow­ 8670. de l'Art) is tentatively scheduled to begin Please send us your address change 6-8 weeks erful indexing and retrieval program for ':Jnd write your new address here: publication in the summer of 1990. It will before next publication date to insure PUBLICA TIONS be devoted to the specialized, but as-yet un­ machine-readable texts; and Bibliography accurate delivery of eAA publications. Do Name recognized. needs of those of our colleagues Generator J a simple but flexible bibli­ not submit swnmer address changes. (*) An important guide to grants (particularly tenure-track teachers) who may ography program suitable for students and for individual artists is now available never fmd the time to pursue any labor-in­ those with limited needs. For information Address Send this form to: from Art Resources International, published tensive scholarly research but who, never­ call or write: Member & Customer Ser­ College Art Association, 275 Seventh Ave. NY, NY 10001 in cooperation with the National Endow­ theless, might possess many original per­ vices, Modern Language Association, 10 City, State, Zipcode ______ment for the Arts. Money to Work: Grants ceptions and/or germinating ideas dealing Astor Place, New York, NY 10003·6981. for Visual Artists is a comprehensive, up- with noteworthy problems in the history of 212/475-9500. III

22 CAA Newsletter Summer 1989 23 CONFERENCES AND SYMPOSIA

Association of Art Historians particularly welcome. Style should conform CAA AFFILIATED SOCIETIESI N?,e: All repeated listings are designated program committee will select the papers to Temple Univ. on April 20, 1990. A~nual Conference 1990 (*) to the University of Chicago Manual of SPECIAL INTEREST GROUPS with a (*). be presented and asks that a 20-minute time Scholars from all disciplines are invited to Style, 13th edition. For further information TrImty College, Dublin, March 23 ..25, CALL FOR PAPERS limit be observed. The IMA encourages the submit one-page abstracts approximately 1990. The theme is Regionalism: or ~ubmissions, contact: Ann Lee Morgan, CALL FOR PAPERS study and understanding of all aspects of the 30 minutes in length on women as patrons, EdItor, School of Art and Design (M/C Challenging the Canon. Papers are invited American Society for Hispanic Art Middle Ages; please write for membership collectors and dealers, and their impact on 036), Univ. of Illinois at Chicago Box on aspects of the theme ranging from Celtic HIstorical Studies (*) 27th National Conference information. Send proposals and abstracts art and architecture produced between 1200 Insular Art and the Reformation in the 4348, Chicago, IL 60680. ' of the Society for to: Janet Marquardt-Cherry, Art Dept., and 1800. Send abstracts or requests for in­ ASHAHS will sponsor a session entitled Regions: image and discord to Popular Conference on British Works of Spanish and Portuguese Art in Photographic Education Eastern Illinois Univ., Charleston IL formation to: Cynthia Lawrence, Dept. of Imagery and Critical Regionalism and To be held in Santa Fe, NM. March IS- 61920 or John Simpson, English Dept., Art History, Ritter Hall Annex, 8th floor, Studies Biography Series North American Collections. Both mem­ Vernacular Expression and Design. Formerly published by the Archon Division bers and nonmembers of ASHAHS are in­ 18,. 19?O. Program proposals on any Eastern Illinois Univ., Charleston, IL Temple Univ., Philadelphia, PA 19122. Proposals and inquiries: Fintan Cullen 61920. Deadline: 1 September of Shoestring Press, it has been moved to vited to propose papers that address stylis­ tOpIC will be considered, especially those 215/787·7837. Deadline: 1 October Dept: of ~e. History of Art, University of which investigate issues relevant to struc­ 1989. 1989. Indiana University Press. Paul Scherer and tic or iconographic questions pertaining to Dub1m, Tnmty College, Dublin 2, Ireland. works of Spanish and Portuguese art of all tures of education and imagemaking in the Roy Schreiber of Indiana Univ. at South Abstracts deadline: 1 December Bend are the editors. Anyone who has a bi­ periods in all media (including painting, southwest. Working theme: Enchanted 25th International Congress 1989. ' Vernacular Architecture Forum ?grap~y that might be suitable please keep sculpture, drawing, manuscript illumina­ Lands/~ontested Turfs: Photographic on Medieval Studies (*) The ~ AF is ~oliciting proposals for pre­ m mmd the following information: the tion, tapestry, architectural ornament) in Edu~atLOn and Imagemaking in the 1990s. A VISTA, the Association Villard de sentatIOns at ItS 1990 Annual Meeting to 7th BIennial printed book should be approximately 250 public and private North American col­ TOpICS to consider include The Changing Honnec~urt for the Interdisciplinary Study be held in Lexington, KY, May 9-12, New College Conference on lections. Papers will be limited to a maxi­ Role of Liberal Education; Power Structures of MedIeval Technology, Science and Art pages; any area of British history will be 1990. Papers may address any aspect of Medieval-Renaissance Studies considered, but the subject should be of mum length of 15 minutes each. Send one­ (Economic, Military, Nuclear and Spiri­ invites papers on the topic Trans~ortatio~ vernacular architecture in the U.S. or The conference will be held March 8-10 page abstract (prepared in the same format tual); Representations of Native American as Depicted in Medieval Art and Literature s~me eminence for the period involved; abroad, and should be primarily analytical 1~90 in Sarasota, FL. Papers may be sub~ as CAA abstracts) to: Steven N. Orso, 7345 and Hispanic Cultures; Imagemaking: for pre~entation at its sessions during the fIgures that have importance for areas be­ rather than descriptive in content. mltted on all aspects of Europe and the yond British history are of particular inter­ Tree Lane, Madison, WI 53717. Deadline: Presentations of Work; The Changing International Congress on Medieval Studies Mediterranean before 1600, any discipline. to be held in Kalamazoo, Michigan, May Proposals may be for either a 20 minute pa­ est (e.g., the empire, colonies, or the con­ 30 September 1989. West; Changing Ideas in Landscape per on a subject the author has extensively Especially interested in Italian Studies Photography; Historic Archives of the 3 ..6, 1990. Talks are limited to 20 min· tinent).; . the liveliness of writing style and research~d or aID minute "work in Medieval/Renaissance Humanism, Courtly the abIlity to use language with grace and Art Historians of South",:,est; Photographic History utes. Send one-page abstracts, indicating Culture, Ritual and Drama, Spanish Studies, Southern California audio-visual needs, to: Barbara M. Kreutz, progress report. Proposals should be ease will be considered. Those who have a ReconsIdered; Photography within the typewritten with the author's name, address Urban History, and the 12th Century Annual meeting to be held Nove m b e r Expanding Technologies of Media. All in­ 238 North Ithan Ave., Villanova, PA manuscript for consideration should send an and telephone number in the upper right Renaissance. Send I-page abstract to: Lee outline of the proposed work and an intro­ 18, 1989 at Scripps College. Please terested (imagemakers, educators, histori­ 19085. 2151527·2564. Abstracts dead· submit a one-page, single-spaced, typed hand comer and be a maximum of 400 words D. Synder, Director, Medieval-Renaissance duction or sample chapter to: Profs. Scherer ans, c.ritics, curators, etc.) are encouraged to line: 15 September 1989. Studies, New College of the University of abstract. Presentations not to exceed 20 in length. The text should succinctly state an~ Schreiber, Dept. of History, Indiana submIt abstracts for review by a national the paper's content, delineating the scope, South Florida, 5700 N. Tamiami Trail minutes. Arthur D. Stevens, Humanities Art Historical Knowledge: Uruv., 1700 Mishawaka Ave., South Bend panel of professionals in the field. Send to: argument, and method, not just outline its Sarasota, FL 34243·2197. Abstract~ IN 46615. ' Building, Scripps College, Claremont, CA SPE '90, PO Box BBB, Albuquerque, NM Epistemological Horizons deadline: 1 December 1989. 91711. Deadline: 9 October 1989. of the New Art History topical considerations. Send 3 copies of 87196. Deadline: 1 August 1989. the proposal to: Gary Stanton, V AR Papers Papers are being solicited for a collection Women's Studies Charr, Department of Historic Preservation Association of Art Historians (*) Groups 1600·1825 Design Forum (*) Women's Caucus of the of essays that will engage in an epistemo­ AAH Mary Washington College, Fredericksburg: The in conjunction with the Centre for The Group's purposes include encour­ In conJunction with CAA's annual meeting, Society for Photographic logical critique of art history as an academic Ex~ra-~ural Studies, Birkbeck College, a speCIal day long symposhun will be held VA 22401·5358. For further information agement of rese~rch in women's studies Education Association discipline, a discursive formation, and a Uruversity of London, will hold a two-day on February 14, 1990 at the Fashion concerning the annual meeting contact: 1600·1825, providing the opportunity for Proposals are sought for Women's Caucus discursive practice. It is hoped that an in­ conference in September 1990. The Institute of Technology. Two sessions of Julie Riesenweber, KentUCky Heritage personal contact in regular informal meet­ programming at the 1990 Society for tensive working seminar will be held half Council, 12th Floor, Capital Plaza Tower, Body in RepresenJation hopes to reexamine mgs, a newsletter, a directory of members papers will be held: one devoted to Design Photography Education's National way through the project for all contribu­ theoretical issues relating to portraiture, History and one will consider Design Frankfort, KY, 40601. 502/564·7005. acting ,as liai~on with 17th-18th Centu~ Conference to be held in Santa Fe. New tors. In particular, papers are solicited in the body and its representation in cultural Theory and Ideas. DF solicits abstracts of Proposal deadline: 15 October ~omen s. studIes researchers. Membership Mexico, March 15·18, 1990. Sug. the following areas, but proposals outside 1989. history. Proposals for papers are invited mformatIon: Yvonne Noble, 53 New Dover papers in design history for 20-minute pre­ gested topics include feminist pedagogy; these areas are also welcome: (1) Exami­ dealing with any society or period with~ Road, Canterbury, Kent en 3DP, G.B. A sentations. Abstracts must be no more than reevaluatmg landscape photography; Na­ nation and critical discussion of the re­ the following general areas: portraits; in­ Interdisciplinary Nineteenth call for papers is requested for the following 500 words, presented on a single sheet of tive American and Latin American women lation between the methods/theoretical as­ stitutions, academies and life classes; theo­ paper with no identification of author or Century Studies (INCS) dates: ~ovember 25: Appropriations of imagemakers; feminism, ecology, and rep­ sumptions of current art historical practices ries of expression; clothing, apparel and institution; an accompanying sheet must The Body and the Body Politic will take Power In the. World of Men in History, the resentation; art and real estate; alternative and those of other, perhaps wider practices, place March 1990 at California State accoutrements; medicine and art. Proposals Arts, the SClences. Organizer is Marilyn identify the author and institution. The ju­ publishing venues. Other topics are namely, a) hermeneutics, b) critical theory, including a brief synopsis should be sent to rors will consider the abstracts without at­ University, Long Beach. Address inquiries Brooks, 17 Hawks Mill St., Needham enco.uraged, especially those including c) Marxism, d) contributions of the "human regarding the conference or proposed pa­ one of the organizers: Kathleen Adler, Market, Ipswich, Suffolk IP6 8AR, G.B. tribution. Abstracts may be proposed for ~ultIcultural and interdisciplinary perspec­ sciences," e) Foucault's "archaeology" and Centre for Extra-Mural Studies, University either session and submitted to: Richard pers to: Juua Biimele, Dept. of Gennan Mar~~ 31, 1990: Images of Women/the tives. Send one-page abstracts of panel in­ "geneaology" of power/knowledge re­ of London, 26 Russel Square, London WC1, Martin, Shirley Goodman Resource Center CSU, Long Beach, CA 90840. Or call: Femmmelthe Female. Organizers are Sandra cluding list of possible panelists with brief gimes, f) deconstuction, g) postmodemist G.B.; Ludmilla Jordanova, Dept. of E305, F.I.T., 7th Avenue at 27th Street Roswitha Burwick, Scripps College at E~esley and Ludmilla Jordanova, Dept. of descriptions of their work and backgrotmds, or antifoundationalist philosophy and an­ 714/621·8000, ext. 2807. l·page abo History, University of Essex. Wivenhoe HIStOry, Univ. of Essex, Wivenhoe Park, New York, NY 10001·5992. Deadline; outlines of individual presentations of pa­ thropology; (2) Analysis of the language Park, Colchester C04 3SQ, G.B.; Marcia stracts deadline: 10 November Colchester, Essex C04 3SQ, G.B. June 30 June 1989. pers or visual works, nominations for fea­ of art history at the levels of its conceptual Pointon, School of English & American 1989. ~O, 1990: Wo;nen and Politics. Organizer Foundations in Art, tured speakers, suggestions for film/video machinery and rhetoric. Papers in the form S~dies, University of Sussex, Falmer, IS Penny RIchards, Dept. of History, screenings to: SPE-Women's Caucus, c/o of a clear and concise propsal should be Bnghton BN1 9QN, G.B. Theory and Education (*) Lorraine Kenny, Visual Studies Workshop sent directly to either: Whitney Davis, Dept 18th International Congress of College of St. Paul and St. Mary, The Park, FATE requests a call for papers on the theme 31 Prince St., Rochester, NY 14607: of Art History, Northwestern Univ Byzantine Studies Cheltenham, Glos., GL50 4AZ. Myth. Ritual and Reality in Foundations Deadline: 1 August 1989. Evanston, IL 60208; or Gerard Mermoz: Scheduled to take place in Moscow, Twenty Onel Art and Culture May/June 1990 in Amsterdam: Education. Papers may address the folklore Faculty of Art & Design, Liverpool U.S.S.R., August 8·15, 1991 it will This is a journal which will focus on Mod­ "Masterclass" on Early Modern Women's of .foundations teaching and curricula, his­ focus on relations between the Byzantines History in the Netherlands and Great Illinois Medieval Association Polytechnic, Liverpool L 7 7DN, GB. ern and Contemporary art, examined with toncal developments and the redefinition of and the Slavs, particularly Rus. For further held jointly with De Studiegroep The 7th Annual Meeting of the IMA will be Proposal deadline: 30 September particular alertness to late 20th Century Britain, foundations goals and objectives. Submit a info:mation contact: George Majeska, V!?uwengeschiedenis van de Vroegmoderne one-page proposal abstract to: Stephen held at Eastern Illinois University on 1989. PreSIdent, U.S. National Committee, Dept. thought. It welcomes manuscripts oncern­ TIJd. To offer papers write: Susan O'BrieJ'4 Sumner. President, FATE, Faculty of Art February 24, 1990. Proposals for pa­ of History, University of Maryland, ing Modern or Contemporary visual culture, Dept. of History, College of St. Paul and St. University of Tulsa, 600 South pers in any area of medieval studies may be Symposium on Matronage College Park, MD 20742. Proposals for eX.8.!llined from historical, theoretical, or Colleg~ Ave., Tulsa, OK 74104·3189. Deadline: submitted, as well as proposals for com­ Sponsored by the Dept. of Art History at communications are due during the cntIcal perspectives. International and Mary, The Park, Cheltenham, G10s. GL50 15 September 1989. plete sessions with 2-3 related papers. A Temple University, it will be held at Fall of 1989. interdisciplinary points of view are 4AZ, G.B.

Summer 1989 25 24 CAA Newsletter CONFERENCES AND SYMPOSIA ...

Gay and Lesbian Caucus (*) r?gister as early as possible. For informa­ information contact: William A. McIntosh, Colle~e of Design, Architecture, Art and The newly formed Gay and Lesbian Caucus tion contact: Fine Arts Continuing Dept. of English. U.S. Military Academy, Plannmg. will take place November 1-- standards for editing and annotating, en­ requests a call for papers that address gay Education. Fine Arts Building 2.4. The West Point, NY 10996. 4: The conference coordinators propose a courage the publication of reference bib­ and lesbian issues through history, criti­ Univ. of Texas. Austin. TX 78712. d~a~o?ue about the boundaries of customary liographies and primary sources. For more LEGAL UPDATE ... cism and artistic practices. Please submit a 512/471-8862. On tbe Eve of the Collapse: diVIslOns: cross disciplinary, cross cul­ information contact: Anthony Colantuono one-page abstract to: Margaret Stratton, Classic Maya Society in tural, cross historical. For information Dept. of Art, Wake Forest University' 426 Church St.• Iowa City. IA 52245. 13th Annual Worksbop tbe 18th Century A.D. Winston-Salem. NC 27109. 919/761: co~tact: Diane Olivier, Conference Chair right to edit "or otherwise change the work" Deadline: 1 September 1989. in Basic Training for Sponsored by the Pre-Columbian Studies at 530~; or Janis Bell (after JUly 1). clo Villa I Umv: of Cincinnati, College of Design: as the publisher found reasonably necessary ArtlArchitecture SUde Curators Dumbarton Oaks, October 7-8, 1989, ArchItecture. Art and Planning School of TattI, The Harvard University Center for t?e. court held that if custom and usage TO ATTEND An intensive workshop to be held at the and to be held at Dumbarton Oaks. Art, Cincinnati. OH 45221: 513/556_ Italian Renaissance Studies Via d' University of Texas at Austin. July 17- Archaeologists, anthropologists and art 2962. Vincigliata 26. 50135 Flore~ce Ital/ ~,unitS the express~o? "edit and change" to First International 22, 1989 will cover all aspects of historians will present papers leading to a (before July 1 you may call Prof.' Bell ; reasonable modIfIcation but does not Conference on Humor in Art managing an art/architecture slide col­ synthesis of the recent advances made in Gender in Academe: 614/427-2557). Ii allow a substantial departure therefrom" To be held at the Chateau de la Bretesche in lection and include lectures and demon­ Maya Studies. Pre-registration is required. Tbe Future of Our Past (*) then the author would prevail. In other words, the publisher might cut and edit so Brittany. France. July 4-6, 1989. The strations on all subjects related to visual For registration form and further informa­ lst. conference hosted by the an~ual long as the artistic merit of the work and conference is an exordium to create pro­ resources management, as well as demon­ tion contact: Pre-Columbian Studies, UmversI~ of South Florida at the Sabal INFORMA TION the artist's reputation were not impaired. grams for the encouragement and dissemi­ strations on micro-computer technology Durubarton Oaks. 1703 32nd Street. NW. Park Hohday Inn. November 2--4. The nation of art of the highest quality using and ffiM software developed for card and la­ Washington, DC 20007. confere~ce will provide a lively forum on These decisions are indeed welcome after humor as an essential ingredient. Co-direc­ bel production and information retrieval gender m academe. Nationally recognized the erosion of the moral rights doctrine by tors are Walter Askin, California State purposes in visual resources collections. Symposium Commemorating scholars, including Sue V. Rosser and Gerda Requested for a book about the many artists some court decisions in New York and University. Los Angeles and Gerald Purdy. For information contact: Fine Arts the Sesquicentennial Learner. from the disciplines of the sci­ who have depicted Monhegan Island, off elsewhere which, until R.ri!!, expanded the University of Southern California. Among Continuing Education, Fine Arts Building of Pbotograpby ences and applied professions, humanities, the coast of Maine. since Aaron Draper those attending will be Stephen Prokopof, 2.4, The Univ. of Texas. Austin. TX 78712. Sponsored by the Detroit Institute of Arts, and social sciences will keynote the Shattuck first sketched there in 1858. Ten­ definition of work for hire robbing the Director of the Krannert Art Museum, Uni­ 512/47)-8862. October 13-14, 1989. Keynote conference to facilitate the exchange of tatively entitled Monhegan, The Artists' creator of the limited moral rights versity of nlinois and Stefan Furtounov, speaker will be Susan Sontag. For informa­ theory and research. For information con­ I~lan.d, the book is scheduled for pUblica­ protection afforded to the "author" of the work uuder the Copyright Act. Director of the House of Rilinor and Satire in NEH Researcb Conferences (*) tion call the Department of Graphic Arts at tact: Lee Leavengood, University of South ~on m Juue 1990 by Chelsea Green pub­ Gabrovo. Bulagria. It is expected that much The National Endowment for the Human­ 313/833-9830. Florida, LLL 012. Tampa. FL 33620. lishers. Any help would be appreciated in of the discussion will take place in English ities announces the support of several re­ 813/974-2403. lo~ating depictions of Monhegan by any ~oral rights related issues in Congress are and French with translators present (if this search conferences designed to advance Historians of Netherlandish Art artists Who may have worked there from likely to be debated within the next several poses a problem and the number of lan­ scholarly research in the humanities. The HNA will hold a conference entitled In Americas '89: Five-Centuries of .1860 to 1880, as well as Monhegan paint­ years and moral rights doctrine will guages should be increased. please write). Among them are: Representations of the Search of the Netherlandish Tradition: Endings and Beginnings mgs, by the following: Arthur B. Davies, continue to evolve in the courts. While the For information contact: Walter Askin. Art French Revolution, July 13--16, Patterns of Continuity and Exchange at the The first joint convention of the American Ernest Fiene, Henry Gasser, Ethel Katz. Congress which approved U.S. adherence to Departmen~ Cal State Univ .• 5151 State Dartmouth College, contact: James A.W. Cleveland Museum of Art, Oc·tober 26- Studies Association and the Canadian Leon. Kroll, Jean Liberte, Haley Lever, Be~e did no~ take the opportunity to University Drive. Los Angeles, CA 90032. Heffernan, Dept. of English, Dartmouth 28, 1989. The conference will explore Association for American Studies will b ~auIIce Sterne. Please contact Frank proVIde extensIVely for moral rights that College, Hanover. NH 03755 (603/646· the concept of the Netherlandish tradition. held in Toronto, Canada, November 2-5: LIeberman, Curtis Lieberman Books Box the effort was rejected to freeze the ~oral Summer Program 3993). Cypriot Ceramics: Reading the Keynote speakers are Julius Held and I1ja 1989.. For further information contact: The 186. WOOdstock. VT 05091. • rights status quo is hopeful. Moral rights In Arts Management: Prehistoric Record. October 19--22, Veldman. Fearured speakers are Svetlana A~eIIcan Studies Association, 2140 proponents optimistically may see Introduction and Refresher University Museum, University of Alpers, Anne Hagopian Van Buren, Lome Taliaferro Hall, University of Maryland Th~ Committee for the Establishurent of the adherence tQ Berne not as the end but as the The Arts Extension Service's Annual Pennsylvania, contact: Robert H. Dyson, Campbell, Nicole Dacos-Crifo. Molly College Park, MD 20742. • Gamsborough International College of The beginning of new efforts to reform U.S. Surruner Program in Arts Management will James D. Muhly, University Museum. Faries, Lawrence Goedde, Egbert Arts has asked that we notify CAA members law. Until full moral rights protection is take place at the University of Mas­ Univ. of Pennsylvania, 33rd & Spruce Haverkamp-Begemann. Eddy de Jongh, Women's Caucus for Art of. the proposed establishment of the afforded at the federal level, our readers are sachusetts at Amherst, July 12-14, Streets. Philadelphia, PA 19103-6324. James Marrow, Adam Milobedzki. Keith !he WCA is holding its national conference Gamsboro~gh In~ernational College of The best . a~vised to assure protection through 1989. It enables new arts managers to fol­ 215/898-4050. Moxey, Herman Pleij. Simon Schama and In New York, February 12-15, 1990. Arts. The .unm~diate concern is funding and ex~h~lt contractual language, since the low a structured series of skill-building Larry Silver. For a complete program and The g~neral theme is Shifting Power. Some ~e co~ttee IS looking for investors, but ~aJ.onty of ~ourts have been unwilling to workshops. More experienced managers Landscape and Sculpture further information contact: Charles broad ISSUes targeted for discussion include IS a.lso mt.erested in establishing con­ limit econOmIC and property rights in favor can review basic skills workshops or par­ International Symposium SciIlia, Dept of Art History. 20700 North P~ths to Empowerment; Women in Public nectIOns WIth art educational establish_ of the rights of creators. ticipate in professional discussions of ad­ A symposium to be held at Manchester Park Blvd., John Carroll University, Discourse; Museums: Cultural Resources or me~.t~ that might see a mutual benefit vanced issues in arts manage­ Polytechnic, Manchester, England, University Heights. OH 44118. 216/397- Cultural Repositories?; Collaboration; denvmg. from an association . An y sug- ment.Volunteer and professional leaders in September 1-3, 1989, for artists, 3482. Artist.. Curators; What's the Big Deal? gestu)ns would be welcome. For further in- arts organizations may enroll for single landscape architects, geographers, envi­ (Ambitious Projects); Women and Tech­ ,formation about the _college, please con­ LEGISLATIVE UPDATE days or in the entire series. College credit is ronmental agencies and arts administrators 15th Annual Byzantine no.lo~y; Cultural Heritage: The Power tact:. Owen Wood, Gainsborough In­ S,:nator Kennedy plans to reintroduce his available. To register or for further interested in exploring some of the new Studies Conference (*) yYIthrn; ~hallenging the Status Quo. For ternanonal College of The Arts. Kingsbury V lSual Arts Rights bill shortly as he has information contact: Craig Dreeszen. ideas and opportunities for in­ To be held at the University of Mas­ mf~rmatIOn please contact: 1990 WCA Farmhouse, LIttle Cornard Sudbury G B scheduled a public hearing on it for June Education Coordinator. AES, Div. of terdisciplinary work now emerging through sachusetts, Amherst, October 26--29. NatIonal Conference, c/o Sharon Vatsky COlO ONZ. 0787-227351.' • D' 20th at 10AM in the Senate Subcommittee Continuing Education, Univ. of landscape and sculpture collaborations in The conference is an annual forum for the 950 Garrison Ave .• Teaneck. NJ 07666. • on Patents, Copyrights and Trademarks Massachusetts, Amherst, MA 01003. Britain, Europe and the U.S.A. For presentation and discussion of papers on CAA BOARD SEEKS (moral rights legislation). Also before that 413/545-2360. information contact: John Metson, L.R.G. every aspect of Byzantine history and cul­ Association for Textual NOMINATIONS TO THE s~bc?mmi~tee, ,~enator Cochran (R-MS) Leuric, North Road, South Kilworth, ture and is open to all, regardless of nation­ Scholars~ip. in Art History NOMINATING COMMITTEE wIll mvestIgate work for hire" in a hearing Microcomputer AppIlcations Lutterwor~ Leicestershire, England, LE17 ality or academic status. As usual, several An orgaruzatlOnal meeting to elect officers The CAA Board of Directors solicits from on JUly 12th and will introduce his bill on In Visual Resource Collections 6DU. Tel: 085-881-530. sessions will be devoted to Byzantine Art. and establish dues will be held in the m.embership names of members in good ~e issue. The controversy over coloriza­ A workshop to take place at the University For information contact: George Dennis, ~ebruary 1990 at the CAA annual meet­ standmg for consideration for election to tion of black and white films will once of Texas at Austin. July 13-15, 1989 MedIevalism: History Dept., Catholic University, mg. The purpose of ATSAH is to promote the 1990 Nominating Committee. The again have its day in Congress when Sena­ for persons who have experience in slide 4th General Conference (*) Washington. DC 20064. th? study and publication of art historical 199~ Nomina~ng Committee will then tor DeConcini (0-AX) hears testimony on collections and are ready to investigate the Sponsored by Studies in Medievalism and prunary sources. ATSAH plans to publish a nOmInate candIdates for election to the August 3rd on issues of concern in the possibilities for automating various func­ to be held October 5--7, at the United The Map is Not tbe Territory (*) The nev.:sle~t,:r, provide information about the Board to serve the teon 1991-1995. !..etters "Dynamic Arts" (defined as film/video tions in their collections. No computer ex­ States Military Academy. It will address all Mid America College Art Association's ~vallabIhty of reprints and modern edi­ of recomme.nd~tion .and supporthig. material /television/the performing arts). II perience or background is necessary. aspects of Medievalism from the end of the (MACAA) annual conference. hosted this tions, arrange discounts on reprints for its should pe sent-to: Nominating. COmmittee. Enrollment is limited so you are urged to Middle Ages to the present and beyond. For year by the University of Cincinnati, members, encourage the establishment of CAA. 275 Seventh. Avenue New York; NY 10001. " .. • :' .. ' ' 26 CAA Newsletter Summer 1989 27 CLASSIFIEDS

The eAA Newsletler accepts c/assijieds of a pro­ LAB MANUAL OF ALUMINUM PLATE TUSCANY. Sculptor's house, mountain vil­ fessional or semi-professional nature (sale of Ii· LITHOGRAPHY. In use as college text­ lage near Pietrasanta. Lucca, and Viareggio braries. summer rental or exchange of homes, book; one copy available for instructors to beaches. Sleeps 4, studio, terraces. etc.) The charge is $.75 per word/or members or preview for $5.00. Lise Drost, 4410 S.W. $500/week, April-September 15, $1.25 per word for nonmembers with a $15.00 102 Avenue, Mianti, FL 33165. $750/month other. 203/927-3684. minimum. ROME APARTMENT, near American FULL COLOR EXHIBITION AN­ Academy, 3 rooms, furnished, sleeps 2, rent NOUNCEMENTS, postcards, posters, cata­ 900,000 lire monthly, available from Jan­ logue sheets. Outstanding quality. Samples: uary 15 to May 15, 1990. Contact Carolyn Images for Artists, 2543 Cleinview, ART WORKSHOP: CHRISTMAS IN SAN Valone, Dept. of Art History, Trinity Uni­ Cincinnati, OH 45206. MIGUEL DE ALLENDE, MEXICO, the fa­ versity, San Antonio, TX 78284. mous art center. December 16-29, 1989. DIRECTORY OF FINE ART REPRESEN­ Painting and drawing in all media with New VENICE APARTMENT, kitchen, bath, sog­ TATIVES & CORPORATE ART CON­ York artists/teachers. Studios at the Insti­ giorno, study, bedroom in loft, modernized, SULTANTS. The first of its kind. If you're tuto adjoining the Aristos Hotel and swim­ fully furnished, suitable for 1-2 adults. Near looking for an agent, this is the best direc­ ming pool. Write ART WORKSHOP, 463 station and vaporetto lines. Rent $700 tory around with over 2000 references. For West St., 1028H, New York, NY 10014. monthly, not including utilities. Anne more information call or send SASE. For 212/691-1159. Schutte, Cannaregio 1544, 30121 Venezia. directory send $44.00. Directors Guild Pub­ Phone: 041-5222698 or 715779. Available lishers, PO Box 369-CAA, Renaissance, September 1989 to June 1990. II CA 95962. 916/692-1355.

DA TEBOOK. 1 August deadline for submitting proposals to chairs of Joint Studio - Art History Sessions for 1990 Annual Conference ... 15 August deadline for submission of materials for the Fall CAA Newsletter ... 1 September deadline for submitting proposals to 1990 Studio Program Session Chairs/Co-Chairs ... 1 October deadline for submitting proposals to Program Chairs of 1991 Annual Conference to be held in Washington, D.C .... 1 October deadline for the Millard Meiss applications ... 14 - 17 February 1990 dates for CAA Annual Meeting in New York ... 20 - 23 February 1991 dates for CAA Annual Meeting in Washington, D.C .... 12 - 15 February 1992 for CAA Annual Meeting in Chicago.

Q44. newsletter ©1989 College Art Association 275 Seventh Avenue, New York, NY 10001 Editor: Susan Ball Managing Editor: Julie Silliman Assistant Editor: JoAnne CapozzelJi

STUDIO PROGRAM· CALL FOR PARTICIPATION INCLUDED

Summer 1989