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sional careers in art history, and to represent the cultural diversity of the CAA promote art historians whose work may population of the United States. Final have been marginalized by their selection will be determined by a jury cultural diversity. selection process. Four new fellowships Awarded The Nathan Cummings Foundation will be awarded each year. PhD. was the original supporter of the students interested in applying for the Professional Development Fellowship next round of fellowships should expect 1993 NEH Program, making a generous commit­ to complete their degree requirements ment of $90,000 early on. This early in the academic year 1995-96. Fellow­ encouragement and funding allowed ship applications will be available by Challenge CAA to award the first round of late August in graduate art history fellowships in the spring of 1993, for departments across the United States or Grant students who are finishing their final from the CAA office. A January 31, year of study in this academic year 1995, application deadline is expected. (1993-94). The NEH challenge grant repre­ The fellowship program is de­ sents a substantial contribution to signed to provide each recipient with CAA's larger capital campaign, offi­ Nonprofit Organization funding for two years. In the first year cially launched in 1992 (see CAA News, U.S. Postage of the fellowship, direct grants of $5,000 September / October 1992, page 1). Paid will be awarded to doctoral candidates CAA is required to match the NEH he College Art Association has to assist them in the final writing year of award 3 to 1 in nonfederal dollars over s NewYork,N.Y. received a National Endowment completing their dissertations. These the next three years, and is committed Permit No. 4683 for the Humanities Challenge funds will be used at the discretion of to accelerating its ongoing fund-raising MarchlApri11994 T Grant in the amount of $140,500 to the recipient for meeting any planned or program to support the fellowship College Art Association establish and endow its newly initiated unplanned expenses in fulfilling their program beyond the three-year chal­ 275 Seventh Avenue Professional Development Fellowship degree requirements. In the second year lenge grant period. The fellowship New York, New York 10001 Program for art historians. To success­ of the program, recipients begin their program has received an enthusiastic fully complete the grant, CAA must careers, continuing their own research, and supportive response from members match the challenge award with while holding professional positions at a who are interested in the next genera­ Board of Directors $421,500 in nonfederal dollars, for a college, university, or museum­ tion of art historians and artists, and Judith K. Brodsky, President total of $562,000. institutions that have agreed to become they have expressed that support in Leslie King-Hammond, Vice-President In March 1993 CAA was awarded a a partner in the program by allowing both smail and larger gifts. John R. Clarke, Secretary National Endowment for the Arts CAA's portion of the first-year salary to With the help of the NEH and NEA John W. Hyland, Jr., Treasurer Challenge Grant in support of a similar buy release time for recipients placed in challenge grants and CAA members, an Barbara Hoffman, Esq., Counsel Professional Development Fellowship their institutions. endowment will be built to guarantee Susan Ball, Executive Director opportunity for graduate students It is CAA's opinion that interven­ that fellowships for art historians and Diane Burko Jock Reynolds earning the M.F.A. degree. tion at this level is significant, because artists will continue in perpetuity. Bradford R. Collins Rita Robillard The goals of the fellowship pro­ though the transition from academic life CAA is one of 36 research, educa­ Jonathan Fineberg. Moira Roth gram are to assist emerging art histori­ to professional life is difficult for all tional, and cultural institutions nation­ Sarah Greenough EmilyJ. Sano ans in bridging the transition between students, it is especially so for students wide chosen from the 114 applicants Susan L. Huntington Larry Silver graduate school and the professional of color. Criteria for selection will be this year for the NEH challenge grant Michl Itami Lowery Stokes Sims world, to encourage art history students excellence and financial need, with program. Of the total challenge awards, Irving Lavin Jaune Quick-To-See from culturally diverse communities to special attention given to selecting four others were given to arts organiza­ Margo Machida Smith ursue graduate degrees and profes- candidates who will adequately tions based in New York City. Nancy Macko Judith E. Stein Patricia Mainardi Nancy J. Troy Clarence Morgan Carlos Villa Keith Moxey Deborah Willis The Education Committee will continue f30ntents Education its practice of the past few years of spon­ Sessions in Master of soring panels at the annual conference. Volume 19, Number 2 In New York, members of the Education Committee met with Mark NYC: From Fine Arts MarchiApril1994 Committee ( Hansen and Tom Hatfield, president and executive director respectively of Exhibition CAA Awarded 1993 NEH Update the National Art Education Association, the Program 1 Challenge Grant to explore exchanges, co-pUblications, and joint efforts to impact national Chairs a Success Education Committee Update education reform, 2 We encourage all CAA members Sessions in NYC interested in teaching theory, methodol­ 3 M.F.A. Exhibition n the last issue of CAA News, the ogy, and practice in art history, studio Education Committee announced its art, and art museums to take advantage 4 Signs of Achievement I goals for this year: (1) topromote of the publication and panel opportuni­ ne of our primary concerns his year's Master of Fine Arts discourse on teaching methods, theories, ties mentioned above, and to communi­ in organizing the 1994 Exhibition, hosted by Hunter M.F.A. exhibition From the President and practices; (2) to investigate estab­ cate to us suggestions for possible future College Art Association College, was a success, with over opening reception, February 16 8 T PHOTO: KAREN ROBBINS. NEW YORK lishing an electronic teaching resources directions or activities. The Education annualo conference was to discourage 3,000 people attending the opening network; and (3) to link CAA nationally Annual Conference Update Committee is addressing vital concerns exclusivity and polarization within our reception on February 16. Schools 9 with other professional arts organiza­ of teaching methodology and profes­ disciplines. To that end we solicited throughout the metropolitan area, tions such as the National Art Education sional development through every panel proposals that promoted a cross­ including CUNY's Brooklyn College, 10 eAA Committees Association, to explore issues of com­ avenue of the CAA; if these efforts are to fertilization from various constituencies City College, Graduate School of exhibition spaces, it was convenient to mon concern. This report details some of succeed, participation from throughout to allow for diverse aesthetic positions, Figurative Art, Hunter College, and designate a room for each participating 11 CAANews the current efforts of the committee to the membership is crucial. methodologies, and ideologies, as well Herbert H. Lehman College; Long Island institution. Each school was responsible meet these goals, -Joseph P. Ansell, chair, Education as representations of works and points University Ie. w. Post Campus; Parsons for selecting and installing the work to To promote pedagogical discourse, represent its M.F.A. program. Letters to the Editor Committee of view that cross gender, race, age, and School of Design; Pratt Institute; Queens 12 the Winter 1995 issue of Art Journal will geography. We additionally made the College; Rutgers University IMason The exhibition was attended by focus on teaching theory and practice in decision to forego the customary listing Gross School of the Arts; School of CAA members interested in learning 13 Annual Conference 1994 the introductory art history survey and of sessions by discipline. It is our hope Visual Arts; SUNY College at Purchase; more about the various graduate in studio art foundations (see Calls for that some of the same spirit will be SUNY College at Stonybrook; and Yale programs in the tri-state area. Local 14 Solo Exhibitions by Artist Members Manuscripts, page 20). We will have a sustained in future conferences, University, participated in the exhibi­ visitors included gallery owners, regular column in the newsletter for In these meetings, we especially tion. curators, critics, and collectors, who 16 People in the News updates on committee activities and enjoyed the dialogue between profes­ The exhibition was held in the art agreed that it was a great opportunity to short discussions of pedagogical issues; sionals who perceived of themselves as gallery of the Hunter College Fine Arts see a large body of recent work by submissions of subjects for columns emerging artists. Grants, Awards, & Honors primarily concerned with the object, and Building, 450 West 41st Street. Because 17 from all CAA members are encouraged. those who perceived of themselves as the gallery is divided into smaller primarily concerned with ideas: includ­ Conferences & Symposia 18 ing artists, academics, museum profes­ sionals, critics, and dealers. We continue 19 Opportunities to critique these sessions: in particular, Programs, New & Revised we are concerned that representations of 21 Classified Ads cultures and ethnic groups are not Infonnation Wanted performed entirely by outsiders. Miscellaneous We'd like to thank the vast commu­ Datebook nity of art professionals who made the 22 New York conference possible, in CAA News, a publication of the College Art particular the session chairs, who Association, is published six times a year. responded so creatively and with such Material for inclusion should be addressed to: hard work to our challenge to create Editor sessions that were inclusive and CAANews provocative. We would also like to 275 Seventh Avenue thank the Visual Art and Art History New York, New York 10001 Program Committees and the staff of the Telephone: 212/691-1051 Fax: 212/627-2381 College Art Association, in particular Suzanne Schanzer, who literally made Editor Renee A. Ramirez everything happen. Mnnaging Editor Virginia Wageman -Jerrilynn D. Dodds, Archie Rnnd, Editor-tn-Chief Susan Ball Lowery Stokes Sims 1994 Program Chairs © 1994 College Art Association, Inc. M.F.A. exhibition Printed on recycled paper. Reception for eAA 1994 annual conference attendees at New York's Metropolitan Museum of Art, February 17 opening reception, February 16 PHOTO: KAREN ROBBINS. NEW YORK PHOTO: KAREN ROBBINS, NEW YORK

CAA NEWS MARCHI APRIL 1994 3 2 CAA NEWS MARCHI APRIL1994 • ing the continuing great traditions of Signs of Japanese teaching before him, he trained solo shows began in 1951 at the late printed material rather than film. The an entire generation of scholars to be Tibor de Nagy's gallery and continued diverse points of view are articulate and both curators and academics in his field. there through 1958, when she began admirable, and the choice of critics by Achievement However, the tributes to John showing at the Andre Emmerich gallery. the editors is comprehensive. Indeed, no She has enjoyed retrospectives, mono­ one who should be asked to comment Rosenfield extend far beyond Japanese / studies-from a host of students of graphic publications, and serious on Godard is omitted. other traditions, ranging from medieval­ critiques. In the 1959 Biennale de Paris, Godard is so difficult and elusive a ists to modernists, who were touched by Helen Frankenthaler reaped first prize. character and his films so esoteric, that him. They all testify to his insightful Her work is in virtually all major the book is a tour-de-force, greatly cultural questioning, combined with museum collections, here and abroad. illuminating its subject while appealing he College Art Association's meticulous engagements with indi­ Most of all, we are grateful to her to the general reader. We congratulate annual convocation ceremony vidual objects in all media. Both in the for showing us how flooding color Raymond Bellour and Mary Lea Bandy. was held at the New York T classroom and in his scholarly example, directly onto canvas creates a new sense Hilton and Towers, February 18, 1994. of outline, of color weight, of descriptive Committee: Kevin E. Consey, chair; Iudi Incanting President judith K. Brodsky we declare John Rosenfield to be a "living national treasure." perspective. Like Caravaggio or Poussin Freeman; Joaneath Spicer; Sidra Stich introduced artist Miriam Schapiro, who in their day, Helen Frankenthaler made delivered a warm and thought-provok­ painting anew. ing keynote address. Past eAA presi­ Committee: Susan I, Barnes, chair; Linda Stone-Ferrier; David Wilkins dent Larry Silver presided over the Committee: Harry Rand, chair; Pat Adams; Charles Rufus Morey Award presentation of awards for excellence in Margaret Lazzari Presented by Whitney Davis teaching, scholarship, creativity, Helen Frankenthaler, Distinguished Artist Award for Lifetime Achievement Awarded to John Shearman criticism, and conservation. The Lorna Simpson, Award for Award for Distinguished Body Distinguished Body of Work PHOTO: JIM ARKATOV following aTe the award recipients and of Work, Exhibition, PHOTO: KAREN ROBBINS, NEW YORK The Charles Rufus Morey Award is their citations. Alfred H. Barr, Jr., Award Presentation, or Performance given every year to the most distin­ Distinguished Artist Award Presented by Kevin E. Consey guished work of art history published in Presented by Beauvais Lyons Awarded to Raymond Bel/our and Mary Lea Awarded to Lorna Simpson cogent and provocative exhibition for Lifetime Achievement the penultimate calendar year. The Award for Distinguished Bandy for jean-Luc Godard: Son + Image provides a survey of Simpson's work Presented by Harry Rand committee is pleased to present the Teaching of Art History "Lorna Simpson: For the Sake of the since 1985. These large-scale, theatrical, Awarded to Helen Frankenthaler Morey Award for 1993 to John Jean-Luc Godard: Son + Image presents Presented by Susan J. Barnes Viewer," a selection of photographic multimedia photographs and installa­ Shearman for Only Connect ... ; Art and sophisticated research that gives clear Awarded to John Rosenfield tions, which sometimes resemble It is given to very few artists to deflect the Spectator in the Italian Renaissance works by Lorna Simpson, demonstrates evidence of both Jean-Luc Godard's the potential of art to confront the printed advertising pieces, effectively the course of art history. We can name (Princeton University Press), The book contributions to cinema and his signifi­ Internationally acknowledged as the cultural and historic forces that inform subvert the traditional form of photo­ those who, like Caravaggio, have cance as a dominant creative talent in dean of japanese art history, john our attitudes and beliefs. Organized by graphic portraiture to examine the I wil contributed a new light or, like Picasso, the twentieth century. The essays reveal Rosenfield also deserves lasting remem­ representation of race and gender. another outlook on space, Such basic Beryl j. Wright at the Museum of the importance of film within modern brance as a gifted teacher. Acknowledg- Contemporary Art in Chicago, this Lorna Simpson is both present in, discovery exceeds the canonical past. cultural and intellectual history. and absent from these images. Her work Modernity has been a time of fantastic The committee believes Iean-Luc thus echoes Ralph Ellison's 1947 novel invention and thought, although few Godard: Son + Image represents the best Invisible Man by providing a visual contemporary innovations have proven in museum scholarship that transcends analog for our refusal to accept African to be more than passing novelties. Some the standard exhibition format with a American women in our culture. alterations in technique and outlook clarity and coherence usually found in Through imagery and language that are forever change the direction of art. It is both autobiographic and universal, certainly true that today myriad artists Lorna Simpson's work compels viewers working throughout the world would to question the cultural and historical not possess the painting vocabulary they tendencies to classify, and thus dehu­ need if not for Helen Frankenthaler. This John Sherman is congratulated by manize. Her art is effective because it level of influence can be attributed to Larry Silver on being awarded maintains a course between being open­ the Charles Rufus Morey Award only a handful of artists in any epoch, PHOTO: KAREN ROBBINS, NEW YORK ended and self-contained, humorous and few live to see their experiments so and serious, private and public, emo­ fully vindicated in their own lifetimes. tionally charged, yet descriptive and Helen Frankenthaler inherited a preserves the visual and intellectual excitement of the Mellon Lectures in objective. Keeping with the strong social noble intellectual pedigree and artistic function of African storytelling, "Lorna legacy. Born in New York, a student of which it began; it is exploratory and revealing. Shearman leads the reader Simpson: For the Sake of the Viewer" Rufino Tamayo at the Dalton School, toward rediscovery of his or her serves a social purpose by underlining and then a pupil of Paul Feeley at primary position as a spectator of works and undermining our own culture's Bennington Collegef she also came into of art partly designed to configure, and mythologies. the orbit of the master~teachers Vadas sometimes dramatically to reconfigure, Vytlacil and Hans Hofmann. She herself Committee: Beauvais Lyons, chair; Tom has taught extensively, which distin­ this position, Renaissance spectatorship was fashioned as a dynamic encounter Barrow; Martha Iackson Jarvis; Susan guishes her in the most salutary way Fillin-Yeh; James Yood from more cloistered contemporaries. between an actual beholder's physical Susan Barnes presents John Rosenfield with the Award for Mary Lea Bandy, Alfred H. Barr, Jr., relation to an artifact-a tomb relief, a Distinguished Teaching of Art History as Larry Silver looks on She has been honored with numerous Award for Museum Scholarship painted dome-and a time and place PHOTO: KAREN ROBBINS, NEW YORK museum and gallery exhibitions; her PHOTO: KAREN ROBBINS, NEW YORK

4 CAA NEWS MARCHI APRIL1994 CAA NEWS MARCHI APRIL 1994 5 imagined in a depicted fictional world. claims, is neutralized by the institutional attracted highly individual artists, who brought younger scholars into the area imaginatively confirmed in the pages In turn, spectators construct these settings where we most frequently could excite, encourage, and chal1enge of overlap between technical studies and that follow. Firmly situating the Fauves worlds as their projections; artists and encounter it. IIFolie Blanche" is a review the students. They include Allan art history. within the aesthetic and critical milieu of designers work with and upon of Skeets McCauley's landscape Kaprow, John Baldessari, Judy Chicago, She has served as a resource for art their time, Benjamin examines the spectatorships that they attempt to photographs of golf courses in exotic and Brach's wife, Miriam Schapiro. ( historians seeking information, guid­ various factors that helped to shape organize in advance. Shearman avoids locales. While pointing out the subtle Paul Brach was interested in ance, or access to the world of conserva­ their conception of landscape painting: abstract models for these "transitivities," ironies of McCauley's depictions, developing both artists and human tion, acting as a liaison for the student the decorative landscape tradition, its but his account draws widely on both Hickey makes an intricate argument beings. Everyone who has ever met him and scholar needing technical data. Her affiliations with stage design, the established theories of the "beholder's about the complex relation of nature and has been attracted to the electricity of his understanding and generosity have precepts of classical landscape, exempli­ share" and on recent work on narrative artifice. As a critic, he is provocative yet personality, intelligence, and integrity. A opened a door for many who might fied above all in Poussin and Claude, and subjectivity. Throughout, his close subtle, evincing a passionate belief in telling testament to his influence is the otherwise have turned away. In this way and ideas of rhythmical design particu­ focus on particular paintings and design the rhetorical power of art through number of his former students who are too she is helping to train a new larly as embodied in the arabesque. All programs clarifies the optical and challenging intellectual arguments. identified with some of the most generation of art historians who are alert of these themes are brought to bear in a rhetorical devices involved in art and significant art of today. The roster to the discoveries being made in the provocative and masterful discussion of spectatorship, moving delicately Committee: Victor Margolin, chair; David includes David Salle, Eric Fischl, Carolee conservation laboratory. At the same specific works that significantly en­ between the necessities of painting and Schneeman, Susan Rothenberg, Ross time, she is sensitizing her colleagues in hances our perception and appreciation Carrier; Frances Colpitt; Joan Hugo Maryan Ainsworth, CAAlNational viewing as such and the specific Bleckner, Matt Mullican, Tom Knechtel, Institute for Conservation Award conservation to the interests, needs, and of Fauve landscape painting. inventions of a historical moment in Robin Mitchell, Lari Pittman, Christo­ potential contributions of the art Always clear and well-reasoned, which spectatorship was organized in pher Wilmarth, Mira Schor, and Sol Le historian in their work. Benjamin's inventive marshaling of what may be its most influential Witt. sources from many periods and areas of conventions. Scholarly and readily In John Baldessari's words: "The CAAINational Institute for Committee: Marcia Hall, chair; E. Melanie art is of particular interest, with his intelligible at the same time, Only prominence that Cal Arts attained in the ConservationJoint Award for Gifford; Barbara Heller; Joyce Hill-Stoner; arguments deriving much of their Connect ... completely fulfills the art world is primarily due to Paul. In his Distinction in Scholarship Arthur K. Wheelock, Jr. persuasiveness from his astute handling wisdom and love of art, his love of promise of its title. and Conservation of historical evidence. But if Benjamin people, his wit and wide intelligence, he has given us new insights into the Presented by Marcia Hall Committee: Whitney Davis, chair; Jack allowed a certain concoction to stew, to nature of Fauve landscape, his contex­ Awarded to Maryan Ainsworth Perry Brown; Margaret Olin; Anne occur, and it became an exciting place in Arthur Kingsley Porter Prize tual approach is richiy suggestive for the Markham Schulz which to participate." Presented by Walter S. Gibson study of landscapes of other periods as Maryan Ainsworth is an art historian After Cal Arts, Brach continued to Awarded to Roger Benjamin well. who has worked alongside conservators distinguish himself as an inspiring for over two decades, and she is the teacher, administrator, and artist in New Roger Benjamin's article "The Decora­ Committee: WaIter S. Gibson, chair; Aimee ideal collaborator. A pioneer in the role Frank Jewett Mather Award York. Brach, now entering his seventh tive Landscape, Fauvism, and the Brown Price; Joseph Siry of art historian within a conservation Presented by Victor Margolin Dave Hickey, Frank decade, continues to be in demand for Arabesque of Observation," Art Bulletin, ,-,I department, her presence at the Metro­ Awarded to Dave Hickey Jewett Mather Award his power to lead, revitalize, and inspire June 1993, presents a new and carefully politan Museum of Art has shown how PHOTO: KAREN ROBBINS. NEW YOR both his students and his colleagues. nuanced reading of Fauve landscape. Dave Hickey, the recipient of this year's to bridge the two disciplines to the Early in his article, Benjamin observes Frank Jewett Mather Award for distinc­ Committee: Murry DePiIlars, chair; Joan benefit of each. A warm, cooperative, that the contextual study of paintings interested colleague, she looks over the tion in art criticism, often identifies Distinguished Teaching Backes; Diane Burko; Carolyn Manosevits can contribute to our understanding of himself in the brief biographies that shoulders of her conservation colleagues their style, a thesis that is brilliantly and follow his critical articles as lIa freelance of Art Award and willingly shares the new discoveries writer who lives in an apartment Presented by Diane Burko made during her examination of overlooking the Las Vegas strip." Awarded to Paul Brach paintings with neutron activation Hickey's residence in Las Vegas is autoradiography and infrared significant on two counts. First, it For more than forty years, Paul Brach reflectography. identifies him as a critic who works has been recognized as one of America's Her lectures and her two articles in outside the familiar East and West Coast leading innovators in arts education. He Art and Autoradiography: Insights into the bastions from which the recipients of has been at the forefront of new Genesis of Paintings by Rembrandt, Van this award are most frequently drawn. programs, visions, and ideas. Dyck, and Vermeer are models of And second, it suggests an engagement Between 1950 and 1967 he taught at cooperative scholarship. They are clear, with the glitz of American popular such institutions as the University of well-illustrated pieces, replete with culture that does, in fact, inform some of Missouri, the New School, New York valuable observations and commentary. his critical writing. University, Parsons, Cooper Union, the Ainsworth offers the much needed The Mather committee gave the New York Program of Cornel1 Univer­ conclusions that shed light on the artist's award to Hickey for two articles that sity, and the University of California, creative process, cultural context, or appeared in the Los Angeles magazine San Diego. In 1969 Paul Brach became aesthetic aim. Art Issues, "Folie Blanche: The Quest for the first Dean of the School of Art at Her most recent work, since the Perfect Lie" (November IDecember California Institute of the Arts in adopting the technique of infrared 1992) and"A Cloud of Dragons: Valencia. reflectography, has furthered the model Beauties Less the Beautiful" (Marchi At Cal Arts Brach created the most of an art history that seamlessly brings innovative art program in the country April 1993). In "A Cloud of Dragons," Paul Brach, Distinguished together the resources of traditional art Hickey intends to restore art to its by initiating curricula in conceptual art, Teaching of Art Award historical research and technical feminist art, and interactive art. Paul PHOTO: SEBASTIAN PIRAS PHOTOGRAPHY investigations. Through internships at Roger Benjamin, Arthur Kingsley Porter Prize original rhetorical function which, he PHOTO: KATE SANDS the Metropolitan Museum this work has

6 CAANEWS MARCH/APRIL1994 CAA NEWS MARCHI APRIL 1994 7 historians, comprise 18 percent of the take place in Boston, will appear in the Arcadia found in the arts (villa, garden, 13902-6000. In "Religion as a Cultural From the President membership and 23 percent of the May jJune CAA News. Responding to Annual sculpture complexes as well as paintings System," Clifford Geertz states that a board, for a total of 65 percent. Artists that call is another way to take action. A and prints) of Southern Europe, 1500- religion is "a system of symbols which make up 42 percent of the membership third way is to be willing to serve on 1700. The point d'appui of discussion will acts to establish powerful, pervasive, but only 35 percent of the board. On the CAA committees. The call for nomina­ ~: Conference be the sociopolitical and economic and long-lasting moods and motivations \, other hand, there is justification for the tions and self-nominations to awards issues that have been distorted or erased in men by formulating conceptions of a perception. The majority of art histori­ committees was issued in the January / by our prolonged adherence to Erwin general order of existence and clothing ans on the board are in the field of February CAA News. A call for nomina­ Update Panofsky's conception of the Arcadian these conceptions with such an aura of modern and contemporary art, as is the tions to additional committees is in this "homeland" defined by gestures of loss factuality that the moods and motiva­ case with the museum professionals. his is my first column as newsletter (see page 10). and recollection, Some possible paper tions seem uniquely realistic." This The combination of this contemporary president, and I want to start The association is constantly topics are the suppression or session will address the role that art has art history majority, along with the artist out by talking about the involved in a balancing act to meet the gentrification of local identity in played in formulating religious beliefs T members of the board, gives the current Arcadian schemata; the relationship enormous success of the annual confer­ interests and needs of members and to held by the people of various faiths who board a distinctly modern and contem­ ence held in New York, February 16-20, serve the field. The health of the between Arcadian myth and the codes have inhabited the Iberian Peninsula 1994. Seven thousand conference porary cast. association lies in being able to do so New Sessions, 1995 governing the behavior of (would-be) and in turn how spiritual beliefs have A first step has aiready been taken participants,one-hundred-twenty-eight and yet remain a united organization. For guidelines for submitting proposals, aristocratic proprietors; the thematics of framed and informed the visual arts. We in correcting this imbalance by making sessions and panels, seven hundred During the past two years of Larry see the Call for Participation mailed to land ownership; aspects of agrarian invite papers that address religious art the nominating committee aware of it. speakers and moderators, twenty-one Silver's presidency, CAA has continued all members in January. The submission labor that impinge on the idyllic scene; from prehistoric times to the present Therefore, the nominating committee, museum and gallery events and its commitment to include new constitu­ deadline (receipt, not postmark) for the role of the collection of antiquities in from a variety of methodological when it met on March 5, 1994, produced receptions, two trips to museums encies. In a period of difficult financial these sessions is June 1, 1994. Arcadian designs; Arcadia's dialectical viewpoints. a slate that represents nominees whose outside of New York, forty-three times for humanities and the arts, CAA "Multidisciplinary Focus on Folk relationship with city or court life; "How Trustworthy Is Your Text? election can result in a more varied museums offering free admission, fifty­ has maintained and even improved its Art." Chairs: Robert Hobbs, Dept. of Art antipastoral and political satire; the The Representation of Non-Western Art group of art historians on the board. eight reunions, eleven affiliated socie­ fiscal base. I want to thank Larry on History, Virginia Commonwealth construction of subjectivity in/through in Survey Textbooks" (sponsored by Then it is the responsibility of all of us to ties' business meetings, a convocation behalf of the board and all CAA University, 922 W. Franklin St., Rich­ Arcadia. Papers taking an interdiscipli­ Arts Council of the African Studies vote. In the last few years, through by­ attendance of over one thousand, and members for the thoughtful and mond, VA 23284-3046; and, Lynda nary approach will be given priority, as Association). Chair: Monica Blackmun law revision, CAA has forged a struc­ two sets of special guests-one group purposeful leadership that has made his Roscoe Hartigan, National Museum of will those that explore the ways Arcadia Visona, Dept. of Art, Metropolitan State ture that is responsive to membership from Eastern European countries, the presidency so successful. I also want to American Art, Smithsonian Institution, became a site where claims to worldly College of Denver, Box 59, PO Box constituencies. It's just waiting to be other, emerging artist and art historian thank the retiring members of the board, Washington, DC 20560. The session will power were mounted and sometimes 173362, Denver, CO 80217-3362. What used. proteges-these statistics, as immensely Suzanne Preston Blier, James Cuno, assemble representatives from the challenged. are students learning about the art of There are other steps that can be impressive as they are, can only suggest Murry DePillars, Samuel Edgerton, Mari disciplines of folk life, cultural history, "The Illusive Line: Basic Drawing Asia, Africa, the Americas, and the taken to ensure that the interests of all the lively energy and vitality of the Carmen Ramirez, and Kenneth E. Silver, art history, and anthropology to Re-Examined" (sponsored by Founda­ Pacific from introductory survey courses members are addressed by the associa­ conference. for their service to the association. demonstrate, contrast, and debate tions in Art, Theory, and Education). of art history? Are the most commonly tion. The call for sessions and panels for Without question, the annual -Judith K. Brodsky traditional and new approaches to folk, Chair: Stephen Sumner; University of used textbooks (such as Janson's History the 1996 annual conference, which will conference has become the leading vernacular, and outsider art. Three pairs Tulsa, School of Art, 600 S. College Ave., of Art, or Gardiner's Art through the Ages) forum for the exchange of art ideas in of speakers who represent complemen­ Tulsa, OK 74101. This session will accurate in their presentation of the the United States. A successful confer­ tary, contradictory, or interdiSciplinary examine new and innovative ap­ history of these art forms? Do their ence doesn't just happen. Jerrilynn viewpoints will provide case studies proaches to basic drawing within the comparisons of Western and non­ Dodds, as chair of the art history devoted respectively to three objects context of a post-electronic era. Papers Western artworks (explicit or implicit) program, and Lowery Sims and Archie chosen by the co-chairs. Those three and presentations will be sought that encourage sophisticated critical analy­ Rand, co-chairs of the studio art objects would be a work by a contempo­ speak to drawing from a multitude of sis? Survey textbooks have recently program, are responsible for the high rary "outsider" artist, a work by a approaches using a variety of media and corne under scrutiny for their treatment quality of the program itself, the fact "folk" artist of specific ethnic origin, techniques. Certainly electronic and of non-Western art. Scholars who that sessions and panels presented ideas and a work made according to a multimedia medium will be considered specialize in the study of African, that are on the leading edge of art and communal "folk" tradition. The case and discussed. Perhaps even arguments indigenous American, Pacific, or Asian art history. The logistic smoothness of studies will not only identify the for performance art, photography, or art are invited to give short (ten-minute) the conference was the result of the challenges inherent in the methodolo­ other nontraditional drawing venues presentations on pedagogical problems time, attention, and thoughtfulness of gies used, but also highlight issues such will extend the idea of basic drawing. raised by one or more major survey the CAA staif, particularly of Suzanne as the role of quality and commodifi­ Th~re will be an attempt to create a textbooks. Possible solutions for Schanzer, the conference coordinator. cation, and marginalized art as cultural dialogue .. between traditionalists and handling those problems should be At the same time that we are critique and cultural component. The users of the new technology. There will proposed. Suggestions should take into celebrating yet another magnificent co-chairs will comment on the advan­ also be an attempt to carry the dialogue account the practical needs of instruc­ conference, I want to discuss an issue tages, limitations, and opportunities for into a discussion of how basic drawing tors who wish to incorporate a limited that is disturbing a number of art cross-fertilization demonstrated by the (especially in any new configuration) amount of non-Western material into historians. Their perception is that various approaches as well as future connects or impacts with upper division introductory courses. Contact chair if artists have taken over CAA. This is exploration. studio courses. you teach an introductory survey course simply not true, as can be seen in board "Remapping Arcadia." Chair: "Religious Imagery in the Art of the and would like to see specific issues statistics. Currently, art historians are a Gloria Kury, Vassar College, Box 212, Iberian Peninsula from Prehistory to the addressed in this session. majority on the board. Art historians Poughkeepsie, NY 12601. This session Present" (sponsored by American "Cultures in Contact: The Medieval represent 40 percent of the membership will test the conceptual and metho­ Society for Hispanic Art Historical Perspective." Chair: Barbara Zeitler, Jerrold Nadler, U.S. Representative, New York, and Sheldon Hackney, chair, Studies). Chair: Oscar Vazquez, Dept. of Dept. of Art and Art History, University and 42 percent of the board. Museum National Endowment for the Humanities, were speakers at the session dological boundaries guiding art­ professionals, most of whom are also art "New Directions In Support of the Arts and the Humanities," February 18. historical study of the depictions of Art and Art History, State University of of Texas at Auslin, Austin, TX 78712. PHOTO: KAREN ROBBINS. NEW YORK New York, Box 6000, Binghamton, NY The proclamation of the First Crusade

8 CAANEWS MARCH/APRIL1994 CAA NEWS MARCHI APRIL 1994 9 by Pope Urban II in 1905 initiated a electronic computer labs (equivalent to cies for access to visual and specialized chaired by judith K. Brodsky. Under period of sustained engagement of language labs) a possibility for the CAA resources linking texts and images are CAA Brodsky's leadership, CAA raised more (Catholic) western Europe with Islamic future? How will electronic publishing fully represented at the conceptual­ than $750,000 in gifts and pledges and Christian Orthodox societies in the influence study and appreciation of both design and delivery-levels. toward its campaign goal. As CAA Mediterranean basin and the Slav original works of art? Committees Museum Committee: 1 opening. News president, Brodsky plans to work closely populations of eastern Europe. It was a "Art and National Identity" The committee monitors the activities of with King-Hammond and Sims toward period of expansionism and coloniza­ (sponsored by Historians of British Art). public and private institutions in the art fulfilling CAA's campaign goals. tion, but also of cultural interaction and Laurel Bradley, 304 S. Taylor Ave., Oak sector, particularly in relation to hybridization. This session aims to Park, IL 60302. Papers will be consid­ acquisition, deaccession, and exhibition explore the effects of cultural interaction ered from any period of British art. policies and procedures, in order to New Affiliated Society on the visual arts in areas affected by the While participants must be HBA excercise influence and share efforts in Joins CAA he membership is urged to Crusades. How can visual evidence he members, new membership is welcome. issues of mutual interest, particularly in New Co-Chairs of the CAA welcomes Historians of British Art participate by serving on the used as an indicator of cultural interac­ matters of presentation, preservation, Capital Campaign (HBA) as an affiliated society. association's diverse and tion? To what extent is cultural interac­ T conservation, access for scholars, and Appointed HBA was founded in 1992. Mem­ increasingly active committees. Commit­ tion shaped and directed by the produc­ CEIUpdate tee members serve fixed tenns of three education of the public. CAA president judith K. Brodsky has bership: 150. Annual dues: $10 profes­ tion of artifacts, How useful a concept is The CEl (Committee on Electronic years (1994-96). Each committee is Professional Practices Committee: appointed Leslie King-Hanunond and sional; $5 students. Purpose: to foster multiculturalism for an understanding Information) session at CANs 1994 composed of at least three members, 1 opening. The committee will respond Lowery Stokes Sims as co-chairs of the communication and to promote the of the arts that arose out of an encounter annual meeting was such a success that and the chair of each committee is to specific concerns of the membership Capital Campaign for College Art study and sharing of ideas among art between western Europe and other the handouts ran out before the first ordinarily a member of the CAA Board in relation to areas such as job place­ Association. Both King-Hammond and historians, art history graduate students, societies in the Middle Ages? What can talk. Don't despair. The handouts are of Directors. ment and recruitment, tenure and Sims serve as members of the CAA museums, galleries, and all scholars, artifacts suggest about the maintenance available, but at a price: buy yourself a Committee candidates must possess promotion procedures, scholarly Board of Directors. professionals, and organizations and modification of cultural and ethnic modem (the fastest you can afford if you expertise appropriate to the committee's standards and ethics, studio health and Leslie King-Hanunond presently interested in any aspect of the history of boundaries? How can "traditional" art­ want to download images [14,400 or work and must be CAA members in safety and artists' practices. serves as CAA vice-president and is British art. HBA holds an annual historical concepts, such as style, be even 28,000 baud]); get it installed; load good standing. Members of all commit­ Committee on Women in the Arts: dean of Graduate Studies at the Mary­ meeting and session at CAA. Scholarly used in analyses of cultural interaction a telecommunications program tees volunteer their services to the 2 openings. The committee is charged land Institute College of Art. Lowery conferences are held every 1-2 years. and the arts? Contributions are invited (Procomm, Smartcom, or Kermit); get association without compensation. with promoting the scholarly study and Sims is associate curator in the depart­ The HBA Newsletter is published from scholars dealing with visual yourself hooked up to your mainframe Nominations for committee membership recognition of the contributions of ment of 20th-century art at the Metro­ biannually. President: jody Lamb, Ohio material from the 12th to 15th centuries. (or a commercial link to Internet, should include a brief statement women to the visual arts, developing politan Museum of Art in New York University, Seigfred Hall, Athens, OH The following sessions will last one­ America on Line, MCl, or Compuserve); outlining the individual's qualifications linkages with organizations concerned and was studio art program co-chair for 45701; 800/766-8278; fax 614/593-0457. and-a-half hours and will be scheduled get a friend to show you how to send and experience and a c. v. or resume. with compatible interests, and monitor­ the 1994 New York conference. Together CAA welcomes as affiliated between program sessions: me an e-mail message at MALAVIN@PUCC. Self-nominations are encouraged. Write ing the current status of women in the they will head CAA's twenty-three societies groups of artists or scholars "Technology and Teaching" I will send you the handouts electroni­ to: Committee Nominations, CAA, 275 visual arts professions. member capital campaign committee, whose goals are generally consonant (sponsored by CAA Education Commit­ cally by return e-mail. This is an offer it Seventh Ave., New York, NY 10001. The membership is also encouraged which is charged with raising funds for with those of CAA, with a view to tee). Linda Downs, National Gallery of would be silly to refuse. Deadline: AprilS, 1994. to make nominations for CAA's nine CAA's $1.4 million capital campaign, facilitating enhanced intercommunica­ Art, 4th st. and Constitution Ave., -Marilyn Aronberg Lavin Committee on Cultural Diversity: awards committees, as enumerated in and meeting the match for the NEA and tion and mutual enrichment. It is Washington, DC 20565; fax 202/842- 2 openings. One-third of this nation is the january /February 1994 CAA News. NEH Challenge Grants awarded in assumed that a substantial number of 6935. Videodiscs, interactive CD-ROMs, composed of individuals whose cultural, The deadline for nominations to awards 1993. The campaign, officially an­ the members of such groups will and digitized image banks of art ethnic, or racial background or sexual committees has been extended to April nounced in fall 1992, was previously already be members of CAA. collections are being produced for orientation differ from the majority, The 8,1994. To be recogruzed by CAA as an academia by corporations, software Committee on Cultural Diversity is affiliated society, a group must be developers, art museums, charitable charged with the recognition and national in scope and must present foundations, archives, university support of the contributions, talents, evidence that it is primarily, or in large technology departments, and individual possibilities, and needs of this constitu­ part, committed to the serious practice professors in the arts. How is academia ency and with the increased inclusion of and advancement of the visual arts, or to participating in the development and this group within the association and the study of some broad, major area of distribution of electronic publications? within the field. the history of art; and it must possess a How could academia participate in Education Committee: 2 openings. fonnal organizational structure, i.e" future electronic publications? What are Focusing on education in the arts from elected officers, an identifiable member­ the most useful components/peda­ three points of view, the committee ship, and such signs of ongoing activity gogy / formats for electronic publications maintains an ongoing review of career as a newsletter, periodical, exhibition in the visual arts for the academic options and development opportunies record, or other documentation. environment? What are the existing available to arts graduates, an aware­ For further information and applica­ models of electronic publications? Are ness of art and art history programs at tions, call or write the CAA office. there biases in existing electronic the college and graduate level, and publications? If so, how can these biases develops an awareness of art education be addressed? What is needed techno­ at the K-12 level. logically and pedagogically before Committee on Electronic Informa­ digitized images are useful in teaching tion: 4 openings. The committee studio, art history, and art education attempts to keep abreast of new ideas Directors of the Soros Centers for Contemporary Arts, a network of 15 institutions classes? Will the image banks now being and developments in the area of auto­ amassed by major corporations be located in major cities throughout Central Europe, the Baltics, and the former Soviet mated information in order to ensure Union, were special guests of CAA, and held a panel discussion at the annual useful in the classroom? Are visual ruts that the spedal needs of our constituen- conference on changes in the region's arts scene since the fall of the Berlin Wall. PHOTO: KAREN ROBBINS, NEW YORK

10 CAANEWS MARCH(APRIL1994 CAANEWS MARCH/APRIL 1994 11 ture recognizes that there emerged an I admire many of the goals of the the art making process, this is how it I was caught in a system that didn't Letters to era which is common to both Jews and "Guerilla Girls" and certainly agree that A worked. You have to visualize a function for me. I needed to break away Christians. In the field of Biblical there are latent prejudices in the hiring, discarded mansion in a run-down part from this standard syndrome so that my scholarship, there is widespread retention, and compensation of minori­ of Hollywood. This was to be the site­ range of teaching could be broadened to acceptance and usage of these terms and ties. However, I do not believe these Philosopher's specific Womanhouse. include mentorship, friendship, and the Editor " this method of dating. prejudices will be eliminated by the We were twenty-three artists at sisterhood. -Susan Ball, CAA Executive Director distribution of misinformation or the different stages of artistic development Of course all this required some distortion of facts, Stone: and each day, in a different room of the realignment from the standard notions I am also sympathetic to the house, we sat in a circle and addressed of what art education should be. Neither Guerilla Tactics group's implied aims as related to Radical ourselves to the life and nature of that Judy Chicago nor I believed that the Cultural Sensitivity I was distressed to learn that informa­ women in the arts and would hope we room as it might have figured in one of primary goal of our teaching should be I would like to propose that our tion was distributed at the recent could work together to restore the our own life histories. Each woman to teach sophisticated art making. We consciousness needs to be sensitized to meeting of the CAA in New York proper standards and sympathies to all Changes in spoke in turn. For example in the wanted to be responsible for the level of yet another group-the Jews. I mean concerning the art department here at those who suffer injustice. kitchen we talked about our relation­ humanity in our classes as welL this in the following way. On any the University of South Carolina. -John O'Neil, chair, Department of Art, ships to our mothers, and when we The radicalism of our teaching is number of occasions we have all heard Statements contained within this report, University of South Carolina Teaching finished, that room was suffused with that we moved from what was for pink-pink walls and ceiling, pink stove women the exclUSionary space of male in lecturesr read in books and maga­ authored by the "Guerilla Girls," zines or read in explanatory notes on present a picture of gender bias within and refrigerator, pink cupboards, pink art to the embracing position of r A Member Reports museum walls that event x was an Old the department that totally misrepre­ groceries. The walls and ceiling were woman's feelings and woman's culture. The 1994 CAA conference was fruitful Testament prefiguration for event y in sents the facts. Given the sensitivity of also covered with plastic casts of breasts I would like to say a few words as ever in the jargon department. This the Gospels. Such passages are often the situation and the wide distribution all realistically painted metamorphosing here about woman's culture. For some year's top-ten list reflects some displace­ stated baldly as if they were fact (which of their report, I would like to take the into fried eggs. We called it the women who have moved into main­ ments (site seems to have overtaken to Jews they are not) rather than opportunity to respond. Nurturant Kitchen. In our discussions stream mentioning woman's culture zone) and a few hardy perennials (intent Christian interpretation (which they The handout indicates that we top we were never quite sure how much of presents a problem. They feel has returned with a vengeance; certainly are). The effect of this kind of the list of American "male-dominated our mother's milk was there for us, but ghettoized, embarrassed and shamed by performative appears for the second year Miriam Schapiro, convocation address, construction is to suggest that events art departments" with a "faculty of we knew it was there. While sitting in this reference as though women are in a row). The intraverbal (pun)ctuation CAA 1994 New York described in the Hebrew Bible are 100% males" and that "100% of our our circle we used the time when we outsiders, naifs, or worse, losers. "Why mark seems to be on the wane; the essentially ahistorical symbolizations of highest ranking faculty" are also men. were listening to other people's stories when we are now liberated, they ask, solidus is/is not holding its own. Dedicated to Paul Brach who is, in many true events later recorded in the While the department has pursued a to fantasize about the kitchen as it might must we speak of kitchen issues?" A notable feature of this year's list ways, my teacher too. Gospels. It also suggests that in fact the policy of affirmative action, it has be. Speaking of woman's cultural is the prevalence of adjectives. One may Old Testament has been replaced by a always been our practice to hire the best This was a collaborative effort. We history does not rob us of our character, thus ask oneself: Is description back? newer testament, which, of course, Jews available candidates. At the present, the worked hard to make art out of our prowess, or power. On the contrary, it Have we recovered the material identity documents the ways in which women reject. FurtherI it suggests perniciously department has twenty-six full-time never took teaching for granted. personal material and hoped that we of the art object through the pyrotech­ that even though Christians and Jews faculty of which nine (34%) are minori­ And even though painting is my spoke a universal truth. Apparently we have humanized SOciety. But some may nics of narrative verbality? Is pure share a common Biblical heritage, Jews ties. Since 1970, twenty out of thirty-four first love (it's a solitary act), did, for no sooner did we lay down our ask "What is the content of women's language now to be replaced by a I are the lesser descendants now defined of those hired have been women, teaching always meant contact with the dirty overalls, hiking boots, and head work?" "What is it that makes women's reinstated, revalorized figural language? as the Other by those with whom they minorities, or the handicapped; in fact, world. About twenty-five years ago I bands, than there at our door were culture different from men's culture?" Have we at last reinvented metaphor, share that heritage, 12 of the last 14 faculty vacancies have developed a feminist world view and reporters from Time magazine, Life What do women do that makes all of -Matthew Baige/l, Rutgers University been filled by minority candidates. The rescuing it from allegory through a brought many of my ideas into educa­ magazine, Encyclopedia Brittanica, and their activities seamless? How does one quality of these hires may be reflected in process of deironization? Or, to borrow tion for women artists-and through public television. activity pass one into the other, what the fact that no female has ever been Whitney Davis's borrowing of Kant's our projects we did much to change the When I was asked to give a name keeps women going? Susan Ball Responds rejected for reappointment or tenure. No illuminating term, has Wild Seeing been template of art instruction. Now the for this talk, I called it "A Philosophers For example, when the Monnons According to Dr. David Lull, executive female who has presented materials for replaced by Wild Talking? Fiat verbum. question on my mind is: who is going to Stone: Radical Changes in Teaching." settled Salt Lake Valley and brought director of the Society of Biblical pro-motion to any rank has been Herewith the top-ten jargon words: change it for yotmg men? As women The medieval alchemists sought a seeds, grain, vines, and shrubs to Literature, although there are scholars rejected by the department, the chalr, (10) site; (9) transforrnative; (8) proleptic; seek parity in their relationships with substance----the stone----in the belief that transform that barren land, how did the within the Christian communities who the dean, the provost, or the University (7) intent; (6) (a tie) mediative; norma­ men the question becomes inevitable. it would change base metal into gold or women sustain themselves? Particularly believe in Christian supersessionism­ Tenure and Promotion Committee, and tive; (5) performative; (4) syntagmatici In my experience as a teacher, I silver. those Mormon women whose husbands the first such scholar being Marcian in all female faculty with more than seven (3) axiological; (2) innarrable; (1) would say, we feminist women sepa­ That's how I felt about teaching. left them and their children while they the 2nd century-this approach is years association with the department chronotopic. rated ourselves from the traditional role Before I came to Valencia, California, to lived with other families in their heavily criticized by scholars who now hold the rank of full professor, The Golden Trope Award: Signs of of teacher and student. As artists we work for my husband Paul Brach, the multiple marriages. recognize that it is problematic and who Women faculty have held many an incipient or resurgent sense of humor acted on personal histories and by using first dean of the Art School at Cal Arts, I The answer lies in the many ways have proposed various solutions, among administrative positions within the are appearing here and there among the consciousness-raising as a toot we taught at the University of California, in which we women create intimacy them the avoidance altogether of the department, including serving as chair great dark thunderclouds of meaning constructed an ovular work of art that San Diego. I was an imaginative teacher among ourselves, within our families, term "Old" Testament, instead using of the department, associate chair, and (but then, that is what signs are for, isn't had far-reaching effects. I'm speaking of but the rewards did not justify the and in the practical means of building either Hebrew Bible or First Testament, chairing department divisions, Art it?). In recognition of this, the 1994 the feminist art program at Cal Arts immense amount of work I put into and maintaining home and work. In the the latter being more widely used. Also Education and Art History, and it is Golden Trope Award goes to the two which Judy Chicago and I created in arousing the interest of my students. It history of women's culture we women with regard to dating, Biblical scholars important to note that at every level scholars who referred, respectively, to 1970. The project we made with our was the late sixties, they were laid back, have cooperated with each other­ prefer to refer to before and during the (professor, associate, or assistant), the Brueghel as "iconographically chal­ twenty-one students was Womanhouse. apathetic, and I was miserable. Each day working the land, acting as midwives, lenged," and to ancient Greece and "Common Era" (B.C.E, and C.E. instead of average salary of females is more than Let me ten our story in the hope I was the authority, standing in my own quilting, etc. Hundreds of sharing Rome as "marmocentric." B.C. and A.D.), since both "Before Christ" their male colieagues-$426 at full that it can serve as a model for the private space before a group of recep­ activities brought us closer together. and "Anno Domini" refer to Christ and professor, $5,695 at associate, and $2,000 See you all in San Antonio-tropic, education of young men. When I say we tors, some of whom turned on miniature Each woman knowing that a positive the Lord, whereas the new nomen~la- at assis tan t. if not tropical. used consciousness-raising as a tool for tape-recorders to take notes for them. sense of survival had to be based on -Eve Harrington

12 CAANEWS MARCH/APRILl994 generosity and sharing. This code then, of our students, enabled all of us to were gathering their belongings, ready both Jaune and I are Americans who painting, and clay modeling, etc., to a being humbled by the Chinese govern­ is the basis of women's values. recover our past as children. As we to leave. The teacher remembered studied art in colleges in this country, quiet and respectful audience. At the ment when he took the side of the In the making of Womanhouse we remembered our insults and our joy we something he had forgotten to tell them. we are both imbued with the grandeur end, the faculty held a banquet for the students during the uprising in studied our ancestral history. We made art from our sexuality, our secrets, They stopped, he wagged his finger at and aesthetic ambition of men like artist and bid him adieu. This had gone Tiennamen Square, The army stripped discovered that Native American our rage, and our disappoinhnents. We them, saying, "And remember, none of Titian, and yes, Picasso. We are not on for years, him of all his clothes and property and women of the Great Plains were the also made pictorial descriptions of OlIT that girlie stuff." about to discard them. We want them to Before I arrived, I asked the forced him to beg in the streets dressed architects and builders of their teepees. socialization, pictures of our clothes, our What we hear this artist/professor move over, to make room for the rest of department to set up an actual teaching in rags holding a tin cup, Later in the In many cultures in Africa, personal underwear, our make-up, our rooms, saying, may not be voiced by all of his us. situation for me so that the students, the week Richard and I, each with our own ornamentation perhaps more than any the houses we lived in, the earth around colleagues. But the ideal of art which As a teacher, I can see what lies in community visitors, and I could camera/ took pictures of one another, other artform provides the basis for a us, our relationships with family, lovers, Western, elitist, white males believe in store for us, Soon, our students will participate in an interactive experience. I We had people take pictures of us complex system of signs. The body friends, and even "frenemies." has been shaken. And how to bear the come from Morocco, Bangkok, St. also asked for a model to pose for us so I together, the older American Jewish becomes a background on which In the twenty-five years since brunt of this crisis of art history is a Petersburg, Brasilia, Zagreb, and Hong could demonstrate my technique of feminist artist and the younger Chinese messages about rank, wealth, sexual Womanhouse was made I find myself problem facing the old guard. Kong. Are we prepared to deal with cutting large sheets of color aid paper to artist smiling for the moment of warmth maturity/ marital status/ and occupation still regenerating my life as a feminist. The democratization of art chal­ them? How much do we know about make one of my cut out figures, As I we had shared, are expressed. For example, young Zulu Sometimes I look at the work of today's lenges them. The ghost of the great their cultures? Yet we will expect them used the scissors, I explained that I Earlier, I asked who was going to and Swazi women in Southeastern feminist artists and wonder why they teacher, Gustave Moreau, traversing his to learn ours - what form of cultural worked in segments, instead of drawing make the same radical changes for Africa make necklaces as courting repeat the images we created in the atelier filled with white male students, exchange will that be? an arm, I cut one out and later as­ young men that Judy and I made for poems. Because societies like these do seventies. working from the nude female model In The Woman Warrior, Maxine sembled all the parts, each one a young women? not use writing such codifications of Could it be that we woman artists fades slowly, very slowly. Hong Kingston wrote of her childhood different color. Not unlike the way In the twenty-three years since messages are especially significant. are so underrepresented in art-historical It has been said that feminist art has struggle to sound like an American girL Matisse had worked, but decidedly a Womanhouse, if anything is new to my We are told by female anthropolo­ documentation that current feminist called into question long-established "Normal Chinese women's voices are style of my own. feminist consciousness, it is how badly gists that the wonderfully creative artists are not even familiar with our assumptions about Modernism, about strong and bossy. We American Chinese I confess to having been nervous as young men need to know what I aspects of women's art was their ability accomplishments? If so, Abrams' genius, about elitism, about the signifi­ girls had to make ourselves American I began to cut. As an artist, I had never know-that men as well as women are to break codes, to play with the format, upcoming tome by Norma Broude and cance of irony. In the postmodern world Feminine. Once a year, the teachers been on display before, I was panicky. driven and defined by negative mascu­ and to transcend limitations/ these are Mary Garrard called The Power of "telling one's story" becomes the referred my sister and me to speech At one point I lay the head I had cut out line values. the aspects of women's kitchen art that Feminist Art with its two-hundred-fifty hallmark of multicultural art as well as therapists./I Kingston describes an awful flat on the table above the neck. I One of the ways we can deal with inspired the makers of Womanhouse. illustrations should help this problem. feminist art. time adjusting and then says "we found decided to attach them immediately, not this problem is to see men and women Again I say to those who fear In the absence of these representa­ In only six years we enter the our voice, however faltering, we waiting until all the parts were cut. My meeting in small groups under the ghettoization - don't be exclusive in tions in the literature, in the absence of twenty-first century. What changes will invented an American feminine speak­ right hand moved towards the brush guidance of enlightened teachers of both your use of male models. Masculine icons of personality, in the absence of be expected of us as teachers? We are ing personality." and glue, my left held the two parts sexes. Here the students can ask and values are frequently negative and memory, "New .. , Speak" women (a self-educated in our own time and at Here are some new questions: I together ready for their bonding when a answer serious questions concerning inhibitory. Sisterhood was not invented phrase I learned from Mary Garrard) our own pace. My education in ethnic wonder will our new students come third hand quickly slid over to my work gender, sexuality, and other issues, in the seventies. It is a woman's tradi­ seem condemned to endlessly to stalk and racial pride came one day in 1984 at from sexist homes? Will the word and attached the head and the neck with working toward understanding the tional art along with weaving/ making the ills of survival in the patriarchy. the Museum of Modern Art at an partnership in the sense of gender brush and glue. From that point on, in a deep binary gulf which has been socially pots, needle work/ and the language of Why shouldn't the new feminists re­ exhibition titled "Primitivism in partnering be new to them? Will we daze, I cut and pushed the parts to my engendered for them. geometry and flowers. invent images of the penis, the vagina, Twentieth Century Art: The Affinity of have passed the Equal Rights Amend­ right and without saying a word to the My friend Tom Knechtal is an artist In 1992 Ilze Aviks from Fort Collins, dolls' dresses, patent leather pumps, the Tribal and the Modern." I went with ment by the year 2,OOO? Will our person helping me, the papers would and a teacher. When I was preparing Colorado/ wrote to me after I had been quilts? Why shouldn't they re-invent the my teacher, who on that day was Jaune students have been educated as racists? silently be attached. We were in tandem this talk I asked him to tell me his in residence in her town at her school struggle between woman and woman, QUick-to-See Smith. Should I suppose that they will be more this student and L Mozart himself current thoughts on feminism. He had and had given a series of lectures on the woman and man, in comedy, in When she saw the tribal work made comfortable with aging than we are? played as we performed the minuet. been a student at Cal Arts during the origins of feminist art. She said: performance, in theater, in video, are by native people, she was appalled at Will unlearning be as important as Finally it was over, the work was done. period of the feminist art program. My work is a narrative of a kind of they not trying to tell us that the MOMA's installation. She felt an learning? Heaving a deep sigh of relief, I allowed He wrote that recently a curator process known to women. The slow patriarchy lives and that women live as implied disrespect from the lack of Clearly my questions to myself ask myself to look at Richard Loa, a slender had asked him whether it was truly deliberate process of sewing and well? educational signage, How would the if we teachers are going to prepare man of about 45, medium height, with possible for a man to be a feminist. Tom embellishing. My work is an act of faith. Let me tell a story which will viewer know the history of these tribal ourselves for the democratized world of eyes that had seen much tragedy. replied "I think this is nonsense. Men Thousands of stitches imply that not all illustrate why women artists continue to objects? Jaune talked to me about their art and artists, Remember, we are only Gently, he smiled at me as I thanked stand as much to gain as women from virtues and accomplishments are epic. use the same content. A short while ago functions and the part they played in six years away from the twenty-first him. Then he told me his story: When he the challenge of feminism. The That there can be nobility in persever­ a beloved male teacher at an eastern rituals, There was no sense, she said, century. lived in China where his father was a gettoization of thought that says only ance, in taking time to make something college met his new class of graduate that these objects were made to enhance Since postmodernism now permits General in the army, he grew up women can participate in feminism, beautiful. I chose the medium of cloth students in art (of which 60 percent peoples lives and connect them to spirit artist to tell their stories, I would like to assisting his mother, the artist, who (as only people of color engage with their because it speaks of humanity. Cloth's were women) and gave them the and soul since they were tell a story. Recently I was doing a he put it) cut paper in the traditional issues, only gay people deal with issues texture summons a response from those following introduction to his course. He decontextualized and lacked names and teaching gig in a California community Chinese manner, He always assisted her of sexual identification-this divide and who have known and touched it. wanted them to feel free to follow their dates. They were displayed only to college. I had been brought in as one of with the gluing. He enjoyed working conquer method does nothing. It For those of you who know me creative impulses. Further, he was quite show their influence on Western their visitors to demonstrate my own with me, it felt natural to him. presents the issue solely as one of personally, you can understand how the lenient about media and he wouldn't modernism, way of working as an artist before a We became friends, He earned his aggrievement, of victimization, We have A viks' statement speaks to my heart. In object to their use of paint, wood, neon, As a Native American, she was group of students and visitors from the living doing graphic arts. He was here at to make these issues into ones which the 1970's when my art changed to metal, video, film, computer graphics, humiliated by the idea of contrasting the community at large, This dog and pony college to learn fine art. Before he left engage all of us and help the students to enfold my politics, I used cloth on my whatever. As to style, again, no prob­ neutral formalism of modernism with show was mandatory since the annual China he and his wife were divorced see feminism as a source of excitement canvases to express my womanhood. lem, conceptual, minimat expressionist, the religious verities of the tribal objects. grant received by the college, was set up and he retained custody of his twelve­ and permission-to explore identity." Returning to our use of the con­ whatever. "Just be true to your own The aesthetic imperialism of this in this way. In the past, various male year-old daughter. He brought his Many people like myself believe sciousness raising technique of teaching, experiences," he said. exhibition was clearly painful to Jaune, artists had spent the required four days father, mother, and daughter to Marion Woodman when she says that listening to the memories and fantasies The students felt really high as they And I empathized with my friend. Since demonstrating the art of watercolor, oil America. His father died here, after our culture is slowly evolving toward a new ethos in which femininity and masculinity will empower each other. Annual We don't know what the new feminine will be or what the new masculine will be like, but our mutual Conference need to empathize with each other will mean that each gender lends a bit of 1994 herself or himself to the other for a negotiated understanding. There is so much to learn about ourselves and each other, in order to be truly prepared for a future where democracy maintains itself in the realm of the personal, and the personal maintains itself in the realm of art. Thank you.

Meet the Editor: People line up to talk with Nancy J. Troy (center left). editor designate. Art Bulletin.

CAA secretary John Clarke with executive director Susan Ball and CAA member Mary Laing

wll

CAA publications staff at exhibitions booth

Meet the (right). editor of the CAA Monographs on the Fine Arts series, talks with a prospective author.

Convocation speaker Miriam Schapiro with CAA president Judith K. Brodsky

Meet the Editor: Lenore Malen (left), executive editor. Art Jouma/~ meets with a prospective guest editor.

CAA NEWS MARCHI APRIL 1994 13 Bertha Steinhardt Gutman. Beck Gallery, Samiramis Ziyeh. Teahouse Gallery, Open Sullivan County Museum, Art and Cultural Center, New York, January 9-February 6, 1994. Solo Center, Hurleyville, N.Y., May 1-30, 1994. "Poetry and Geometry," works on paper. ''Dollhouse Stories," oil paintings on canvas and linen. Exhibitions SOUTH/ / Larry Holmes. Little John/Sternau Gallery, New Amalia Amaki. Atlanta Financial Center, York, January 4-29, 1994. Paintings and pastels. Atlanta, Ga., January I-March 31, 1994. by Artist Lois M. Johnson. Print Club Center for Prints "American Reminiscences: Buttons and Blues." and Photographs, Philadelphia, January 21- March 5, 1994. "Latitudes," works on paper. Members Ellen Kozak. Carolyn J. Roy Gallery, New York, February 3-March 8, 1993. Paintings. Leon Kuzmanoff. O.K. Harris, New York, Erica Oaborn. Red Knight, 1992, Only artists who are eAA members are included February 12-March 5, 1994. Photographs. oil on Masonite, 18" x 22" in this listing. When submitting information, Thomas Lail. L/L Gallery, University of PHOTO: BRUCE WR!GHT include name of artist, galIen) or museum name, Vermont, Burlington, October 18-November 4, city, dates of exhibition, medium. Please indicate 1993. Sculpture and paintings. CAA membership. Sungmi Naylor, Evolution, 1993,15" x 30 1/2" Photographs are welcome but will be used only if MaHhew Larose. Germantown Academy Arts space allows. Photographs cannot be returned. Center Gallery, Fort Washington, Pa., November 2-29,1993. "Dancers and Musicians," paintings Larry Walker. Gertrude Herbert Institute of Art, Sungmi Naylor. Chicago Cultural Center, Jon Carver. Pentimenti Gallery, Philadelphia, and prints. Augusta, Ga., January 14-March 4, 1994. January IS-March 13, 1994. "Beautification/ May 1994. Paintings. "Figurative Works and Other Multi/Visual Richard Lethem. Blue Mountain Gallery, New Scarification," photographs, installation. Overtones." Robert Cronin. Hugh A. Hill Gallery, Kent, York, January 14-February 2,1994. Paintings Peter B. Olson. McHenry College, Crystal Lake, Conn., January 22-February 20, 1994. '''The and drawings. Gregory Zeorlin. Artables Gallery, Houston, m., January 19-February 18, 1994. "Ciaroscuro Sixties: Still Unstretched after All These Years." Tex., April 16-May 14, 1994 "Notes and Letters," ABROAD/ Hung Liu. Steinbaum Krauss Gallery, New Woodcuts." Anchor Graphics, Chicago, January ceramics and mixed media. David Brody. SAC! Gallery, Florence, Italy, Leila Daw. Boston Sculptors at Chapel Gallery, York, February 12-March 19, 1994. "The Year of 21-February 19, 1994. Prints. February 4-26,1994. Gallery NAGA, Boston, Boston, February 2-27, 1994. "Natural Phenom~ the Dog." February 4-26, 1994. Drawings on wood. Shelley Thorstensen. Gray Gallery, Quincy ena," sculpture, works on canvas and paper, Beauvais Lyons. Richard F. Brush Art Gallery, WEST/ University, Quincy, m., February 2-27. artist books, and photographs. Charles Lovell. Sala de Arte, University St. Lawrence University, Canton, N.Y., February Les Barta. Grants Pass Museum of Art, Grants "Multi(Print)Media." Autonoma Baja California, Mexicali, Mexico, Elizabeth Enders. Lyman Allyn Art Museum, 29-March 30, 1994. "Rare Discoveries from the Pass, Ore., April 26-June 4,1994. January 21-March 2, 1994. "Imagenes Lisa Titus. Southern Illinois University, New London, Conn., January 23-March 6,1994. Hokes Archive." Photoconstructions. Parad6jicas en Blanco y Negro," photographs. Carbondale, February IS-March IS, 1994. "Art "Notes in Blue." Dennis Masback. Cynthia McCallister Gallery, Erica Daborn. Sherry Frumpkin Gallery, Santa and Artifice." Arezoo Maseni. Photographers' Gallery, Donise English. New Jersey Center for the New York, January 14-February 12, 1994. Monica, Calif., November 1993. "Family London, England, June 28-August 13, 1994. L. M. Wood. Images Center for Photography, Visual Arts, Summit, March 13-AprilI5, 1994. Paintings. Matters," paintings. Photographs. Cincinnati, Ohio, February 27-March 31, 1994. Del Mar College, Corpus Christi, Tex., April 1- Amalia Amaki, Number 1 Fan c" Susan Morrison. Amos Eno Gallery, New York, Caryn Friedlander. Cunningham Gallery, Creative Arts Center, Fargo, N.Dak., March 1- 29,1994. Sculpture. (detail), 1992-93, mixed media January 29-February 17, 1994. Recent works. with buttons, 54" x 23" University of Washington, Seattle, April6-May 31,1994. Photographs. Bill Geenen. Prince Street Gallery, New York, MIDWEST/ Mimi Oritsky. Amos Eno Gallery, New York, 6,1994. "River of Histories," drawings and Jim Zwadlo. Eau Claire Regional Arts Center, February 4-23,1994. Paintings and prints. Aurore Chabot. Gallery of the Department of March 12-31, 1994. Paintings and works on paintings. Eau Claire, Wis., November 14-December 18, Art and Art History, University of Nebraska, A. P. Gorny. Locks Gallery, Philadelphia, paper. Jean Gallagher. Mace Space for Art, San 1993. Rodger LaPelle Galleries, Philadelphia, Lincoln, January 17-February 4,1994. Sculpture September 10--0ctober 9, 1993. Beaver College Francisco, February 1-28, 1994. "Conceptual February 2-27, 1994. "Pedestrians." Liz Quackenbush. Hopkins Center, Dartmouth Art Gallery, Philadelphia, November 9- and drawings. College, Hanover, N.H., February IS-March 27, Automatism in Gardening," constructions and December 19, 1993. "If You Only Knew-A Mid­ Ada Pullini Brown. Harper Center Art Gallery, Elizabeth Coyne. ARC Gallery, Chicago, March 1994. paintings. Career Survey." Presbyterian College, Clinton, S.c., January 14- 29-April30, 1994. "Into the Spaces We Breathe," MID-ATLANTIC/ Susan Schwalb. Andrea Marquit Fine Arts, February 27, 1994. "The Story of Eve," paintings, Ellen Jansen. Tambra Art Gallery, Salem, Ore., Margaret Grimes. Blue Mountain Gallery, New paintings. Kiki Felix. Anton Gallery, Washington, D.C., Boston, March 11-Apri116, 1994. "Intervals: drawings, handmade books. April 1-23, 1994. "She Flies with Her Own January 14-February 27, 1994. York, February 4-23,1994. '1n the Woods." Wings." Peggy Cyphers. Betsy Rosenfield Gallery, Meditations on a Square." lain Machell. Grandview Gallery, West Virginia Chicago, January 7-February 12, 1994. "Lexicons Cathy Raymond. Delaware Division of the Arts, Leni Schwendinger. Brooklyn Academy of University, Morgantown, January 10-February Lynda P. Jasso-Thomas. Gallery at Salishan Wilmington, January 4-28,1994. Paintings. of Paradise," paintings and monoprints. Music, New York, November 20, 1993. "Public 5, 1994. "Late Registration," mixed-media Lodge, Gleneden Beach, Ore., March 12-May 12, Sydney K. Hamburger. Artemisia Gallery, Dramas/Passionate Correspondents," light installation. 1994. "Temblor de Tierra ... Earthquake or Shaking of the Earth." Chicago, February 4-26, 1994. "Safe Spaces and NORTHEAST/ projection performance. Bill Paul. Gasperi Gallery, New Orleans, La., Ritual Objects." Kathy Kauffman. Atrium Gallery, Truckee Mike Alewitz. Gallery 1199, New York, January Joy Spontak. Leland Gallery, Springfield, VI., December 1, 1993-January I, 1994. "Slopes of Thunder/Echoes of Grief," mixed-media Meadows Community College, Reno, Nev., Michael Kessler. Klein Art Works, Chicago, 13-February 18,1994. "Agitprop: The Mural January 10-March 8,1994. "Acknowledging the March 9-31, 1994. "Honoring Women." January 8-February 5, 1994. Paintings and works Projects of Mike Alewitz, 1983-93." Sacred." Vermont Council on the Arts, installation. on paper. Montpelier, January 14-February 28, 1994. Mimi La Plante. College of the Redwoods, Leigh Behnke. Fischbach Gallery, New York, Diane Rosenblum. Louise Jones Brown Gallery, Works on paper. Eureka, Calif., March 2-25, 1994. "In IlIa Cal Kowal. Columbia College, Chicago, January March 31-April23, 1994. Paintings and works Duke University, Durham, N.C., February 11- March 13, 1994. "The Naked Truth about Tempore," paintings, prints, objects. 29-March 26, 1994. "Vertical Axis: Photographs on paper. B. J. Strohman. Haas Gallery, Bloomsburg, Pa., from Central States." January 20-February 25,1994. "Earth and Sky." Women," photographs. Paul Pak-hing Lee. Greg Kucera Gallery, Seattle, Ruth Bernard. Cultural Council of Lancaster January 6-30,1994. Mixed-media installation Ralph Murrell Larmann. Chatham Gallery, County, Lancaster, Pa., February 1-28, 1994. Beth Ames Swartz. E. M. Donahue Gallery, Conrad Ross. Art Deparhnent Gallery, Auburn University, Montgomery, Ala., January 5-20, and digital video. Indianapolis, Ind., March 4--31, 1994. "Landscape Expressions," paintings. New York, February 10-March 19, 1994. "A Story for the Eleventh Hour," paintings. 1994. "The Rhein," paintings. James Luna. Capp Street Project, San Francisco, Joseph Mannino. Bemis Center for Contempo­ Sharon Brown. Stebbins Gallery, Cambridge, November 3-December 18, 1993. "Relocation rary Arts, Omaha, Nebr., January 22-February Mass., March 31-April17, 1994. 'W: Manne­ Phillia Changhi Yi. Houghton House Gallery, Harvey Sadow. Florida Community College, Jacksonville, January II-February 8, 1994. Stories," multimedia installation. 27,1994. quins, Masks, and Matriarchs," paintings. Hobart and William Smith College, Geneva, N. Y., January 14-February 18, 1994. David Underwood. Old Candy Factory, James McMann. College of Environmental Jane Miller. Gallery for the Visual Arts, Ohio Paul A. Calter. Gifford Gallery, Randolph, Vt., Knoxville, Tenn., February 1-28, 1994. "Recent Design Gallery, University of California University, Lancaster, February 14-March 10, January 16-February 25, 1994. Sculpture and Jon Carver, Cafe, 1994, Dean Yoffredo. Pleiades Gallery, New York, Photographic Works." Berkeley, November 10-29, 1993. "The Hill of 1994. Prints and sculpture. watercolors. oil on wood, 10" x 10" January 4-23, 1994. "Relationships."

14 CM NEWS MARCHI APRIL1994 eAA NEWS MARCHI APRIL 1994 15 • Council Chambers in the City Hall building. the Witch: An Ancient Irish Site of Memory: John RewaId, teacher, curator, and author, died Brooklyn College and the CUNY Graduate in order to complete a book project titled Vincent produced murals for public and private Photographs, Drawings, Recollections." February 2, 1994, at the age of 81. Born in Berlin Center. His departure from Columbia set off "Imaging the Faith: Popular Religious Art and buildings and worked closely with a number of Grants, in 1912, Rewald studied at the University of waves of student protests in which the campus 20th-Century American Protestantism." An Kenneth R. O'Connell. Alder Gallery, Eugene, Hamburg (with Erwin Panofsky), before earning was decorated with banners bearing his name. architects in Oregon. additional grant from the Henry Luce Founda­ Ore., January 4-February 26,1994. Watercolors his doctorate at the Sorbonne. He fled Nazi He returned to the adjunct faculty of the tion will provide further support for research and ink drawings. & Gennany for France in 1933, and came to the Columbia School of Architecture in 1982. I i Awards, expenses during the fellowship year. John Rand. Lone Star Saloon, San Francisco, United States in 1941. Rewald's books, History of "A lot of people teach because it's a job. Academe February 14-28, 1994. Impressionism (1946) and History of Post­ He does it because it's him," wrote one student Bernard O'Kane has been named 1994 Wolf Impressionism (1956), which chronicle French in his course evaluation. Gene was one of those Honors Foundation Scholar at the Metropolitan Museum Ruth von Jahnke Waters. Somar Gallery, San avant-garde painting during the second half of rare teachers whose enthusiasm for his subject of Art in New York. Francisco, January 28-February 19, 1994. "Sacred Hollis Clayson has been named a 1993-96 the 19th century in groundbreaking detail, was so contagious that, as another student Spaces," sculpture. Charles Deering Professor of Teaching became the foundation for the research of wrote, "I'll bet you that half the kids in this Excellence at Northwestern University. Publication policy: Only grants, awards, or honors Linda Pellecchia has received a 1994-95 Michael Wright. First Interstate Bank, countless later scholars. These volumes serve as course at one time or another considered received by individual CAA members are listed. The fellowship to be in residence at the Harvard Brentw"ood, Calif. "Monotypes." indispensable sources of dates, places, names, becoming architects because of him." His Whitney Davis has been named University grant/award/honor amount is not included. Please University Center for Italian Renaissance Studies and most of all, ideas, about late 19th- and early lectures combined a sense of theater and a love Humanities Professor at Northwestern note the following format: cite name, institutional at the Villa I Tatti in Florence. 20th-century art in France, and therefore about for his subject with the passionate desire to University, leading the Humanities Program. affiliation, and title of the grant, award, or honor, and the entire evolution of modern art. He later explain it and make it dear to his audience, (optional) use or purpose of grant. Please indicate John Pollini has been awarded a 1994NEH wrote books on Gauguin, Bannard, Renoir, whether that was a group of beginning students Veronique Day will be visiting lecturer at the that you are a CAA member. grant for completion of his book The Image of Degas, and Cezanne, and taught at the in his Brooklyn College survey courses or University of Iowa. Augustus: Art, Ideology, and the Rhetoric of University of Chicago and the Graduate Center professional architects at Columbia. Leadership. of the City University of New York. A founding member of Gay Fathers, Gene Keith Holz has begun a one-year teaching was featured in a PBS documentary on the assignment at the University of Kentucky. Amelia Rauser has won a Javits fellowship. Eugene A. Santomasso died in New York on subject where he spoke frankly about his own December 29, 1993. He was 55 years old. Gene, life and experiences. The first international Thomas Lail is instructor in art at Hudson Susann Allgaier has been awarded a 1993 Charlotte Streifer Rubinstein has received an as he was known to all, was on the faculty of the conference of gay and lesbian parents, which Valley Community College, Troy, N.Y. Elizabeth Greensruelds Foundation grant. Honor Award from the Women's Caucus for People in City University of New York, where he taught will be held in New York this spring, will be Art. architectural history at both Brooklyn College dedicated to his memory. Laurie Milner is teaching at the Emily Carr Frandsco Alvarado~Juarez was artist-in­ and the CUNY Graduate Center. He also taught At his memorial services (Columbia and College of Art and Design, Vancouver. residence at Mount Royal Elementary SchooL Susan Schwalb has been named artist-in­ the News at Columbia University School of Architecture. CUNY each held one), stories abounded: how residence, Mishkenot, Sha'ananim, Jerusalem, Born in New Haven, he received his B.A. from Gene went on vacation and shot 1,200 John Pollini has been named dean at the School Christine Bell has won a Luce fellowship. Israel, May-June 1994, Yale University in 1960 and his M.A and Ph.D. architectural slides, his legendary love of good of Fine Arts, University of Southern California. from Columbia University in 1964 and 1973 food, how he organized his own and friends' He was formerly professor of classical art and Diane Burko was a fellow at the Rockefeller Annie Shaver~Crandell has received a 1994 respectively. trips abroad right down to computer printouts archaeology in the department of art history. Conference and Study Center, Bellagio, Italy, for President's Award from the Women's Caucus Gene's doctoral dissertation was on "The of itineraries and restaurants, his wicked and the month of September 1993. for Art in recognition of contributions to the In Memoriam Origins and Aims of German Expressionist hilarious imitations, and how, above all, he women's movement and the arts. Architecture," a subject which remained his always had time for students. His intelligence, Museums and Galleries Jennifer Cecere has been awarded a 1994 primary scholarly interest; at his death he was his generosity, and his enjoyment of life , Creative Stations grant from the MfA/Arts for Elaine Scheer has won a 1994 Wisconsin Arts Paul Bodin, an abstract painter associated with preparing a related paper for the 1994 confer­ enriched those around him; without his 'i Transit, to install two sculptures of chandeliers Board fellowship in interdiSciplinary art. the New York School, died February 15, 1994, at ence of the Society of Architectural Historians. booming voice the halls seem silent. in the Chambers Street IRT station in New York Henry Adams has been named director of the the age of 83. Bodin studied at the National His lectures and publications were wide­ -Patricia Mainardi Anne Schroder Vance has been awarded the Cummer Gallery in Jacksonville, Fla. He was Academy of Design and the Art Students ranging, however, as were his interests, and Ellen Christensen has won an NEH dissertation 1993-94 Eleanor M. Garvey Fellowship in curator of American art at the Nelson-Atkins League. During the 1930s and early 1940s he included everything from the Roman Pantheon, Louise Averill Svendsen, an art historian and fellowship as well as a Kress writing grant. Printing and Graphic Arts, Houghton Library, Museum of Art. was part of a circle of artists that included to Gaudi, World's Fair architecture, and James former curator and administrator at the Harvard University. She will also be in residence Milton Avery and Mark Rothko, and worked on Stirling. Solomon R. Guggenheim Museum, died in Feay Shellman Coleman has been awarded a at the Houghton, May-June 1994, for research on the Federal Art Project of the Works Progress Gene's primary love was teaching. He January 1994, at the age of 78. Svendsen Barbara J. Bloemink has been appointed grant by the Graham Foundation for Advanced }.-H. Fragonard's drawings. William T. Kemper Curator of the Kemper Administration. taught at Columbia until 1973, then moved to majored in art at Wellesley College and earned Studies in the Fine Arts to prepare a monograph her Ph.D. from Yale University. After teaching Museum of Contemporary Art and Design of on the Richardson Owens Thomas house in Dan Welden has been awarded a Queen Henry Sayles Francis, former curator of at Duke UniverSity, Goucher College, and Kansas City Art Institute. Savannah, Georgia. Elizabeth II Arts Council Grant as part of the paintings, prints, and drawings at the Cleveland American University, she was hired as lecturer Dunedin International Residency Program in Museum of Art, died in January 1994. He was at the Guggenheim in 1954, where she was Doreen Bolger is director of the Museum of Art, Richard Davis has received an NEH Fellowship New Zealand, where he will utilize his "Solar 91. Born in Boston in 1992, Francis earned his successively appointed curator of education, Rhode Island School of Design. for University Teachers to complete his Etching" techniques and other nontoxic B.A. in art history from Harvard. He became associate curator, curator, and senior curator. manuscript "Lives of Indian Images." approaches to printmaking. curator of paintings, prints, and drawings at the Upon her retirement in 1982, she was named Dorothy Fickle will retire from the Nelson­ Museum of Fine Arts in Boston in 1931, and curator emeritus, and for the past decade has Atkins Museum of Art. Donna Dobberfuhl has won the first annual L. M. Wood has been awarded a grant from the held the position until 1967. He acquired major worked as a consultant at Sotheby's in the Smooth-On Sculpture Scholarship Competition. Kentucky Foundation for Women, Louisville, to paintings by Rubens, Zurbaran, and Picasso, as department of Impressionist and modern Toni Fracalossi has been appointed exhibits produce images using a still video camera and well as prints by DUrer and Rembrandt. paintings. coordinator at RCCA Arts Center in Troy, N.Y. M. Anna Fariello has received a Museum computer. Assessment grant from the Institute of Museum Penelope Mason, specialist in Japanese art and Andrew M. Vincent. Northwest painter and Eugenie Tsai has been named branch director of Services/National Endowment for the Arts. It Catherine Wilkinson Zerner has received the professor at Florida State University, died teacher, died October 31, 1993, in Brookings, the Whitney Museum of American Art at will be used to evaluate Radford University's 1994 Eleanor Tufts Award for a distinguished January 28, 1994. Mason earned her B.A. from Ore. He was 95 years old. Vincent was professor Champion in Stamford, Conn., where she will be gallery programs and collection and formulate a English-language publication on the arts of responsible for operations and_exhibitions. Swarthmore College and her M.A. and Ph.D. in emeritus at the University of Oregon. Educated plan for accreditation by the AMA. Spain and Portugal for her book Juan de Herrera: Far Eastern art history from the Institute of Fine at the Art Institute of Chicago, he joined the Architect to Philip II of Spain. Arts, New York University. Before joining the University of Oregon to teach painting and WaIter Liedtke has been named Knight in the faculty at Florida State in 1979, she taught at drawing in 1929. He exhibited his artwork Organizations Order of Leopold by the King of Belgium, in The American Society for Hispanic Art Vassar College, New York University, and Yale throughout the northwest, including the recognition of his contributions to the literature Historical Studies has awarded grants to assist University. Her book The History of Japanese Art Portland Art Museum, Seattle Art Museum, and of Flemish art. in the purchase of dissertation photographs to is recognized as the most comprehensive the Henry Art Gallery at the University of Oscar E. Vazquez has been elected to the two graduate students: Charlene M_ Villasenor account of Japanese art from prehistory to the Washington. He was very active in mural Governing Board of the American Society for David Morgan has been awarded a 1994-95 Black, University of Michigan, Arm Arbor, for twentieth century. commissions; one of his largest was 10 feet wide i Hispanic Art Historical Studies. He replaces postdoctoral fellowship in the Pew Program in her work on "Saints and Social Welfare in Eugene A. Santomasso, 1938-1993 by 50 feet long and is in the Eugene City Steven N. Orso, who completed a six-year term religion and American history at Yale University Golden Age Spain: The Imagery of the Cult of St. on the board in February 1994.

16 CAANEWS MARCH/APRIL1994 eAA NEWS MARCHI APRIL 1994 17 Joseph/' and Karl F. Schuler, Institute of Fine held in Honolulu, March 21-24, 1995. Proposals day conference ($20 for one day). For informa­ are required. For information: Education, University of Virginia, to be held November 5-6, Miami, Florida, 1994 Spring Art Competition: Arts, New York University, for his work on "The may address any aspect of architectural history tion: Lesli Cohen, Clark University, Dept. of Metropolitan Museum of Art, 1000 Fifth Ave., 1994. Scholars will address methods by which Open to all artists in the U.S. in all media. Jury Pictorial Program of the Chapterhouse of or criticism that pertains to the encounter of Visual and Performing Arts, 950 Main St., New York, NY 10028; 212/570-3710. medieval architecture has been understood and by slides only. $30, 2 entries minimum. For Sigena." Western and Eastern architectural traditions in Worcester, MA 01610-1477; 508/793-7177; fax mythologized, from the time of its conception prospectus send SASE to: Image Art Gallery, 2 Asia or the Pacific Basin. Separate sessions may 508/793-8844. Jan van Eyck's Annunciation will be the topic of through the present. Visits to medieval-revival North East 40 St., Miami, FL 33137. Deadline: The Louis Comfort Tiffany Foundation has be devoted to vernacular architecture, contem­ a symposium, June 5, 1994, at the National buildings in Virginia are planned. For informa­ Ap,,130, 1994. announced 1993 award winners, and the porary architectural practice, and issues in urban 2nd International Conference on Cast Iron Art Gallery of Art in Washington, D.C The tion: Dept. of Architectural History, School of following CAA members have been chosen: planning. Submit 250-word abstract to: will be held April 13-16, 1994, at Sloss Furnaces symposium is offered in conjunction with a Architecture, University of Virginia, Campbell 3rd Annual Perry House Summer Invitational Rodney Carswell, Susanna Coffey, Tom Symposium Coordinator, School of Architecture, National HistOric Landmark and the University small exhibition about the painting and its Hall, Charlottesville, VA 22903; 804/294-1428. Show invites entries. Open to all residents with Friedman, and John Monti. University of Hawaii at Manoa, Honolulu, HI of Alabama at Birmingham. For information: recent cleaning. Admission is free but seating is legal residence in the U.S., Mexico, or Canada. 96822. Deadline: September 1, 1994. Paige Wainright, 205/324-1911. limited. For information: Karen Binswanger, Society for Literature and Science will hold its Eight awards by jury and two by gallery visitor 202/842-6182. annual meeting, November 10-13, 1994, in New balloting. All work must be for sale and The Society for Utopian Studies will hold its An Unknown Territory: The Art and Architec­ Orleans. SLS is an interdisciplinary organization consigned for duration of show. $6 per slide, 10 19th annual conference in Toronto, October 13- ture of Albania is an international symposium Petrus Christus: Renaissance Master of Bruges dedicated to the study of the intersection of the max. For prospectus send SASE to: Perry House 16,1994. SUS is an international, interdiscipli­ to be held April 15-17, 1994, at the University of will be the topic of a symposium at the sciences and the arts. For information: Donna Galleries, 1017 Duke St., Alexandria, VA 22314; nary organization devoted to the study of Minnesota's Frederick R. Weisman Art Museum. Metropolitan Museum of Art, June 10-12, 1994. McBride, School of Arts and Humanities, 703/836-5148. Deadline: May 2, 1994. literary, social, and communal expressions of Scholars and artists will discuss the Albanian Held in conjunction with an exhibition of the University of Texas at Dallas, Box 830688 JO 31, utopianism. Send 1-2 page abstract of proposed renaissance underway since the fall of Commu­ same, name, the first to be dedicated to the artist, Richardson, TX 75083-0688; 214/705-6340. Cooperative Gallery, in its 20th year, jurying for paper or panel to: Kenneth Roemer, English nism, and panel discussions will be organized session topics will include artistic production in solo and group exhibitions for 1994-95 season. Dept., U.T. Arlington, Arlington, TX 76019-0035; Chronologically within the historical framework 15th-century Bruges, the legacy of Jan van Eyck Painted Wood: History and Conservation, Send 20 slides, vita, and statement, or SASE for Conferences 817/273-2692. of Albania's history. Registration fee is $15. For and Petrus Christus, and lost, reconsbucted, and organized by the Wooden Artifacts Group of the information to: A.R.C Gallery, 1040 W. Huron information: 612/625-3850. restored paintings. Free with museum American Institute for Conservation of Historic St., Chicago, IL 60622. Deadline: June 15, 1994. admission, no tickets or reservations are and Artistic Works, will be held November 12- The Art Object in an Age of Electronic required. For information: Education, Metropoli­ 14,1994, in Williamsburg, Va. Conservators, Juried Painting and Sculpture Exhibition: & Symposia To Attend tan Museum of Art, 1000 Fifth Ave., New York, Technology is a day-long symposium organized conservation scientists, art historians, and sponsored by the Berkshire Art Association,. by the M.F.A. Painting and Sculpture Programs NY 10028; 212/570-3710. curators will explore a broad range of topics open to New York and New England residents. of Parsons School of Design/The New School to related to paint on wood. For information: For prospectus send SASE to: Berkshire Art Photography and the Photographic: Theories, be held April 16, 1994, in New York. It will Dialogue/94 is a symposium sponsored by Nace Valerie Dorge, Getty Conservation Institute, Association, PO Box 385, Pittsfield, MA 01202- Practices, Histories is a conference to be held explore recent developments in computer International, the world's leading professional 310/822-2299, or F. Carey Howlett, Colonial 0385. Deadline: June 15, 1994. AprilS-l0, 1994, at the University of California, technology, their impact on the art object now trade society dedicated to corrosion prevention Williamsburg, 804/220-7076. Calls for Papers Riverside, organized by the Center for Ideas and and in the future, and the use of the computer as and control, focusing on the technology needed Raw Space is jurying proposals for site-specific Society. For information: Center for Ideas and a creative tool. For information: Lenore Malen or to make informed decisions about the materials, artwork Send 20 slides, vita, statement, and Society, University of California, Riverside, CA Mary Coburn, 212/229-8942. methods, and techniques used in preservation proposal, or SASE for information to: A.RC 92521-0439; 909/787-3987; fax 909/787-6377. The European Studies Conference, sponsored work It will be held July 12-14, 1994, at Johns Gallery, 1040 W. Huron St., Chicago, IL 60622. by the University of Nebraska at Omaha, to be Psychoanalysis, Spectatorship, and Visuality is Hopkins University in Baltimore, Md. Sessions Deadline: June 15, 1994. Dialogue and Discovery: Collaboration held October 6-8, 1994, is accepting proposals a symposium bringing together practitioners of will address coatings technology for outdoor between Conservators and Art Historians is the for presentations. Papers are invited that are art history, conceptual art, film theory, literature, metals used in artistic and historic works to Prints-1994 Exhibition: all print media eligible title of a symposium to be held Saturday, April diverse in discipline yet united in interest in the and criticism. It will be held April 23, 1994, on prevent corrosion. For information: 713/492- for exhibition October 7-29,1994. For prospec­ 9,1994, at the Mount Holyoke College Art area between the Atlantic and the Urals. Submit the campus of Wayne State University. Papers 0535, ext. 81. Deadline: June 1, 1994, for advance tus send SASE to: Prints 1994, Erector Square Museum, in conjunction with the exhibition I-page abstract and vita to: Mary Macchietto, will use psychoanalytic theory to inform registration. Gallery, 315 Peck St., New Haven, CT 06513; College of Continuing Studies, University of Altered States: Conservation, Analysis, and the Opportunities historically based readings of art of the past, 203/865-5055. Deadline: July 29, 1994. Interpretation of Works of Art. Speakers will Nebraska, Omaha, NE 68182. Deadline: May 2, fictional constructions of the visual, and the Cultures Connected: Automating Museums in discuss collaborative projects behveen historians 1994. relationship between psychological phenomena the Americas and Beyond is the theme of two Indiana Directions '94: open to artists working and scientists, philosophical issues of conserva­ and visual art. For information: W. Hawkins conferences sponsored by the International in Indiana, all media. $20, 5 entries. Five artists tion, contemporary controversies, and specific Provincialism, Prosperity, and Patronage is a 3- Ferry Symposium, Dept. of Art and Art History, Conference of Museums to explore the many chosen, $500 award. For prospectus: Indianapo­ analyses and treatments. Free; advance day conference to be held August 26-28, 1994, at 150 Art Bldg., Wayne State Univ., Detroit, MI facets of automation in the museum environ­ lis Art League, 820 E. 67 St., Indianapolis, IN reservations for lunch, $13 (students $11). For the University of Otago, New Zealand. The 48202; 313/577-2980; E-MAIL: ment. The first, August 28-31, 1994, focuses on 46220; 317/255-2464. Deadline: August 19, 1994. information: Mount Holyoke College Art Calls for Entries conference will explore the above theme in all [email protected]. new developments in museum documentation Museum, South Hadley, MA 01075; 413/538- arts fields, not only as applicable to New standards and practices from around the world, Gallery 84 National Juried Painting/Print 2245; fax 413/538-2144. Zealand, but Australia and the Pacific Rim in with emphasis on the Americas. The second, Competition: open to all artists working in 2 Courts and Collectors: Treasures in Warsaw, Hot! Hot! Hot! is a juried all-media art show general. Send I-page abstract to: Hugh Maguire, Dresden, Copenhagen, and New York is a two­ August 31-September 3, 1994, emphaSizes dimensions. Group painting show with solo Pictorial Effect, Naturalistic Vision: Victorian sponsored by Artists Unlimited Gallery of Art History and Theory, University of Otago, day symposium to be held in New York, April interchange standards, imaging, multimedia award and group print show with solo award. Photography and Art Theory and Afterward is Tampa, Florida, focusing on different cultural Dunedin, New Zealand. Deadline: May 30, 1994. 30-May 1, 1994, co-sponsored by, and for the applications, collections management, and For prospectus send #10 SASE to: Gallery 84, a symposium organized around an exhibition of perspectives of heat and steaminess-a benefit of, the Decorative Arts Association at networking. For information: Museum Dept. C, 50 W. 57 St., New York, NY 10019. the works of two 19th-century British photogra­ multicultural celebration of tropical heat. For Places of Commemoration, Search for Identity Cooper-Hewitt, National Museum of Design. Computer Network, 8720 Georgia Ave" Ste. 501, Deadline: October 15, 1994. phers, Henry Peach Robinson and Peter Henry information send SASE to: Artists Unlimited, 223 and Landscape Design is the theme of a Keynote speakers will give a rare behind-the­ Silver Spring, MD 20910; 301/585-4413; fax 301/ Emerson. To be held April 9, 1994, 9:30-5:00, at N. 12 St., Tampa, FL 33602. Deadline: April 27, symposium sponsored by the Center for Studies scenes look at three royal showplaces, and how 495-0810. Women in the Visual Arts is open to all women Princeton University (McCormick Hall), the 1994. in Landscape Architecture at Dumbarton Oaks, they have helped establish the benchmarks for artists, 18 years or older, working in any symposium will focus on the photographers May 19-20, 1995. Symposium contributors may today's collectors. $250 per person ($300 after Asian Ceramics: Potters, Users, and Collectors medium. The show will feature original work specifically, aspects of theater and genre in Encyclopedia of Living Artists Cover Contest: explore the commemorative expressions or April 1). For information: Joanne Creveling, Inc., in Society and History is an international con­ completed within the past 2 years. $15, 3 entries. Victorian art and society, relationships between 9th edition of this widely circulated fine art processes of any period, culture, or geographic 30 E. 60 St., New York, NY 10022; 212/755-8502. ference to be held October 7-9, 1994, in Chicago, For prospectus send SASE to: Women in the photography and painting in 19th-century art, sourcebook seeks entries for cover image setting. Submit abstract of no more than 2 pages sponsored by the Asian Ceramic Research Visual Arts-1995, Erector Square Gallery, 315 and notions of landscape in the nineteenth competition. Cover contest winners will have describing the scope of the work and its American Impressionism and Realism: The Organization. Participants will examine cera­ Peck St., New Haven, CT 06513; 203/865-5055. century. For information, 609/258-3788. their art showcased on front or back cover, as significance for the symposium the~e to: mics as a means of interpreting ancient societies. Deadline: November 15,1994. Painting of Modem Life, 1885-1915, is a well as being included in the artist profile Director of Studies in Landscape Architecture, symposium held in conjunction with an For information: Chuimei Ho, Anthropology The Life of Freedom and the Spirit: American section of the book. $5 per slide. For prospectus Dumbarton Oaks, 1703 32 St., NW, Washington, exhibition of the same name at the Metropolitan Dept., Field Museum, Roosevelt Road at Lake Coleman Gallery is accepting applications from Modernist Art in Literature is a conference send 75rt to: ArtNetwork, Cover Contest, 13284 DC 20007. Deadline: July 31, 1994. Museum of Art, New York, May 20,1994. Shore Drive, Chicago, IL 60605-2496. contemporary artists working in all media for concerning the spiritual in the art of Alfred Rices Crossing Rd., PO Box 369, Renaissance, CA Session topics will include the social and future solo and group exhibitions. Send slides, Stieglitz, Arthur Dove, Marsden Hartley, 95962-0369; 916/692-1355. Deadline: April 30, University of Hawaii at Manoa and the East­ historical context of American Impressionism Reconstructing the Past: The Myth of the resume, and SASE to: Coleman Gallery, 519 Georgia O'Keeffe, Wallace Stevens, and Robert 1994. West Center invite proposals for papers at the and Realism, the portrayal of women and Medieval is the seventh annual conference of Central NE, Albuquerque, NM 87102; 505/842- Frost, to be held at Clark University, in First International Symposium on Asian Pacific children, and the image of the city. Free with the Dept. of Architectural History at the 6712. Worcester, Mass., April 9-10, 1994. $35 for two- Architecture: The East-West Encounter, to be museum admission, no tickets or reservations

18 CAA NEWS MARCHI APRlL1994 CAA NEWS MARCHI APRIL 1994 19 should allow for a six-month commihnent, and Classified Ads Brower, provides specific brand-name will be selected on the basis of interest and Dedicated Space for Emerging Artists is East and South America to recommend one Programs recommendations for the longest-lasting color experience in photography, publishing, and the reviewing painting, sculpture, drawing, and graduate and one undergraduate student for an The eAA newsletter accepts classified ads of a films and papers and predicted display lives, in visual arts. Aperture Foundation is a not-for­ photography slides for upcoming exhibitions. award. Students must demonstrate excellence in professional or semiprofessional nature. $1.25/word the painting field in anyone of the following years, of virtually every type of color print profit organization devoted to photography and Send slides, resume, and SASE to: Fotini New & ($2/word for nonmembers); $15 minimum . produced within the past 15 years. Chapters are • the visual arts. Aperture will pay $250/month. Vurgaropulou, 327 Fifth Ave., Brooklyn, NY media: acrylic, oil, watercolor, mixed media. Recipients will receive a Liquitex certificate of devoted to wedding and portrait photographers, / Send resume, cover letter describing back­ 11215. excellence and a selection of fine art materials. and to recent developments in digital color ground, special skills, and career goals, and 2 imaging systems. $69.95 plus $4.95 shipping and writing samples to: Work-Scholar Program, Revised For information on both programs: Liquitex Excellence in Art Student Programs, 1100 handling (Iowa residents add sales tax). To Aperture Foundation, 20 E. 23 St., New York, Grants and Fellowships Church Lane, Easton, PA 18044-0598. order: Preservation Publishing Co., Dept. CDM, NY 10010. Artist's Loft, available June 1-30, L.A. artist's 719 State St., Grinnell, lA 50112-0567; 800/335- colony, amenities, $875, parking. References 6647, ext. 49. Community Development through the Arts required. 213/581-6096. University of Minnesota's McKnight Photogra~ Internships and Humanities Institute is a four-day institute Institute for the Study of Classical Architec­ phy Fellowship Program is open to emerging or sponsored by the Center for Arts Administration ture will offer its third annual summer program Art Workshop International, Assisi, Italy, June established Minnesota photographers whose Database at Florida State University, May 4-7, 1994. It will in classical design for architects, designers, 22-July 19, 1994. Live and work in·a 12th­ work demonstrates excellence. Applicants may focus on how leaders in arts, humanities, and preservationists, builders, scholars, and century hill town surrounded by the Umbrian The Smithsonian Institution Office of Museum request a fellowship of $5,000 or $10,000. Six to science organizations can promote community students in the design professions. It covers landscape. Courses in painting/drawing, all Programs is introducing an internship program eleven fellowships may be awarded a year. For The Connecticut Artists Project is a database of development through cultural, heritage, and such topics as design, proportion, construction, media, landscape painting on site, and creative for 1994-95, in collaboration with selected information: Jim Dozier, 612/626-9640. Deadline: biographical information on artists, painters, ecological tourism. Tuition is $125, and graduate literature, theory, rendering, and decoration, in writing. Special program for professional/ community-focused museums to support April 22, 1994. sculptors, and prinhnakers who have lived or credit is available for an additional $50 per credit addition to daily workshops and field trips to advanced painters and writers. Housing, most training and staff development efforts of African worked in the state from its begimrings through hour for up to 3 hours. For information: Center New York institutions and artisan's facilities. meals, studio space, critiques, and lectures. Art American and Native American museums. The Teacher-Scholar Awards, awarded by NEB, 1990. Established by the William Benton for Arts Administration, 123 Carothers Hall For information: Institute for the Study of Workshop, 463 West St., 1028H, New York, NY internships offer an opportunity to gain hands­ offer elementary and secondary school Museum of Art, its goals are to publish an 3014, Florida State University, Tallahassee, FL Classical Architecture, New York Academy of 10014; 212/691-1159. on training and experience in museum practices. humanities teachers an opportunity to receive illustrated biographical dictionary, publish a 32306-3014; 904/644-5475; fax 904/644-5064. Art, 111 Franklin St., New York, NY 10013; 212/ Hosting partner museums include the National support for an academic year of full~time full-color book of biographies on selected artists, 570-7374. Deadline: May 23, 1994. ARTchive: Image database program designed independent study. For application/informa­ Museum of African Art and the Institute of and create an updatabJe research database Modem Art: 1900-1940 is the topic of the for your collection, links digital image or movie American Indian Arts Museum in Santa Fe, tion: NEH Teacher-Scholar Program, 1100 accessible through INTERNET and via INTERNET. For National Gallery of Art's 1994 Teacher Institute, Master of Arts in Curatorial Studies at Bard of artwork with the descriptive fields used by N.Mex., and the National African American Pennsylvania Ave.,NW, Rm. 302, Washington, information: Hildy Cummings, WBMA,245 a summer enrichment program for teachers from College is a new program of graduate study at curators, registrars, and collectors. Adjustable Museum Project and the Museum of African DC 20506; 202/606-8377. Deadline: May 1, 1994. Glenbrook Rd., Storrs, CT 06269-2140; 203/486- kindergarten through grade twelve. One­ the Center for Curatorial Studies and Art in size displays; view objects separately or in American Art in Tampa, Fla. For information: 1705; fax 203/486~0234. hundred-fifty educators will be selected to Contemporary Culture. It will introduce captioned groups; compatible with Kodak Photo Gayle Edmunds, 202/357-3162. Deadline: June 3, The Translation Program of NEH supports participate in the six-day sessions held at the students to the practical and intellectual tasks of CD; graphic files can be stored on any device individuals or collaborations among scholars to 1994. National Gallery in Washington, D.C., during caring for, exhibiting, and interpreting works of accessible to your computer. Many additional translate into English works that are germane to Calls for Manuscripts July and August. This national program is contemporary visual art through a 2-year features. Macintosh version, $150. For informa­ the history, literature, philosophy, and artistic designed for intellectual renewal for educators curriculum of seminars, practicums, and tion: Husk, PO Box 3446, Manhattan Beach, CA achievements of other cultures. The program has publications by providing information about art and its internships. For information: Center for 90266; 310/372-1757; fax 310/372-1930; INTERNET: Art Journal is seeking manuscripts for an issue supported a broad range of projects, including cultural context and by demonstrating Curatorial Studies, Bard College, Annandale-on­ [email protected]. devoted to rethinking the studio art foundation the translation of single works, the complete techniques for teaching about art. Teams of Hudson, NY 12504-5000; 914/758-2424. courses and the introductory art history survey. works of a particular writer, and anthologies. ACRO Update is a quarterly newsletter teachers and administrators will be given special Bed & Breakfast, SoRo. Bright, quiet, open Submissions could include theoretical and/ or For information: Translations, NEH, 1100 published by the Asian Ceramic Research consideration. For information: Teacher Virginia Commonwealth University, Ph.D. space, complete 10ft-apartment. 212/431-8459; practical papers, shorter comments, innovative Pennsylvania Ave., NW, Rm. 318, Washington, Organization with the objective of sharing Institute, Education Division, National Gallery Program in Art Historyr scheduled to begin fall fax 212/431-0610. assignments, and of course, syllabi. Submit 1- DC 20506~ 202/606-8207~ fax 202/606-8204; E­ information on research results, publications, of Art, Washington, DC 20565. Deadline: April 30, semester 1994, is a research-oriented degree page proposal. For studio art foundation: Joseph MML: [email protected]. Deadline for exhibitions, excavations, and conferences. For 1994. designed to train critical and productive Books on the Fine Arts. We wish to purchase Ansell, Dept. of Visual Arts, Otterbein College, projects beginning after April 1, 1995: June 1, 1994. information: ACRO, PO Box 595, Chicago, IL scholars. The program's focus is on interdiscipli­ scholarly o.p. titles on Western European art and Westerville, OH 43081; For art history survey: architecture, review copies, library duplicates. 60690-0595. nary and multicultural studies utilizing new Fulbright Scholar Awards for U.S. Faculty and Bradford R. Collins, Art Dept., University of critical methodologies. Curriculum consists of Andrew D. Washton Books, 411 E. 83 St., New Professionals are available for university The Archaeological Fieldwork Opportunities South Carolina, Columbia, SC 29208. Deadline: 24 hours of course work beyond the M.A., with York, NY 10028; 212/481-0479; fax 212/861-0588. lecturing or advanced research in nearly 140 Bulletin, now updated for 1994, is a comprehen­ May 15, 1994. a major area of 15 hours and a minor area of 9 countries. Awards range from two months to a sive guide, published by the Archaeological hours. Part-time study for portions of the For rent: attractive furnished bedroom. NYC, Scotia, International Journal of Scottish Studies full academic year, and many assignments are Institute of America, to excavations, field program are available. For information: Chair, upper East Side near museums. Suitable visiting is an international publication for scholars doing woman scholar. Doorman building. Good flexible to the needs of the grantee. Basic schools, and special programs with openings for Graduate Committee, Dept. of Art History, 922 eligibility requirements are U.s. citizenship and volunteers, students, and staff throughout the research in Scottish studies. Incorporating West Franklin St., Richmond, VA 23284-3046; transportation. Security and references required. articles on Scottish history, literature, thought, the PhD. or comparable professional qualifica­ world. $8.50 for AlA members; $10.50 for 804/367-1064. For application: Virginia $200/week; min. 3 weeks. Call DG Associates, society, and the arts, as well as reviews and a list tions. For lecturing awards, university or college nonmembers, add $3.00 shipping and handling Commonwealth University, School of Graduate 212/996-4629. of the latest books published on Scottish studies. teaching experience is expected. For informa­ for first copy, $.50 for each additional copy. Studies, Box 568, Richmond, VA 23298~0568. Contributions are welcome. Send two copies of For rent: fully furnished Rome aparhnent near tion: Council for International Exchange of Prepayment is required. To order, make checks manuscript to: William S. Rodner, Scotia, Dept. American Academy. 2 bedrooms, living/dining, Scholars, 3007 Tilden St., NW, Ste. 5M, Box payable to: Kendall/Hunt Publishing Co., Order of History, Old Dominion University, Norfolk, study, eat-in kitchen, bath, central heating, dish/ GNEWS, Washington, DC 20008-3009; 202/686- Dept., 2460 Kerper Blvd., Dubuque, lA 52001. 7877. Deadline: August 1, 1994. VA 23529-0091; 804/683-3949; fax 804/683-3241. clothes washers. Spring 1995 semester. $1,300 plus utilities. Professor Jack Wasserman, 215/ The Original Art Report is a small newsletter Liquitex Excellence in Art Student Grants are "committed to the preservation, comprehension, 625-3902. available to college or university level fine arts and progress of artists and art." Topics in the. Miscellaneous France sunny south village house, sleeps 6, 2 painting students who demonstrate outstanding most recent issue include activities of nonprofit r accomplishment in acrylic, oil, watercolor, or baths, terrace, 20 minutes to Mediterranean. arts organizations and news about NEA funding The Aperture Foundation Work-Scholar mixed media. Purchase awards, art materials, Weekly, monthly. 201/848~0075. and arts education programs. Twelve issues, Program offers candidates an opportunity to and cash grants are available. Students must $15.50; single copy $1.50. To order/for learn about the writing, editing, design, Fresco Painting Workshop-Cerir Italy, 40 miles reside in the U.S., Canada, Puerto Rico, Mexico, information: Original Art Report (TOAR), PO production, distribution, and marketing of north of Rome, July 14-August 3, 1994. Live/ Australia, U.K., Thailand, Singapore, Taiwan, Box 1641, Chicago, IL 60690. publications and magazines; exhibition planning work in an unusual 16th-century palazzo. All Malaysia, Panama, Venezuela, or Argentina. and the packaging of traveling shows; archival aspects of fresco painting are covered. Introduc­ Liquitex Excellence in Art University Awards The Pennanence and Care of Color Photographs: work; and nonprofit business practices, either at ing a special workshop in marmoscagliola. Program invites art deparhnent chairs from Traditional and Digital Color Prints, Color Aperture Publications in New York, or at the Write/call for details. Fresco Associates of Ceri, universities and colleges in the U.S., Canada, Negatives, Slides, and Motion Pictures, by Burden Gallery in Millerton, N.Y. Candidates Puerto Rico, Mexico, Australia, U.K., the Far Henry Wilhelm and contributing aulhor Carol

CAA NE~ MARCHI APRIL 1994 21 20 CAA NEWS MARCHI APRIL1994 AUDIO TAPES AIIAIlABlE ... RECORDED llllE 133 Greene St., New York, NY 10012; phone/fax 212/473-5657 or phone 914/762-2970. Information Miscellaneous College Art Association's 1994 Annual Conference Full-Color Exhibition Announcements. Gallery Wanted New York City - February 16-19, 1994 full-color postcards, catalogues, and posters. Write for samples: Images for Artists, 2543 e cassettes provide a great opportunity to catch up on the latest developments by the experts In the field. Cleinview, Cincinnati, Ohio 45206. William Emile Schumacher (1870-1931): art Savoir-Fake would like to thank everyone who / provide an excellent recap of conference topics and are a great training tool and Informational source for history scholar seeks any information and/or visited its booth at the CAA conference. those who could not attend. Italy: 300-year-old Tuscan farmhouse, olive photos regarding this artist. All material will be Unfortunately, while in New York, they were grove, near Lucca. 2 bedrooms, living room, returned. Herbert Schutz, the "Barn," Dewart robbed and lost all of their orders, checks, amenities. 212/242-7611. Rd., Greenwich, CT 06830. samples, business cards, etc. If you placed an PRICING INFORMATION: *=single tape sessions@$9.00eadlj **=double-tape sessions @$18.00each. All sessions order with them,. asked for samples, or may be ordered individually or... PURCHASE THE COMPLETE CONFERENCE SET FOR $640.00 AND SAVE OVER Jules Maidoff, since 1973, has been living and Carnegie Museum of Art: seeking location of or expressed interest in their products, contact 20%. Complete package comes in attractive storage albums at no extra charge. painting in Florence, Italy. He is director of information about prize-winning works from Pierre at: Savoir-Faire, PO Box 2021, Sausalito, Studio Art Centers International (SACI) and Carnegie International of Painting in the United CA 94966; 415/332-4660. 0140216-01 0,011 ** Open Session I 0140216-240,241" CAA Board of Directors. Work in Progress: would welcome contacts from old friends who States exhibitions, for a 1996 exlubition titled 0140216-020,021 ** The History of Landscape Architecture and the History of Presentations by Recipients of Rockefeller Protege Travel may have been wondering where he went. He "International Encounters: The Carnegie Historians of 19-Century Art: for those who Photography Grants may be reached at SACI, Via San Gallo 30, International and Contemporary Art, 1896- attended the organizational meeting of the 0140216-030,031 ** Art and Insanity/Insane Art 0140216-250* CAA Education CommiHee • Revisionism and the Florence 50129, Italy; phone 55 486164; fax 55 1996." Rina Youngner, Carnegie Museum of Art, Association of Historians of 19th-Century Art at 0140216-040,041 ** Historical and Contemporary Representations of Teaching of Art History 480829. 4400 Forbes Ave., Pittsburgh, PA 15213-4080; the annual conference and signed up for Aging and the Aged 0140216-260,261" German Modernism: A Social Condenser 412/622-5563. membership in the notebook, the notebook was 0140216-050' Contested Territories: Asian American Representations of 0140216-270,271 ** Degeneration and Decline: 1789.1992 Large studio apartment in Paris for sale: "next stolen. Names and addresses can be resubmitted Sexuality and Gender Does Not Contain Presentations 0140216-280,281 ** National Recognition: An Elusive Concept for the Artist. door" to the Bibliotheque Nationale, great view, Wilhelm von Schadow (1788-1862), painter and to: Association of Historians of 19th-Century by: Yong Soon Min, Allan de Souza, Richard fung, Educator high ceilings, historic 17th-century building, 40 director of the Academy of Dusseldorf from Art, Art History Dept., CUNY Graduate Center, Elaine H. Kim 0140216-290,291 ** Negotiating Stereotypes/ Representing the Body square meters, perfect pied-a.-terre, 1.2 million 1826 to 1859. For Ph.D. dissertation on this artist, 33 W. 42S1., New York, NY 10036-8099. 0140216-060,061 ** Islamic Art in the 14th Century 0140216-300,301" Off the Streets and into the Studio: Cultural Politics. francs. Information: 312/929-5986; viewin~ 33- any information about his work, documentation, 0140216-070,071 ** Authenticity in Art History Does not contain talk by f. V. Theory and Practice 1-42-96-63-33. and letters are sought, especially information on Art and Old Age: materials generated in the O'Connor 0140216-310,311 ** A Public Art Dialogue: Is the Architect the Enemy? his works or works attributed to him held in preparation of Art Journal issue on Art and Old 0140216-080,081" Modernism and Visual Arts: HistorylTheory/Practice 0140216-320,321 ** Open Session II NYC Sublet. Spacious artist loft. Lower private collections. Confidentiality respected. Age are available for archivist of American or 0140216-100' CAA Publications CommiHee • Publishing in the Arts and 0140216-330,331" Design and Advertising in America: The Aesthetics of Manhattan, Seaport area. July and August only. Cordula Grewe, Kunstgeschichtliches Institut contemporary art. AUdiotapes and unedited Art History Consumption, 1910·40 $700/month + security. 212/825-1901. der Albert-Ludwigs-Universitiit Freiburg in transcripts of interviews with artists over 70 0140216-11 0' The Catalogue Raisonne: Authenticity and Legal Issues 0140216-340,341 ** The Laocoon: Then, and Then, and Now Breisgau, Werthmannplatz 3, 79098 Freiburg, years of age. Robert Berlind, 215 W. 20 St., #4W, 0140216-120,121 ** Memory and the Medieval Tomb 0140216-350' CAA Education CommiHee • Rethinking the Foundation II NYC: ten-week sununer sublet, end of May to Germany. New York, NY 10011-3541. 0140216-130,131 ** Media Spectacle and the Politics of Representation: The 0140216-360,361 ** Siling China: On Migration and Displacement in mid-August. Reliable single person, prefer HililThomas Hearings as Paradigm Contemporary Art nonsmoker, 4 rooms, terrace, furnished, air Volunteer Lawyers for the Arts (VLA) has 0140216-140,141" Museums and the New American Art History 0140216-370,371 *,. Rethinking the City: Spirit & Identity conditioned, near Lincoln Center. 212/724-2711. collaborated with the New York Public Library 0140216-150,151 ** Past, Present, Future: Emblems of Temporality 0140216-380,381" Emulation vs. Appropriation: New Uses of Art Historical for the Performing Arts to ,make available at the 0140216-160,161 ** The Commercialization of Culture in Paris, 1780·1850 Sources NYC Sublet: West Village garden cottage, library a wide range of publications fonnerly Does not contain J. Matlock's talk 0140216-390,391" Organic Architecture: A Search for Shelter on Turtle custom-designed, fireplaces, river. May 15- available at VLA's offices. Resources include 0216-170,171 ** The Female Grotesque Does not contain M. Russo's talk Island September 15, $I,600/month, security. David, Datebook information on not-far-profit incotporation, wI40216-180,181 ** The Practice of Chinese Art History 0140216-400,401"''' Artist's Intent as an Issue in Conservation and Art History 212/645-0834. copyright, trademark, licensing, business 0140216-190,191 ** French Art of the 17th and 18th Centuries 0140216-410,411"" College Visionaries or Automotrons: Is Discipline-Based management and accounting, taxation, funding, 0140216-200,201 ** Style in Context: The Significance of Style in Medieval Art Arl Education Progressive or Regressive Reform in Art Rome artist's apartment: near Piazza Navona, and housing. Materials are located in the second and Medieval Art History Education? sleeps two. Available sununer 1994. $1,200/ April! floor Harold and Miriam Steinberg Reading 0140216-210' The Classical Tradition in the Age of the Renaissance 0140216·430-431 ** Public Art in the Public's Interest: Problems and month. Schloss, Via Corallo 29, 00186 Rome, Deadline for submissions to May IJune Room at the Library for the Performing Arts at and Baroque Art Collector Does not contain talks by T. Possibilities Italy; 011-39-6-68803332. 0140216·440,441"''' CAA CommiHee on Women in the Arls· Testimony, 1974· CAA News, to be published May 2 40 Lincoln Center Plaza. Yuen or M. McCrory 0140216-220,221 ** Stonewall(s), or, Queering Historical Facades 94: Women, Discrimination, Accountability Rome/Center: large apartment plus studio. 0140216-230,231 ** Blending Cultures: Creolization and Cross.Cultural 0140216-450,451 ** Internationalism and the Kreole Abyss Does not contain Housekeeper 3x/week. Airy, washer/dryer,2 AprilS Practices in Contemporary Art in the Native, Latino, and talks by f. Bowling or F. Wei-han Ho bedrooms/baths, high ceilings. $2,OOO/month Deadline for nominations to all CAA African Americas 0140216-460,461"" Sacred Space: An Interdisciplinary Investigation plus deposit. July l-October I, 1994. Time can be committees 0140216-470,471 ** Christo, Serra, Noguchi, Calder and Past Company: The flexible. Phone 011 39 6 7012859; fax 011 39 6 Arlistic Project Gone Awry Does not contain to Ik by J. 6789311. Clark 20 April ORDER: Rome rental: spacious, sunny 2-bedroom Deadline for submissions to Careers, to BY PHONE: With your credit card, please call, (800) 747-8069; (818) 957-0874 - 8:30-4:00 Pacific Time, Monday - Friday apartment fully furnished. Elevator; central be published May 13 BY MAIL: Complete this form, enclose payment to: Audio Archives Int'l, Inc., 3043 FoothiliBlvd.,SIe.2,LaCrescenta,CA 91214 location near buses, subway, stores. Security BY FAX: FAX your order form with credit card information to: (818) 957·0876 ~ 24 hours/day; 7 days/week deposit, references required. 508/877-2139. May 27 MAIL ORDER FORM - 1994 CM Annual C_erence Deadline for submissions to July I SoHo artist loft for rent: bright, sunny, All tapes are covered by a lifetime guarantee - Defective tapes will be replaced free-of-charge • FREE CAIIETTE ITORAGE ALBUM WITH EACH 6 TAPE PURCHAIE • We accept VilA, August CAA News, to be published June uncluttered, 5th floor, terrific view, 13' ceilings. MasterCard, American Express, and personal or company checks payable to AUDIO ARCHIVEI INTERNATIONAL INC. Fully air conditioned, modern kitchen, carpeted 27 living/dining area, renovated bathroom, o Check Enclosed 0 VilA 0 MasterCard 0 American Express Exp. Date __Total lelections at $9.00 ...... _...... $____ _ separate bedroom, queen-size bed, spacious shldio area, washer/dryer. Available August. Account Number ______Totallelections at $18.00 ...... $, _____ $2,000/ month. Deposit required. Virginia, 212/ 431-5036. lignature ______Ipeciallet Packages at $640.00 ...... $, _____ Ihip to: Name, ______Summer rental in Tuscany: U.S. artist's __Additional 6 tape storage albums at $4.00 each ...... $____ _ wonderfully private hillside villa. Sleeps 8. Pool. Company,______Studios. Fireplaces. Incredible views. 40 minutes __Additional 12 tape stornge albums at $6.00 each ...... $____ _ south of Florence. Summer holiday rentals Address ______possible. Fax 39 55 480829. __Foreign Mail/Hand. - ADD $21tape to $75 max ...... $____ _ City/ltate/Zip, ______Domestic Mailing & Handling ...... $,_-"$4",.0,,,0 __

22 CAA NEWS MARCHI APRn.1994 ALL PRICEI IN U.I. FUNDI AMOUNT DUE ...... _...... $, ____