NEWS PHOTO CREDIT: ANTONIO QUATTRONE, COURTESY OF THE BARGELLO NEWSLETTER OF THE COLLEGE ART ASSOCIATION Volume 28, Number 3 MAY 2003 Andrea del Verrocchio, David (ca. 1465) Detail: head of Goliath before restoration. HIGH MUSEUM CAA STATEMENT ON IRAQ LOOTING TO SHOW n April 16, 2003, the Executive Committee of the CAA Board of Directors unanimously approved the following statement regarding the looting and RESTORED DAVID destruction of cultural institutions in Iraq, which was then sent to President OGeorge W. Bush: hen the fifteenth-century David by Andrea del Verrocchio is The College Art Association registers its outrage at the failure of government and mili- exhibited outside Italy for the firstW time this fall, it will look different. tary forces, including those of the United States, to protect the National Museum and National Library of Iraq. These institutions housed the artistic and cultural heritage not The bronze will be dark brown, with touches of gold leaf on the figure’s head, only of the people of Iraq, but also of the world. We call upon you to take immediate garment, and boots. A reconstruction of action to prevent further looting, to protect the remaining artistic and archeological sites the original sword will substitute for the of Iraq, and to initiate an aggressive campaign to restore the contents of the National familiar blade, itself a replacement. Most Museum and other cultural institutions to the people of Iraq. startling, Goliath’s head will be next to As the largest association for visual arts professionals, the College Art Association David’s left foot instead of wedged promotes the highest levels of creativity and scholarship in the practice, teaching, and between his feet. interpretation of the visual arts. These dramatic changes are the result of a collaboration between the Museo Nazionale del Bargello in Florence and the High Museum of Art in Atlanta. The exhibition, Verrocchio’s David Restored: ARTSPACE IN ACTION A Renaissance Bronze from the National Museum of the Bargello, Florence, will RTspace at the 2003 CAA Annual be on view at the High Museum from Conference in New York was energetic, November 15, 2003, to February 8, 2004. dynamic, moving, riveting and full of amaz- Gary M. Radke, professor of fine arts at Aing presentations. Beginning with coffee each morn- Syracuse University in Syracuse, NY, is ing, and with videotapes to view throughout the day guest curator. from the University of California, Los Angeles’s The restoration is being done at the AIM: Art in Motion III, the annual festival of digital Bargello by the conservator Ludovica and time-based artwork, ARTspace in New York Nicolai, under the supervision of the proved to be another successful juncture of art and Opificio delle Pietre Dure, an autonomous institute of the Italian PHOTO CREDIT: LARRY BARNS artists, surprises and discussion, and activism and Ministry for Cultural Heritage. A new Shirin Neshat. Tooba Series, 2002. 3 toned silver networking. gelatin prints. 31 x 38" © 2002 Shirin Neshat. laser technology has been used to remove Courtesy Barbara Gladstone Following a dynamic panel led by Ted Berger of dirt and black varnish from the statue— the New York Foundation for the Arts on “Freedom which is 47 inches high and weighs more of Expression: Now More Than Ever?”, and in some ways a linked thread, Moukhtar than 300 pounds—without damage to the Kocache of the Lower Manhattan Cultural Council (LMCC) talked about his organiza- gold leaf. tion’s artist residency projects after the World Trade Center disaster and LMCC’s outreach CONTINUED ON PAGE 22 to other locations, as well as some of the issues artists are addressing in these residencies. On a lighter note, in the afternoon, five “Irony Chefs” concocted theories and lectures in IN THIS ISSUE a hybrid of an academic panel and the popular cooking show. (Loved that sock monkey!) Paul Tschinkel and Jo Ann Wein presented issues about video and film interviews with 2003 Annual Conference artists and their value as educational (in the larger sense) tools. Then the first ever “Open 3 Wrap-Up Laptop Social”—where conference attendees were invited to showcase their work on their New Board Members Elected CONTINUED ON PAGE 22 8 2005 Call for Session 11 Proposals INSIDE: CAA RESPONDS TO IRAQ. See Page 2 Organization) convened a meeting of Iraqi FROM THE EXECUTIVE DIRECTOR and international cultural experts in Paris on April 17, and issued the following state- s I write Mesopotamian Archaeology at the Oriental ment: “The meeting deplores and is deeply this in mid- Institute, University of Chicago. Gibson shocked by the extensive damage to and April 2003, has been extensively quoted in the press looting of the cultural heritage of Iraq Athe news of the and has been particularly active in seeking caused by the recent conflict. It calls on wholesale looting of to protect institutions, monuments, and the coalition forces to observe the princi- the National sites in Iraq from damage during the war. ples of the 1954 Hague Convention for the

PHOTO CREDIT: ANDREI RALKO Museum of Iraq and The focus of the task force was for- Protection of Cultural Property in the Susan Ball, CAA the burning of the ward-looking. As a community, our most Event of Armed Conflict and its two Executive Director National Library and pressing responsibility is to identify posi- Protocols.” This was followed by a list of National Archives of tive steps to ameliorate this despicable sit- six recommendations consistent with those Baghdad is still fresh. By the time CAA uation. The task force established immedi- made by the Heritage Emergency National members receive this issue of CAA News, ate priorities: “1) communicate with Task Force. (The full text and a list of par- events will have progressed further. Al- cultural-heritage professionals in Iraq to ticipants can be found at www.collegeart. though the exact scale of the loss is not yet obtain a list of their needs and priorities; org and www.unesco.org.) known (and may never be fully known), 2) call for the immediate protection of cul- Several international organizations, we do know that the world has lost many tural resources and assets located in Iraq; such as the International Council of thousands of cultural artifacts, works of 3) call for the inclusion of cultural-heritage Museums (ICOM), have issued statements art, manuscripts, and documents, as well as needs in the U.S. Agency for International warning art dealers, auction houses, collec- records of the history of archaeology and Development’s (USAID) program of tors, and museums against acquisition of other vital sources of the history and cul- reconstruction activities for Iraq [see www. objects that belong to the Iraqi heritage ture of Mesopotamia, Iraq, and Islam. usaid.gov/iraq/activities. html; culture (see www.icom.museum). Following the Like many other organizations, CAA was not included in the initial request for 1991 Gulf War, objects from thirteen loot- has drafted a formal letter of protest and proposals from the U.S. government for ed museums later showed up on the inter- concern in response to this terrible destruc- Iraq’s reconstruction, nor were NGOs or national art market. Interpol has been alert- tion, addressed to the president of the nonprofit organizations allowed to bid]; ed to the current situation, and both the United States (see front page). We are, and 4) identify private, business, and gov- U.S. State Department and Secretary of however, committed to do more than just ernment funding to support the cultural- Defense Donald Rumsfeld have pledged to register our distress. I wish to report to you heritage reconstruction work in Iraq.” assist in returned stolen objects to Iraq. now on our preliminary plans to assist in Several organizations reported that AAM and Heritage Preservation are the efforts to preserve what remains of the work has already begun in these areas, by coordinating the efforts of the task force Iraqi national collections, the vulnerable identifying a team of specialists to travel to and will soon reassemble the group to archaeological sites, and museums and Iraq, as well as compiling databases of administer assignments. In the meantime, institutions in other cities in Iraq. stolen and missing objects to aid Interpol task-force members are gathering informa- On April 16, 2003, I attended a meet- and customs officials in an effort to trace tion about recovery projects and related ing of the Heritage Emergency National them. During our meeting, a representative websites. Organizations are speaking out, Task Force in Washington DC, convened from the Getty Conservation Institute issuing statements that contain the four by the American Association of Museums announced that that organization will lend points listed above, and each is lending its (AAM) and Heritage Preservation. Two intellectual and financial help to establish a own expertise to the communal effort. We days after the news from Iraq, more than repatriation website, and the Columbia will link to each other’s statements and thirty representatives of the scholarly, University libraries, with the support of the coordinate our efforts through the task archaeological, museum, library, archival, provost’s office, have offered to help digi- force. More information about CAA’s role, and history communities assembled, tize images for help in recovery. as well as links to the important work of including Gustavo Araoz, executive direc- Organizations that wish to participate in other organizations, can be found on our tor of the United States National this funding effort should contact AAM at website, www.collegeart.org. We will con- Committee of the International Council on 202/289-1818. tinue to post information as it is issued. Monuments and Sites (US/ICOMOS), After the meeting, Araoz circulated a —Susan Ball, CAA Executive Director Sharon Flescher, executive director of the draft letter to President George W. Bush International Foundation for Art Research signed by more than twenty organizations Volume 28, Number 3 (IFAR), and Mary Ellen Lane, executive (including CAA), many of which were CAA News is published six times per year by the College Art Association, 275 Seventh Avenue, 18th Floor, New director the Council of American Overseas represented at the task-force meeting. CAA York, NY 10001; www.collegeart.org. Research Center (CAORC). This latter also sent its own letter to the president Managing Editor Christopher Howard Graphic Designer Tom Brydelsky group, a new CAA affiliated society, later that same day. For the full texts, see Material for inclusion should be sent via email to includes the American Association of www.collegeart.org and Christopher Howard at caanews @collegeart.org. Photographs and slides may be submitted to the above Research in Baghdad, a consortium of www.icomos.org/usicomos. street and email addresses for consideration. They cannot be returned. All advertising and submission guidelines can about thirty U.S. museums and universities UNESCO (the United Nations be found at www.collegeart.org/caa/news/index.html. headed by McGuire Gibson, professor of Educational, Scientific, and Cultural Printed on recycled paper © 2003 College Art Association

2 CAA NEWS MAY 2003 program and related CIHA COMES TO 2003 ANNUAL events and meetings, beginning with the NORTH AMERICA CONFERENCE Wednesday night WRAP-UP Convocation and open- he Comité International d’Histoire ing reception. de l’Art (CIHA) will hold its XXXI PHOTO CREDIT: DIANE JARVI Chaired by CAA espite a nationwide “orange” secu- International Congress in Montreal, Printmaker June Wayne President Michael Canada,T on August 22–27, 2004. The con- rity alert and a record-breaking speaks at the Annual Aurbach, Convocation Conference gress theme is “Sites and Territories of Art blizzard in the days immediately featured a deeply precedingD it, the 2003 CAA Annual History.” It will be the first congress held engaging and moving address by Roger in Canada and only the second held in Conference was a resounding success, Shimomura, University Distinguished North America since 1873. drawing about 5,000 attendees to New Professor of Art at the University of The head of the Montreal Congress York for three days of sessions, receptions, Kansas. (See this issue’s insert for the text Organizing Committee, which includes meetings, and openings. of his speech.) Aurbach named the three faculty members from Concordia Univer- During our last Annual Conference at the Professional Development Fellowship sity, McGill University, the University of Hilton New York, in 2000, CAA was great- Program recipients for this year, and pre- Montreal, and the University of Quebec at ly inconvenienced by hotel construction sented thirteen 2003 CAA Awards for Montreal, is Nicole Dubreuil of the and renovation projects and a regrettable Distinction to outstanding individuals for University of Montreal. last-minute reallottment of space, necessi- professional achievement in the visual arts, Among the congress’s thirteen sub- tating the rescheduling of sessions and which included two special awards for life- themes are: Metropolis, U-topia, National events into the nearby Sheraton New York time achievement. (Read the citations at Narratives, Mapping the Body, Invading Hotel and Towers. Such troubling facts www.collegeart.org/caa/awards/ Territories, Neighbours: Art History and were happily absent this year. 03awards.html.) Interdisciplinarity, and Representing The conference, in fact, benefited from Following Convocation, a reception was Space. The program will be available this most of the new hotel construction. For held at the Whitney Museum of American October. The congress website is example, there was added space on the Art, where attendees enjoyed refreshments http://ciha2004.uqam.ca/#anglais. concourse level, directly beneath the attrac- in Marcel Breuer’s landmark building, vis- CIHA is also sponsoring an international tively remodeled lobby, that enabled us to ited portions of the permanent collection, colloquium in Munich and Krakow on consolidate all mentoring activities— and viewed the remarkable special exhibi- September 6–11, 2003. It will focus on Career Development Workshops, Artists’ tion, The Quilts of Gee’s Bend, a stunning issues of national identity and modernity, Portfolio Review, and Professional display of quilts created by an African especially in Central and Eastern Europe. Development Roundtables—in one com- American community in rural Alabama. We The website is www.zikg.lrz-muenchen. pact area, with enough room left over for are grateful to the Whitney’s director, de/main/news.htm. student and candidate lounges. A preconfer- Maxwell Anderson, for hosting this gala Congresses, held every four or five ence workshop, the Grant Writing Seminar, occasion, which remains the Annual years, are organized by the CIHA national was also held on the concourse. These Conference’s key social and celebratory committees of the host countries. CIHA always-popular activities succeeded event. has twenty-seven national committees, because of the efforts of 100+ dedicated The Whitney was also among a number representing twenty-one European coun- volunteer mentors, who are thanked on of local museums that hosted offsite ses- tries plus Australia, Brazil, Japan, Russia, page 5. sions. Others included the Asia Society, the the United States, and Venezuela. On the negative side, several rooms were Frick Collection, the Bard Graduate Center, “Originally a European association, inadequately outfitted, suggesting that the Hispanic Society of America, and the CIHA is rapidly transforming itself into a major infrastructure improvements did not Metropolitan Museum of Art, where global organization that embraces all cul- go hand-in-hand with hotel renovations. Carmen Bambach, curator of the Leonardo tures and is making a great effort to invite The most glaring example of this was the da Vinci drawing exhibition, chaired a ses- countries from the non-Western sphere to ARTspace room, where the lights could not sion devoted to new research on the great join,” says Françoise Forster-Hahn of the be properly dimmed for slide and video master. Another offsite venue, the University of California, Riverside, presi- presentations. At another major center of American Folk Art Museum, hosted two dent of the U.S. National Committee. the conference, the Book and Trade Fair, sessions and was the site of the CAA The other committee officers are Nancy exhibitors complained about the worn con- Committee on Women in the Arts Awards Troy of the University of Southern dition of the Americas Exhibit Halls. And Ceremony, where the artists Elizabeth California, vice president; and Bruce attendees were often inconvenienced by Catlett Mora and June Wayne were hon- Robertson of the University of California, interruptions in escalator service, another ored. Santa Barbara, and Los Angeles County sign of the need for further upgrades. The program of sessions was the result Museum of Art, treasurer. A new secretary Of course, the core and essence of the of the hardworking efforts of the Annual will be elected shortly to replace Linda conference is not its physical envelope, but Conference Committee, chaired by Bruce Seidel of the University of Chicago, who its content—the realization of intellectual, Robertson. Working with the core commit- recently completed her term of office. creative, and social stimulation through the tee, the conference’s regional representa-

CAA NEWS MAY 2003 3 tives—Alfred Acres, Holly Hughes, Mimi Michael Aurbach’s introduction of the Hall Yiengpruksawan, and Katy Siegel— third-generation Japanese American artist were charged with soliciting the participa- Roger Shimomura, who delivered a chal- tion of artists, scholars, and institutions in lenging keynote address. His talk, “63 the Northeast. The result was a program of Stages of the Yellow Brick Road”—which 122 stimulating sessions covering all areas is reprinted in the colored insert of this of art and architectural history, contempo- issue of CAA News—reflected upon the cir- rary issues, and studio art. Reflecting the cumstances and culture that have helped diversity of interests and needs within make him the artist he is today. CAA, the program also included practical Shimomura provided a moving personal sessions devoted to pedagogical and profes- testimony while addressing the suspicion of PHOTO CREDIT: DIANE JARVI sional issues. In addition, more than forty CAA members socialize at the post-Convocation reception individuals and the loss of liberties that affiliated societies, CAA committees, and at the Whitney Museum of American Art occur in wartime. During World War II, he allied organizations took advantage of the was interned for two of his childhood years 1 participants included a range of her associ- 1 ⁄2–hour, special-session category to offer ates, from students and professional col- with some of his family at Camp Minidoka panels on their particular interests. leagues to a contemporary, James in Idaho. ARTspace, geared toward our visual-artist Ackerman, the session’s 2001 honoree, Instead of presenting only his artwork, members, succeeded again with its sessions who provided a moving perspective on her Shimomura elected to show slides of on advocacy, current art trends, conserva- career. Chaired by Ingrid Rowland, the images that have profoundly affected his tion, studio health and safety, and the very event featured presentations by Rowland, life and art. One of the most arresting was a popular Annual Artists’ Interviews. (See the Julia Haig Gaisser, Nancy Harmon Jenkins, self-portrait he drew as a child, depicting cover story for more on ARTspace.) and Maureen Pelta, each of whom illumi- himself with blond hair, signifying his Career Services and the Book and Trade nated aspects of Bober’s legacy as an childhood wish for acceptance by the sur- Fair, the two other main components of the inspiring teacher and scholar, a memorable rounding dominant culture. The points he Annual Conference, were also successful. individual, and a model for the profession. made resonated strongly, given the current Career Services embraces a range of CAA is grateful to the Samuel H. Kress political climate. professional-development offerings, from Foundation for funding this program. Since conference panels took place con- the aforementioned mentoring workshops All in all, the 2003 Annual Conference in currently, as usual, it was of course impos- to interviewer and candidate placement New York was energizing and eventful. sible to visit every session, but the Annual services, which connect members seeking Next year’s meeting in Seattle promises to Conference Committee made efforts not to jobs with institutions that have positions to be equally exciting, with an emphasis on schedule related topics at the same time. As fill. The kickoff event for these activities is the Pacific Northwest, its great museums many will recall, the conference in New Placement Orientation, a preconference and art institutions, and its lively gallery York three years ago was the last year with meeting that was attended this year by scene. Save the dates: February 18–21, thematic presentations in which studio and more than 700 candidates and interviewers. 2004, at the Washington State Convention art history had separate topics. The current The panel of speakers, offering practical Center. See you in Seattle! procedure reflects a desire to integrate stu- advice on how to interview successfully —Emmanuel Lemakis, CAA Director of dio and art-history sessions. Thematic and increase one’s chances of getting a job, Programs; and Paul Skiff, CAA Assistant threads were identified among selected ses- included Aurbach, Laurie Beth Clarke, Director for Annual Conference sions, and the decision was then made to Denise Mitchell, and David M. Sokol. weave these across the program’s schedul- This year’s Book and Trade Fair featured ing as much as time slots and lecture-hall 115 exhibitors as well as an expanded CAA availability allowed. booth. Among the traditional exhibitors, One thread I noticed was social activism book publishers and distributors made a 2003 ANNUAL and creative resistance: many discussions very strong showing, and the manufacturers and activities this year dealt with political of art supplies appeared in larger numbers CONFERENCE events in the wake of September 11, 2001, than in previous years. Three exhibitors— and one undercurrent to this conference D.A.P. (Distributed Art Publishers), Dick REPORT was the then-impending war and the threat Blick Art Materials, and Phaidon Press— to civil liberties. Unexpectedly, concern for generously sponsored ARTspace activities. This year’s CAA conference was spirited, this was voiced at the Annual Business A large number of book signings, talks, and despite an “orange” terrorism alert, storm- Meeting, when numerous members demonstrations, including a popular Meet delayed transportation, a faltering economy, appeared early in the morning to urge CAA the Editors! session, lent special excitement and diminished job opportunities. An inter- to take a stand against the war. In addition, to the fair. CAA hopes to expand these national gathering of artists, art historians, there were several opportunities to hear trends at future conferences. museum professionals, educators, theorists, papers on Central Asian, Turkish, and In its third year, the Distinguished administrators, and others came together to Islamic art and culture. Scholar’s Session drew an excellent crowd learn about the work of colleagues and to Other thematic threads included sessions to honor the late Phyllis Pray Bober. The share information with others in the field. on design, identity and gender issues, mul- The event began at Convocation, with

4 CAA NEWS MAY 2003 ticulturalism and diversity, and institutional University of Tennessee; William Lew, critique. The study of visual culture in its THANKS TO MENTORS Clemson University; Robert Lyon, many aspects was also addressed. Shorter University of South Carolina; Vivian thematic threads included a set of art, sci- AA wishes to thank the artists, art Mann, Jewish Museum; Charles Mayer, ence, and technology sessions that encom- historians, critics, curators, editors, Indiana State University; David McCarthy, passed neuroscience, complexity, mapping, and museum educators who served Rhodes College; Judith McCrea, and new media, as well as early visualiza- Cas mentors for the Career Development University of Kansas; Terry McGehee, tions of medicine. Important sessions deal- Workshop, the Artists’ Portfolio Review, Agnes Scott College; Thomas McGovern, ing with the safety of art materials and and the Professional Development Northern Kentucky University; Virginia with conservation and archival issues were Roundtables during the 2003 Annual Mecklenburg, CAA Board, Smithsonian held in ARTspace. Conference in New York. American Art Museum; Thomas Mew, For the third straight New York confer- Special thanks go to Michael Aurbach, Berry College; Laura Migliorino, Anoka- ence, Hunter College organized and hosted CAA president, Career Development Ramsey Community College; Julia Moore, the M.F.A. show at their Times Square Workshop chair, Vanderbilt University; Harry N. Abrams, Inc.; Dewey Mosby, Gallery, a capacious location that permitted Diane Edison, Career Development Picker Art Gallery, Colgate University; no less than twenty graduate programs to Workshop assistant chair, University of James Nestor, Indiana University of participate and display works by their tal- Georgia; as well as to Lauren Stark and Pennsylvania; Ljubica Popovich, ented students. Curators Anne Ellegood Brenna Johnson of the CAA staff. Vanderbilt University; Wayne Potratz, and Rachel Gugelberger organized Career Development Workshop University of Minnesota; Alberto Rey, Crossings: Artistic and Curatorial Mentors: Edward Aiken, Joe and Emily State University of New York, Fredonia; Practice, an ambitious program of nine Lowe Art Gallery, Syracuse University; Ed Howard Risatti, Virginia Commonwealth events designed for the CAA members’ Andrews, Northeastern University; University; Roger Shimomura, University exhibition that probed alternative Catherine Angel, University of Nevada, of Kansas; Mary Beth Shine, New York; approaches to exhibiting contemporary art. Las Vegas; Joseph Ansell, Auburn Eve Sinaiko, CAA; David Sokol, The work featured at each distinctive loca- University; Anne Beidler, Agnes Scott University of Illinois, Chicago; Lauren tion throughout Manhattan resonated with University; Roy Blackwood, Southeastern Soth, Carleton College; Buzz Spector, its site. Two of the exhibitions were held in Louisiana University; Catherine Case, Cornell University; Barbara Tsakirgis, the vibrant Essex Street Market on the Marian College; Gary Chapman, Vanderbilt Univesity; Ann Tsubota, Raritan Lower East Side and included large, digital University of Alabama, Birmingham; Valley Community College; Lester Van architectural prints by Kyle Reidel and Brian Christensen, Brigham Young Winkle, Virginia Commonwealth soft, playful sculptures by Carol Loeffler. University; Laurie Beth Clark, University University; Maria Velasco, University of The latter’s work was reminiscent in spirit of Wisconsin, Madison; Austin Collins, Kansas; Annette Weintraub, City College of the painter Richard Artschwager’s University of Notre Dame; Irina Costache, of New York. “blips.” Michele Brody’s plant piece was CAA Board, California State University, Artist Portfolio Review Mentors: notable, as were works by Carolyn Kay Channel Islands; Jeffery Cote de Luna, Joseph Antenucci Becherer, Frederik and Christian Nguyen. Other venues Dominican University; Virginia Meijer Gardens and Sculpture Park; Roger included Artists Space in SoHo, a studio in Derryberry, University of North Carolina, Boyce, artist and critic, New York; Chelsea, and the School of Visual Art’s Asheville; Debra Drexler, University of Michael Bzdak, Johnson & Johnson, Inc.; Westside Gallery. A performance piece was Hawaii; Martha Dunkelman, Canisius Janice Driesbach, Sheldon Memorial Art presented at the conference hotel, and hard College; Marita Gootee, Mississippi State Gallery, University of Nebraska, Lincoln; and soft sculpture was featured in a group University; Reni Gower, Virginia Sandra Dupret, Wayne State University; exhibition at the Clemente Soto Vélez Commonwealth University; Janet Headley, Brandon Brame Fortune, National Portrait Center. Loyola College of Maryland; Richard Gallery; Rusty Freeman, Plains Art The panel on independent exhibition Heipp, University of Florida; Myron Museum; Lorettann Gascard, Franklin organizing at Apexart, a cutting-edge non- Helfgott, Virginia Commonwealth Pierce College; Laura Heyman, Syracuse profit gallery and curatorial and residency University; Alison Hilton, Georgetown University; Suzanne Lemakis, Citigroup; program, was packed. The presentations University; Anna Calluori Holcombe, Sharon Lippman, Art Without Walls, Inc.; were each different in style and content: Kansas State University; Katie Hollander, Alicia Longwell, Parrish Art Museum; Christopher Ho read from a recent paper, ArtTable; Jim Hopfensperger, Michigan Julia Morrisroe, Central Michigan Sara Reisman showed visuals and State University; Dennis Ichiyama, CAA University; Dominique Nahas, independent described projects, and Kenny Schacter, Board, Purdue University; Carlyle critic and curator, New York; Mario Naves, who has made an art form of his curatorial Johnson, Tennessee State University; artist, New York; Howard Risatti, Virginia work, spoke informally about his unusual Dorothy Johnson, University of Iowa; Commonwealth University; Dan R. Talley, approach and was very open in his cri- Gary Keown, Southeastern Louisiana Sharadin Art Gallery, Kutztown tiques of the art world. University; Clive King, Florida Interna- University; Peter Van Ael, Talley Gallery, Sincere thanks to all who worked this tional University; Carol Krinsky, New Bemidji State University; Philip Van year to make the conference such a York University; Michael Krueger, Keuren, Southern Methodist University; University of Kansas; Carol Leake, Loyola Karen Wilkin, independent critic and cura- CONTINUED ON PAGE 23 University New Orleans; Paul Lee, tor, New York.

CAA NEWS MAY 2003 5 Professional Development Roundtable continuation of last year’s committee has added attorneys to research and track Mentors: Ferris Crane, University of panel, where the focus was on museums’ claims and has required checklists of Louisiana, Lafayette; Richard Meyer, internal procedures for handling repatria- incoming foreign loans and exhibitions to University of Southern California; tion claims. The present session was determine if these works were illegally Chinedu Okala, Norfolk State University; organized to discuss both actual and theo- obtained by Nazi officials between 1933 Philip Van Keuren, Southern Methodist retical solutions to claims on works held and 1945—all at public expense. University; and Annie V. F. Storr, Museum by museums. In addition, Zeller, who Lorenzo then discussed two instances Programs in Public Service. works with issues related to the Native where museums handled disputes for repa- —Emmanuel Lemakis, CAA Director of American Graves Protection and triation in a creative fashion that was ulti- Programs Repatriation Act (NAGPRA), wanted this mately satisfying for both claimants and year’s panel to include discussion of cul- institutions. In the first example, the tural patrimony beyond the well-known Wadsworth Atheneum Museum of Art Holocaust-era cases. To encourage dia- agreed in 1998 to return The Bath of logue with the participants, the session Bathsheba (ca.1570) by Jacopo Zucchi, ARTWORK was not taped. looted from the Italian embassy in Rome. REPATRIATION Lorenzo’s paper, “The Schiele Case and To compensate the Hartford, CT, communi- Its Effect on Current Museum Practices,” ty for the loss of the Zucchi, various Italian DISCUSSED AT addressed not a 1997 case involving the institutions worked with the Atheneum to Museum of Modern Art (MoMA), but also lend works for an exhibition, Caravaggio CONFERENCE a more recent situation in Austria. MoMA and His Italian Followers, which included a had borrowed Egon Schiele paintings from Caravaggio never before seen in the U.S. In usan Kennedy Zeller of the the Leopold Collection in Austria and then the second case, a North Carolina family Brooklyn Museum of Art (BMA) retained the works because of claims claimed Lucas Cranach’s Madonna and chaired the CAA Museum brought by survivors of the families from Child in a Landscape (ca.1580), purchased SCommittee’s panel “Cultural Patrimony: whom they had been confiscated by Nazi by the North Carolina Museum of Art in Creative Solutions to Questions of officials during World War II. In the sec- 1984. The museum returned the painting to Ownership” at the 2003 Annual ond case, Austrian authorities seized the family, who then sold it back to the Conference. Her panelists were Sharon N. Schiele’s Wayside Shrine (1907) from the institution at a price well below its antici- Lorenzo of the Graduate Center, City Dorotheum auction house this past pated value at auction. These two events University of New York; Constance December on a repatriation claim. Lorenzo demonstrated Lorenzo’s thesis that negotia- Lowenthal, of Constance Lowenthal, Inc.; did not recapitulate the histories of the tion and mediation between current owners and Robin Wright from the Burke Museum Schiele cases, but rather addressed the and claimants can result in more effective of Natural History, University of time and money expended when two par- and rewarding resolutions than pursuing Washington. ties refuse to negotiate and pursue legal remedies in the court. In her opening statement, Zeller remind- remedies. The MoMA case has moved Lowenthal’s presentation also focused on ed the audience that this session was a from New York state courts into federal Holocaust-related claims, drawing on her jurisdiction. The U.S. Justice Department experience as the former director of the Commission for Art Recovery of the World Jewish Congress. She underscored THE JUDITH ROTHSCHILD FOUNDATION Lorenzo’s point that legal prosecution can be time-consuming, very expensive, and, Grant awards totaling over $270,000 will support and stimulate interest in the work of the following under-recognized and deceased artists: for museums, a potential public-relations nightmare. While most institutions repre- Clinton Adams, Ben Benn, Louis Carlos Bernal, Arnold Bittleman, Robert Blanchon,sented byNorman the American Bluhm, Association of Juan Boza, Hans Burkhardt, James Castle, Dorothy Dehner, Beauford Delaney Gregory Gillespie, Dorothy Hood, Angelo Ippolito, Jacob Kainen, Mark LombarMuseum Directors have never received a Marsicano, Constantino Nivola, Robert Overby, Edward Quigley, Richard Stankiewicz,claim, Lowenthal Geor offered strategies if this Sugarman, and Todd Walker. were to happen. First, a museum should have a coordinated press response, prefer- The Foundation makes grants to present, preserve, or interpret work of theably highest using aaesthetic staff member or an outside merit by lesser-known American painters, sculptors, and photographers who consultanthave died familiar after with the Holocaust and September 12, 1976. Examples of grants include support for: the organizationthe of politics exhibitions; surrounding the claims. The institu- acquisition of works of art for display and study in museums and public galleries;tion should therespond development with a positive, robust of accompanying public programs, films, or videos; the preparation of publications;statement; negative scholarly fallout and from an impres- sion of defensiveness may spread to the critical pursuits; and, the conservation, cataloguing, and safe-keeping of works of art. Requests must general community as well as influence be submitted and postmarked between April 15 and September 15 offunders. each The year. institution should also limit the To receive Grant Program Guidelines, contact The Judith Rothschild Foundation,terms 11 of public discussion; offering details New York, NY, 10128, telephone (212) 831-4114; or visit http://fdncenter of the case may only provoke new ques- tions from the media, creating unneeded

6 CAA NEWS MAY 2003 distractions for the institution. The museum nied the Tlingit artifacts on a cruise to nize core concerns, and to stimulate intel- director and board of directors should act southern Alaska, organized by Smith lectual debate about the dynamic between decisively, but not in panic mode. In addi- College, whose museum was returning journals and their disciplines. Because edi- tion, the institution ought to find out, objects. While on board, museum staff tors of scholarly journals often work in iso- through negotiation, exactly what the members educated the other cruise mem- lation from their counterparts in related claimants want. Lastly, Lowenthal empha- bers about this project; they held a series fields, the event provided an invaluable sized the importance of having legal coun- of panels about the Harriman expedition, opportunity for current editors to compare sel even if litigation is avoided. A settle- the Tlingit objects, and the reasons for notes on issues such as editorial policy, ment with the claimant must hold against their return. When the ship reached its des- peer-review procedure, and the role of the any future claims by other heirs. She tination and the objects were unloaded, the editorial board. Most fortuitously, the event offered examples where institutions became Cape Fox Tlingit held a potlatch ceremony coincided with transitions from outgoing to mired in suits and countersuits with to welcome back these artifacts and to incoming editors at The Art Bulletin, Art claimants and dealers. Along with Lorenzo, thank the museums for returning them. History, and the Journal of the Society of Lowenthal endorsed the American Having restored property to the Tlingit Architectural Historians, and so offered Association of Museum’s (AAM) anticipat- people from whom it had been stolen, the incoming editors an unprecedented chance ed Nazi-era Provenance Internet Portal, a Burke realized an unexpected benefit: the to learn from those with more experience. search tool that will enable researchers to Cape Fox Corporation is presenting the The first session, “What We Publish,” search for objects by an artist’s name or museum with cedar poles that are to be considered the nature and status of the nationality using information supplied by carved by a father-son artist team. Thus, the scholarly article and addressed topics such AAM member institutions. museum will be able once again to exhibit as the relation between research and inter- Wright moved the discussion of repatria- Tlingit works from southern Alaska, but, pretation, and interdisciplinary work within tion to objects found and stolen in the more importantly, they have established a discipline-specific journals. Next, western hemisphere in her paper, “The significant relationship with the Cape Fox “Audience and Identity” turned partici- Return of the Teikweidi Grizzly Bear community. In Wright’s view, that relation- pants’ attention to the readership for and House Posts to the Cape Fox ship was the most important outcome for profiles of field-specific journals versus Corporation.” Wright recounted the history the museum. those that publish across the entire history of the Harriman expedition of 1899, when —Joan Marter, CAA Museum Committee of art; in this session the Smithsonian the railroad tycoon Edward Harriman Chair Institution’s American Art served as the funded a voyage to Alaska that, besides focus for a discussion of how a journal can studying flora and fauna, removed a num- served both academic and museum con- ber of poles, house posts, house fronts, and stituencies. The panel entitled “Old similar material from an uninhabited but Journals, New Formats” considered the bal- not abandoned village of the Cape Fox CLARK ART ance between reaction and innovation as Corporation, who are southern Alaskan INSTITUTE HOSTS journals respond to and shape the discipline Tlingit Native Americans. In 1991, the of art history. It first looked at the online federal statute known as NAGPRA estab- COLLOQUIUM ON journal Nineteenth-Century Art Worldwide lished four categories of objects that could as the starting point for a discussion of the be repatriated by Native Americans: ART JOURNALS benefits and problems of e-publishing and human remains; objects buried with human the challenges of founding a new journal; remains (even if the museum did not have n March 6–9, then, the American Journal of Archaeology the remains); religious and sacred objects 2003, “Art served as a case study for thinking about necessary for the survival or reinstitution History and the responsibilities and challenges that face of rituals; and cultural patrimony or OIts Journals,” a collo- the editor of an established journal. A final, objects owned the community rather than a quium sponsored by thematic session, “Representing the Art single person. The house posts in the the Sterling and Work,” addressed the performative aspects Burke Museum, which formed a core Francine Clark Art of design and the possibility for staging installation of Alaskan material, had come Institute in essays as visual narratives, whether in a from the Harriman expedition. In July Williamstown, MA, scholarly article or a picture essay on con- 2001, five institutions that had received brought together editors of learned journals temporary art. material from the journey returned the in art history and related fields for two days It was the consensus of the participants objects to the Cape Fox people. However, of intensive discussion. that the colloquium was tremendously stim- while four institutions gave back objects Recognizing that the landscape of schol- ulating, useful in building a community of under or using NAGPRA repatriation, the arly publishing is changing, the organizers, editors committed to advancing the disci- Burke chose to return theirs under their Dana Arnold, former editor of Art History, pline in innovative ways, and heartening in state’s stolen-property law. Rather than test H. Perry Chapman, editor-in-chief of The its affirmation of the vitality and excitement NAGPRA cultural-property requirements, Art Bulletin, and Eve Sinaiko, CAA’s direc- in current art-historical publishing. CAA is a time-consuming process, the museum tor of publications, sought to create a forum immensely grateful to the Clark for its gen- chose this more expeditious legal vehicle. for editors to discuss the issues and prob- erous sponsorship of this event. Staff from the five institutions accompa- lems they confront, to identify and scruti- —H. Perry Chapman

CAA NEWS MAY 2003 7 administrative experience, service on a al guidelines, theory, models of scholar- THEY REPRESENT wide variety of international arts organiza- ship, and other resources appropriate to tions, and earning a midcareer M.B.A. museum career development. In the future YOU: 2003–7 while on sabbatical will help me work CAA should be more assertive in fostering BOARD MEMBERS with the current Board to find strategies a rapprochement of museum curators and that will enhance the CAA’s future deliv- educators with the academy. I welcome the ery of services to members. opportunity to present the concerns of AA members have elected four graduate students who seek to expand their new members to the Board of Dale Kinney employment opportunities to curatorial Directors. With the addition of Bryn Mawr positions. My intention is to join with theseC four, 73 percent of the twenty-two College curators and museum educators in forming voting members on the Board are now policies, setting internship guidelines, and women, and 27 percent are men. In com- Professional determining appropriate scholarly training parison, 61 percent of the overall member- organizations for those preparing for museum careers. ship are women, and 39 percent are men. exist to protect, In terms of professional specialization, 36 promote, and fos- Christine L. percent of the twenty-two voting members ter the well-being Sundt of the Board are art historians, 32 percent of the professions they represent. In the University of are visual artists, and 32 percent are muse- case of CAA this goal is complicated by Oregon um or library professionals. In comparison, the diversity of its constituency—engaged 38 percent of the overall membership are in multiple professions that produce, con- CAA’s challenge art historians, 44 percent are visual artists, sume, or transmit art—a category that is in the twenty-first and 18 percent work in museums or other itself unstable and debatable. In recent century, I believe, arts-related organizations. decades CAA has done much to expand is to create path- A total of 584 ballots were returned in and decenter the realms of art and art- ways in a world of changing directions and this year’s Board election out of 14,000 related professions; this has been salutary. dialogues where traditional arts now share sent to the membership in the January Goal setting requires an ongoing parallel the same spotlight with broader aspects of 2003 issue of CAA News, a 4 percent voter process of consolidation: identifying the culture and nontraditional diversity. Within response rate. common good of the greatest number of this context we are faced with new con- Following are the new Board members’ members and focusing energies there cerns about how CAA can serve all mem- candidate statements. To read their com- rather than on the aspirations of a few. bership sectors equitably and effectively in plete bios, go to www.collegeart.org/caa/ Above all, the organization must lobby for its programs and publications. awards/03newboard/newboard2003.html. art itself—in all of its historic and present My goal as a Board member is to manifestations—since all of our con- encourage stronger bonds among mem- Kevin E. Consey stituent professions are defined by it. bers. My experiences with CAA’s Berkeley Art Intellectual Property Committee and the Museum and Joan Marter National Initiative for a Networked Pacific Film Rutgers, the State Cultural Heritage (NINCH) Copyright Archive, University of Town Meetings have given me a fresh University of New Jersey look at the need for better collaboration on California, issues that affect us all, albeit sometimes Berkeley CAA needs to in different ways. As an active member of facilitate career a number of professional organizations and I joined CAA in 1975 when I was a first- development for as a journal editor, I am well positioned to year graduate student at the University of young profession- exercise this goal and to enhance the Virginia, because it was the meaningful als. As director of a curatorial-studies pro- importance of CAA as the leading arts professional association for academic art gram since 1992, I have developed a cur- organization for all member groups. historians, artists, and museum profession- riculum and arranged curatorial support for als. I have remained a member for twenty- the training of graduate students. I have seven years because of the energy, diversi- organized fourteen exhibitions, and many ty, and lifelong learning experiences it of these were put together with graduate affords me as a university educator and students. HAVE YOU museum director. My goal as a Board member will be to VISITED I have an interest in helping to shape serve the needs of art-history graduate stu- OUR WEBSITE CAA to be a more effective and represen- dents and interns who seek museum train- tative organization. It should integrate the ing and employment. As chair of CAA’s LATELY? needs of artists, art historians, art educa- Museum Committee, I agree with other www.collegeart.org tors, and art-museum professionals equal- members that no other organization can be ly. I believe my years of management and as effective as CAA in offering profession-

8 CAA NEWS MAY 2003 members seeking jobs received useful Dennis Ichiyama, a member of the CAA FROM THE CAA advice from 65 mentors in the Career Board of Directors, is leading a task force Development Workshops. The Artist’s to examine ways in which CAA can work PRESIDENT: Portfolio Review was full as well. A new with members and organizations in the A MIDTERM REPORT activity at the conference was a workshop design fields. We hope to see this work on grant writing for artists, led by Barbara reflected in future programming and place- Bernstein of the Ringling School of Art ment services at the conference, as well as and Design. It was well-received and in other areas of CAA. Another task force, s the played to a packed house. We hope to led by Board member Irina Costache and first year make this a regular event at future confer- Professional Practices Committee chair D. of my ences and possibly take it on the road dur- Fairchild Ruggles, is updating our stan- Atwo-year presi- ing the year. dards on part-time employment. The dential term CAA is aggressively pursuing efforts to Publications Task Force, led by Catherine ends, I wish to bring organizational events to our mem- Asher, vice president for Publications, is report on my bers where they live. The Getty Research updating governance guidelines for CAA’s activities with Institute in Los Angeles was most gener- journals and other publishing projects. CAA. First, ous in cosponsoring a Southern California Under the aegis of the vice president for

PHOTO CREDIT: ANDREI RALKO however, I must Regional Professional Development Committees, Andrea Norris and CAA’s Michael Aurbach, CAA thank Chancellor Workshop and Seminar with us in Executive Committee will implement a President Gordon Gee and November 2002. More than one hundred periodic review process to assess the work Dean Richard M.F.A. and Ph.D. students came to the done by our standing committees. Norris McCarty of Vanderbilt University for pro- three-hour presentations on the academic also played an important role in guiding viding various forms of support to help job search. I led the artists’ portion of the the Nominating Committee to identify CAA and me. Their generosity and advice event, and Prof. David Sokol of the excellent Board candidates. Thomas are greatly appreciated. University of Illinois, Chicago, directed Reese, CAA vice president for external The 2003 CAA Annual Conference in the program for the art historians. Since affairs, continues to develop strategies for New York went very well, despite a height- last fall, the University of Iowa, the fundraising and development. ened security alert and a major snowstorm. University of Florida, Cornell University, In an effort to find new ways to help To assist members concerned about their and the University of California, San CAA maintain a good budget in these dif- travel plans, the CAA staff wisely posted Diego, have held similar events. Future ficult times, Vanderbilt University will up-to-date information on the homepage of workshops are scheduled for Georgia State host the Board’s meeting this October. our website. Nearly 5,000 registered indi- University in Atlanta and George Mason Through the generous support of viduals attended, and several hundred more University in Fairfax, VA. In fall 2003, Chancellor Gee, this joint effort will bring came to the meeting to use our job-place- another workshop is slated for the San some important attention to the arts pro- ment services. I am pleased to report that Francisco area. gramming at Vanderbilt, and CAA will be more than four hundred new members The implementation of CAA’s new able to cut its costs significantly. We hope joined CAA at the conference. We held ses- membership database system is moving this form of partnership will serve as a sions on all aspects of our profession at the foward. We hope to have CAA Careers model for future meetings. CAA’s Board New York meeting, and we look forward to online this fall, providing better access and and staff have done a great job in meeting a successful conference in Seattle next year. more features for job seekers and institu- the goals of the strategic plan that guides Ellen K. Levy, vice president for Annual tions conducting job searches. The strict the organization. In the months ahead, we Conference, and the excellent CAA staff deadlines for the print publication, which will be developing the plan further to meet conference team, including Emmanuel can complicate many searches, will be future needs. Lemakis, Richard Selden, Paul Skiff, and eliminated, and job listings can be updated I want to thank CAA Executive Director others, did a fantastic job with the confer- frequently. Susan Ball for leading a fine professional ence program. We continue to be active in inviting new staff during a time of budgetary chal- A highlight this year was the keynote organizations to join CAA as affiliated lenges. Additional thanks go to Board address at Convocation, delivered by the societies, especially those in the studio Treasurer Jack Hyland, Deputy Director artist Roger Shimomura of the University arts, which have been less well-represent- Denise Mitchell, and Director of Finance of Kansas. His presentation was received ed than art history in the past. The Society Joan La Racuente for ensuring that our with a standing ovation. A transcript of his for Photographic Education and the financial profile remains strong, and to talk appears as an insert in this issue; con- International Sculpture Center have joined CAA Counsel Jeffrey Cunard for his sider making it required reading for your CAA, and we have proposals from ceram- ongoing advice and assistance to the students. Another highlight of Convocation ics, glass, printmaking, and design groups. organization. was watching CAA Board member Joyce These new affiliates will give studio art a —Michael Aurbach, CAA President, Hill Stoner perform a hilarious Broadway- greater presence at the conference and set Vanderbilt University style song she had written about CAA. the stage for new forms of conference pro- CAA’s Career Development activities gramming and special events. flourished at the conference. Roughly 350

CAA NEWS MAY 2003 9 ary celebration of violence pervade the Design; Cynthia Dillman, University of California, LETTER TO THE work through the run-on diatribe attributed Berkeley; Therese Dolan, Tyler School of Art, Temple to barely differentiated fictional charac- University; Kate C. Duncan, School of Art, Arizona EDITOR ters: the Jews are a “cursed people” (77); State University; Rochelle S. Elstein, Northwestern University Library; Luba Freedman, Hebrew they have “concentration camps in their From time to time, CAA News publishes University; Haya Friedberg, Emunah College; souls” (141); they are conducting the “sec- Jeanne Fox-Friedman, New York; Elizabeth Gand, letters from members addressing issues of ond genocide of history” (140); they only University of California, Berkeley; Anat Gilboa, importance to us as arts professionals; one know how to persecute (passim); they are Nijmegen University; Inbal Ben-Asher Gitler, Tel- of these is political speech. Last year, the sexually licentious and deviant (136); Aviv University; Wendy Grossman, University Park, teenage writer Randa Ghazy stirred the Israelis are nothing but murderous brutes MD; Jeffrey Hamburger, Harvard University; Robert publishing world with her novel, (76, passim); their extermination is a E. Harrist, Jr., Columbia University; Avital Heyman, Dreaming of Palestine. CAA does not take sacred mission (passim). Too bad the book Ben-Gurion University of the Negev; David Jacoby, a position on this book. We do take a makes a mockery of activism for Hebrew University; Nurith Kenaan-Kedar, Tel Aviv strong position against censorship, direct Palestinian rights by appealing to judeo- University; Ellen Konowitz; Bianca Kuehnel, Hebrew or indirect; we support, as a fundamental phobia. (Page numbers are from the University; Gustav Kuehnel, Tel Aviv University; Marcia Kupfer, Washington, DC; Irving Lavin, principle, the freedom of publishers to French edition, extensive extracts from publish unpopular ideas—and indeed all School of Historical Studies, Institute for Advanced which can be found on the websites of Study; Marilyn Aronberg Lavin, Princeton speech that is legal under the First Proche-Orient.info, http://proche- University; Moshe Lazar, University of Southern Amendment. In keeping with our policy, orient.info/xjournal_racism_analyse. California; Sura Levine, Hampshire College; Ralph CAA News has agreed to publish the fol- php3?id_article=7046, and the Conseil E. Lieberman, Williamstown, MA; John Lowden, lowing open letter to the publisher, Rizzoli Répresentatif des Institutions Juives de University of London; Victoria Lunzer-Talos, Vienna International, received by CAA in March France, http://projet.intesysnet.com/crif/ University Library; Ruth Mellinkoff, University of and signed by many CAA members; demo/index.php?menu=5.) California, Los Angeles; Mati Meyer, Ben-Gurion Rizzoli USA’s response follows. No doubt Ghazy has a right to abhorrent University of the Negev; Bezalel Narkiss, Hebrew speech—far be it from us to advocate cen- University; Michel Oren, Laguna College of Art and Shame on the Rizzoli Publishing Group sorship. But publishers who exhibit at the Design; Caroline Paxson, University of California, Berkeley; James G. Rogers, Jr., Florida Southern To the editor: annual meeting of the College Art We, the undersigned, deplore the Rizzoli College; Linda Safran, Catholic University of Association have an obligation to uphold America; Warren Sanderson, Concordia University; publishing group’s cultivation of anti- the ethical values for which the organiza- Natasha Staller, Amherst College; Susan Solway, Semitism. We regret to inform our col- tion stands. We invoke our right to subject Barat College of DePaul University; Irina D. leagues that hate literature now goes to Rizzoli’s corporate strategies to intellectu- Stotland, University of Maryland, College Park; finance the al critique and expose the publisher at its Diane Tepfer, Washington, DC; David Topper, deluxe art books game. Instead of serving young readers, University of Winnipeg; William Travis, New York; for which Rizzoli has cynically exploited a juvenile Diane Wolfthal, School of Art, Arizona State Rizzoli has long voice to propagate demonizing representa- University; Beth S. Wright, University of Texas at been known. tions that authorize renewed anti-Semitic Arlington The finest terror across Europe. Inasmuch as texts reproductions, and images shape the fabric of the soci- Response however, must eties in which they circulate, the Rizzoli To the Editor: not be allowed publishing group acted with flagrant disre- With regard to the publication of Randa to deflect atten- gard for the safety of Europe’s remaining Ghazy’s Dreaming of Palestine by the tion from a corrupt project, one utterly at Jewish communities. When beautiful Italian and French sister companies of odds with Rizzoli’s distinguished record of books about great art mask a publisher’s Rizzoli International Publications, our furnishing high-quality cultural materials. commitment to profit from the rhetoric of company strongly rejects any accusation Randa Ghazy’s novel for teens, hate in whatever guise, our entire profes- of anti-Semitism. Sognando Palestina, came out in April sion is demeaned. We urge the CAA mem- The novel represents a fictional story, 2002 under the aegis of the Rizzoli bership to repudiate the vilification of any not the reality; it contains a desire for group’s Milanese subsidiary, Contrasti ethnic or religious group by a publisher peace, expressed in several paragraphs. Fabbri Editori; the French edition, Rêver belonging to the organization. Our international publishing group has a la Palestine, appeared in November via —Contessa Andreina, Institute of Arts and Letters, universal profile. Within the group, books the group’s Parisian subsidiary, Hebrew University; Robert A. and Ruth H. Baron, with very diverse visions are published. Flammarion. The fifteen-year-old author, Larchmont, NY; Brigitte Bedos-Rezak, New York The criticism against the mere publication born in Italy of Egyptian parents, has University; Paul Binski, Cambridge University; in itself of Ghazy’s book—which was never been to the Occupied Territories and Sarah Blick, Kenyon College; Suzaan Boettger, New never considered for publication by has had no personal contact with partici- York; Walter Cahn, Yale University; M. Kjellman Rizzoli New York because of the very dif- pants in the Israeli-Palestinian conflict; the Chapin, Clark University; Adam Cohen, College of ferent program of our company—contains William and Mary; Rebecca W. Corrie, Bates book conveys childish impressions based the same error of all enemies of freedom College; Lucy Cutler, University of London; Anne of speech. on third-hand media sources. Most disturb- Derbes, Hood College; Arthur J. Di Furia, ing, an unremitting enmity and an incendi- University of Delaware, Moore College of Art and —Rizzoli USA

10 CAA NEWS MAY 2003 are scheduled during the eight regular pro- session in 2005). 2005 CALL FOR gram time slots during the three days of the The committee makes its selection sole- conference, and require a conference badge ly on the basis of merit. Where proposals SESSION for admission. CAA session proposals may overlap, CAA reserves the right to select PROPOSALS not be submitted as preformed panels with the most considered version or, in some a list of speakers. Proposals for papers for cases, to suggest a fusion of two or more the 2005 sessions will be solicited through versions from among the proposals sub- AA will hold its 93rd Annual the official 2005 Call for Participation, to mitted. Conference in Atlanta from be published in March 2004. The committee may invite open ses- Wednesday, February 16, to sions—submissions from members who CSaturday, February 19, 2005. The Annual SESSION CATEGORIES have not submitted proposals, but whose Conference Committee invites session pro- expertise and range of knowledge would, posals that cover the breadth of current Historical Studies: This category broadly in the committee’s opinion, be important thought and research in art, art and archi- in shaping a balanced program. In doing tectural history, theory and criticism, peda- embraces all art-historical proposals up to the mid-twentieth century. so, we will consider a number of factors, gogical issues, museum and curatorial including whether or not topics were cov- practice, conservation, and developments Contemporary Issues/Studio Art: This ered in recent conferences. in technology. Each CAA affiliated society and Board The process of fashioning the conference category is intended for studio-art propos- als, as well as those concerned with con- committee may submit one proposal that program is a delicate balancing act. The follows the call for proposals and the 2005 program is shaped by three broad temporary art and theory, criticism, and visual culture. guidelines outlined above. A letter of sup- submission categories: Historical Studies, port from the affiliated society or commit- Contemporary Issues/Studio Art, and tee must accompany the submission. The Educational and Professional Practices. Educational and Professional Practices: This category pertains to session proposals Annual Conference Committee will con- Also included in the mix are sessions pre- sider it, along with the other submissions, sented by affiliated societies, committees that develop along more practical lines and address the professional concerns of CAA on the basis of merit. of the Board of Directors, and, for balance Proposals and the submission form and programmatic equity, open sessions. members as teachers, practicing artists and critics, or museum curators. (located on page 23) should be sent by The majority of the program, however, is mail to Director of Programs, Sessions drawn from submissions by individual 2005, CAA, 275 Seventh Ave., 18th Floor, members, and the committee greatly PROPOSAL SUBMISSION New York, NY 10001. Deadline: depends on the participation of CAA mem- GUIDELINES September 12, 2003. bership in the conference. The Annual Conference Committee wel- The Proposal: Prospective chairs must comes session proposals that include the submit eighteen collated and stapled work of senior scholars and artists, along copies of their session proposals to the with that of younger scholars, emerging CAA Director of Programs. Each copy CURATIORIAL and midcareer artists, and graduate stu- must include: dents. Particularly welcome are those ses- 1) a completed session proposal form PROPOSALS sions that highlight collaborative and inter- (located on page 23); SOUGHT FOR disciplinary work. Artists are especially 2) a one-page statement that describes encouraged to propose sessions appropri- the session topic and explains any 2005 CONFERENCE ate to dialogue and information exchange special or timely significance it may relevant to artists. These proposals need have for a particular field or discipline; AA invites members to submit pro- not conform to traditional panel formats; 3) your c.v., no more than two pages in posals for an exhibition, whose indeed, experimentation is highly desir- length; opening will coincide with the able. Sessions may bring together scholars 4) a self-addressed, stamped postcard, so CAnnual Conference in Atlanta, February in a wide range of fields, including, but that CAA can acknowledge receipt of 16–19, 2005. There are no limitations on not limited to, anthropology, history, eco- the proposal (or you can send your the theme or the media of work to be nomics, philosophy, religion, literary theo- proposal via certified mail). included in the exhibition, except that it ry, and new media. In addition, the com- must be a group show of CAA members’ mittee seeks topics that have not been Guidelines: The Annual Conference work (membership during the year of the addressed in recent conferences or areas Committee considers proposals from CAA show is required). CAA’s Director of that have traditionally been underrepre- members only. Once selected, session Programs will convene a committee to sented. chairs must remain members in good review and judge the proposals on the The sessions selected by the Annual standing through 2005. No one may chair basis of merit. CAA will provide support Conference Committee for the 2005 con- a session more than once in a three-year for the exhibition with a $10,000 grant. ference are considered regular program period (that is, individuals who chaired 1 Proposals of no more than three pages sessions; that is, they are 2 ⁄2 hours long, sessions in 2003 or 2004 may not chair a should include the following information:

CAA NEWS MAY 2003 11 1) name(s) of curator(s) or organizer(s), CAA WELCOMES NEW Millsaps College; Minneapolis College of Art affiliation(s), c.v.(s), and CAA member- INSTITUTIONAL MEMBERS and Design; Mississippi State University; ship number(s); 2) a brief statement of no Muhlenberg College; Nassau County Museum of Art; National Art Materials Trade Association; more than 250 words describing the exhi- he following schools, museums, institu- New School University; New York Academy of bition’s theme and explaining any special tions, organizations, and companies have Art; NNR Air Cargo Service; Northeastern or timely significance; 3) the designated joined CAA as new institutional members University; Onomichi Daigaku Toshokan; forT 2003: Adelphi University; Alfred University; venue, including a brief description of the Oregon College of Art and Craft; Osaka Furitsu American College of Greece; Angelo State U Sogo; Rubenianum; Rutgers University exhibition space, its staffing and security University; Appleton Museum of Art; Arizona Camden, the State University of New Jersey; features, and the approval for this exhibi- State University; Armory Art Center; Avoda Sacramento City College; St. Edwards tion by the venue’s appropriate officer or Objects of the Spirit; Bruce Museum of Arts and University; St. Louis Community College, Science; Bucknell University; California College Meramec; St. Olaf College; Sante Fe Art authority; 4) a detailed exhibition budget of Arts and Crafts; California State University, for expenses and income, showing other Institute; Smithsonian Institution; Sordoni Art Bakersfield; Casper College; Claremont Graduate Gallery; Southern University at New Orleans; anticipated sources of funding or in-kind University; College of Charleston; Columbia State University of New York, Stony Book; support; and 5) a self-addressed, stamped College Chicago; Community College of Rhode Studio Museum in Harlem; Tama Bijutsu postcard so that CAA can acknowledge Island; Dickinson College; École Normale University; Trinity Western University; Truro Supérieure; Elgin Community College; Elmira receipt of the proposal (or you may send Center for the Arts at Castle Hill; Universidad College; Fashion Institute of Technology, State Iberoamericana; University of California, Irvine; your proposal via certified mail). University of New York; Feininger and Tobey University of California, San Diego; University Please send proposals to CAA Director Research Projects; Florida State University; of California, Santa Barbara; University of of Programs, Members’ Exhibition, CAA, Francis Marion University; Fukui Kenritsu Colorado at Boulder; University of Hartford; Daigaku; Hamilton College; Heard Museum 275 Seventh Ave., 18th Floor, New York, University of Leeds; University of Louisiana, Library; High Museum Of Art; Indiana Lafayette; University of Missouri, Kansas City; NY 10001. Deadline: November 3, 2003. University, South Bend; InLiquid.com; University of Nebraska, Kearney; University of International University Bremen; Information Nevada, Las Vegas; University of North Florida; Resource Center; Ithaca College; Josai Kokusai University of Saint Francis; University of St. University Library; Jungli City University; Thomas; University of Scranton; University of Karger Libri; Kent State University; Kindai Tulsa; Victoria College; Wexner Center for the Bijutsukan; Konstfack University College; Kyoto Arts; Williams College Library; Yokoku U Lib; Zokei-Geijyutsu; LaGuardia Community Jane Voorhees Zimmerli Art Museum. College, City University of New York; Lane Community College; Laumeier Sculpture Park This list does not include the names of nine new www.caareviews.org and Museum; Letras Valladolid University; Long institutional members represented by the infor- Island University, C. W. Post Campus; Maruzen- mation services providers Nissin and Swets Tsukuba-Branch; Mary Baldwin College; Blackwell.

2003 Annual Conference Audio Tapes

Most of the sessions presented at CAA's 2003 Annual Conference, held in New York City, were recorded in full by Audio Archives International on 2 cassettes.

Special 6-tape sets are now available for $66 (including a free cassette-storage album) in the following areas:

ARCHITECTURE PHOTOGRAPHY DESIGN PUBLIC ART MUSEUMS POST-W.W.II PAINTING

You can also create your own 6-tape sets by mixing and matching any of the sessions listed on the order form.

For more information about session topics and participants, and to download the order form, visit www.collegeart.org.

12 CAA NEWS MAY 2003 its programs are woefully underfunded. a Premium Processing Service, which ADVOCACY UPDATE Moreover, CAA’s representatives called on guarantees processing within fifteen days Congress to support President Bush’s upon payment of an additional $1,000; budget request of $34.43 million for the however, most nonprofit organizations REPORT FROM WASHINGTON: Office of Museum Services, a division cannot afford such a fee. Arts advocates HUMANITIES ADVOCACY DAY within the Institute of Museum and called on Congress to urge the INS to AND ARTS ADVOCACY DAY Library Services. adopt immediate reforms that will ensure Ball joined members of the New York timely processing of visa petitions related CAA cosponsored Humanities Advocacy delegation to Arts Advocacy Day on visits to nonprofit arts groups. Day (February 25, 2003), hosted by the to the offices of Charles Rangel (D-NY) CAA’s representatives also advocated National Humanities Alliance, and Arts and Amo Houghton (R-NY), both of for an increase in appropriations for cul- Advocacy Day (March 26, 2003), hosted tural exchanges through the U.S. by Americans for the Arts, in Washington, Department of State. They specifically DC. Both events brought together a broad urged Congress to boost funding by $10 cross-section of national cultural organiza- million for the Cultural Programs tions, academics, and grassroots arts lead- Division, which currently receives only $2 ers to promote the arts, arts education, and million. This division funds international humanities to Congress through increased educational exchange and training pro- support for the federal cultural agencies. grams and supports partnerships among CAA representatives Susan Ball, museums around the world. Richard Selden, and Marta Teegen visited

PHOTO CREDIT: RICHARD SELDEN For background information on any of the offices of several key members of the Senator Jon S. Corzine, New Jersey Secretary of State the funding and policy issues mentioned in Senate and House Interior Appropriations Regena L. Thomas, and Congressman Rush Holt met this article, please visit the Americans for Subcommittees, which deal directly with with arts organization representatives, including CAA's Richard Selden, at an Arts Advocacy Day lunch organ- the Arts website, www.artsusa.org/issues/ funding for the federal cultural agencies, ized by ArtPride New Jersey advocacy/actiontool.asp. Advocacy alerts and met with other legislators during both related to various arts and humanities advocacy events. issues are regularly posted to CAA’s web- For Humanities Advocacy Day, an event whom serve on the House Ways and site; for further information, see our advo- that focuses on increased support for the Means Committee (Rangel is the ranking cacy page at www.collegeart.org/caa/ National Endowment for the Humanities member), which has jurisdiction over all advocacy/index.html. (NEH), Ball and Teegen called for tax policies, including proposed legislation —Marta Teegen, CAA Director of Congress to support President George W. calling for fair-market-value tax deduc- Governance and Advocacy Bush’s budget request of $152 million for tions for artists. Identical bills have been the NEH, a $26 million increase over the introduced in the House and Senate again current fiscal year. Much of the proposed this year to allow artists to deduct contri- increase will go to fund the NEH’s We the butions of their artworks at full market People initiative to advance understanding value. Representatives Houghton and Ben CAA NEWS of American history, culture, and civics. It Cardin (D-MD) introduced H.R. 806 is very important to note the program is Artists’ Contribution to American Heritage currently administered within, but not offi- CAA BOARD APPROVES Act of 2003, and Senators Patrick Leahy REVISIONS TO STANDARDS cially funded by, the NEH. Should We the (D-VT) and Robert Bennett (R-UT) intro- People be properly funded, it will become duced S. 287 Artist-Museum Partnership AND GUIDELINES its own program at the NEH—grant appli- Act. Both bills continue to have strong The Professional Practices Committee cations dealing with American history, cul- bipartisan support, though it is still unclear (PPC) regularly reviews and updates ture, and civics will go to this new pro- when in the coming year either of them CAA’s Standards and Guidelines. In gram instead of the various other program will be voted on. February 2003, CAA’s Board of Directors divisions at NEH, as is currently the case. Other issues raised on Arts Advocacy approved the definition of “publications in Consequently, a properly funded We the Day concerned improving the visa process progress,” which the PPC added to the People will free up money for other NEH for visiting international artists and schol- “Curriculum Vitae for Art Historians programs, including Preservation & ars. Many nonprofit organizations confront Recommended Conventions” to avoid any Access and Research Grants. untenable delays and uncertainties while confusion in the representation of one’s At Arts Advocacy Day, CAA representa- getting approval of visa petitions for inter- work. For the full text of the newly revised tives Ball and Selden focused on several national guest artists and scholars. While guidelines, see www.collegeart.org/caa/ important arts policy matters during visits current law requires a maximum fourteen- career/art_hist_cv.html. to Capitol Hill. They urged Congress to day process, it now takes the Immigration In fall 2002, D. Fairchild Ruggles, PPC appropriate $170 million in funds for the and Naturalization Service (INS) up to 120 chair, requested that Margaret Webster of National Endowment for the Arts (NEA), days to process visa petitions in the cate- Cornell University assemble a joint task $53 million above the current fiscal year. gories most used by visiting artists. Delays force of the Art Libraries Society of North The NEA has never recovered from the 40 began in June 2001, when the INS adopted percent budget cut it received in 1996, and American and the Visual Resources

CAA NEWS MARCH 2003 13 Association to review and update the ART JOURNAL SEEKS members in good standing. Nominators “Criteria for the Hiring and Retention of REVIEWS EDITOR should ascertain their nominee’s willing- Visual Resources Professionals,” which ness to serve. was originally drafted in 1995. In February CAA invites nominations and self-nomina- The Editorial Board advises the editor- 2003, the Board approved the updated tions for the position of reviews editor of in-chief and assists him or her to identify standards for this document. For the full Art Journal for a three-year term, preceded and solicit authors, articles, and other con- text of the revised standards, please see by one year as reviews editor designate, tent for the journal; guides its editorial www.collegeart.org/caa/ethics/ beginning July 1, 2003. The reviews editor program and may propose new initiatives arlis_prof_criteria.html. commissions book (and other) reviews for for it; performs peer reviews and recom- Art Journal. He or she selects books to be mends peer reviewers; and may support CAA BOARD REELECTS reviewed, chooses reviewers, and deter- fundraising efforts on its behalf. Members also assist the editor-in-chief to keep OFFICERS mines the appropriate length and character of reviews. The reviews editor also works abreast of trends and issues in the field by attending sessions at the CAA Annual In February 2003, CAA’s Board of with reviewers, the Art Journal editor-in- Conference and other academic confer- Directors voted for five officers to serve a chief, and CAA’s manuscript editor in the ences, symposia, and events in their fields. second one-year term. The elected officers development and preparation of review The Editorial Board meets three times a include: Catherine Asher, vice president manuscripts for publication and may be year (twice in New York and once at the for publications; Ellen K. Levy, vice presi- responsible for obtaining and clearing CAA Annual Conference). CAA reimburs- dent for Annual Conference; Andrea rights to images for reproduction in es members for travel and lodging expens- Norris, vice president for committees; reviews. The reviews editor is expected to es for the spring and fall New York meet- Thomas F. Reese, vice president for exter- keep abreast of newly published and ings in accordance with its travel policy, nal affairs; and Joyce Hill Stoner, secre- important books in the history, criticism, but members pay their own expenses for tary. CAA’s treasurer, John Hyland, Jr., and theory of modern and contemporary the Annual Conference. and counsel, Jeffrey P. Cunard, were also art, visual studies, museum publishing, and Send a letter of interest, c.v., and contact renewed for another one-year term. related areas. The reviews editor serves as a member information to Larry Silver, Chair, Editorial of the Art Journal Editorial Board. He or Board, CAA.Reviews, CAA, 275 Seventh CAA NOMINATING she reports to the Art Journal editor-in- Ave., 18th Floor, New York, NY 10001. COMMITTEE MEMBERS chief and submits an annual report to Deadline: August 1, 2003. CHOSEN FOR 2003 CAA’s Publications Committee. The Editorial Board meets three times a year: CAA.REVIEWS RECEIVES CAA’s Nominating Committee is charged in New York in the spring and fall and in ISSN NUMBER with nominating candidates to the Board February at the CAA Annual Conference; of Directors, interviewing candidates, and CAA reimburses Editorial Board members CAA.Reviews has received an International selecting the final slate of candidates. for travel expenses for the spring and fall Standard Serial Number (ISSN) number The vice president for committees chairs meetings, in accordance with CAA travel from the Library of Congress: ISSN 1543- the Nominating Committee but does not policy. The position includes an annual 950X. By furnishing this unique identifica- vote on it. Members of the committee honorarium of $2,000, paid quarterly. tion number, the Library of Congress’s include three Board members (but not Please send a letter of interest, c.v., and National Serials Data Program recognizes elected officers) in their last two years of contact information to Peggy Phelan, the online journal as an indefinitely contin- service who were selected by the Board in Chair, Art Journal Editorial Board, CAA, uing publication. Libraries and research February 2003, and four at-large members 275 Seventh Ave., 18th Floor, New York, centers worldwide use this number to cata- selected by the prior year’s committee, one NY 10001. Deadline: June 1, 2003. logue their journal holdings. CAA plans to of whom is a member of that committee. deposit an annual CD-ROM copy of the The 2003 Nominating Committee mem- journal in the Library of Congress, which bers are: Andrea Norris, chair, vice presi- CAA.REVIEWS SEEKS EDITORIAL-BOARD MEMBER will make the reviews available to readers dent for committees, Spencer Museum of and researchers, as well as be responsible Art; Nicola Courtright, CAA Board, CAA invites nominations and self-nomina- for maintaining an record of the journal’s Amherst College; Virginia Mecklenburg, tions for one individual to serve on the content as digital technology progresses. CAA Board, Smithsonian American Art CAA.Reviews Editorial Board for a three- Museum; Gregory Sholette, CAA Board, year term, beginning summer 2003. School of the Art Institute of Chicago; STAFF CHANGE CAA.Reviews, published by CAA, is an Phoebe Farris, Purdue University; Saralyn online journal devoted to the peer review Reece Hardy, Salina Art Center; Larry Jesse Lee is a new statistics entry assistant of new books, exhibitions, and projects Silver, University of Pennsylvania; and at CAA. Originally from Pennsylvania, he relevant to the fields of art and art history. Maria Velasco, University of Kansas. moved to New York in 1996 and studied at This candidate may be an artist, art histori- Nassau Community College in Garden City, an, art critic, art educator, curator, or other NY. Lee is interested in graphic design and art professional; institutional affiliation is abstract art, as well as the arts of the spoken not required. Candidates must be CAA and written word.

14 CAA NEWS MAY 2003 AFFILIATED Modernos: Arte y Sociedad en Buenos HGCEA TO HOST BECKMANN Aires a Fines del Siglo XIX (Buenos Aires: SYMPOSIUM SOCIETY NEWS Fondo de Cultura Económica, 2001); and Nelly Siguat et al., José Juárez: Recursos In conjunction with the summer retrospec- y Discursos del Arte de Pintar (Mexico, tive of Max Beckmann at New York’s AIC HOSTS CAA D.F.: Museo Nacional de Arte/Instituto Museum of Modern Art, the Historians of Nacional de Bellas Artes, 2002). The com- CONFERENCE WORKSHOP German and Central European Art and mittee, chaired by Carolyn Tate, included Architecture (HGCEA) will cosponsor Twenty-six participants, including academ- Andrea Giunta and Alexandra Kennedy with the museum a symposium, entitled ic art historians, museum curators, arts Troya. Nominations of books for the 2003 “Creating New Worlds: Beckmann in administrators, conservators, and painters, competition should be forwarded to Europe and America,” to be held on joined conservator Carol Mancusi-Ungaro Alexandra Kennedy at akennedy@ September 20, 2003, at the Graduate in examining a group of postwar paintings impsat.net.ec or Patricia Sarro at Center, City University of New York. The from the permanent collection of the [email protected]. daylong event will consist of a public Whitney Museum of American Art during morning session of invited papers by the American Institute for Conservation HBA ANNOUNCES AWARD Robert Storr, Rose-Carol Washton Long, (AIC) session, “Learning through WINNERS AND NEW OFFICERS Barbara Buenger, and Françoise Forster- Looking: Examining Postwar Paintings.” Hahn, and an afternoon colloquium for One of Morris Louis’s veil paintings pro- The 2003 recipient of the Historians of HGCEA members. Contact Maria Makela voked a particularly lively exchange, as British Art (HBA) Graduate Student at [email protected] if you are inter- artists suggested how Louis achieved the Travel Award was Anne Nellis of Brown ested in attending or participating. effects (a subject still open to debate), and University for her paper, “Collecting for art historians, conservators, and painters the British ‘Public’ in the Domestic ISC HOLDS REGIONAL speculated whether horizontal bands visi- Interior, 1798–1824,” presented in HBA’s CONFERENCE ble in the veils of paint were Louis’s intent CAA conference session, “The New Art or an effect of age. History, 1970–2001: Reviewing the The International Sculpture Center (ISC) The gallery-based workshop is an annual Components of Radicalism in the invites CAA colleagues to its 2003 series organized by AIC. Next year’s work- Academy,” chaired by Jonathan Harris. Regional Conference, “Figuratively shop at the Seattle Art Museum will have At the HBA business meeting during the Speaking,” on July 24–27, 2003, at limited enrollment; watch for an announce- conference, the Book Prize Committee Grounds For Sculpture in Hamilton, NJ ment in the 2004 Preliminary Program and announced that the following volumes had (about one hour’s drive from Philadelphia CAA News. Notes from this year’s work- received awards for the best books pub- and New York). The conference will fea- shop are available from Andrea Kirsh; lished on British art and architecture in ture networking sessions, panel discus- email . [email protected] 2001: in the category of single author, sions, individual presentations, and round- AIC also sponsored a regular conference pre–ca. 1800: Nigel Llewellyn, Funeral table conversations, as well as tours and program session, “Artists, Restorers, and Monuments in Post-Reformation England social events. It will be held in conjunction Objectivity,” chaired by Jan Kreuger and (New York: Cambridge University Press, with ISC@GFS, the inaugural ISC Rebecca Anne Rushfield. 2001); in the category of single author, Member Juried Exhibition at Grounds For post–ca. 1800: Clare A. P. Willsdon, Mural Sculpture, on view July 26–September 28, ALAA PRESENTS BOOK AWARD Painting in Britain 1840–1940: Image and 2003. For details, visit www.sculpture.org Meaning (New York: Oxford University or contact Dawn at 609/689-10512, ext. Rebecca Stone- Press, 2001); in the category of an edited 129; [email protected]. Miller’s Seeing with or multiauthor volume on a topic of any New Eyes: Highlights period: Bernadette Fort and Angela of the Michael C. Rosenthal, eds., The Other Hogarth: JAHF ANNOUNCES NEW Carlos Museum Aesthetics of Difference (Princeton: OFFICERS Collection of Art of Princeton University Press, 2001). the Ancient Americas The following slate of officers was elect- Japan Art History Forum (JAHF) has (Atlanta: Michael C. ed at the HBA meeting: the new president announced the election results for its board Carlos Museum, 2002) was awarded the is Julia M. Alexander of the Yale Center of directors. Continuing officers are Frank Association for Latin American Art Book for British Art; first vice president is Kim Chance, president (through February 2005) Award for 2002. This prize, sponsored by Rhodes of Hollins University; second vice and Elizabeth Lillehoj, vice president the Arvey Foundation, is given annually to president is Richard Hutton of the (through February 2005). Newly elected an outstanding work of scholarship in any National Gallery of Art; and secretary- officers are Sarah Thompson, treasurer field of Latin American art. The honorable treasurer is Margaretta Frederick of the (through February 2005), Lee Butler, sec- mentions are: Allan Christenson, Art and Delaware Museum of Art. Terms of office retary (through February 2006), and Society in a Highland Maya Community begin in July 2003. Monika Dix, graduate student representa- (Austin: University of Texas Press, 2001); tive (through February 2004). JAHF has Laura Malosetti Costa, Los Primeros also launched a new website,

CAA NEWS MAY 2003 15 www.ku.edu/~jahf, which has a public sec- RSA members obtain funding to attend the tion, visit www.nationalwca.com. tion as well as a password-protected area conference. We look forward to wide par- —Susan King Obarski, WCA Lifetime for exclusive use by JAHF members. ticipation for an exciting conference in Achievement Award Committee Chair and New York. WCA National Board member PADA INTRODUCES ART FAIR WCA NAMES 2003 LIFETIME The Private Art Dealers Association AWARD RECIPIENTS (PADA) will present the first PADA Art ANNUAL Fair in October 2004. This event will take place at the National Academy of Design CONFERENCE in New York and will be presented in con- junction with Safe Horizon, an organiza- UPDATE tion dedicated to victims’ assistance, advo- cacy, and violence prevention, which will also sponsor the opening-night gala. For 2004 LATE SESSION LISTING further information, contact Daisy Walker, The 2004 Call for Participation for the PADA administrator, at 212/572-0772; fax: PHOTO CREDIT: LINDA GILBERT-SCHNIEDER upcoming CAA Annual Conference in 212/572-8398; [email protected]. Women’s Caucus for Art award recipients (from left): Grace Glueck, Eleanor Dickinson, Ronne Hartfield, Eleanore Seattle, which was mailed to all members Munro, and Nancy Spero in March, did not include the following QUEER CAUCUS LECTURES session: The Women’s Caucus for Art (WCA) hon- The Queer Caucus for Art announces a ored six extraordinary women—visual artist Art History Open Session miniseries of two slide lectures at New Eleanor Dickinson, writer and artist Suzi Baroque Art York’s Lesbian, Gay, Bisexual, and Gablik, New York Times writer Grace Proposals are welcome on any topic deal- Transgender (LGBT) Community Center Glueck, museum specialist Ronne ing with the art and architecture of seven- to celebrate Gay Pride Month. On May 27, Hartfield, writer Eleanor Munro, and visual teenth-century Europe. Mail to: Margaret 2003, caucus cochair James Saslow will artist Nancy Spero—with National Lifetime D. Carroll, Art Dept., Wellesley College, speak on “From Walt Whitman to Achievement Awards at a luncheon and Wellesley, MA 02481; and Jeffrey Collins, Wojnarowicz: Gays and Lesbians in New public ceremony held at the Warwick Hotel University of Washington Rome Center, York’s Visual Arts.” On June 3, cochair in New York on Wednesday, February 19, Piazza del Biscione, 95, 00186 Roma, Maura Reilly will discuss “Transgender 2003. The special event was held in the Italia; [email protected]. Imagery in Contemporary Art.” For further afternoon prior to the Convocation of the information, call the LGBT center at CAA Annual Conference. We applaud these 212/620-7310. women for their many accomplishments. OMISSIONS IN 2003 The event marked the twenty-fifth year in CONFERENCE PROGRAM which WCA has honored outstanding RSA TO HOLD 2004 women in the visual arts. This year, the The affiliated-society sponsor of “Advocate CONFERENCE IN NEW YORK selection committee considered 188 nomi- or Intruder? Critics in the Artists’ Studio,” nees for their professional achievements chaired by Douglas Deishpoon, was inad- The Renaissance Society of America and their activism for parity and diversity in vertently omitted from the Program for the (RSA) is pleased to announce the RSA the arts. Several of the 2003 honorees have 2003 Annual Conference in New York. The Conference of 2004, which will be held in committed their work to social activism as International Association of Art Critics New York on March 25–27 at the Grand a valid extension of feminist concerns. The sponsored this session. Hyatt Hotel. The conference coincides ceremony included a statement against the Also omitted was the name of Michael with RSA’s fiftieth anniversary. Highlights Bush administration’s war on Iraq—a war Graves, the distinguished American archi- include presentations given by Benjamin that has had a direct impact on the people tect, a discussant in the session “The Ravid, Richard Kagan, Rona Goffen, and and culture of that region as well as our Bauhaus Revisited? Populism and the Eugene Rice. As the host institution, the own. Proliferation of ‘Good Design’ into the Graduate Center, City University of New Distinguished members of the selection Twenty-First Century,” chaired by Cher York, is planning a gallery exhibition and committee include Elsa Honig Fine; Krause Knight. related sessions, as well as an opening- Howardena Pindell; Annie Shaver-Crandall; The listing for the CAA Annual night reception. We urge you to begin June Wayne; and Ruth Weisberg. Conference Committee’s information ses- organizing panels, which should be sub- Evangeline J. Montgomery will serve on sion on creating session proposals did not mitted on the RSA website, www.rsa.org; the committee in 2004. list the names of two presenters. They we also welcome individual papers and Since 1979, WCA has honored more than were Nicola Courtright, CAA Board, ask members to chair sessions. Let the 125 renowned women. The awards ceremo- Amherst College; and Richard Kalina, RSA office know your institutional posi- ny is held each year prior to the CAA Fordham University. tion and your range of interests; we hope Annual Conference. Please join us next CAA regrets these omissions and apolo- to match chair and panel in order to help year in Seattle! For more WCA informa- gizes to all concerned.

16 CAA NEWS MAY 2003 MIDWEST New York, College at Potsdam, Potsdam, NY, February 7–April 4, 2003. Aspects of Charles Gneich. Fine Arts Building the Female Experience. Sculpture. Gallery, Chicago, March 7–29, 2003. From Darkness: New Paintings. Adrienne Der Marderosian. Emerson College, Boston, February 1–June 1, Michael Krueger. Cohen Art Gallery, 2003. Textures of Memory. Works on Xavier University, Cincinnati, OH, Paper. January 31–February 28, 2003. Pathos Fantastica: Recent Drawings and Prints. Mimi Oritsky. A.I.R. Gallery, New York, April 29–May 24, 2003. New Work. Charles Matson Lume. Carleton Painting. College, Northfield, MN, April 4–May 13, 2003. The First Sky Is Inside You (for Michael Rich. Caelum Gallery, New Hertha Gast). York, May 13–31, 2003; 12 Orange Fine Art, Nantucket, MA, July 18–31, 2003. Nancy N. Rice. R. Duane Reed Gallery, St. Louis, MO, December 20, 2002– Claudia Sbrissa. Square One Gallery, January 25, 2003. New Paintings. New York, April 1–May 31, 2003. Lines and Clusters. Drawing. Yasue Sakaoka. National City Bank Lobby, Dayton, OH, September Annie Shaver-Crandell. Paula Barr 2002–February 2003. Installation; Dayton Chelsea, New York, June 5–8, 2003. Convention Center, Dayton, OH, September 4–October 12, 2002. Recent Fotini Vurgaropulou. A.I.R. Gallery II, Chris Lyon. They're Lyin' to You, 2002. Oil on canvas. 60 x 60" Paintings. New York, April 1–26, 2003. Icons: Recent Sculpture. Laura Strand. Center of Contemporary MID-ATLANTIC Arts, St. Louis, MO, June 6–August 10, Marianne Weil. Elsa Mott Ives Gallery, SOLO 2003. Incantations: Material Voices. New York, October 22–November 30, Roberto Bocci. Off White Walls Gallery, Jacquard textiles. 2002. Changed Landscapes. Sculpture. Corcoran College of Art and Design, EXHIBITIONS Washington, DC, March 24–April 5, Michelle Wasson. Contemporary Art Susan Wilmarth-Rabineau. 2003. Samples: A Solo Exhibition of Workshop, Chicago, April 11–May 20, Collaborative Concepts, Beacon, NY, BY ARTIST Digital Photographic Images. 2003. Glide: New Paintings. May 11–June 30, 2002. Reaching into the Sky. Installation. Prilla Smith Brackett. National Sarah Whorf. Bethel College Fine Arts MEMBERS Academy of Sciences, Washington, DC, Center Gallery, North Newton, KS, Yuriko Yamaguchi. LeRoy Neiman September 23–December 31, 2002. February 2–28, 2003. Sarah Whorf: Gallery, Columbia University, New York, Only artists who are CAA members are Uncertain Balance: Prilla Smith Recent Work. Prints and collage. February 3–21, 2003. Web. Installation. included in this listing; group shows are not Brackett, 1995–2002. published. More images and artworks can be NORTHEAST SOUTH found on the CAA website. When submitting Charles D. Caldemeyer. Meadville information, include name, membership ID Council on the Arts, Meadville, PA, Pat Adams. Zabriskie Gallery, New Jeffrey Cote de Luna. DuPont Gallery, number, venue, city, dates of exhibition, title November 8–30, 2002. Structures. York, April 29–June 6, 2003. Pat Adams: Washington and Lee University, Lexing- of show, and medium (or website address of Painting. New Paintings. ton, VA, January 14–February 16, 2003. an online exhibition). Omission of member- Paintings and Drawings, 1997–2002. ship ID number from your submission may Agnes Denes. Samek Art Gallery, Elaine Barbara Bachner. Laboratory Institute prevent your listing from being published. Langone Center, Bucknell University, of Merchandising, New York, summer Robert Ladislas Derr and Lynn Photographs, slides, and digital images are Lewisburg, PA, January 26–April 6, 2003. Retrospective; TAI Gallery, New Foglesong-Derr. Nacogdoches, TX, welcome but will be used only if space York, May 15–June 27, 2003. Proscenium February 1, 2003. Performance. allows; please include the work’s title, date, 2003. Agnes Denes: Projects for Public Paintings. medium, and size. Due to the large number Spaces, A Retrospective. of submissions, images that do not meet Lori Kent. Peligro Gallery, New Orleans, our specifications will not be considered. Anne Gant. Temple Gallery, Tyler Arlene Baker. Humanities Gallery, LA, April 12–May 5, 2003. The Lives of Images cannot be returned. Please mail to School of Art, Temple University, Union College, Schenectady, NY, October Trees. Solo Member Exhibitions, CAA News, 275 Philadelphia, April 2–5, 2003. Glass: 8–November 22, 2002. Arlene Baker. Seventh Ave., New York, NY 10001; Prints and Drawings. Painting. Gary Keown. University Art Gallery, [email protected]. Performing Arts Center, University of Chris Lyon. Bridgette Mayer Gallery, Prilla Smith Brackett. Christopher Philadelphia, February 5–March 29, Brodigan Gallery, Groton School, Groton, ABROAD 2003. Sucking You In. MA, October 18–November 15, 2002. IF YOU WOULD LIKE YOUR Prilla Smith Brackett: Paintings. WORK TO BE CONSIDERED Mark Staff Brandl. Kunstraum Alice Oh. Philadelphia Art Alliance, FOR INCLUSION IN CAA Kreuzlingen, Thurgau, Switzerland, Philadelphia, February 11–May 4, 2003. Daria Dorosh. Delaware Valley Arts NEWS, PLEASE PROVIDE: January 10–February 23, 2003. Panels, Phases of Conception: Recent Work. Alliance, Narrowsburg, NY, March Covers, and Viewers: A Painting- 22–April 18, 2003. Shift: Dimensional one black-and-white photograph, Installation. no larger than 5 x 7", OR one digital Buzz Spector. Samek Art Gallery, Elaine Prints and Flattened Objects. Inkjet (JPEG or TIFF) file, no larger than Langone Center, Bucknell University, prints and sculpture. 5 x 7", with a resolution of 300 dpi Michael Krueger. Santa Reparata Lewisburg, PA, February 2–March 2, International School of Art, Florence, 2003. Pos(e)itioning the Author. Melissa Fleming. Soho Photo Gallery, Italy, December 28, 2002–January 12, New York, May 6–31, 2003. Wax Flora. IF YOU WOULD LIKE YOUR 2003. Pathos Fantastica: Recent Thomas Xenakis. Mary Cosby Gallery at Photography. WORK TO BE CONSIDERED Drawings and Prints; American the Potter House, Washington, DC, FOR THE CAA WEBSITE, PLEASE PROVIDE: University of Sharjah, School of March 18–May 11, 2003. Views of Andrea Hoelscher. E3 Gallery, New Architecture and Design, Sharjah, United Heaven. Painting. York, February 2–15, 2003. Stereoscopic one color photograph, no larger Arab Emirates, January 13–23, 2003. City. than 5 x 7", OR one digital (JPEG) Pathos Fantastica: Recent Drawings and file, no larger than 5 x 7", with Prints. Barbara Lubliner. Gibson Gallery, The a resolution of 72 dpi Art Museum of the State University of

CAA NEWS MAY 2003 17 Peter R. Kalb. High Drama: The New BOOKS York Cityscapes of Georgia O’Keeffe and PEOPLE IN THE Margaret Bourke-White (New York: PUBLISHED BY Midmarch Arts Press, 2003). NEWS Anne McClanan. Representations of CAA MEMBERS Early Byzantine Empresses: Image and Empire (New York: Palgrave 2002). IN MEMORIAM Gary Keown. Forensic Ballyhoo, 2003. 1 Only authors who are CAA members are Anne McClanan and Karen Digital print. 31 ⁄2 x 60" Sally Michel Avery, an artist and illustra- included in this listing. Please send your Encarnacion, eds. The Material Culture tor, died on January 9, 2003. She was 100. name, membership ID number, book title, of Sex, Procreation, and Marriage in Pre- South Carolina, Spartanburg, SC, January publisher’s name and location, and year Modern Europe (New York: Palgrave, Sally Michel studied painting at New 17–February 14, 2003. A Room with a published (no earlier than 2002) to 2002). York’s Art Students League. She met and View. Interactive sculpture and digital [email protected]. married the American modernist painter Milton Avery in the 1920s, and worked as prints. Francis V. O’Connor. Charles Seliger: Redefining Abstract Expressionism an illustrator, mostly for The New York Marilyn Lanfear. Museum of South Anthony Alofsin. The Struggle for (Manchester, VT: Hudson Hills Press, Times, to support his full-time work as a Texas, Corpus Christi, TX, March Modernism: Architecture, Landscape 2003). painter. She continued with her own work 13–June 13, 2003. A Durable Trace. Architecture, and City Planning at over the years and shared fellowships Drawing, sculpture, and installation. Harvard (New York: W. W. Norton, 2002). Todd P. Olson. Poussin and France: with her husband to the Yaddo Artist Painting, Humanism, and the Politics of Colony in 1956 and the MacDowell Creighton Michael. Von Liebig Art Rene Paul Barilleaux, ed. Passionate Style (New Haven: Yale University Press, Colony in 1957. Her first solo exhibition Center, Naples, FL, March 8–April 12, Observer: Eudora Welty among Artists of 2002). in New York took place at the Waverly 2003. Mark to Multiple: A Site-Specific the Thirties (Jackson: Mississippi Gallery in 1981, and she showed her work in numerous East Coast venues. Installation. Painting. Museum of Art, 2002); Mary Lovelace S. Brent Plate, ed. Religion, Art, and O’Neal (Jackson: Mississippi Museum of Visual Culture: A Cross-Cultural Reader Avery also participated in many group WEST Art, 2002). (New York: Palgrave, 2002). shows throughout her lifetime. Retrospec- tives of her work were held at the Univer- sity of Iowa Museum of Art in 1987 and Susan Brearey. Madison Park Café, Sylvan Barnet. A Short Guide to Writing Adrian W. B. Randolph. Engaging Seattle, March 1–31, 2003. Painting and about Art, 7th ed. (New York: Longman, Symbols: Gender, Politics, and Public Art the Fresno Art Museum in 1990. prints. 2003). in Fifteenth-Century Florence (New The Averys established the Milton and Haven: Yale University Press, 2002). Sally Avery Arts Foundation, which sup- Jane Waggoner Deschner. Rocky Janetta Rebold Benton. Art of the ports many arts institutions, including CAA, and awards grants to individual Gallery, Rocky Mountain College, Middle Ages World of Art Series John Paul Ricco. The Logic of the Lure Billings, MT, February 10–March 7, (London: Thames and Hudson, 2002). (Chicago: University of Chicago Press, artists. 2003. There-and-Then. Digital prints. 2002). Per Bjurstrom, Catherine Loisel, and David George Rebecca Edwards. Christine Willis Elizabeth Pilliod. Italian Drawings: Debra Schafter. The Order of Ornament, Foster, professor Gallery, Santa Monica, CA, February Florence, Siena, Modena, Bologna The Structure of Style: Theoretical emeritus of the Dept. 6–March 18, 2003. Mixed media. (Stockholm: Nationalmuseum, 2002). Foundations of Modern Art and of Art at the Architecture (New York: Cambridge University of Angela Ellsworth. Studio Lodo, Phoenix, Hollis Clayson. Paris in Despair: Art University Press, 2003). Oregon, died AZ, April 4–30, 2003. Drawing on and Everyday Life under Siege (1870– December 21, 2002, Breath. Drawing. 1871) (Chicago: University of Chicago at age 78. Elise L. Smith. Evelyn Pickering De David George Press, 2002). Foster served in Morgan and the Allegorical Body Foster Nicholas Fedak II. Fremont, CA, August (Madison, NJ: Fairleigh Dickinson the U.S. Army dur- 29–September 27, 2002. Dreaming the Robert Cozzolino. Dudley Huppler: University Press, 2002). ing WWII and received his B.A. from the Past Away. Site-specific installation. Drawings (Madison, WI: Elvehjem New Bauhaus (or the Institute of Design, Museum of Art, 2002). Joanna S. Smith, ed. Script and Seal Use which later became part of the Illinois Alvin P. Gregorio. Glendale College Art on Cyprus in the Bronze and Iron Ages Institute of Technology) in Chicago in Galley, Glendale, CA, February Sanja Cvetni´c. Loytre za ray nebeszki: Colloquia and Conference Papers 4 1951. He attended Willamette University 18–March 7, 2003. Little Boy Wonder and krizna drva i kapelice u turopolju (Ladders (Boston: Archaeological Institute of and the University of Oregon (UO), the Island of Brown Magic. to Paradise: Public Crucifixes and Wayside America, 2002). where he earned an M.F.A. in 1957. He Shrines in Turopolje) (Zagreb, Croatia: taught art at Springfield High School in Creighton Michael. Robischon Gallery, ArTresor Naklada, 2002). Virginia Gardner Troy. Anni Albers and the mid-1950s before joining the art fac- Denver, CO, January 11–February 22, Ancient American Textiles: From ulty in the School of Architecture and 2003. Incremental: New Work. Painting Dario Gamboni. Potential Images: Bauhaus to Black Mountain (London: Allied Arts at UO in 1957. He was art and drawing. Ambiguity and Indeterminacy in Modern Ashgate, 2002). dept. head from 1978 to 1983, when he Art (London: Reaktion Books, 2002). retired and taught part-time. Always an outstanding teacher and Steven Oscherwitz. Sylvia White Angela Dalle Vacche, ed. The Visual Gallery, Santa Monica, CA, April 1–June Creighton E. Turn: Classical Film Theory and Art innovator of new methods and technolo- 30, 2003. Nano-Structures: Invisible Gilbert. How Fra History Depth of Field Series gies in the classroom, Foster taught the Hands. Painting and drawing. Angelico and (Piscataway, NJ: Rutgers University first courses offered in photography, Signorelli Saw the Press, 2002) graphic design, film, and video in the art Joyce Riley. Ace Studios Gallery, Seattle, End of the World dept. Many of his students went on to become outstanding professionals in the April 3–30, 2003. Girl Power. Video, (University Park: Margaret Werth. The Joy of Life: The installation, and painting. Penn State Univer- Idyllic in French Art, circa 1900 film and television industry, architecture, sity Press, 2003). (Berkeley: University of California Press, design, education, and the growing Sue Ann Robinson. Durango Arts Center 2002). computer-graphics industry. Art Library Gallery, Durango, CO, April Darcy Grimaldo Grigsby. Extremities: Foster was a visiting scholar at Mt. Angel College in 1967–68 and was con- 29–June 28, 2003. Chisholm Hours and Painting Empire in Post-Revolutionary Karen Wilkin and Alexander Borovsky. Other Trails: Artist’s Books by Sue Ann France (New Haven: Yale University Judith Rothschild (St. Petersburg, Russia: sidered for the presidency of the school. Robinson. Artist’s books and works on Press, 2002). Palace Editions, 2002). In the last 20 years he continued to work paper. with the changing technology of personal computers at UO. Amy Ione. Nature Exposed to Our Amy Winter. Wolfgang Paalen, Artist Mel Smothers. McConnell Gallery, San Method of Questioning (Berkeley: and Theorist of the Avant-Garde —Kenneth O’Connell, Art Professor Luis Obispo, CA, February 1–28, 2003. Diatrope Press, 2002). (Westport, CT: Praeger, 2002). Emeritus, University of Oregon Painting.

18 CAA NEWS MAY 2003 Ernst Kitzinger, a world-renowned Museum in Providence, has been appoint- Ellen Harris has been selected executive medievalist, Arthur Kingsley Porter ACADEME ed director of the Santa Barbara Museum director of the Aperture Foundation in University Professor Emeritus at Harvard of Art in California. New York. Janice Stanton, who served University, and former Director of Jeffrey Carr, formerly chairperson of the as interim executive director, will contin- Byzantine Studies at Dumbarton Oaks, Dept. of Art and Art History at St. Mary’s Mark Ledbury, lecturer in the School of ue as deputy director of the foundation. died in Poughkeepsie, NY, on January 22, College of Maryland, has been named Art History and Archaeology at the 2003, at the age of 90. dean of academic affairs at the University of Manchester, has been David B. Pankratz has been appointed to Kitzinger was one of the last of the Pennsylvania Academy of Fine Arts in named associate director of the Sterling the newly created position of director of regiment of distinguished art historians, Philadelphia. and Francine Clark Art Institute’s evaluation and research at Emc.Arts, a including Ernst Gombrich, Erwin Research and Academic Program. leading arts and cultural consulting firm. Panofsky, Rudolf Wittkower, and Julius Delanie Jenkins has been promoted to Held, who were forced to flee Germany associate professor in the Studio Arts Kynaston McShine has been selected Richard Woodfield has been appointed with the rise of National Socialism and Dept. at the University of Pittsburgh in chief curator at large at the Museum of as the new editor of the Journal of Visual whose exodus enriched academic life in Pennsylvania. Modern Art in New York, succeeding Art Practice, a publication of the British Great Britain and the U.S. After studying John Elderfield. National Association for Fine Arts at the Universities of Munich and Rome, Sarah E. Lawrence Education. Kitzinger emigrated first to England has been appointed Marysol Nieves has joined the Americas where, during a term at the British director of the Society in New York as director of visual Museum, he wrote his widely popular History of arts, after serving as senior curator and Early Medieval Art in the British Museum Decorative Arts acting director of the Bronx Museum of (London: Trustees of the British Museum, Program at the Arts. 1955), and then to the U.S. where he Parsons School of Design in New GRANTS, eventually settled at the Dumbarton Oaks Sarah E. Lawrence Sharon F. Patton, formerly director of Research Library and Collection in York. the Allen Memorial Art Museum at Washington, DC. Oberlin College in Oberlin, OH, has been AWARDS, AND Under his direction, Dumbarton Oaks MUSEUM appointed director of the Smithsonian became the leading institution of Institution’s National Museum of African HONORS Byzantine studies in the world, and its Art in Washington, DC. annual journal the preeminent vehicle for Denise Allen, formerly associate curator in the Paintings Dept. of the J. Paul Getty the publication of research in the field. Helaine Posner, formerly curator at the Roberto Bocci received an Academic Kitzinger’s own research focused on a Museum, has joined the Frick Collection List Visual Arts Center at the Massachu- in New York as associate curator. Summer 2003 Grant for the realization of number of subjects, including the mosaics setts Institute of Technology in Cycles of Confusion, a multimedia laser of Norman Sicily, Early Christian floor Cambridge, has been appointed curator of Nicholas Baume, formerly curator of interactive installation and DVD-ROM mosaics, icons and the cult of images, and exhibitions at the New York–based organ- project. the shape of artistic practice in the late- contemporary art at the Wadsworth ization, American Federation of Arts. Atheneum Museum of Art in Hartford, antique and Byzantine worlds, all of Rebecca Edwards has been awarded a which he transformed with a series of bril- CT, has been appointed chief curator at Les Reker, formerly the Boston Institute of Contemporary Art. full fellowship residency for August 2003 liant publications. director of collec- to the Vermont Studio Center in Johnson. In 1967 Kitzinger left Dumbarton tions and exhibitions Oaks for its parent institution, Harvard Sherry C. Birk has been named director at the Columbus of the Octagon, the museum of the Yvonne Elet has been chosen as the first University, where he turned his energies Museum in Colum- Andrew W. Mellon Fellow at the Frick to teaching for a dozen years. There, he American Architectural Foundation in bus, GA, has been Washington, DC. Collection in New York. She will be in combined deep experience and meticulous chosen executive the new predoctoral curatorial fellowship preparation with a sense of structure and a director of the Art program for 2 years. quietly dramatic presentation that were Jenny Dixon, formerly executive director Les Reker Museum of Greater of the Bronx Museum of the Arts, has irresistible. Always scrupulously respect- Lafayette in Indiana. Nicholas Hill, professor of art at ful of the thought processes and inclina- been named director of the Isamu Noguchi Garden Museum in Queens, NY, Otterbein College in Westerville, OH, has tions of others, he never tried to impose Sarah Schleuning, formerly assistant succeeding Shoji Sadao. been awarded a 6-week printmaking resi- his beliefs and methods. He gave a free curator of the Cranbrook Art Museum in dency at Grafikwerkstatt in Dresden, rein to his students, who as a result are as Bloomfield Hills, MI, has joined the Julie Dunn-Morton Germany, by the Ohio Arts Council, remarkable for the different paths that Wolfsonian–Florida International Zygote Press, and the city of Dresden. they followed as for their eminence. has been appointed University in Miami as assistant curator. Kitzinger held the Slade Professorship to the newly created position of Gyuri Hollósy of the Johnson Atelier of Fine Art at Cambridge University, and Kate M. Sellers, formerly director of the Woodcock Curator Technical Institute of Sculpture in Germany awarded him the prestigious Wadsworth Atheneum Museum of Art in Mercerville, NJ, has received a grant Orden Pour le Mérite für Wissenschaft of American Art for Hartford, CT, has been selected director the St. Louis from the George and Helen Soros und Künste. In his retirement he divided of the Walters Art Museum in Baltimore. Foundation to create and cast a pair of his time between Oxford and Princeton. Mercantile Library Julie Dunn-Morton at the University of large-scale bronze figures. Already in his 80s, he embarked on an Allen Townsend, formerly Arcadia Missouri, St. Louis. extraordinary schedule of work, and at the Director of Libraries and Archives at the Delanie Jenkins has received a 2003 fel- rate of one a year wrote and prepared for Philadelphia Museum of Art, has been lowship from the Pennsylvania Council press six volumes of plates with accompa- Rhoda Eitel-Porter will join the Morgan named librarian of the Amon Carter Library in New York as curator and head on the Arts in Visual Arts for her sculp- nying commentaries that effectively com- Museum in Fort Worth, TX. ture and installation works. pleted his corpus of all the Norman of the Dept. of Drawings and Prints in January 2004. mosaics of Sicily. Lori Urbanelli has been appointed inter- Thomas DaCosta Expertly skilled in the art of looking, im director of the Rhode Island School of - John Elderfield has been promoted to Kaufmann, profes he believed in the primacy of the eye. He Design Museum in Providence. sor in the Dept. of sought in the touch of style the essential chief curator in the Dept. of Painting and Sculpture at the Museum of Modern Art Art and Archaeology channels of access to and the understand- Susan von Salis has been appointed asso- at Princeton in New York, succeeding Kirk Varnedoe. ing of the motivations and mentality of a ciate curator of archives at the Harvard University, has been culture and of an age. Although his sub- University Art Museums in Cambridge, elected a Foreign Peter Held, former executive director ject of study was medieval art, one felt MA. Thomas DaCosta Member of the that his predispositions and sympathies and curator for the Holter Museum of Art Kaufmann in Helena, MT, has been selected curator Royal Swedish were in tune with those of modernism. Academy of Sciences. He was selected to Kitzinger was a man of humanity, depth of ceramics at the Arizona State ORGANIZATIONS University Art Museum’s new Ceramics the place vacated by Ernst Gombrich, of conviction, and moral purpose. These with whom Kaufmann studied in London. qualities were as apparent in any dealings Research Center. Ronald E. Bogle has been appointed with him as they are in his scholarship. president and chief executive officer of Phillip M. Johnston, formerly director of Charles Matson Lume, assistant profes- —John Mitchell, University of East Anglia, the Washington, DC–based American sor at University of Wisconsin, Stout, has and William Tronzo, Tulane University the Rhode Island School of Design Architectural Foundation.

CAA NEWS MAY 2003 19 in Texas, has been awarded a UH fax, and the name of the nominating Research Grant for his book Insurgent TO ATTEND Ph.D. advisor. (In special cases when CD Messages: The Art of Edgar Heap of copies are not possible, dissertation chap- Birds (forthcoming, University of New The Americans for the Arts 2003 ters may be sent by email.) Send to Elisha Mexico Press). Annual Convention, entitled P. Renne, Dept. of Anthropology, 1020 “ARTrepreneur: The New Arts Leader,” LSA Bldg., 500 S. State St., University of Claudi Sbrissa was awarded a 2003 will take place June 7–9, 2003, at the Michigan, Ann Arbor, MI 48109-1382; Skowhegan School of Painting and Hilton Portland and Executive Tower in [email protected]. Sculpture Artists Residency. Portland, OR. For full details, please visit www.AmericansForTheArts.org. Oscar E. Vázquez of Binghamton University, State University of New York, The International Congress of Classical CALL FOR ENTRIES Gyuri Hollosy. Full Moon 1, 2002. Bronze. has been awarded the American Society Archaeology will take place at the 1 16 x 19 ⁄2 x 16" for Hispanic Art Historical Studies’s 2003 Harvard University Art Museums on Artempresa Gallery in Cordoba, Eleanor Tufts Award for a distinguished August 23–26, 2003; its theme will be Argentina, requests submissions to been awarded a Bush Foundation Artist publication on the arts of Spain and “Common Ground: Archaeology, Art, Figureheads, a juried sculpture exhibition Fellowship. During the last 4 months of Portugal for his book, Inventing the Art Science, and Humanities.” This confer- to be held November 5–22, 2003. the fellowship, he will participate in a Collection: Patrons, Markets, and the ence is held every 5 years to present sig- International artists ages 18 and older are residency at the Irish Museum of Modern State in Nineteenth-Century Spain nificant research from classical archaeol- encouraged to submit 35-mm slides of Art, Dublin. Lume has also received a (University Park: Penn State University ogists, art historians, conservation scien- work that does not exceed 100 cm in any Jerome Foundation Emerging Artist Press, 2001). tists, and scholars from around the world. direction or weigh more than 30 lbs; works Fellowship, which culminates with an For further information about the 2003 may be wall hanging or free standing. The exhibition at the Minneapolis College of Idelle Weber has been elected to mem- congress and registration fees, send your winner of Best in Show will receive a cash Art and Design in Minnesota in bership to the National Academy of name, address, telephone and fax number, award and will be considered for a solo November 2003. Design in New York. and email address to Amy Brauer at exhibition in 2004. Entry fee is $30/3 617/495-3393; fax: 617/495-5506; slides; $5/each additional slide, with no Babette Martino has received a GAP [email protected]. limit. Please send applications to grant from the Pew Fellowship in the Arts Artempresa Gallery, Figureheads, San for his traveling museum exhibition, The Jeronimo 448, 5000 Cordoba, Argentina; Martinos: A Family Legacy, in 2004–5. 54-351-4221290; artempresa@artnet. com.ar; www.artempresagallery.com. Jeff McMahon has been awarded a CONFERENCES Deadline: July 15, 2003. Playwriting Commission from the RESOURCES & Individual Artists Program of the New & SYMPOSIA Florida’s Art in State Buildings York State Council on the Arts in support Program announces its “Spring/Summer of his multimedia digital play, A Certain OPPORTUNITIES 2003 Call to Artists,” containing descrip- Release. For the most up-to-date and expanded list of tions of 14 new public-art projects with conferences and symposia, please consult submission deadlines in May, June, July, Anita Moskowitz, www.collegeart.org. For the most up-to-date and expanded list of and August 2003. Project art budgets professor of art his- resources and opportunities, please consult range from $1,500 to $85,000. The vari- tory at the State www.collegeart.org. ous selection committees are searching University of New CALLS FOR PAPERS for a wide variety of art, from interior art- York, Stony Brook, work to large-scale outdoor pieces. has received a visit- AWARDS Interested artists can view the call at ing fellowship from Technology and the Home seeks papers www.florida-arts.org (this and all future Anita Moskowitz the Center for for the Mid-Atlantic Popular Culture program publications will be Web-based The 2003 New Works Photography Advanced Study in Annual Conference that will explore vari- only). For more information, contact Lee Awards is open to fine-art and documen- the Visual Arts at the National Gallery of ous interactions between the technology Modica, Program Administrator, Art in tary photographers of Latino, African, Art in Washington, DC, for spring 2003, and the domestic environment. The dis- State Buildings Program, Division of Asian, Native American, and Pacific and a National Endowment for the cussion may focus on real, imagined, or Cultural Affairs, 1001 DeSoto Park Dr., Islander heritage who wish to create a Humanities grant for the academic year speculative homes and technology. There Tallahassee, FL 32301; 850/245-6476; new series or continue an ongoing one. 2003–4. She will investigate the work of is no limit on the time frame or methodol- fax: 850/245-6492; lmodica@mail. Four photographers will be selected to Giovanni Bastianini and the 19th-century ogy. The 2003 conference is Wilmington, dos.state.fl.us. Deadlines are ongoing. reception of Italian Renaissance sculpture. DE, at the Wyndham Wilmington Hotel, receive an honorarium, photographic November 7–9, 2003. Send 1-page pro- materials, technical assistance, and a New Soicher Marin Gallery is a new Los York–area exhibition. For guidelines, go Jed Perl has been name the first recipient posal, c.v., and audio-visual needs to Angeles gallery reviewing portfolios for to www.enfoco.org/programs/ of the Marian and Andrew Heiskell Loretta Lorance, CUNY Graduate Center, future exhibitions. All media is accepted newworks/newworks.htm or send an Visiting Critic and Journalist Award from P.O. Box 461, Inwood Station, New York, for review. Please send a cover letter, 20 S.A.S.E. to En Foco Inc, attn: New Works, the American Academy in Rome. He will NY 10034-0461; www.wcenter.ncc.edu/ slides, slide list, résumé, artist statement, gazette. Deadline: June 15, 2003. 32 E. Kingsbridge Rd., Bronx, NY be in residence at the center for 6 weeks and an S.A.S.E. to Soicher Marin, Attn. 10468; 718/584-7718; [email protected]. in February–March 2003, finishing his Alysha Pitsicalis, 12824 Cerise Ave., Deadline: June 9, 2003. forthcoming book, New Art City (Alfred The 3rd Interdisciplinary and Multi- Hawthorne, CA 90250; gallery@ A. Knopf). cultural Conference on Food Repre- soicher-marin.com. No deadline. sentation in Literature, Film, and the The 1st ACASA Sieber Dissertation Christine Poggi, associate professor of Other Arts will take place at the Award requests nominations from pri- art history at the University of University of Texas at San Antonio, mary Ph.D. advisors for outstanding dis- Pennsylvania in Philadelphia, has been February 26–28, 2004. Art-history sub- sertations on some aspect of African MANUSCRIPTS awarded the Dedalus Foundation’s 2003 missions are strongly encouraged. Please and/or African-related diaspora art in any AND JOURNAL Senior Fellowship for her project, send title and abstract of paper, in discipline. Dissertations completed during “Modernity as Trauma: The Cultural English, French, German, Italian, September 1, 2000–September 1, 2003, CONTRIBUTIONS Politics of Italian Futurism.” Japanese, Russian, or Spanish, to are eligible. Advisors may nominate 1 dissertation only. Dissertations should be Santiago Daydi-Tolson, Dept. of Modern The AHRB Research Centre for submitted in English. An award of $500 Amy Ruedinger of the Art Institute of Languages and Literatures, University of Studies of Surrealism and Its Legacies, will be given at the 13th ACASA Portland has received the Dan Favor Texas at San Antonio, 6900 N. Loop 1604 which brings together the Universities of Triennial, to be held in spring 2004. Memorial Award for her sculptural book, West, San Antonio, TX 78249-0644. For Essex and Manchester in partnership with Dissertations (a CD copy, with text in Belief Bones, shown in the electronic submission, send an email the Tate Galleries, will be launching an Word) should be sent by the author to the Unconventional Wisconsin Exhibit. attachment in Word to convivium@utsa. online journal reflecting the rich diversity address below, along with a letter indicat- edu; http://flan.utsa.edu/foodconf. of research. We invite academic papers, ing author’s name, university affiliation, W. Jackson Rushing III, professor of art Deadline: September 15, 2003. exhibition or book reviews, interviews, current address, email address, telephone, history at the University of Houston (UH) and shorter notices for publication. Send

20 CAA NEWS MAY 2003 inquiries or proposals for submissions to offers 2–6 week grants. For more informa- ing, round-trip transportation within the MONTH. UTILITIES ADDITIONAL. HAS WASH- Emma Jenkins, Executive Officer, AHRB tion contact the Council for International continental U.S. from their home to the ER/DRYER/DISHWASHER. CONTACT: Research Centre for Studies of Surrealism Exchange of Scholars, 3007 Tilden St. site, and weekly honoraria. Available 212/674-1038; OR EMAIL: vgreene@ and Its Legacies, University of Essex, NW, Ste. 5L, Washington, DC 20008- media: vitreous china, iron, enamel, and guggenheim.org. Wivenhoe Park, Colchester CO4 3SQ, 3009; 202/686-7877; apprequest@cies. brass. The center invites emerging and U.K.; 44-0-1206-872-600; ejenkins@ iie.org; www.cies.org. Deadline for tradi- established artists working in any disci- NICE, FRANCE.ART STUDIO. EXCHANGE/ essex.ac.uk;www.surrealismcentre.ac.uk. tional lecturing and research grants pline to apply for Arts/Industry residen- SHARE FOR NEW YORK STUDIO. Deadlines are ongoing. worldwide: August 1, 2003; Deadline for cies. For more information and an appli- [email protected]. Senior Specialist Program: ongoing. cation, send an S.A.S.E. (#10 with 55 cents Nueva Luz, a photographic journal, postage) to Kim Cridler, Arts/Industry ROME.RENT APARTMENT. FULLY FUR- reviews fine-art and documentary work in The Malevich Society is a nonprofit Coordinator, John Michael Kohler Arts NISHED: BEDROOM (TWIN BEDS), LIVING- black-and-white by American photogra- organization dedicated to advancing Center, 608 New York Ave., P.O. Box DINING ROOM (COUCH-BED), EAT-IN phers of African, Asian, Latino, Native knowledge about the Russian artist 489, Sheboygan, WI 53082-0489; 920/ KITCHEN, BATH, LARGE TERRACE, BAL- American, and Pacific Islander heritage. Kazimir Malevich and his work. In the 458-6144; [email protected]; www. CONIES, DISH-CLOTHES WASHERS. $1,200 Photographers are encouraged to review belief that Malevich was a pioneer of mod- jmkac.org. Deadline: August 1, 2003. MONTH + UTILITIES. 01139065814735; at least 2 previous issues (at libraries or ern art and should be better recognized for [email protected]. bookstores; online at www.enfoco.org). his key contributions to the history of The Bemis Center for Contemporary Please send 20 slides, 8 x 10" prints, or modernism, the society awards grants to Arts artist-in-residency program offers 2- CD; include résumé, bio, support materi- encourage research, writing, and other to 6- month residencies for U.S. and als, and sufficient postage for the safe activities relating to the history and memo- international visual artists. Bemis pro- FOR SALE return of your materials. Photographers ry of the artist. For applications and further vides 1,000–2,000 sq. ft. private will be notified within 6 weeks. Send to information, go to www.malevichsociety. studio/living space, a 10,000 sq. ft. fabri- HISTORIC PRESERVATION (1966–2002); En Foco Inc., attn: Nueva Luz, 32 E. org or contact us at 718/980-1805 or cation/installation facility equipped for WINTERTHUR PORTFOLIO (1979–99); ART Kingsbridge Rd., Bronx, NY 10468; [email protected]. steel- and woodworking, access to print- BULLETIN (1979–87); OLD-TIME NE (1973– 718/584-7718; [email protected]. Deadline: September 30, 2003. making and photography facilities, indi- 2000); VICTORIAN SOCIETY ANNUAL (1961– Deadlines are ongoing. vidual monthly stipends of $500–1,000, 88); INDUSTRIAL ARCHEOLOGY (1975–98); and exhibition possibilities. Artists must OHJ (1984–2001); ARCHITECTURAL HISTORY submit an application form, 10 slides of (1973–93); ALSO BOOKS; REASONABLE. ONLINE work completed within the last 2 years, LISTS: [email protected]. CATALOGUES c.v., reviews or other support materials, a RAISONNÉS Digital Painting with Photoshop is a 14- $35 application fee, and a large S.A.S.E. week lesson plan, developed by Karen for return of slides. Mail to Bemis Center OPPORTUNITIES Wheeler, assistant professor of art at for Contemporary Arts, 724 S. 12th St., The Daumier Register invites curators Wingate University and found online at to supply information about their Honoré Omaha, NE 68102; 402/341-7130; fax: www.ssteuer.com/edu.asp, that empha- 402/341-9791; [email protected]; ENCAUSTIC WORKSHOPS IN SANTA FE: Daumier collection to be registered in this sizes methods for students to simulate tra- MONOTYPES, PAINTING, COLLAGE, AND new catalogue. The project has been run- www.bemiscenter.org. Deadline: ditional artists’ media and prepare their September 30, 2003. DRAWING TECHNIQUES. ONGOING ning for 2 years and will be finished in own artwork for publication or output. SCHEDULE. www.paularoland.com OR about 2–3 years, in time for Daumier’s The lesson plan complements Sharon 505/989-3419. 200th birthday. It will be nonprofit and Steuer’s Creative Thinking in Photoshop: will supply in-depth information to pri- A New Approach to Digital Art FRENCH PAINTING VACATIONS/ vate collectors, researchers, librarians, (Indianapolis: New Riders Publishing, WORKSHOPS. SUNFLOWERS, MEDIEVAL VIL- and museum curators. The bibliography 2002). Education and evaluation copies of LAGE HOME. FAB. CHEF AND INSPIRATIONAL consists of more than 1,500 books and the book may be ordered. CLASSIFIEDS INSTRUCTION. ALL LEVELS. OR RENT OUR articles. We are presently inviting various FACILITY FOR YOUR OWN WORKSHOP. 707/ private collectors and museums in the PhdData is a pioneering academic trial, 823-9663, BROCHURE: www.artfully.com. 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CAA NEWS MAY 2003 21 and the ideas that infuse their Believed to have been com- DATEBOOK poetic, emotional, and intellec- missioned by Piero di Cosimo tual work. Despite the differing de’ Medici, the David was May 12, 2003 issues in each artist’s work, made in 1465–70 and sold to Deadline for the submission of prelimi- some beautiful connections the Florence city government nary proposals to session chairs for the PHOTO CREDIT: DAVID ALLISON between them became apparent in 1476 by Piero’s son 2004 CAA Annual Conference Mary Lucier. Last Rights (Positano), 1995. through this pairing. After a Lorenzo, called the Magnif- Interactive mixed-media video installation. May 15, 2003 Courtesy Lennon, Weinberg, Inc. “Happy Hour,” critic John Yau icent. The head of Goliath was Deadline for submissions to the July 2003 and painters Catherine Murphy moved to permit the statue’s issue of CAA News ARTSPACE and Sylvia Plimack-Mangold placement on a small pedestal June 18, 2003 CONTINUED FROM PAGE 1 capped off the day with a dis- next to a Palazzo Vecchio 2004 Annual Conference session chairs cussion of issues of realism, doorway, the entrance to the notify applicants of acceptance or rejec- tion of preliminary proposals. CAA con- portable computers—created a aided by a surprise participant, Sala dei Gigli. When the work ference director receives session rosters buzz in the room with much painter and critic Bob Berlind. returns to the Bargello, it will and a-v request forms from session exchange of digital images and Saturday’s morning program, be displayed as before, with chairs. (This information is used for the Preliminary Program and conference sound on display in the “new sponsored by CAA’s Services Goliath’s head between scheduling) portfolio.” Hilary Barker’s to Artists Committee, focused David’s feet. panel on young female video on practicum issues of deep “Like our recent partnerships June 27, 2003 Deadline for submissions to the August and performance artists, “Safe concern to artists—health and with the Musée d’Orsay and 2003 issue of CAA Careers Haven: Performance, Video, safety, now a pressing issue for the Munch-Museet in Oslo, and the Body by Female Artists many institutions. A session on this project reflects our ongo- June 30, 2003 Deadline for joining, rejoining, or renew- Today,” had as a counterpoint conservation and the archival ing commitment to internation- ing CAA membership for calendar year the appearance of a seminal properties of artist’s materials al collaborations that enable us 2003 artist of these mediums, focused on digital and electron- to bring the world’s great art Carolee Schneemann, who put August 31, 2003 ic media followed. The finale treasures to the United States,” Deadline for nominations for the 2004 the subject into historical per- was an intellectually stimulat- said Michael E. Shapiro, the CAA Awards for Distinction spective. ing and emotionally charged Nancy and Holcombe T. Friday started with an impor- September 1, 2003 session led by Nato Thompson, Green, Jr. Director of the High 2004 Annual Conference session chairs tant panel chaired by Janet “Upstaging Pedagogy in the Museum. receive final abstracts from speakers Koplos, “The Meaning of Theater of Conflict,” which Atlanta is the site of CAA’s Labor in Today’s Art,” where September 12, 2003 included Coco Fusco, the Atlas 93rd Annual Conference, to be Deadline for session proposals for the the artists Rona Pondick and Group, Trevor Paglen, Aaron held February 16–19, 2005. 2005 CAA Annual Conference in Atlanta Annabeth Rosen discussed the Gach, and an electronic Claire labor-intensive process in their November 3, 2003 Pentecost (via videotape). With ANNUAL CONFERENCE Deadline for curatorial proposals for an art, as well as the type of work this, ARTspace ended on a very CONTINUED FROM PAGE 5 exhibition at the 2005 CAA Annual it generates. During the entire high, yet somber note. Conference in Atlanta session, Erin Sotak performed, —Norie Sato, Services to December 1, 2003 patiently blowing up red bal- Artists Committee Chair success: Bruce Robertson, 2004 Annual Conference session chairs loons, which appropriately and Annual Conference Committee receive final drafts of speakers’ papers spontaneously burst as the fol- chair, committee members HIGH MUSEUM TO SHOW February 18–21, 2004 lowing panel began. For “Art Lynne Allen, Michael Aurbach, 92nd CAA Annual Conference in Seattle World versus Artists versus Art RESTORED DAVID Nicola Courtright, Richard CONTINUED FROM PAGE 1 World,” critic Roberta Smith, Kalina, Andrea Norris, Norie gallery dealers Jeffrey Deitch Sato, Gregory Sholette, Annie CORRECTIONS and Stephen Rosenberg, cura- The gilding, Storr, Alfred Acres, Holly tors Saul Ostrow and Jeffrey notes Radke, Hughes, Katy Siegel, and Mimi In the March 2003 issue of CAA News, we misspelled the name of the late Prof. Fleming, and museum director was applied Hall Yiengpruksawan; and to Edith Porada on page 4. Alanna Heiss really created with glue, not the CAA staff, especially some heat for a packed-to-the- fused using Emmanuel Lemakis, Paul Skiff, On the same page, a reference to Karbala names Husein as the son of the ceiling audience. The riveting mercury, con- Lauren Stark, and Brenna Prophet Muhammad, when in fact he and moving Annual Artist firming that Johnson. was grandson of the prophet and the son Interviews followed. Multi- the work was —Ellen K. Levy, CAA Board of Ali, who is mentioned in the entry for Nejef. media and video installation not meant for Member and Vice President for

artist Mary Lucier, interviewed PHOTO CREDIT: ANTONIO QUATTRONE, COURTESY OF THE BARGELLO outdoor dis- Annual Conference In the Books Published by CAA by curator Barbara London, Andrea del Verrocchio, play. Also Members section, Victor Margolin’s David before restoration book was misidentified. The correct title and filmmaker and photogra- revealed in is Culture is Everywhere: The Museum pher Shirin Neshat, inter- the process were anatomical of Corntemporary Art. viewed by curator Feri Daftari, details such as the veins in CAA regrets these errors. spoke of their art, their lives, David’s arms.

22 CAA NEWS MAY 2003 CAA 2005 ANNUAL CONFERENCE Atlanta, February 16–19, 2005 Session Proposal Submission Form

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Conference Director, Sessions 2005 College Art Association 275 Seventh Avenue, New York, NY 10001 Deadline: September 12, 2003 Cross, she became the med- Eventually this attribution THE 63 STAGES OF ical supervisor in a large would become fodder for Tokyo silk factory, where dozens of paintings and THE YELLOW BRICK she met the brother of my performances for years to grandfather Yoshitomi, who come. ROAD had already immigrated to It was about the second the United States in 1906. grade when I became intro- The following address was delivered by Roger Shimomura, The brother decided that duced to the postcards that artist and University Distinguished Professor of Art at the Toku Machida my grandmother was a like- were glued into the scrap- Blonde mother University of Kansas in Lawrence, at Convocation at the CAA ly candidate to be a photo- books belonging to the par- Annual Conference on February 19, 2003. Shimomura’s talk was accompanied by a number of slides that illustrated and bride, called sashin-kekkon in Japanese, to the ents of my neighborhood buddy, Jim Pantano. He embellished his words. Because of space limits, every image unwed Yoshitomi, and he eventually would always tease me and say, “I got shown at Convocation cannot be reproduced here. gained acceptance by both families to some pictures of your Daddy.” I arrange a marriage between the two. stared at these strange-looking mon- rior to this evening, many people have Toku, along with sixty other photo- sters, wondering if others thought that asked me for a clarification of the title of brides, boarded a ship for the arduous, my father actually looked like this. By my talk. Let me reveal that the CAA office thirteen-day journey across the the third grade, apparently wanting to Postcard stereotyping Prequested the title six months ago, far before I Pacific Ocean. Just prior to embark- Japanese distinguish myself from those mon- had any idea what I would talk about. I felt that ing, she began to keep a diary, record- sters, I too began to seek refuge a reference to my age, a reference to the state of ing her daily events and thoughts during this behind blond hair. Kansas, and finally a reference to Hiroshige’s memorable trip, unaware at the time that she My life as a collector began “53 Stages of the Tokaido Road” would easily would maintain this diary in America for the next very early. As a child I began to bracket any subject that I would eventually fifty-six years, until her death in 1968. amass soda-pop bottle caps, choose to talk about. A few months ago, after Upon landing in Seattle and following the legal Popsicle sticks, and bubble-gum much personal rumination, I decided to share consummation of her marriage, Toku applied for cards. I also had a large collec- with you the one topic that I felt uniquely quali- and received her license to become a midwife, or tion of detailed drawings of fied to discuss, and that is my own work. But in Japanese, a samba, primarily serving the rapid- everything that I wanted to pos- this will not be the standard “Artist Talk” since I ly growing Japanese community. In 1939, fully sess, such as cowboy and engi- will not be showing you any examples of my retired after delivering more than one thousand neering boots, Schwinn bikes, Roger (left) with blonde hair own work, but instead I hope to show you how babies, she returned to her practice, one more and Red Ryder BB Guns. At this my paintings, prints, installations, and perform- time, to deliver me into this world. Without fan- early age, it was my first intro- ance works have been shaped not by academic fare, her diary entry on my birth date essentially duction to the magical potential of art, which influences, aesthetic fashion, or the winds of said, “Today, Roger was born,” a rather inauspi- served in this case as a source of surrogates for all multiculturalism, but simply by various events cious entry, but it was then that life and art begin of my unfulfilled material desires that our family that I have passed through during my life. I also for me. could not afford. want to share with you how the visual environ- Eight years ago, my former New York dealer But mainly I collected comic books: Walt ment with which I have surrounded myself has challenged her stable of diverse artists to try and Disney, Dick Tracy, Nancy and Sluggo, and reflected those events and consequently affected recall their first ten memories of life and record some war-theme comics that resonated with the my work. Since, in the long history of this them in a series of small paintings to be exhibit- disturbing images from Jim Pantano’s postcards. organization, I believe I am the first Asian ed in her gallery. For me, my earliest recollec- Because my parents did not approve of the pro- American artist to deliver a keynote address, I tions as a two- and three-year old were of life in liferation of comics such as these, my war-theme will seize the moment by sharing with you some Camp Minidoka, a deso- collection was covert. Little did I know, howev- personal experiences that might add more late internment camp er, that this young obsession of wanting to pos- diverse faces to a group of people that frequently during WWII, located in sess every issue, every baseball card, and every suffer anonymity behind such stereotypes rang- the desert in southern cereal premium would be a pattern that would ing from the “inscrutable enemy alien” to the Idaho. Coincidentally, I follow me for life, a pattern that would not only “model minority.” had exactly ten memo- fill my house, but eventually fuel my art. Recently, a news reporter asked me in an ries of that experience, All through grade school and junior high interview, “Now that you are close to retirement, The Shimomura Family at which I later chronicled school, our favorite neighborhood game was not Camp Minidoka and your teaching career is almost over, is it pos- again in a series of litho- “Cowboy and Indians” but “Kill the Japs,” sible to summarize what your most important graphs in book form called “Memories of bringing to life the values from the comics that I message has been to your students over the Childhood.” After two years, following our collected. We reluctantly took turns being the years?” My response was simple and sounded release from Minidoka, our family moved into “Jap,” though we all preferred to be, of course, like a fortune-cookie proverb: I said that I tell an apartment in south Chicago, where I attended John Wayne, the most prolific Jap killer of the my students to “take a hard look at yourself first kindergarten for one year before we returned by time. I attended Garfield High School, truly a and consider whether there is significant value in train back to our home in Seattle, where I began unique high school for the 1950s—approximate- 1 1 1 sharing what you are experiencing in life.” attending public schools located in the inner city. ly ⁄3 white, ⁄3 black, and ⁄3 Asian—known now Some of you that are familiar with my artwork Many years ago, while my grandmother was for its musical legacy built by former students know the importance the life of my paternal still alive, she presented me, one day, with a box such as Quincy Jones, Ernestine Anderson, Jimi grandmother has had upon me, to the extent that that contained all of the drawings that I had done Hendrix, and countless numbers of other famous my career, in a sense, began with her life. Her from the first through sixth grades. Among the jazz and rock performers. name was Toku Machida, born in Tokyo, Japan, in earlier drawings, I was shocked to discover that Entries in my yearbook reflect the former state 1888. She was trained as a nurse and, in 1904, every time I drew my mother, I drew her with of pre–political correctness. One of these, from served in live action at the famous battle of Port blue eyes and blonde hair. I assume that my closest friend, who was Italian American, Arthur during the Russo-Japanese War. Shortly because I loved my mother dearly, I wanted her read, “My dearest Rocky Shimerano. Now that after her discharge from the Japan Naval Red to have all the attributes of a perfect mother. you have retired from the heavyweight division, I think I can take you on. tenant, in the 1st Cavalry Division of the U.S. of Kansas, inviting me to come to Lawrence for When you come back Army. For thirteen months I served, and drank, an interview. I refused, for I did not know where from your tour of your with my fellow officers that were stationed close Kansas was and insisted that I never applied for homeland, Japan, I’ll do to the demilitarized zone in South Korea. I a job there. But the chair had a way with words, so.” It was signed, the laughed at the fact that my nickname was “Pop- and, after interviewing there for two days and “Wop.” Then, at the bot- up,” because in the eyes of my white officer col- discovering that there were twelve full-time Neighborhood kids playing tom, next to the picture leagues, I looked like the targets we all practiced painters on the faculty, I became convinced that “Kill the Jap” of a boat, it continues: shooting at. (Here is one example from my col- one or two years there would not hurt my bud- “Slow boat to Japan. On lection of targets used during WWII). The enemy ding career. to Japan. Banzai,” with a drawing of a Japanese North Koreans were known by the American Lawrence introduced me to an event called Zero fighter plane. Practically every cliché and forces as “Joe Chink,” a racist term usually the estate auction. In addition to the required stereotype, unacceptable today, were used as reserved for Chinese, not Koreans, but in the U.S. household necessities, I became absorbed in vicious haranguing until their meanings were Army, the refrain was “Yellow all Same.” I joined making inexpensive acquisitions of any interest- defused by constant repetition. Race wars were my fellow officers in singing the battalion fight ing tchotskes, particularly old toys. Within four common. One Seattle gang called the Gayblades, song about killing Joe Chink as we years I had a world-class collection primarily made up of Blacks and Asians from crossed the Yalu River. At that time, I that focused on tin windup toys and Garfield, regularly fought another called the never felt connected to the Korean peo- 1930s Walt Disney memorabilia. From Dukes, who were the white kids from Lincoln ple, North or South, attributing their such visual stimulation around me con- High School. In a battle, the Asians stares toward me as simple stantly, these pieces began to enter into sided with the Blacks but would never curiosity, from one Asian to my paintings and drawings. The first take up with the Chinese. “Yellow no another. Neither was I sensi- step of connecting one passion in my Same,” a theme that has generated a tive to, nor did I feel linkage life to my art had finally begun. half-dozen performances and a like to, the violent history shared But my work and life changed for- Pop-up target number of paintings, was chanted with between the two countries, ever after I talked at one of those auc- deep feelings among Asian people, nor the connection to why tions with a local farmer, who pretty reflecting their long histories of war, many Korean people spoke much summarized dozens of conversa- violence, and occupation. Somehow Japanese so fluently. I was tions that I had had with several we Japanese Americans managed to accepted as an honorary townspeople since arriving in distinguish ourselves from the Chinese white among my peer group, Lawrence: “What are you? Where you so completely that here my cousin is so why should I feel any kind from? and What do you do?” My stock seen wearing a mask of the feared Fu of kinship toward the answers were: “I’m Japanese Manchu, obviously precluding any Koreans, even though I American, I’m from Seattle, and I sense of solidarity between Asian peo- looked like a pop-up target? Cluster of toys teach art at KU.” The anticipated ples. Every ethnic grouping struggled Cousin in Fu Manchu In retrospect, the confusion answers? Probably something like: within an established pecking order. mask (left) that I failed to recognize was “I’m Chinese,” “I’m from Japan,” and The fact was, our individual identities endemic to many Asian Americans at “I live on the Potawatomi Indian reservation.” started with the color of our skin. the time, and it would still be years before I This last conversation, so complete in its stereo- Following high school, I enrolled at the became familiar with the revelations by Malcolm typing of a foreign-looking person in the mid- University of Washington, which at the time had X on self-hatred. After two years I was honorably lands, changed my work and life forever. My the much-hated mandatory Reserve Officer’s discharged and righteously cast my vote for Barry response to this conversation, I decided, could Training Corps. For two years, I tolerated Goldwater. only be ameliorated by some kind of art gesture. military-science class and drills and swore that I Fast forwarding through undergraduate school, I began to do paintings that sarcastically looked would not complete the training for the last two marriage, and a change of fields of study, I Japanese. All of a sudden, I discovered that the years, preferring instead to be drafted as a pri- entered the graduate painting program at appearance of my art readily initiated dialogue vate instead of entering military service as a Syracuse University, accepted on the basis of about who I was and from where I came. commissioned officer. Things turned out differ- work that was heavily influenced by the graphic I began to combine images from ukiyo-e ently, however, as the night before I had to sign character of my childhood comic-book collec- wood-block prints with objects from my collec- the papers that would terminate further military tion. An important event happened at a graduate tions of Americana. I juxtaposed images of my study, my father intervened by inviting home seminar when the subject of the WWII intern- pinback buttons, Disney characters, and super- Shiro Kashino, a close family friend. Shiro was a ment was broached. Because of my experience heroes from the 1930s Big Little Books. I came WWII veteran from the famous 442nd, an and recollection of camp, I had some personal to the major realization that, for me, the only dif- all–Japanese American infantry battalion; he stories to share with the other students. What ference between a Japanese woman and Minnie happened to be the most highly decorated living shocked me was the fact that only two students Mouse was race or species. Along with this, I hero from the most highly decorated unit in the out of thirteen, a husband-and-wife team from was experiencing, for the first time, the hyphen history of the U.S. Army. Shiro was at our house Portland, OR, had even heard of the internment. that separated the Japanese from American. to convince me that it was my duty, as a third- Several others were reluctant to believe it even Ironically, however, people that were seeing my generation Japanese American, to continue my happened. The seeds of consciousness were paintings thought them to be a homecoming of military studies and become a commissioned planted, as I began to grow aware of some very sorts. In other words, I now painted that way officer in the Armed Services, something not profound differences between my fellow artist because, to them, I have always looked that way. allowed of Japanese Americans during WWII classmates and me. But up through graduation, Little did they realize how foreign-appearing, to until the latter parts of the war. Reluctantly, after my paintings and silkscreens continued to make me, the geisha and samurai were in my composi- three hours, and for the first time in my young commentary upon European American popular tions. These were not the images that were life, I made a decision that was not for me but culture while maintaining the appearance of the around me while growing up; these were the for the community from which I was a charter comic-book aesthetic. exotic things I associated with my grandparents member. Following graduation, I received a call from and the images in their scrapbooks. This became In 1961 I entered military service as young lieu- the chair of the Art Department at the University my first contact with the notion of irony. In 1978, the move toward reparations for the Detroit. So distraught were actually Chinese. Once again, “Yellow all 60,000 living Japanese Americans who survived was Chin’s mother that Same.” Under the keywords of “Chinese salt and the internment refocused an interest in the sub- she renounced her U.S. pepper shakers,” nine were listed, but four of ject within the Japanese American community. citizenship and returned them were actual- Since the detailed experience of the internment to China. This shameful ly Japanese. All seemed interminably locked up within my par- incident directly this was forgiven, ents, I always fantasized about what my grand- Painting from the series inspired a series of six- however, when “Return of the Yellow Peril” mother’s Japanese-language diaries might con- teen large paintings one salt-and- tain on this subject. I felt somewhat invested in entitled “Return of the Yellow Peril.” pepper couple these diaries, since for the last fourteen years of The topic of stereotyping has been a popular with blonde hair her life I presented her with a fresh diary as her subject of study in recent years. Let me share one was listed as Salt-and-pepper shaker collection annual Christmas present. In 1979, I brought story with you that has recently led to three paint- “Oriental.” Eyes back the diaries from Seattle to my home in ings. In 1969, my then-wife, who is Japanese that appeared to Lawrence and immediately sought to have the American, and I visited the mother of a good be closed appar- war years translated. As I received the entries, I friend of mine in Florence, SC. She happened to ently won out began to make paintings based upon what I be a woman of old Southern money who was mar- over blonde hair. thought were the more interesting ones. I con- ried to a late celebrity, who shall remain nameless. The misidenti- sciously kept the camp paintings in the ukiyo-e When we arrived at her white-columned, eigh- fication between style, with the diary-entry subjects buried within teenth-century, brick-and-stucco mansion, draped Japanese and them as a subtext to the superficial decorative in Spanish moss, she was there to greet us at the Chinese has driv- appearance of the work, similar to applying per- door. As we entered her vestibule and stared at the en Asian people fumed deodorant over a bad case of body odor. I lavish displays of silverware, she asked what part crazy for a long relished the idea of planting handsome works in of Japan we were from. We explained that we time. Most Steve Canyon comics living rooms, only to have, on occasion, the were both from Seattle, whereupon she quickly notable in my unmistakable stench of the internment theme asked if we liked the food in this country. Our collection are two come to the surface. All in all, there were roles for the next few days were coming into clear examples of twenty-five paintings in this original diary series. focus. My good friend, who had not yet arrived at guidelines, pub- All eventually sold, but in only seven cases did the house, used to talk about his Aunt Fran, who lished during the purchaser of the painting ask for the diary was the intellect and worldly one of the family. An WWII, one from entry that inspired the work, despite the fact that hour or so later, when my friend finally arrived Steve Canyon the entry was conspicuously displayed next to with his aunt, he introduced her to us. Upon hear- comics in which the painting during the exhibition. Three people ing my name, Fran bent over and asked again, in certain traits of offered to buy the last unsold work if I would very slow and crisp English, “Now what was your each race were Time magazine paint out the barbed wire in the background. name?” After I said “Roger,” Fran repeated it very outlined. To a As the diary translations continued to come in, slowly, enunciating both syllables. She smiled national audience, Time magazine came out in the story of the internment, through my grand- condescendingly and said, “Well, I guess my 1942 with their now classic chart. These ridicu- mother’s eyes, dramatically unfolded. During the name sounds as weird to you as yours does to lous comparisons became thematic in two mixed- next twenty years, sixty-five paintings, twenty me.” For the next three days, we gracefully media works and three performances that I have performance pieces, and two installations would assumed the role of Japanese tourists. Believe me, written. be spawned by them. it was simply easier. I have what I think is an interesting collection Also in 1979, the Iran hostage crisis became Sometime in the mid-1990s I became of signs and buttons that were displayed an international incident that recently generated a aware of America’s new shopping place, and worn during WWII. The white peo- painting. One evening, as I was jogging down a eBay. I paid particular attention to ple wore their buttons, the theme of which favorite county road behind my house in East objects that depicted stereotypes of appeared on pinbacks, advertisements, Lawrence, I noticed a pickup truck, traveling at a Asian people. It is difficult to explain the and club cards. Japanese Americans had rather high rate of speed, coming from the oppo- masochistic calling to collect these buttons to match the signs posted on their site direction directly toward me. As the truck objects other than to serve as a constant stores. The Chinese, afraid to be mistaken got very near, the driver, a thirty-something-year- reminder of who I once was and from for Japanese, created their own buttons. old, slammed on his brake to slow down, shoved where I have escaped. I attribute this Signs seen everywhere indicated paranoia his middle finger in my face, and screamed, revelation to Alice Walker, who identi- about being mistaken for Japanese peo- “That’s for your Ayatollah, you Chinaman.” fied these stereotypes as prisons. She ple. Disappointingly, even today one can Soon after this, during the late 1980s, a new astutely observed that inside each of still purchase this button in New York’s racism was being directed toward all Asian peo- them was imprisoned a real person— SoHo, which disparages the Jewish ple living in this country. These sentiments were someone we knew who was doing hard American Princess without any dis- due to a failing U.S. auto industry being primari- time for all of us. claimer as to why that acronym resonates ly blamed on Japan for its auto imports. The With renewed vigor I began to extend with such familiarity. In 1988 I did a per- term “Yellow all Same” returned with its original my collection of salt-and-pepper shakers formance on this topic at the opening of meaning to the Asian community in Detroit, of “Oriental figurines.” At the time I had my solo show in New York, with the full when in 1982 Vincent Chin, a Chinese American no idea that so many different versions existed. It blessing of my dealer, who happened to be mistaken for a Japanese national, was bludg- was ever so aggravating that the daily surfings Jewish. The performance was greeted with eoned to death with a baseball bat by two white through eBay revealed constant cases of ethnic extreme responses ranging from tearful apologies U.S. autoworkers who thought he was responsi- misidentity. In one day last January, there were to angry accusations of racism—even the cancel- ble for the loss of their jobs. The two were even- twenty-nine pairs of salt-and-pepper shakers list- lation of one sale. tually brought to trial, ultimately placed on ed under the keywords “Oriental salt and pepper Now, with the presence of eBay, it was possible parole with a $3,000 fine—the dollar value shakers.” Of them, the nineteen that were referred to revisit that exact same Chinese mask that my placed on the life of an Asian American in to in the detailed description as being Japanese cousin wore on Halloween of 1950. In fact, I could now own all the event like the recent Abercrombie and Fitch of victimization, and that it is time to move on, other variations avail- episode arises. For those of you who have not to move outside of the social-cause ghettos that able at that time. The heard of this latest manifestation from a compa- have been created. Because some in the majority postcards that terror- ny who has a track record of misinformed and still do not get it, the argument of the critic is ized me at Jim insensitive retail decisions, a special clothing that the issues remain merely social constructs or Pantano’s house could line was introduced featuring cartoons of Asian ideas of racism that have now lost their vitality, Mask collection be partially defused by people in stereotypical appearances, wearing that are now out of fashion, and are now “ghet- purchasing and placing coolie hats, replete with slogans referring to toized.” My decision to bind my art to my ethnic them in my photo albums. The same, too, with the laundries with sayings such as “Two Wongs identity was not a career decision. Customarily, ads that terrorized the Japanese community, the make it white.” Amazingly, a spokesperson for some art-world power brokers are attempting to novel premiums and giveaways that many civic Abercrombie and Fitch made a statement that decide, for a few of us, what we have been groups promoted during the war, and the Asian people were the target of these sales. The doing, why we have been doing it, and, now, envelopes that were used to display company actually thought Asians why it is time to move on. I have tried to demon- one’s unbound patriotism. All of would be particularly attracted to strate by my own example that the direction of these horrific images have provided images of these sorts. Other compa- one’s art is sometimes guided by circumstances me with rich resource material to nies did not learn from and the imperative response, not by art trend nor depict myself in my paintings as the Abercrombie and Fitch’s mistakes, academic training. Art about the cultural politics eternal foreigner in a crowd, or as a as two equally racist products were of difference cannot be measured by the same graphic metaphor of how most peo- since marketed by two other com- formula as Impressionism, Abstract ple of color today still find it diffi- Postcard collection panies. “Stereotypes and Expressionism, and Color Field painting. Social cult to get through one day without Admonitions” will cover more than injustices and racial prejudice continue to be in being somehow reminded that they fifty personal and twenty national season. Unfortunately, some critics do not make are not white. stories of racism, and the list, I am sorry to say, any distinction between what is reality for some Among my more recent collecting interests continues to grow daily, with events during the people and what is fashionably smart for others. have been Hollywood images of “yellowface,” past few months such as the plot to assassinate A good friend of mine who is African such as Herman Munster as the generic Asian Governor Gary Locke of Washington State; American, upon hearing of the attack on person. Frank Chin, godfather of Asian Representative Bob Coble of South Carolina America, said, “My God, now they know what it American writing, said it all in regards to yel- claiming the internment experience was for the feels like to be terrorized.” Suddenly, after lowface in film: “Apes have made greater strides benefit and safety of the Japanese Americans; September 11, there are calls on the Internet and in self-determination than Chinese have in and Shaq and Yao—the list goes on. other media for artists to express their sentiments movies. Apes have gone from pounding the gates The comparison of September 11, 2001, to about the disaster. Could this be because now of Skull Island in King Kong to speaking and Pearl Harbor was something that recounted, for they know what it feels like? Suddenly, victim- taking over the world in Planet of the Apes, Japanese American people, the xenophobia that ization is given renewed credibility. whereas Chinese have gone from movies where put them in camps during the war. Nervous, for Miraculously, it is back in fashion! “Charlie Chan” was played in yellow face to the good reason, were Arab Americans, Sikhs, I am grateful for the richness of the journey television series “Kung Fu,” played by David Middle Easterners, and Muslims. For during the that I have experienced, ranging from my initial Carradine, also in yellowface. 1979 Iran hostage crisis, there was talk coming memories of life on a south Idaho desert to Many years ago I received a telephone call from high sources of making all Iranian-looking standing in front of you tonight, sharing some of from a solicitor from the Sheriff’s Department people prove their legal status in this country. these stories. I must admit to being concerned selling tickets to a circus for a fundraiser. I pur- During Operation Desert Storm in 1991, the about the loss of momentum of political work, chased two tickets and, as requested, gave him president reintroduced the solution of incarcera- for I believe in the kind of vibrancy that social my name and address. Amazingly, the party on tion of all people of Arab extraction. Now, in the conscience breeds, and I believe in the richness the line did not ask how to spell my last name. War on Terrorism, the attorney general’s decree that the sharing of life stories and experiences Within three days I received a pledge card in the to require a “special registration” for foreign bring to the world as a whole. I hope that art will mail, with my last name spelled as Sherman. I nationals from designated countries resonates maintain one of its most important functions as a cut the name out of the envelope and decided badly. The parallel compares the Japanese and facilitator for change in our society. Today, the then to begin a collection of misspellings of my the Taliban; the Zero fighter planes and the impending war with Iraq should not be immune name. Since that time I have accumulated more American airliners; Pearl Harbor in flames and from artistic response despite the familiarity to than 135 unique examples of these misspellings. the collapse of the World Trade Center. All the remonstrations of the 1960s. Let us encour- In addition, I dredge up memories of fear, past hysteria, and a age those that continue to feel invested in these have also sought out series of poor decisions affecting hundreds of kinds of issues, to speak their minds, rather than photographs of peo- thousands of people. Five paintings were gener- to caution them that their art has become redun- ple whom I have ated from this disastrous event. dant and passé. been mistaken for. My purpose in sharing these images with you Lucy Lippard put it so aptly when she said: Since we Asians all this evening has been to demonstrate how life “Until the term political correctness becomes look alike, the col- experiences can dictate imagery in artwork. The something more real, something based in sinceri- “Mistaken Identity” photos lection has grown initial conversation with the Kansas farmer as to ty and not convention, there will be work to be quite rapidly. who I was preceded the multicultural movement done. Without the telling of stories, we will not Interestingly enough, included in this group are of the late 1970s by a decade. The need to be reminded that things are still far from perfect two of my Anglo colleagues at Kansas, and, address my identity was genuinely born out of and that we have not yet earned the luxury of believe it or not, I was once mistaken, at her the need to mediate and reconcile my yellow poeticizing instead of politicizing our work.” opening, for the painter Hung Liu. presence in the midwest. I thank all of you for your attention and for the A very recent series of work with which I am Last year’s admonition by The New York honor of addressing you tonight. currently engaged is called “Stereotypes and Times cautioned us that art about injustices, both —Roger Shimomura Admonitions.” It seems that every time we start past and present, is now passé. The Times critic feeling as though we have made progress, some wrote that the public has tired of seeing images COLLEGE ART ASSOCIATION Annual Awards for Distinction – Call For Nominations

ant to recognize an individual who has made extraordinary contributions to the fields of art and art history? Nominate him Wor her for one of the eleven CAA Annual Awards for Distinction.

Morey Award for a Distinguished Book in Distinguished Teaching of Art History Award the History of Art Artist Award for Distinguished Body of Work Barr Award for Museum Scholarship Distiguished Artist Award for Lifetime Porter Prize for a Distinguished Article in Achievement The Art Bulletin Distinguished Lifetime Achievement Award Art Journal Award for Writing on Art Mather Award for Art Criticism CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation Miriam Schapiro Distinguished Teaching of Art Award

A nomination form is available at www.collegeart.org/caa/aboutcaa/awards_comm.html. For more information, contact Brenna Johnson at [email protected] or 212/691-1051, ext. 242. Deadline: Aug. 31, 2003. Note: Nominations for book and exhibition awards should be

PHOTO CREDIT: JOHN KOPP for authors of works published or exhibited/staged from Sept. 1, 2002, to Aug. 31, 2003.

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MAY 2003

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