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March 1978 CAA Newsletter
Volume 3, Number I March 1978 CAA awards 1978 annual meeting report Awards for excellence in art historical schol The high note and the low note of the 1978 arship and criticism and in the teaching of annual meeting were sounded back-to-back: studio arts and art history were presented at the high note on Friday evening, the Con the Convocation ceremonies of the 66th An vocation Address by Shennan E. Lee, a stun nual Meeting of the College Art Association, ning defense of the pursuit of excellence and held in the Grace Rainey Rogers Auditorium an attack upon anti-elitist demagoguery and of the Metropolitan Museum of Art on Friday the obliteration of the essential boundaries evening, January 27, 1978. between the realm of art and the realm of The Association's newest award (estab commerce by those with both the training and lished last year), for Distinguished Teaching the responsibility to know better. Too good to of Art History, was presented to Ellen John paraphrase, so we've culled some excerpts (see son, Professor Emeritus of Art and Honorary p. 3). Curator of Modem Art at Oberlin College. The low note was struck on Saturday morn For nearly forty years Professor Johnson's ing, on the Promenade of the New York courses in nineteenth- and twentieth-century Hilton Hotel (formerly the CAA Registration art have been one of the most popular offer Area). Unbeknownst to us, the space had ings at this prestigious undergraduate institu been contracted to the City-Wide Junior High tion. Her inspired teaching first opened the School Symphonic Orchestra, a group of eyes of numerous students, many of whom some eighty fledgling enthusiasts whose per went on to become leading historians, cura formance could be appreciated only by par tors, critics, and collectors of modern art. -
Revisiting Womanho Use
REVISITING WOMANHO USE Welcome to the (Deconstructed) Dollhouse By Temma Balducci omanhouse, an installation/performance piece interest? Putting aside any prejudice toward the presumed produced by Miriam Schapiro (b. 1923), Judy Chicago essentialism of the 1970s, there is the fact of its ephemeral (b. 1939), and young artists in the Feminist Art nature. Because most of the work for the project was destroyed Program at the California Institute of the Arts, was opened to shortly after the exhibition closed, scholars today are unable to viewers at 533 Mariposa Street in Hollywood, California, from visit the site, walk through and examine its rooms, or January 30 to February 28, 1972.1 The work attracted thousands experience the various performances that took place there. It is of visitors and was the first feminist work to receive national thus difficult to imagine its impact on the artists as well as the attention when it was reviewed in Time magazine.2 Within the visitors/ viewers, many of whom, according to some accounts, history of feminist art, however, Womanhouse has generated scant were moved to tears. The surviving remnants-a 1974 film, scholarly notice. Judy Chicago's The Dinner Party (1979) has photographs, The Dollhouse and other artifacts, and the instead become the exemplar of 1970s feminist art, often being occasional revived performances--evoke increasingly remote reproduced in introductory survey texts as the sole illustration of memories of the original. The work is also likely to be easily feminist art. Undoubtedly, this lack of interest in Womanhouse overlooked because there is no single artist's name attached to and other early feminist works stems in part from continued it. -
2012 Honor Awards
WOMEN’S CAUCUS FOR ART 40th Anniversary Celebration 2012 HONOR AWARDS What is the Women’s Caucus for Art and what does it do? Milestones over the Four Decades of the Women’s Caucus for Art Whitney Chadwick Suzanne Lacy Ferris Olin Bernice Steinbaum Trinh T. Minh-ha WCA Mission The mission of the Women’s Caucus for Art is to create community through art, education, and social activism. Statement of Purpose We are committed to: recognizing the contributions of women in the arts providing women with leadership opportunities and professional development expanding networking and exhibition opportunities for women supporting local, national, and global art activism advocating for equity in the arts for all MOMENTUM Celebrating 40 years of the Women’s Caucus for Art I want to welcome you to the Women’s Caucus for Art’s 40th Anniversary Celebration ’Momentum’ and to the 33rd Lifetime Achievement Awards. There are those moments which change the trajectory of history and positively impact everything they touch. In January 1972, a group of women met at the annual College Art Association (CAA) conference in San Francisco in a over - flowing room to discuss the topic of sex discrimination in art depart ments. After concluding that there was a need for representation, they immediately collected money to start an organization, and the new Women’s Caucus of the College Art Association came into existence. In 1974 CAA informed the Women’s Caucus they could no longer use the CAA name and in that moment, the Women’s Caucus for Art moved from being a committee of CAA to being Photo by Christopher Ligeza. -
June Wayne Papers, 1909-2000
http://oac.cdlib.org/findaid/ark:/13030/kt5j49r1tf No online items June Wayne papers, 1909-2000 Finding aid prepared by UCLA Library Special Collections staff, Elizabeth Spatz, Lilace Hatayama, Amy Shung-Gee Wong, Jasmine Jones, Mike D'Errico, and Yasmin Dessim; machine-readable finding aid created by Caroline Cubé. Portions of the processing of this collection was generously supported by Arcadia funds. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Online finding aid last updated 22 June 2017. June Wayne papers, 1909-2000 562 1 Title: June Wayne papers Collection number: 562 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 114.0 linear feet(228 document boxes, 10 oversize boxes, and 25 boxes of audiovisual materials) Date (inclusive): 1909-2012 Abstract: June Claire Wayne was born on March 7, 1918 in Chicago, Illinois, where at the age of 15 she dropped out of high school to pursue her career as an artist. In addition to her work in lithography, which revitalized the art of printmaking in America, Wayne is well-known for her tapestries and visual explorations of optics and scientific themes. The collection consists of correspondence, manuscripts, ephemera, and photographs related to the creation and exhibition of Wayne's work, including the production of The Dorothy Series lithographs and film about the artist, Matsumi (Mike) Kanemitsu, Four Stones for Kanemitsu. Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. -
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You willa find good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
September 1978 CAA Newsletter
newsletter VolumeS, Number 3 September 1978 nominations for eAA board of directors The 1978 Nominating Committee has submitted its initial slate of BYRON BURFORD twelve nominees to serve on the CAA Board of Directors from 1979 to University of Iowa 1983. Of these, six will be selected by the Committee as its final slate and fonnally proposed for election at the Annual Members Business BFA and MFA, Univ Iowa. PoSITIONs: prof, Univ Meeting to be held at the Washington Hilton Hotel on February 1, Iowa, 1947-; prof, Univ Minnesota and Univ 1979. To assist the Committee in making its final selection all Massachusetts, summer 1967; also Worcester Art individual members of the Association are invited to cast their votes on Mus, Walker Art Ctr, Nelson! Atkins Gall, Shel the preferential ballot. don Art Mus, High Mus Art, California ColI Arts For members' convenience the preferential ballot is in the form of a and Crafts, others. AWARDS: Guggenheim Found prepaid business reply card which is being mailed separately. Please re fellow, 1960 and 1961; Ford Found award, 1961, turn it promptly; ballots must be postmarked no later than Oct. 10. 62, 64; Nat! Inst Arts & Letters grant, 1967; Rosenwald fellow; two A brief curriculum vitae for each candidate is given below, followed Yaddo fellowships; Tamarind fellowship; Amer Fed of Arts grant. by a list of present Board members. Please retain this information until EXHIBITIONS: solo Walker Art Ctr, 1958; Babcock Gall, N.Y.C., 1966, you receive your ballot. 1967, 1969, 1975, plus many others; numerous group exhibitions including Venice Biennale, 1968; Biennale de Coltejer, Colombia, PAUL B.