5

the mall corridors between the Hynes Techno­ King­ Convention Center and the hotel com­ plexes. Certainly the CAA has, by the sheer logistics of location, established a Seduction Hammond: new relationship between scholarship, professionalism, and fitness. CAA is most appreciative of the outstanding hospital­ President ity offered by the Boston hotels and the Hynes Convention Center. In all, 4,500 people registered for the conference, and n response to the membership another 1,200 purchased session tickets. survey in which members expressed I would like to thank CAA confer­ a desire for more visual art at the hat a great pleasure it was ence coordinator Suzanne Schanzer and I to be in Boston and see so annual conference, the Visual Artists CAA deputy director Jeffrey Larris for many old friends and Committee of the CAA Board of W their unstinting support and attention to colleagues. It was even more exciting to Directors announces the exhibition detail in Boston. A special congratulations meet the rapidly growing numbers of theme for the 85th Annual Conference is in order for CAA executive director new members and make new acquain­ in New York in 1997. Techno-Seduction is Susan Ball, who celebrated her ten-year tances with long-standing members a national juded exhibition open to all anniversary with CAA in Boston (see from institutions all over the U.s. and CAA members, sponsored by the Visual "Board Honors Ball," page 9). Also, I abroad. More interesting, however, are Artists Committee and the Cooper extend hearty thanks to membership the swelling numbers of unaffiliated 5 Union for the Advancement of Science manager Theresa Smythe and her entire members I met who function as and Art. staff, Doreen Davis, Makeba Lucio, and independent artists, historians, curators, The exhibition will present the Lavinia Diggs-Richardson; fiscal coordi­ and art professionals from a myriad of MarchiApril 1996 relationship between identity, self­ nator Onofre Beltran; assistant to the heretofore underrepresented communi­ portrait, sensuality, sexuality, gender, executive director Cristin Tierney; College Art Association ties within the College Art Association. and seduction in the work of artists Elizabeth Nesbitt and Irene Look, who 275 Seventh Avenue This year's conference was marked New York, New York 10001 exploring technology and other new ran Placement Services; and manager of by high energy and long walks through media. It will be in the Arthur A publications Virginia Wageman, and Houghton Jr. Gallery at Cooper Union Craig Houser, for running the publica­ Board of Directors and will be curated by Robert Rindler, tions booth. It would not have been Dean of the School of Art. Jurors will be Leslie King-Hammond, President possible without all of you. John R. c:Iarke, Vice President announced. We are now in preparation for the Nancy Macko, Secretary Send SASE for prospectus to: Techno­ final phase of programming for the 1997 John W. Hyland,Jr., Treasurer Seduction Exhibition, Cooper-Union conference to be held in New York. Please Barbara Hoffman, Esq., Counsel School of Art, Cooper Sq., New York, be advised to pay attention to the recently Susan Ball, Executive Director NY 10003. Deadline: June 1, 1996. mailed program with the Call for Partici­ Ellen T. Baird Arturo Lindsay pation. The effectiveness of the confer­ Judith K Brodsky Victor Margolin ence panel sessions greatly depends upon Diane Burko John Hallmark Neff your response to the proposed sessions. It Bradford R. Collins Beatrice Rehl is an enormous task to plan and organize Whitney Davis Rita Robillard a conference on this scale in any location, Vishakha Desai Norie Sato Ou~~oing CAA president Judith Brodsky and even more so in New York given the Jonathan Fineberg Roger Shimomura offiCially welcomes new president Leslie Shifra M. Goldman Lowery Stokes Sims King~Hammond CONTINUED ON PAGE 11 Susan L. Huntington Jeffrey Chipps Smith PHOTO: JOAN BEARD Michi Itami Nancy J. Troy Christine Kondoleon Alan Wallach Irving Lavin Deborah Willis Joe Lewis J Alfred H. Barr, Jr., Award Contents Sessions in Studio Art Awards for Presented by Joaneath Spicer Awarded to Henry A. Millon and Vittorio Volume 21, Number 2 Boston: Magnago Lampugnani for The MarchiAprill996 Excellence Renaissance from Brunelleschi to Michelangelo: The Representation of Techno-Seduction Art History Architecture 1 King-Hammond: President The College Art Association's Alfred H. Sessions in Boston: Art History Barr, Jr., Award for Museum Scholar­ 2 Studio Art ship in 1994 is awarded to Henry A. Millon and Vittorio Magnago eing program co-chairs turned his year's conference generated ollege Ar.t Association's annual Lampugnani for The Renaissance from us into the ultimate panel­ considerable positive response 3 Awards for Excellence convocation ceremony was Brunelleschi to Michelangelo: The Represen­ hoppers. As we roved the with many reporting that it was held at Boston's Hynes B theT best CAA conference they had ever C tation of Architecture (New York: Rizzoli, grandiose Hynes halls to witness the Convention Center, February 23, 1996. Board Honors Ball 1994), the catalogue for an exhibition at 8 consequences of what we had set in attended. Our efforts to address the CAA president-elect Leslie King­ the Palazzo Grassi, Venice. motion, we caught bits of almost every membership's diverse constituencies Hammond introduced Joyce Jane Scott, CAANews ~his exemplary exhibition catalogue panel, and quite a few entire talks. The and interests paid large dividends. We who delivered/performed the keynote CAA in the News proVIdes an outstanding exposition of 9 bits added up to an academic discipline made it a point to make sure that address. CAA outgoing president the central role of architecture in the able to question itself. In modes ranging sessions addressing issues in particular Judith K. Brodsky presided over the Italian Renaissance. While it stresses Annual Conference 1996 from scrupulous theoretical disciplines (painting, printmaking, presentation of awards for excellence in 10 architecture's importance among the arts deconstruction to eloquent formal and crafts, design) were prominently teaching, scholarship, creativity, Clay warriors unearthed from the tomb of the first Chinese emperor and the primacy of its practitioners such M.F.A. Exhibition a Success iconographic analysis, from generous represented, and these attracted large criticism, and conservation. The fro",1 "Likeness of No One" by , as Brunelleschi, Alberti, Leonardo, good humor to malicious attack, we audiences, as anticipated. Topical following are the award recipients and 11 Annual Conference Update Ladlslav Kesner, Arthur Kingsley Raphael, and Michelangelo, this heard real inquiry as well as the sessions dealing with identity, sexuality, their citations. Porter Prize publication's contribution is in demon­ products of serious research and and art politics tended to draw smaller Advocacy in the Classroom strating how the representation of 12 reflection. Graduate students were being crowds, but very dedicated and engaged architecture created a true intersection of brought up through the ranks, art ones. This differential (in terms of artistic production, documents, text, and the ~ts at a time when their congruity, historians from abroad and members of numbers) should be kept in mind when Alfred Kingsley secondary literature, he also takes into Solo Exhibitions by Artist Members both In process and conception, was 13 neighboring academic disciplines were room assignments are made. account the current theoretical debates Porter Prize most valued. truly integrated into panels. The One of the observations we heard regarding portraiture, resemblance, and Presented by Irving Lavin Rather than the exhibition format repeatedly was that it was no longer th~ construction of identity. However, concerns of museums, research, teach­ Awarded to Ladislav- Kesner for Likeness People in the News ing, and studio practice did not seem so easy to determine which sessions were this methodological approach-which is pro~ing a limitation for the exposition of 15 of No One: (Re)presenting the First archItecture, the challenges of exhibiting directed toward studio artists and which informe~ by current semiological theory radically different from each other; Emperor's Army Grants, Awards, & Honors many panels cast those concerns as if were intended primarily for art histori­ and aVOIds positioning the terra-cotta an unprecedented assembly of wooden 16 Conferences & Symposia they belonged together. Last (but not ans/critics. The program theme liThe . army as a vehicle for some predeter­ ar~hitectural ~cale models have inspired The Arthur Kingsley Porter Prize for Millon and hIS collaborators to examine least?) despite the usual small glitch Object and Its Limits" clearly addressed ~~ed belief of philosophical concept~ 1995 is awarded to Ladislav Kesner in depth a range of critical exchanges quotient-an impossibly enormous the interests of both groups and gave the IS fIrmly rooted in the specific historical Opportunities curator of Chinese art at the 18 ballroom, slide jams, panelists who just conference a cohesiveness that can be Nation~l and artistic traditions, mortuary between two-dimensional design and didn't show up, etc.-logistics unfurled seen as a model for how to integrate Gallery of Prague, for his article practices, and the authors perceptive "Likeness of No One: (Re)presenting smoothly. Not a single set of talks ran perspectives of direct practice and reading of the sculptures themselves. Miscellany 20 overtime and virtually all made space critical discourse more fluidly. Finally, \ the First Emperor's Army," in the This sophisticated and creative strategy the introduction of podium timers March issue of the Art Bulletin. In his Information Wanted for discussion, which continues now on \ leads Kesner to interpret the soldiers as the Internet. It was a civilized event. We (whether actually used or not) facilitated '. article Kesner challenges the previous a "composite portrait of an army" and Datebook and dominant readings of a major thank all of you, the record-breaking greatly the pacing of session presenta­ the mausoleum as "the most complete, Classified Ads monument of early China, the First 21 numbers of you, who participated. tions. Hats off to Suzanne Schanzer all self-sustained form ot'an idea.... a of the CAA staff, and student ushe;s for Emperor's subterranean army of several eAA News, a publication of the -Anne Higonnet and James Cuno metaphor for the person of the First thousand life-size terra-cotta sculptures College Art Association, is published 1996 Art History Program Chairs making everything run so smoothly. Emperor himself." of soldiers. Focusing on the facial six times a year. Material for Congratulations, as well, to session ~e choice of Kesner's paper by a indusion should be addressed to: chairs and speakers for putting together diversity of the figures, the author sets comnuttee of nonspecialists in Asian art such lively, stimulating, and substantive out to question the dichotomy between is eloquent testimony to it's interest and Editor individual and stereotypical features. CAANews programming. potential usefulness for students and 275 Seventh Avenue -Deborah Bright Rather than following the majority of scholars in other fields. New York, New York 10001 1996 Studio Art Program Chair scholars who interpret the soldiers as Telephone: 212/691-1051, ext. 215 either portraits after individuals or as Committee: Irving Lavin, chair,' Hollis Fax: 212/627-2381 "stereotypes," Kesner proposes to determine the ontological and Clayson; Fra/1(;oise Forster-Hahn; Judith Oliver Editor Renee A. Ramirez semiological status of the figures. While Mnnaging Editor Virginia Wageman Editor-in-Chief Susan Ball he bases his detailed discussion on a thorough knowledge of monuments, Henry A. Millon, Alfred H. Barr, Jr., Award Printed on recycled paper. © 1996 College Art Association, Inc.

CAA NEWS MARCHI APRIL 1996 2 CAA NEWS MARCH/APRIL 1996 3 three-dimensional realization. Essays and Museums, a position she assumed in Curator of Prints. Except for a stint in catalogue entries by American and 1961 and held for close to thirty years, 1990-91 as acting director of the in the study and understanding of European scholars address such topics as: Jerry cared for an outstanding collection Harvard University Art Museums, Jerry American art. His work both in and out the role of architectural models, the of prints and drawings with a sensitivity has spent these last years focusing on of the classroom bears out his belief that relationship to drawings, patronage, the to the problems of preservation that was two of her greatest interests-the history learning never stops happening. representation of the ideal city, town guided by common sense and connois­ of prints and the history of cOllecting­ In addition to his remarkable planning, urban history, engineering, seurship. Often working closely with with yet more outstanding publications. knowledge, energy, and intelligence, narrative painting, the study of ancient Agnes Mongan, Jerry studied extensively Hers has been a career marked by high Jules Prown has a rare generosity of buildings, the primacy of church designs, the drawings of Jean Auguste Dominique achievement but also by a commitment mind and spirit, both in sharing his the history of Saint Peter's, sculpture as Ingres and contributed to three memo­ to engage others in her concerns with ideas and in helping students develop architectural ornament, set designs, and rable exhibitions on the artist in 1967, the object, both in matters of preserva­ ideas of their own. "He listened to us/' the palazzo. 1980, and 1983. Equally important has tion and issues of quality. We are happy was the most often repeated phrase in been her study of the use and history of to honor her today with the CAA/ his former students' letters, Jules Prown takes a genuine interest in students as Committee: Joaneath Spicer, chair; David watercolor, which culminated in a National Institute for Conservation Joint wen as in their work, and the sense of Binkley; Ann Gunter; Peter Seltz; George beautiful exhibition, the standard Award for Distinction in Scholarship community that he creates from his first Shackleford reference on this subject, held at the Fogg and Conservation. Art Museum in 1977. The breadth of her seminar, when he asks "Call me Jules/' lasts long after graduation. interests is evident in the exhibition on Committee: Arthur K. Wheelock, Jr., chair; There is no one who has done more Mark Rothko's Harvard murals that she James Coddington; E. Melanie Gifford; for American art, advised more students CAA/N ational Institute for helped organize in 1988. Debbie Hess Norris,' Jonathan Thornton Throughout these years Jeriy who have changed the shape of the Conservation Joint Award for field, chaired more committees to assess Distinction in Scholarship and maintained an active teaching schedule, not only serving as a mentor to countless and support the field, and encouraged Conservation Harvard students, but also as a visiting more innovative scholarship in Ameri­ Presented by Arthur K. Wheelock, Jr. Distinguished Teaching can art, than Jules Prown. He has lecturer at Boston University, Wellesley of Art Award Awarded to Marjorie B. Cohn College, and Brown University. Many of E?na Andrade (right), Distinguished Teaching of Art Award demonstrated a unique regard for Presented by Anne d'Harnoncourt her courses dealt with the history of With a student ' young scholars and a rare personal Awarded to Edna Andrade Throughout her distinguished career, prints, and it is with good reason that in engagement in teaching. As a result, Marjorie Cohn has seamlessly merged the 1987 she was chosen to edit the revised universal ideas with insight, clarity, and Award for tonight we are honoring him with the worlds of coriservation and art history in edition of William J. Ivins's classic How Edna Andrade is the quintessential vitality is evident in her paintings, 1995 Award for Distinguished Teaching Distinguished of Art History. both the museum and the classroom. One Prints Look. It was also for her teaching amalgam of all that makes for great art collages, prints, and drawings. The of the world's foremost authorities on abilities, as well as for her conservation and great teaching. Her distinguished elegance, craftsmanship, visual com­ Teaching of Art History artworks on paper, she has shared her and administrative skills, that she was career as an influential artist and teacher plexity, and beauty of her paintings Presented by Patricia Mainardi Committee: Patricia Mainardi, chair,' James Awarded to Jules D, Prown insights with generations of students who appointed head conservator in the for over fifty years is legendary in the reveal the high standard by which she Cahill; Alessandra Comini; David Levine have come to her because of the wide Center for Conservation and Technical city of Philadelphia-and beyond. judges herself. range of her knowledge, enthusiasm, and Studies at Harvard in 1986. Testimony from former colleagues and Edna attended the School of the During the thirty-five years that Jules easy accessibility. Three years later Harvard called students speak of her impact on their Pennsylvania Academy of Fine Arts, Prown has been teaching at Yale As paper conservator at the Fogg Art upon her once again to assume a newly education, saying that their most vivid where she received the highest honor University, it is hard to imagine anyone Museum and Harvard University Art created position, Carl A Weyerhaeuser and valuable memories are from her for a graduate, the Cresson Memorial who has more literally lived up to the foundation classes.. Professor Kenneth Traveling Fellowship. Fifty-five years German term for mentor, dokiorvater. In Hiebert of the University of the Arts, later, in 1993, Edna Andrade was given British and American art history, in where Edna is professor emeritus, a retrospective at that same institution, American studies and material culture wrote: where several thousand students J~es Prown has trained several gener;­ Her command of exact form, the masterful, colleagues, patrons, and admirer~ came hons of students, now highly productive exquisite crafting of it" .. her sensitivity to together to salute this Philadelphia scholars and curators working in and understanding of color and of geometry, treastu€. univerSities, colleges, and museums the quality and excitement generated in her Edna Andrade, your presence is throughout the United States and classes, the role model as a woman of inspirational. Your intelligence, insight, abroad. The diversity of his students' indomitable spirit, compassion and intel­ r compassion, and good will are unfail­ approaches to art history is itself lect-proven over many years of teaching, ing. I am deeply honored to award you testament to the flexibility and open­ and still vibrant in her retirement-all with this Distinguished Teaching of Art mindedness of their mentor. combine to make a candidate to whom all of Award. His own career demonstrates that us in the teaching of art and design can look openness: in the 1960s he published a as exemplary. Committee: Diane Burko, chair; William ground-breaking study of Copley's Edna's example as an artist is of Conger; Ofelia Garcia; Joseph Ruffo; patronage; he subsequently became equal magnitude. Her work is in the Raymond Saunders interested in American material culture collections of every major corporation in and wrote many of what have become Philadelphia and in major museum and its basic texts; more recently he has Jules D. Prown, Oistinguishea Teaching of Art History Award university collections throughout the experimented with Some of the newer PHOTO: MICHAEL MARSLAND country. Her art covers a side territory, methodologies, including psychoanaly­ that of architectural commissions. Her sis. Alw~ys ready to explore new angles ability to communicate complex, Marjorie B. Cohn (right), CAAlNationallnstitute for Conservation Award, or theones, he remains actively engaged with two students '4° 'U:::::YMARCHI AP= 1~6 CAA NEWS MARCHI APRIL 1996 5 Charles Rufus Morey nary exchange as both editor and special award to that special individual, contributor to the indispensable journal Book Award Manuel Alvarez Bravo. Critical Inquiry. But it is his close Presented by Larry A. Silver Manuel Alvarez Bravo, Mexico's examinations here of works of art from Awarded to W. J. T. Mitchell for Picture most well known photographer, stated our own century, ranging from Saul Theory: Essays on Verbal and Visual that he grew up in Mexico City in an Steinberg to Robert Morris, from photo Representation "atmosphere in which art was essays to the Vietnam Veterans' Memo­ breathed." His father, Manuel Alvarez rial, which linger in the mind as the In an era when art history has become Garcia, was a writer and painter, and his tangible instances of his theoretical something of a model for other disci­ grandfather, Manuel Alvarez Rivas, was reflections. All members of the College plines in the humanities and when a painter and photographer. Art Association will benefit from this interdisciplinarity has become some­ Since early in his photographic ambitious, readable, and stimulating thing of a watchword, it can still be career, the photographs of Alvarez book. refreshing to find a book that speaks to Bravo have been respected by artists both specialists in the visual arts as well from around the world. Paul Strand as members of the broader humanities Committee: Larry A. Silver, chair; Stephanie wrote of his work, "Alvarez Bravo is a . community. This book speaks equally Barron; Margaret Olin; Anne Markham man who has mastered the medium, well to studio artists, critics, and art Schulz which he respects meticulously and historians. Written, moreover, with wit with which he wishes to speak with and panache, this text remains concrete warmth about Mexico as Atget spoke in its analyses of both images and texts ArthUr Coleman Danto, Frank about Paris." Octavia Paz has said, "The while attempting to take seriously the Frank Jewett Mather Award Jewett Mather Award photographs of Alvarez Bravo were a Presented by David Carrier theoretical issues surrounding their PHOTO: BARBARA W"':STMAN Gary Hill, Award for Distinguished Body of Work sort of illustration or visual confirmation relationships. Awarded to Arthur Coleman Danta PHOTO: MARINE HUGONNIER of the verbal experience I was encoun­ Picture Theory, by Tom Mitchell, COURTESY DONALD YOUNG GAllERY, SEAITlE tering every day in my reading of accomplishes all of these rare feats. "The Venetian painter," Frank Jewett two such different people could find, if modern poets." Together with Icanology, his earlier Mather remarked in his 1936 book only momentarily, that most elusive tions and unconventional video­ Distinguished Artist Manuel Alvarez Bravo was born on analysis of the vexed dialogue between Venetian Painting, was "content to be a moral ideal, a community. His goal, our February 4,1902. In 1924 he purchased activated sculptural forms. In his Award for Lifetime the sister arts of verbal and visual painter," but his Florentine contempo­ critic has said, is to deal with art ethereal installations the viewer is his first camera and began to emulate imagery, Mitchell has proved himself to rary often "aspired to poetry or to "connected to the larger concerns of exposed to transitory and fleeting Achievement photography masters Hugo Brehine (his be a worthy successor, in contemporary philosophy and was encouraged in so ordinary men and women, whether or imagery, yet once the presented Presented by Deborah Willis tutor and follower of Guillermo Kahlo, terms, to the original issue posed by doing by his public." Art critics are less not they set foot in museums or galler­ information has faded in a darkened Awarded to Manuel Alvarez Bravo German pictorialist and father of Frida Horace and taken up by Lessing and single-minded than Venetian painters­ ies." Admiring his way of thinking, we void or after we have left the site, Kahlo), Garduno (especially known for Panofsky, Goodman and Gombrich. but few are philosophers. Before are pleased to present the 1996 Frank something is left to hold onto. His In every society there are individuals his powerful nude studies), and Eugene Mitchell has already contributed richly becoming a critic, our award winner Jewett Mather Award to Arthur evocative yet minimal space-age who have the responsibility of docu­ Atget, whose work taught him, as Don to serious and thoughtful interdiscipli- took up philosophy, he recently has Coleman Danto. installations evince a sensibility of menting the experiences of a people. It is Manuel put it, "to see and relate to daily explained, because, not finding the alienation and fragmentation that is with great pleasure that I present this life." He won first prize in photography Columbia University course work Committee: Frances Colpitt, chair; David timely and appropriate to the in a regional exposition in 1926. He has especially taxing, he was able to do a Carrier; Thomas McEvilley; Suzanne postmodern sensibility of this era. been actively photographing and great deal of printmaking. After Muchnic It is because Gary Hill has success­ exhibiting ever since. distinguished work on historiography, fully produced an eclectic combination During the 1930s Alvarez Bravo an original study of the philosophy of of materials and information in the worked as a cameraman on Sergei action, and an influential pioneering exhibition Can} HiI1: Seven Video Eisenstein's film Que V iva Mexico, and book on Nietzsche, he published a Award for Distinguished Installation, curated by Chris Bruce for collaborated with Paul Strand to treatise on aesthetics in 1981. In his Body of Work, Exhibition, the Hirshhorn Museum and Sculpture produce his own film, Tehantepec. In forthcoming Mellon lectures he theo­ 1959 he co-founded the Fondo Editorial Presentation, or Performance and Garden, that the committee rizes about the activity which as a members has selected him to receive this de la Plastica Mexicana, with the goal of Presented by Elaine King working critic he practices. We of the award. His work is part of the art of the publishing books on Mexican art, and Awarded to Gary Hill Mather committee admire the deter­ f future that is giving way to a new was co-director until 1980. From 1980 to mined multicultural catholicity of his vocabulary that mediates between 1986 he devoted his time to founding interests, which reveal a sensibility wide A conglomeration of information and technology, information, history, and and developing the collection of the first ranging in scope and kindly generous in media informs the art of this era, and the aesthetics. Mexican Museum of Photography. its sympathies. He brings the wisdom visual product is no longer a static Alvarez Bravo is the recipient of the and good sense of a philosopher to bear tableau but increasingly one that stems Committee: Martha Jackson-Jarvis, chair; Sourasky Art Prize (1974), the National on the often arcane practice of art from a complex process of transforma­ Peter Frank; Elaine King; Tom Nakashima; Art Prize (Mexico, 1975), a John Simon criticism. When he wrote about Robert tion. The artist we have selected for the ldelle Weber Guggenheim Memorial Fellowship Mapplethorpe in his regular column for College Art Association Award for a (1975), the Victor and Erna Hasselblad the Nation, our winner reports that the Distinguished Body of Work has Prize (1984), and the International artist was "amazed that a philosopher surfaced in the 1990s as an inventive Center of Photography'S Master of W. J. T. Mitchell, Charles RUfUS should have written about him as I had media magician. In his unusual techno­ Morey Book Award Photography Award (1987). PHOTO: TED LACEY done." That statement seems to us a logical constructions, Gary Hill com­ The College Art Association is now great tribute to both men, showing that bines various media to produce installa- Manuel Alvarez Bravo pleased to present the Distinguished PHOTO: ARTHUR OllMAN. 1989 Artist Award for Lifetime Achievement

6 CAA NEWS MARCHI APRIL 1996 CAA NEWS MARCHI APRlL 1996 7 Survey on the There are several goals of this expansive survey. In addition to Mendieta, Rani Horn, and the African Status of Women and to Manuel Alvarez Bravo and to ac­ CAA monitoring the status of women and Mustapha Dine. Aggie takes a personal knowledge his outstanding contributions Board People of Color people of color in our disciplines, the interest in the people who make MoMA to the art of photography. The College Art Association is undertak­ survey will also provide data that MoMA. "She is a fearless activist who News ing a survey of art history and studio art will allow us to examine the re­ stands up for what she believes is right," Honors Ball Committee: Deborah Willis, cJwir; Rupert departments to monitor the status of sponses of our professions to such in the words of curator Rob Storr. Garcia; Richard Hunt; Jayce Kozloff women and people of color in art external circumstances as federal In 1977, when budget cuts virtually The CAA Board of Directors, at its meeting, professions. The questionnaire will initiatives, and perhaps more eliminated arts programming in New February 21, 1996, in Boston, honored CAA Categories for the initially be sent to M.A.- and Ph.D.­ importantly, to gauge our own York City public schools, Agnes Gund executive director Susan Ball for ten years of Description of granting institutions and within the next responses to the changing nature of founded the Studio in a School AssoCla­ outstanding service. Works of Art few months every four-year art history our disciplines. Once the numbers CAA Committee on tion, to ensure that art would continue to The Getty Art History Information department in the U.S. will be contacted. have been tabulated, the results will Women in the Arts playa role in many children's lives. Program and CAA have collaborated in The first and last survey of this kind be made available to CAA members Chuck Close, a current and founding Recognition Award esol:ution: .Whereas Susan ~all sponsoring an initiative called the Art dates from 1978-79 and was conducted through CAA News and elsewhere. member of the advisory board, cel­ Presented by Judith E. Stein is celebratmg her 10th annIver­ Information Task Force, which has by the CAA Committee on the Status of This published report will provide ebrates Aggie's "invention" as a bo?n to Awarded to Agnes Gund sary as Executive Direc~or of developed Categories for the Description of Women (see Mary Garrard, "Status of both the raw data as well as a out-of-work artists who need teaching R the College Art Association; Works of Art, a hypertext document that Women in Ph.D. Granting Institutions," contextual analysis of our findings. positions and who may not have full In the course of researching this award and whereas, her management and provides an emerging standard repre­ CAA News, April 1981, pp. 7-9). Al­ The importance of this survey academic credentials. Today there are I've talked with many people whose lives leadership of the Association has been senting the consensus of communities though similar, this early survey limited should not be underestimated, and 130 elementary and high schools in five have been touched and changed by superb; that provide and use art information. the field of inquiry to Ph.D.-granting we urge department chairs to boroughs that participate in the pro­ Agnes Gund, and there's one unexpected and whereas, her personal style of Available in both PC and Mac formats, institutions in art history with the respond. All members of the College gram, and since its inception, i.t has result-I have inadvertently come upon respecting the various and varied the Categories articulate an intellectual express purpose of discovering the Art Association will, indeed, benefit reached 400 schools, and proVIded more some of the strongest rationales for constituencies of the Association, structure for information used to status of women within these institu­ from this close look at our profes­ cloning that I h~ve ever heard. Let me than 20 million dollars for programming. listening to the needs of those constituen­ describe works of art and images of tions. As Garrard wrote in 198t "since We have used Jim Cuna's words on sions today. share with you why we honor her today. cies, and translating those needs into works of art. The Categories provide a these forty-five departments collectively -Marjorie Och and Ann Meredith, the citation that we present to her: A native of Cleveland, Ohio, Agnes actions by the Board of Directors and the model to which existing art information produce all American Ph.D.s in art CAA Committee on Women in the Arts Gund received her B.A. from Connecticut If Aggie is a woman of vision, an agent staff has contributed immeasurably to systems can be mapped and a basis on history, it was our premise that a College, and her M.A. in art history at the for change, when change means grow­ the well being of this Association; which new systems can be developed. focused study of these departments, Fogg Museum, Harvard University. ing expanding, moving in directions and whereas Susan Ball has been a The Categories can also assist those which formatively shape the profession, James Cuno, a fellow classmate of tha~ build on the old and redefine it in a major force, working in concert with the searching the Internet for art information, would reflect the realities of women art Aggie's, and today the Fogg's director, richer way. She possesses a rare combi­ Board of Directors, to shape the College because they represent the perspective of historians' professional status and recounted to me a classic example of nation of strength and character, Art Association into a lively Association art historians in the context of their opportunities at the most critical level." CAAin Aggie's ability to envision and generate confidence of eye and taste, modesty, that fills a leadership position in Ameri­ research questions, independent of the The results of this survey were reveal­ change. As a graduate student, Aggie and an undisgUised empathy for the can culture, way art documentation has been created ing, directing attention to the ratio of and Gabriella de Ferrari organized an hmnan condition. She is a model for us Therefore, the Board of Directors or may be accessible on individual female to male faculty, and the ratio of the News influential set of installations in the all." wishes to express its gratitude to Susan systems. female and male faculty to female and courtyard of the Fogg, an insti~tion with BaH and also to express its admiration The Categories initiative is ongoing, male students. The numbers pointed to an erratic record of acknowledgmg and affection for her as an individual. and active liaisons are maintained with a disparity in these ratios which, contemporary art. Jim re-created for me CAA's Committee on Electronic Informa­ perhaps, encouraged departments to CAAMuch the frisson one sensed looking at the tion (CE!), the Art Libraries Society of evaluate hiring practices and policies, as Obsessed by Death stately, classic beauty of the ~av:rti~e North America (ARLIS/NA), the Visual well as to consider the importance of "The College Art Association (CAA) walls, bathed in a quiet, medItative light Resource Association (VRA) Data Stan­ female role models for women entering annual conference convenes later and hearing the buzzing, whizzing dards Committee, the Museum Com­ the profession. this month, attracting several sounds of a lumber yard that rose up as puter Network, and the Computer In the fifteen years since, the field of thousand representatives of Ameri­ Mary Miss and her co-workers sawed Interchange of Information (CIM!) art history has been dramatically can art academe to a whirlwind of and hammered away in the formal consortimn. altered, and the current survey has been 125 scholarly sessions. elegance of the courtyard. It was a series A special two-volume issue of the designed to reflect and explore these "Feminist and homosexual that set the Fogg on its ear, and its eye. journal Visual Resources (vol. XI, nos. 3 changes. The survey has been expanded sessions are in no greater abundance A prominent collector of postwar and 4) will be published on the occasion beyond women to people of color, and than has become the norm, but art, Agnes Gund is today president of of the release of the Categories. The issue will soon be expanded further to include flagrantly cryptic topics are, happily, New York's Museum of Modern Art. She will contain six papers relating to the studio art programs. on the wane (despite the presence of has been closely associated with the document and its practical applications, Moreover, the nmnber of institu­ a session titled 'Visual museum for over two decades. Elected to as well as a fuI1list of the twenty-six tions to be surveyed has nearly qua­ Para intentionality: Critical and the Board of Trustees in 1976, she has categories with definitions and examples drupled, and this is, perhaps, the most Forensic Theory'). Asian themes are served MoMA in a variety of capacities. and a selected bibliography of controlled significant point. The growing number patently neglected, apparently During the course of her admirable vocabulary resources. of individuals enteting art professions, supplanted by new ones such as stewardship of their Committee on Agnes Gund, CAA Committe~ For information about Categories for the realities of the job market, and the 'Painters Who Don't Paint' and Painting and Sculpture, she donated ~wo on Women in the Arts the Description of Works of Art: AITF, c/ a geographical and methodological 'Contemporary Interpretations of major paintings by Jasper Johns, adding Recognition Award Getty Art History Information Program, diversities in the arts today demand that Outer Space.' There appears also to PHOTO: MUSEUM OF MODERN AflTfflMOTHY important recent works to their formi­ GREENFIELD-SANDERS 401 Wilshire Blvd., Ste. 100, Santa we look beyond the forty-five institu­ CONTINUED ON PAGE 21 Susan Ball dable holdings of earlier Johns; and she PHOTO: JOAN BEARD Monica, CA 90401; [email protected]. tions surveyed in 1978. personally facilitated the acquisition of work by such artists as the late Ana

CAA NEWS MARCHI APRIL 1996 9 8 CAA NEWS MARCHI APRIL 1996 .. King-Hammond Annual M.F.A. Annual CONTINUED FROM PAGE 1 Conference Exhibition Conference fact that New York always draws the largest attendance. We look forward to an 1996 a Success Update even greater array of sessions and events and a bigger crowd than in Boston. Anybody interested in organizing a panel should start planning now for the 1998 conference in Toronto. In the summer CAA will issue a Call for he College Art Association­ 1997 Call for Participation: Participation; this will be the time to sponsored exhibition, Selections Addition and Correction present your topics. Anyone who missed T from Regional M.FA Programs, For submission guidelines, see the the deadline for the New York conference was a successful event. Ten regional general Call for Participation mailed to should start planning now to submit M.F.A. programs participated, including all members in February. The submis­ suggestions for the Toronto conference. Boston University, University of sion deadline (receipt, not postmark) for More critically, on the immediate Copy Berg in front of his artwork in the exhibition AIDS Communities! Connecticut at Storrs, University of all sessions is April 10, 1996. horizon of projects for the CAA member­ Arts Communities: Realizing the Archive Project Massachusetts at Amherst, University of "Spiritual Manifestations? Or Just a ship is the mandate to match the chal­ Massachusetts at Dartmouth, Yale Hunch." Chair: Maria Elena Gonzalez, lenge grants from the National Endow­ University, Bennington College, 28 Tiffany PI., Brooklyn, NY 11231. ment for the Humanities and the National Vermont College of Norwich University, Is spirituality present in contempo­ Endowment for the Arts. When com­ Rhode Island School of Design, Massa­ rary trends of art today? If so, how: pleted, the challenge grants will endow chusetts College of Art, and the School subject, content, practice, effect, or two fellowships of the Professional of the Museum of Fine Arts, Boston. The denial of such? Have more day to day Development Program in perpetuity. By exhibition, with students representing political concerns, i.e., feminism, June 30,1996, we must raise $333,841 in each school, was juried by Trevor queerdom, human rights, and new matching funds. If we do not, we forfeit a Former CAA president Judith Fairbrother, Mary Drach McInnes, and technologies prevailed? If so, why? Are portion of the federal money. This means Brodsky with artist Faith Ringgold Barbara Krakow, and was open January new technologies in artmaking more or we stand to lose $34,761 from the NEH ALL PHOTOS: JOAN BEARD 27-February 25, 1996. The CAA recep­ less conducive to expressing spiritual­ and $44,933 from the NEA. This may very tion on February 22 hosted 650 visitors ity? Has the need for spirituality been well be the last time funding of this to the show, and 1,300 attended overall. fulfilled through other activities, such as nature will be available for a project of -Kim Sichel, Boston University cults, new age religious organizations, this type. The Professional Development the Internet, or home practices? And is Fellowship Program is a critical aspect of there a need for spirituality in art today? CAA's commitment to nurture and How do artists, who consider the very mentor scholars and artists in the field. practice of artmaking spiritual, convey Your individual support is paramount to spirituality? How does gender, cultural this project, either with a direct contribu­ background, sexual orientation, and/ or tion or through the purchase of the Faith age determine the manifestation of Ringgold print, The Sunflower Quilting Bee spirituality in art? at Arles, and/or the Miriam Schapiro In the call for the session, "Medi­ print, In the Land of Oo-B/a-Dee: Homage to CAA vice president John Clarke eval Art and Ethnic Identity," the Mary Lou Williams. I urge you to help us with president Leslie meet our commitment to the NEA and King-Hammond institutional affiliation and address of session co-chair Genevra Kornbluth NEH, and more importantly to the future were incorrect. Her affiliation is Center of our profession. for Advanced Study in the Visual Arts, Periodically I will share with you National Gallery of Art, and Young­ concerns regarding the state of the arts as stown State University. All proposals we approach the millenium. The next two should be sent to her co-chair, Jane years of my presidency are sure to be Carroll, Art History Dept., Dartmouth exciting and fascinating, and exhausting; College, Hanover, NH 03755. I look forward with eager anticipation to Conference attendees at the challenges of this tenure. M.F.A. exhibition PHOTO: JOAN BEARD -Leslie King-Hammond

Conference attendees at M.F.A. exhibition CAA Monographs on the Fine Arts editor Debra Pincus talks to a prospective author

10 CAANEWS MARCH/APRIL 1996 CAA NEWS MARCH} APRIL 1996 11 concern of the conference was the visual skills give students the ability to Advocacy appropriateness of advocating a understand ideologies in city planning, into the studio (although I do have a Last year for the first time I pre­ particular position in the classroom. advertising, and architectural styles. The Farewell phone, a fax, and my computer in the sented to you the recipients of the CAA Participants discussed, among other course helps students realize the studio. I can't withdraw from the world Professional Development FellOWShips. in the topics, whether or not cultural relativ­ potential of their own political agency, all at once). I'd like to do that again. Their faces and ism should be taught and how histori­ suggesting ways in which they can Address But what kind of an art world do I their work speak more eloquently than ans should address imbalances and advocate for themselves, go back to? I return to one that's under my words for what we've accomplished. Classroom attack. Under attack from many biases in SCholarship. The conference The NCAA conference focused on As you know, the program is designed generated valuable discussion among visibility. The majority of the sessions quarters. I can't separate the wnrld of to encourage outstanding srudents, participants, both in the specialized addressed programs that make the The following talk was delivered by outgoing institutions and the world of the artist. particularly those from break-out sessions and in the larger accomplishments of art departments CAA president Judith K. Brodsky at the It's the very fact that we are artists and underrepresented communities, to plenary sessions. Throughout the accessible to a wider audience or convocation ofeAA's 1996 Annual . scholars that makes what we have to say study art and art history and pursue dvocacy received a lot of proceedings, one question repeatedly constituency. Panelists discussed public Conference in Boston. The address was in the world important. It's our artistic careers in the visual arts by bridging the attention in 1995 as the topic of surfaced: "What about the students?" In sculpture programs on campus, as well illustrated with slides, some of which are and scholarly insights that provide the gap between graduate work and conferences and symposia and most discussions, advocacy was as off-campus exhibition sites, and reproduced here. impetus for our actions in the world of professional life. Fellows are selected A institutions. Who can shape our visual within the classroom in such programs addressed primarily from the advocacy for art departments in the from a pool of applicants from graduate as the University of Texas at Austin's instructor's standpoint. How does the larger community. Responding ~ part arts world as well as we can? I have to programs around the u.s. The recipients 301 Project. In June, an interdisciplinary student fit into the debate? to negative publicity that has resulted believe that we must take that responsi­ receive $5,000 for their final year of conference in Pittsburgh, "The Role of It is precisely in emphasizing the from the NEA crisis and to the budget hen I was a little girl, I bility. graduate work. Then CAA works with Advocacy in the Classroom," addressed development of students' critical skills cuts that most colleges and universities certainly didn't envision How many so-called controversial partnership institutions to place the the influence of advocacy on instructors' that the 301 Project contributes to face, there was a general consensus that W myself as preSident of the exhibitions are going to be canceled fellows in positions at museums, agendas in the college classroom. At its advocacy in and for the visual arts. The the greater community needs a better College Art Association, maybe an before artists and scholars perhaps colleges, universities, or art centers. annual conference in San Antonio in curriculum is divided into fourteen understanding of and appreciation for artist, probably more likely a princess­ unconsciously, begin to censor their CAA subsidizes the positions through November, the National Council of Art units, each focusing on an issue specific the activities of college art departments; my awkward self knew I couldn't be a own ideas? How can the Congressional grants to the institutions that hire the Administrators (NCAA) discussed to a historical period and geographic if art departments desire support from ballerina and I wasn't interested in decree canceling NEA fellowships for fellows, Former fellows have been advocating for art departments on location, Students analyze how visual the public and private sectors, they being a nurse, the usual aspirations of individual artists not limit our creative placed at the Metropolitan Museum of campuses and in communities. cultures respond to sodopo litical and cannot afford to remain isolated. little girls in my generation. I thought lives? While government support Art, the National Gallery of Art, the The 301 Project, organized by a cultural forces of a given time and place, Jerry Allen, director of cultural being a princess would be all right. But implemented without censorship does Getty Center for the History of Art and group of graduate instructors, and By helping students consider some of affairs in San Jose, California, was the here I am, finishing my presidency of not guarantee excellence, it does the Humanities, Williams College, featured in the fall 1995 Art Journal issue the factors underlying artistic deci­ keynote speaker of the NCAA confer­ the CAA-not as glamorous or romantic guarantee existence. I can't abandon the Pomona College, and the University of "Rethinking the introductory Art sions",---Le" who is empowered to make ence. A veteran of several public art as a little girl's image of a princess, more fight to restore such support. It's part of Rochester, among others. History Survey," offers a new organiza­ decisions and why-the 301 Project programs, he chronicled the history of like a dowager empress perhaps. It was my life as an artist. Amy Schlegel is a Ph.D. candidate tional approach to teaching the standard teaches students that advocacy is an government-funded public art in the at the Boston conference in 1987 that I And I ask all of you not to think of in art history at Columbia University. In introduction to the visual arts COUrse important factor in all cultural produc­ U.s. since the 1950s. He attended the first came onto the CAA board and it is your artistic and scholarly work in One her dissertation titled "Voicing Rage: offered by most schools. Group mem­ tion. conference in an effort to encourage art certainly appropriate that I finish my compartment and your responsibilities Nancy Spero, Feminist Art Practices, bers Anne F. Collins and David A. Cole In addition to studying the role of departments to proVide training for two years as president and almost 10 as members of a society in the other, but and Critical Discourses in New York attended the conference in Pittsburgh, advocacy in determining visual culture artists to participate in public projects. years on the board, here in Boston again. to conceive of the two as a continuum. It City since 1969," she presents a histori­ where they delivered a paper describing in past civilizations, students learn that Allen made a case for integrating the So next week, I become a civilian is in your capacity as artists and scholars cal and theoretical interpretation of the the central role of advocacy in the 301 advocacy motivates decisions made in visual arts into the urban environment, again, at least in CAA terms. As many of to make sure that CAA will continue its American Women's Movement in Art. Project. I attended the NCAA conference contemporary society, In studying the pointing out that the involvement of you may know but perhaps not all of commitment to changing the world for Pipo Nguyen-Duy is working as a representative of the 301 instructors. economics, politics, and class structure artists enriches the industrial landscape. you, I am an artist. I'm also known as the better. toward an M,F.A. at the University of The 301 Project approaches art history in of nineteenth-century Paris, for example, Allen and members of the panel on someone who can't keep her hands off Over the last few years we've been New Mexico. He came to the United a way that coincides with the goals of students investigate how the wide public sculpture programs also called shaping institutions, not for the sake of advocates for government support for States in 1975 as a refugee from Viet­ both the artist administrators who boulevards designed by Napoleon III attention to the ways in which public art the institutions themselves, but for what the arts, the right to creative expression, nam. Death and identity are underlying comprise the NCAA and the professors and Baron von Hausmann responded to educates communities about visual art. institutions can accomplish. Take the and diversity. But better yet, we've not themes of his work as he explores his who participated in the Pittsburgh such contemporary political concerns as Like the public sculpture programs College Art Association. As an organiza­ just responded to situations, we've memories of violence and chaos of the conference. The organizers of the project the barricades built by revolutionaries, on campus and the off-campus galleries tion of almost 15,000 individual mem­ taken the initiative to establish pro­ Vietnam War and his assimilation into are compiling a text book that will and to the economic and social advan­ advocated by NCAA, the 301 Project bers, a figure which, by the way, has grams and positions that embody our Western culture, document their methods and findings. tages of less congested streets, These moves beyond the classroom. Rather more than doubled during the last principles. The Pittsburgh conference, liThe insights can then be applied to local than remaining passive consumers of decade, and 2,000 institutional members, Role of Advocacy in the Classroom," and/ or contemporary surroundings. At art, students are encouraged to become the CAA is a powerful voice in cultural was co-sponsored by more than fifteen the University of Texas at Austin this active in making decisions surrounding affairs in the United States today, academic societies, including the lesson is supplemented by studying the production, The 301 Projeg also shares particularly when we join forces with College Art Association, Modem campus plan, Students learn how the the con€€f~bf instructors who question other professional associations and Language Association of America, space of the West Mall was redesigned advocating a particular position by learned societies. I envisioned many American Council of Learned Societies, in the late 1960s in response to student promoting student awareness of how ways in which we could playa positive and the American Association of demonstrations. ideologies influence all cultural produc­ role in the world of the visual arts, and University Professors, as well as Because 301 is often the only art tion-including that of education and we have certainly done so. Some of professional organizations in philoso­ history course in which nonrnajors the teaching of art and art history. them I'll talk about in a little while. Pipo Nguyen-Duy, The Blind Leading phy, religion, anthropology, history, enroll, it is an important opportunity to -Saundra Goldman, University of Texas at But I'm going to retire officially the Blind, 1994 sociology, and law. The predominant teach visual literacy, Strong critical and Austin from institutions for a while and go back

12 CAA NEWS MARCH/ APRIL 1996 CAA NEWS MARCH/APRIL 1996 Blake Stimson is a doctoral candi­ Yaalieth Simpson is working increase in population in the baby date in art history at Cornell University. toward an M.A. degree in arts adminis­ boomer generation. However, the His dissertation is titled"Avant quai? tration at Teacher's College, Columbia projections for future audiences are very Neo-avantgardism in the Political Culture of University. Her thesis is titled "The New pessimistic. the 1960s." He is considering how the York City Department of Cultural From our perspective in the visual Pop artists, Minimalists, and Conceptu­ Affairs during the Dinkins Administra­ arts, the one bright note is the fact that alists situated their work in relation to tion, 1990-94, and Its Economic Impact museum attendance is bucking the their audience and patrons. The slide on Four Community Museums." In this trend. But how long will that last? shows a page from the January 1970 study, so pertinent to the difficult period The lack of financial support for the issue of Vogue, the article titled "Best we are presently in, she is researching arts on the part of Americans reflects Bets for the 70s." It shows football the viability and survival of such arts their lack of interest in the arts them­ running back Calvin Hill, jazz drummer organizations in the u.s. This slide is of selves. It also mirrors the Congressional Tony Williams, and artist Robert course of the Whitney Museum, not a attacks and the distrust and Smithson, who is described as being "at community museum. demonization of the arts and humanities the center of the artists who are taking Anita Loomis Wilkinson is an that characterize the present climate. art out of the galleries and museums" M.F.A. candidate at the School of the Art How can we turn the situation and quoted as saying "Art exists in Institute of Chicago. She is a perfor­ around? We must create positive thousands of dollars, but to give art real mance artist concentrating on society's interactions between the arts and importance and timelessness artists perceptions and responses to feminism humanities, artists and scholars, on the have to begin to think in terms of and lesbianism. In 1992 she was one hand, and the American public on millions." The Vogue editor's deadpan awarded a grant from the National Marilyn Nance, installation of photographs the other. One way to accomplish that at the Studio Museum in Harlem response is "A thought for the seven­ Fund for Lesbian and Gay Artists for her goal is to ensure that we have new ties." (They should only know what it's performance, "Money, Sex, Love, Art, Bryan Keith Thomas, Church Fan, generations of scholars and artists like in the 90s!) and Public Transportation," an autobio- 1994 (detail) Judging by the fact that almost all field, with Van Gogh himself looking drawn from all segments of American Marie Watt is an M.F.A. candidate previous fellows have continued beyond on. society. And that those young scholars at the School of Art, Yale University. their fellowships terms at their partner­ Here is Ringgold in the studio and artists are the smartest and the most Most recently she has been exploring ship institutions, it's clear that they are working on the plates and master original. By supporting the CAA her Native American heritage through already having impact in the profession. printer, Eileen Foti, inspecting Faith's Professional Development Fellowship the use of traditional materials and How did CAA initiate this pro­ work. The print is half price only for Program you can do that. techniques. Among her goals is learning gram? There is no question that the CAA members and total proceeds will But you must do more. You cannot Seneca, the language of her grandpar­ concept itself has seized the imagination fund the Fellowship Program. Both say that your job is only to produce ents who tried to protect their children of the profession and the program has prints can be viewed as you leave the another painting or write another article. from racism by not passing on their become a model for similar programs in ballroom, and you can buy one or both You must conceive of programs that will Seneca traditions. other fields. But it was fundraising that on the spot! We also have mugs of tea shape the future and overcome the anti­ made it real. Gifts from the Nathan from the original Boston Tea Party intellectualism of the current era. Only Cummings Foundation, the Getty, the company, canvas bags that sport the thinkers with the imagination and Andy Warhol Fotmdation, and the Luce CAA logo, and lobster stickers. Don't conceptual grasp of true scholars and Foundation have added up to hundreds give what you can. Go into debt! artists can envision the future. I ask you of thousands of dollars and challenge We want to disprove the statistics to take on that responsibility. grants from both National Endowments that have emerged in the last two weeks. While the Professional Develop­ have been key to the establishment of Those who have worked against the ment Fellowship Program is at risk, it is the fellowships. We've raised over funding of the endowments and have only one of the many efforts to come to $750,000. However, we still have to raise tried to kill them have argued that the fruition during my tenure as president $216,000 by June 1996 and $82,000 by private sector will pick up the burden of that have brought me deep personal June 1997 in matching funds for the supporting the arts. However, the report satisfaction. challenge grants. If we don't, we lose the issued two weeks ago by the President's The entire history of CAA is Anita Loomis Wilkinson Endowment funds. Aside from the Committee for the Arts and Humanities distinguished by the fact that the embarrassment we would incur, it includes the depressing information that association has changed many times graphical piece presented from the And finally, Marilyn Nance is a would mean the end of the program. It there is "an unusual drop in the rate of over its eighty-five years in existence to position of resistance, rather than photographer and storyteller. An M.F.A. would mean no more support for individual giving to cultural institutions meet new needs of the field. Since 1987 Marie Watt, Untitled confession. candidate at the Maryland Institute wonderful young people like those you in recent years despite a stronger we have transformed the association so Bryan Keith Thomas will receive his College of Art, she is utilizing photo have just seen on the screen. We need economy. While average household that it can go forward into the 21st Jennifer Riddell is an M.A. candi­ M.F.A. from the University of Tennes­ storytelling techniques to document the you to be angels, and we're trying to donations to all philanthropic causes century. date in art history, theory, and criticism see, Knoxville. He celebrates his African history of African American spirituality make it as painless as possible. dropped by 11 percent in just six years We've come a long way. We've at the School of the Art Institute of American experience through historic in her thesis exhibition, "Spirit, Faith, Two years ago Miriam Schapiro from 1987 to 1993, the size of giving to established programs that bring a wider Chicago. Her thesis is titled "Natura symbols related to his Southern Baptist Grace, Rage." created a print for the benefit of the the arts per household fell by 47 range of cultural diversity into the field; Naturata versus Natura Naturans: The roots. He examines the significance of These nine students join the Fellowship Program. Now Faith percent." we've reorganized the publications Use of Botanical Forms in Contempo­ glass and mirrors in African American recipients from previous years for a Ringgold has donated a print created But the situation is far worse. The acknowledging board accountability; rary Art." This is a C print by Lynn ceremonial objects and how one's grand total of twenty-two students who especially for CAA. The print shows report goes on to talk about the sharp we've reaffirmed the commitment of the Geesaman, one of the artists in Riddell's reflection in these objects is treated as a have received College Art Association famous African American women decline in audiences for the arts. The CAA to education; we've developed study. glimpse of the immortal spirit. Professional Development Fellowships. creating a sunflower quilt in Van Gogh's decline, at the moment, is masked by the CAA as an effective advocacy organiza-

CAANEWS MARCHjAPRIL1996 CAANEWS MARCHjAJ'RIL 1996 tion; and we are providing a broader has brought a new generation of few years. It's taken a great deal of time NOAA." National Weather Service, Anchorage, range of services, benefits, and opportu­ culturally diverse scholars and artists to and effort. The rewards have been great, Ala November 20-December 7, 1995. "Weather Solo Pai;tings." Prudential Gallery, Washington, nities to members and the field. the annual conference, including but the best reward has been working D.c., February 2-March 31, 1996. "14 Ways to We have been pursuing leadership representatives from other countries. with wonderful people who will remain in the area of information technology on Know a Cloud." Glenview Mansion Art Gallery, The proteges present their scholarly or lifelong friends. Exhibitions Rockville, Md., March 31-April30, 1996. the policy making level and also on the creative work in a session devoted to I am being succeeded as president "Home," drawings and paintings. pragmatic front. On the policy making them. These sessions over the last few by Leslie King-Hammond for whose Tim Weaver. National Institutes of Health, levet a paper outlining fair use of years have proved to be highlights of energy, leadership qualities, and ideas, I by Artist Clinical Center Galleries, Lipsett Gallery, images and text on electronic informa­ the annual conference as I'm sure those have the utmost admiration, even awe. Bethesda, Md., March 5-ApriI30, 1996. "Familia "r. tion networks is nearing completion. cognoscere," mixed media. I" of you who attended the proteges CAA will have an exciting time under On the pragmatic front, we have Members Iii session today found out. her leadership, and I know she will, as I !ii gone online and have established a Another area of effort and accom­ have, find the presidency of the College II website, which should be very useful to plishment of the last few years has been Art Association one of the highlights of ii' Only artists who are eAA members are included MIDWEST! our members and to the field of visual in updating and fine tuning the gover­ her life. in this listing. When submitting information, Masahiro Ani. Moraine Valley Community Robert Berlind, Convergence, arts and art history. include name of artist, gallery or museum name, nance of the association to make it more My life has been eruiched by College, Robert F. DeCaprio Art Gallery, Palos 1995, oil on linen, Several exciting developments are city, dates of exhibition, medium. Please indicate responsive to members' needs. CAA is participation and the opportunity for Hills, Ill., October 8-November 3,1995. "Light 48" x 54" eAA membership. occurring on the international scene. The far more representative of the member­ leadership in these experiences and I and Shadow/' lithographs. Wenniger Gallery, Photographs are welcome but will be used only if board has approved an alliance between Rockport, Mass., January 2-31, 1996. "Dramatic Robert Berlind. Tibor de Nagy Gallery, New ship and more democratic than it was want to end by expressing my gratitude space allows. Photographs cannot be returned. the College Art Association and the ten years ago. Calls now go out to the for the opportunity you've given me, Interiors." York, March 7-April6, 1996. "New Paintings." American National Committee of the membership for all committee and and to wish Leslie and all of you the Richard Beard. Freeport Art Museum and Susan Breary. Putney School Gallery Art Comite de I'Histoire de I' Art (CIHA). editorial board positions, and all greatest success in carrying the fight Cultural Center, Freeport, TIl., August 25- Building, Putney, Vt., February 15-March 24, CIHA mounts major international art committee and editorial board positions forward on behalf of the human spirit. October 15, 1995. "Recent Works." 1996. "New Work." history symposia every few years, have terms so that there is governance -Judith K. Brodsky Dorothea Bilder. Freeport Art Museum and Judith K. Brodsky. Museum of Art, Rhode rotating from country to country. While rotation. Proportional voting by ABROAD! Cultural Center, Freeport, Ill., August 25- Island School of Design, Providence, February Odober 15, 1995. "Recent Works." many members of the American discipline will be instituted in the next Douglas Kenney. Gallery Cube, Shigaraki, 23--ApriI28, 1996. "The Meadowlands Strike Back." National Committee are also active in Board election to ensure representation Japan, February 14-28, 1996. "Plate Construc­ Martin Boyle. Cleveland Play House Art CAA, there was no formal connection of all CAA constituencies on the Board. tions." Gallery, Cleveland, January 22-February 18, Jin Kyoung Chang. Edward Williams Gallery, 1996. Paintings. between the two organizations. Now art One of the goals has been to find Fairleigh Dickinson University, Hackensack, N.J., March 4-April12, 1996. historian members of the CAA Board of ways that the association can serve its Alan Fierro. Humanities Fine Arts Center Directors will also sit on the American artist membership community more Gallery, University of Minnesota, Morris, March Michael Chelminski. Blue Mountain Gallery, National Committee. Another interna­ MID-ATLANTIC! 27-April14, 1996. Constructions and works on New York, March 22-Aprill0, 1996. fully. An activity that the visual arts Sidney Lawrence. Gallery K, Washington, D.C., paper. tional development has been CAA Anthony Cuneo. Amos Eno Gallery, New York, members of the Board have long wanted February 27-March 30,1996. "Recent Works." Kirk Pedersen. Atrium Gallery, St. Louis, March leadership in the effort to have the to see is CAA sponsorship of exhibitions February 17-March 7, 1996. "Urban/Us: It/ 8-April 6, 1996. Paintings. Landscape." United States rejoin UNESCO. Susan Ball, at the annual conferences. First we Charles Slatkoff. Klein Art Works, Chicago, executive director, was an official revived the M.F.A. exhibition and this Virginia Cuppaidge. Mabel Smith Douglass member of the American group invited February 17-March 23, 1996. "Infinite Tango." Library, Douglass College, Rutgers, State year, for the first time, CAA has University of New Jersey, New Brunswick, to attend the 50th anniversary of the sponsored an exhibition of work by Charles Timm-Ballard. Wriston Art Center Galleries, Lawrence University, Appleton, Wis., March 1l-April26, 1996. founding of UNESCO last fall. professional artists in cosponsorship January 12-March 10, 1996. "Recent Work." Deborah Curtiss. Kling Lindquist, Philadelphia. I'm particularly proud of what with the Gay and Lesbian Caucus and Mark Weber. Midtown Arts Center, St. Louis, "Prague Series," paintings and drawings. we've accomplished in the area of the Archive Project. The show is at the diversity. Advocacy for January 19-February 24, 1996. "Layers: New Josh Donnan. 55 Mercer Gallery, New York, Boston Center for'the Arts and is titled Paintings by Mark Weber." January 9-27, 1996. Paintings. underrepresented groups has been one AIDS Communities/Arts Communities: Jennifer Edwards. Towne Art Gallery, of the principles of my personal Realizing the Archive Project. philosophy. As many of you may know, Wheelock College, Boston, January 26-March 1, Another CAA leadership area is in 1996. Photography. I cut my baby teeth as an activist for establishing standards and guidelines NORTHEAST/ Nancy Friese. Pepper Gallery, Boston, Mass., women in art in the 1970s. The center­ Cecile Abish. Books and Co., New York, for the fields of visual arts and art January 19-February 24, 1996. Paintings. piece of the CAA efforts to bring about history in hiring, promotion, and ethics. February 4-29, 1996. "Recent Photo Diptychs." Jim Goldberg. Addison Gallery of American greater inclusivity in the field is the These last two years have seen several Sally Apfelbaum. Julie Saul Gallery, New York, Art, Phillips Academy, Andover, Mass., January Professional Development FellOWShip January 18-February 10, 1996. "Into the documents take shape and approved. 13--March 24, 1996. "Raised by Wolves: Program, but we've also implemented Garden." One is a revision of the Code of Ethics Photographs and Docrnnents of Runaways." other initiatives. The Directory of People Joan Backes. Virginia Lynch Gallery, Tiverton, for Art Historians. We also developed Penny Kronengold. First Street Gallery, New of Color in the Visual Arts was a project R.I., December 3, 1995-January 31,1996. Standards for the Retention and York, March 26-April13, 1996. "Landscapes­ initiated by Faith Ringgold when she Paintings. Promotion of Visual Arts Faculty and Terra-cattas-Paintings of the Artist's Sculptures was on the CAA Board of Directors. The just approved a parallel document for James Barsness. George Adams Gallery, New in Imagined Settings." first edition was published in 1992 and a Sidney Lawrence, Tom as Morocco, York, December 1995. "The Usual Difficulties," art historians. A set of guidelines for Stephen Lane. OK Harris, New York, February 1995, mixed media, 37" x 25 112" x 5" paintings and drawings. second edition is in preparation. Employment Conditions for Faculty in 10-March 2, 1996. We created the Annual Conference Hugo Xavier Bastidas. Aljira Center for Computer Disciplines has also been Kwi Hoon Lee. Franklin and Marshall College, Contemporary Art, Newark, N.J., January 11- Travel Grant Program for Culturally passed and the very important Guide­ Lancaster, Pa., January 25-Febntary 18, 1996. Carol Veth Sky. National Oceanic and February 29, 1996. "Move Along and Other Diverse Presenters and Their Proteges, lines for Part-Time Faculty. I'm tremen­ "Genesis," electronic and light installation. which was funded for three years by the Atmospheric Administration, Silver Spring, Md., Recent Paintings." Nohra Haime Gallery, New dously proud of what we've achieved as York, March 12-April13, 1996. Jacqueline Lhna. 55 Mercer Gallery, New York, Rockefeller Foundation. This program November 9-December 20, 1995. "Weather a board and an association over the last Paintings to Celebrate the 25th Anniversary of February 20-March 9, 1996. "Perception: A Taking In," paintings and drawings.

CAANEWS MARCH/APRlL 1996

CAA NEWS l\1ARCli/ APRIL 1996 13 fellow of the American Academy of Arts and Melissa Marks. Mabel Smith Douglass Library, E. E. Smith. Kim Foster Gallery, New York, Carolyn Manosevitz. St. Edward's University, Sciences and of the Medieval Academy of Douglass College, Rutgers, State University of March 16--April13, 1996. "Interior Journal." Austin, Tex., November 16-December 7, 1995. People in America. He served on the board of CAA from Incarnate Word College, San Antonio, Tex. New Jersey, New Bnmswick, February 9~March Karen Chasen Spitzberg. Interchurch Center, 1950 to 1953, and on the board of the Fine Arts "Faces and Masks: The Second Generation," 4,1996. New York, March 18-April12, 1996. ". Museums of San Francisco for many years. installation, lain Machen. Gallery at Dieu Donne Papermill, Variations," mixed-media portraits., the News John L. Moore. Montgomery Museum of Fine New York, December 23, 1995-January 27, 1996. Kim E. Tester. St. Marks School, Southborough, Arts, Montgomery, Ala., March 23--June 2, 1996. "Objets Perdus," installation of handmade books Mass., January 8-31, 1996. and cast paper sculptures. Paintings and drawings. Academe Tom Wagner. MacDonald Gallery, College Conrad Ross. Center Gallery, University of Ann Meredith. Gallery at Nontraditional Misericordia, Dallas, Pa., April 9-30, 1996. Alabama, Huntsville, February 20-March 15, Employment for Women, New York, March 1- "Visual Imagery and Our Region's Past," Don Bacigalupi is director at Blaffer Gallery, 31,1996. "Don't Call Me Honey: Photographs of 1996. "The Rhein: A Series ofTen Landscapes in paintings. University of Houston. Women and Their Work" Two Parts," paintings, drawings, prints, Jim Williams. Cabrini College, Philadelphia, construction. In Memoriam Brigid Doherty is assistant professor of modem Fran Miller. Midtown Y Photographic Gallery, March 20-April 17, 1996. Paintings. New York, March 21-Apri121, 1996. "TV Stills." art at Johns Hopkins University.

Steven Miller. Veem Gallery, Philadelphia, Jeff McMahon will teach Performance Art Jean Bony, an art historian with expertise in April 1-30, 1996. "Recent Paintings." Practice and Theory at Kutztown University, medieval architecture, died July 7, 1995, at the SOUTH/ Kutztown, Ohio, winter/spring 1996 semester. Pat Feeney Murrell. NoHo Gallery, New York, age of 86. Born in Le Mans, Bony first studied Cora Cohen. Sarah Moody Gallery, University February 21-March 10, 1996. "Body Mystery history and geography at the Sorbonne. The of Alabama, Tuscaloosa, April 1996. "Paintings Manifestation." lectures of Henri Focillon attracted him to art and Altered X-Rays, 1983-1996." history, however, and by the mid-1930s Bony Gloria De Duncan. Concourse Gallery, had begun the study of medieval architecture Museums and Galleries University of Tennessee-Knoxville. February 15- that would define his career. Returning from March 15, 1996. "Dreams and Memories," war service in 1945, Bony was lechtrer in art Annabelle Simon Cahn, 1938-1996 Anthony Bannon is director of the George paintings. history at the Institut Francais in London from Eastman House in Rochester, N.Y. M. Anna Fariello. Armory Art Gallery, Virginia 1946 unti11961. During this time he lectured Polytedmic Institute, Blacksburg, January 23- tirelessly at universities in the United Kingdom Jennifer Russell is deputy director for and the Irish Republic and was much in demand exhibitions and collections support at the February 23, 1996. "The Sacred and the Annabelle Simon Cahn died in Bakersfield, as an examiner. In 1962 Bony went to the Museum of Modem Art, New York. Mundane," mixed-media conshuctions. California, on January 14, 1996. Born in New University of California at Berkeley and Joy L. Flynn. Bismarck State College, Bismarck, York in 1936, Cahn received her B.A. from City remained there until his retirement in 1980. As Pamela Sienna is director of Kougeas Gallery, NDak., January 25-March 12, 1996. College in New York and completed the Ph.D. at professor emerihts he held several freelance East Boston, Mass. Columbia University in 1978. She taught at "Pillowscapes: Remembered Heavens." Brenau teaching appointments that extended his Connecticut College, Bennington College, the University, Gainesville, Ga., January 29-March teaching career for another eight years. While in 31,1996. "Color: Memory and Passion." America he published his two major books: The State University of California at Chico and at Bakersfield. At her death, she was also director Kay Kang. Broward Community College, English Decorated Style (1979) and French Gothic of the Todd Madigan Gallery at the State Organization Pembroke Pines, Fla., March 14-April 26, 1996. Architecture in the 12th and 13th Centuries (1983), Conrad Ross, Rhein #3-Lorelei, University of California, Bakersfield, and "Jachui-Vestiges," paintings. both of which were based on prestigious courses 1991, oil, 44" x 34" executive director of the Kern County Arts of lectures-Wrightsman and Mathews, and Ronald D. Rarick is serving as 1996 president of Council in the same city. Annabelle Simon both won prizes as the outstanding publication the Midwest American Society for Eighteenth­ Calm's major field of interest was Islamic art. of the year in its field. Century Studies. Virginia Scotchie. Etherredge Center Gallery, She was also very active in matters relating to University of South Carolina, Aiken, art policy and art education. A panel that she Steven Miller, The Lover, 1994, Spartanburg, January 17-February 21, 1996. chaired at the 1989 CAA annual conference in oil on canvas, 18" x 14" "Scatter." Hanes Gallery, University of North San Francisco was titled "Teaching Art History Carolina at Chapel Hill, January IS-February 9, in the Boondocks." She served CAA as an Barthosa Nkurumeh. Philip and Muriel Berman 1996. "Object Lessons." Milliken Gallery, advisor on historic preservation, conhibuting Museum of Art, Ursinus College, Collegeville, Converse College, Spartanburg, S.c., March 5- columns on current issues in this area to CAA Pa., December 5, 1995-March 17, 1996. Reading 29,1996. "Blind Desire." McKissick Museum, News. She courageously struggled with breast Museum, Reading, Pa., February 4-March 1, Columbia, S.c., March 3D-June 5, 1996. "Object cancer and sought to encourage a greater 1996. "Home Stories: The Art of Barthosa Lessons." awareness and understanding of this disease. Nkurumeh." Therese Zemlin. University of South Carolina, -Walter Calm Mimi Oritsky. Amos Eno Gallery, New York, Spartanburg, March 1-28, 1996. Handworkshop, April20-May 9,1996. Paintings. Virginia Center for the Craft Arts, Richmond, June 7-August 24, 1996. Sculpture. Walter Horn, historian of medieval architecture, Jennifer Pepper. Cummings Art Center, died December 26, 1995. He was 87. Horn grew Connecticut College, New London, January 29- Gregory Zeorlin. Cole Pratt Gallery, New up in Heidelberg, Germany, and studied at the March 5,1996. "Merging Presence," sculpture/ Orleans, March 2-31, 1996. Ceramics and mixed universities of Heidelberg and Berlin and drawing. media. received his doctorate in art history at the Raquel Rabinovich. INTAR Gallery, New York, University of Hamburg, where he studied under Apri115-June 7, 1996. "Drawings: 1978-1995." Erwin Panofsky. After immigrating to the U.s. in Kay Kang. Personage Y, 1995, 1938, Horn began teaching art history at the Anne Seelbach. Kouros Gallery, New York, oil on canvas, 63" x 52" WEST/ University of California at Berkeley, where he March 16--April13, 1996. "The Gasket Paint­ Didi Dunphy. Dan Bernier Gallery, Santa remained until his retirement in 1975. He was ings Monica, Calif., February 23--March 23, 1996. known for his shtdies of three-aisled timber Jean Bony, 1908-1995 Sandra Sider. Longwood Arts Gallery, New "Samplers." structures found in medieval churches, market York, January 13--February 24,1996. "Women at halls, and manor halls. His most ambitious Marc Lancet. Bucheon Gallery, San Francisco, Work and Play," mixed-media quilts. work, The PIan of St. Gall (1979), a three-volume February 2-28, 1996. Sculpture. Shazia Sikander. SARD, New York, December study, was produced in collaboration with San 1-23, 1995. "Fourth Space." Francisco architect Ernest Born. Hom was a

CAA NEWS MARCH! APRIL 1996 15 14 CAA NEWS MARCHI APRIL 1996 to complete fieldwork for her monograph on the Glenn WiUumson is a John and Dora Haynes natural sciences. All panel participants must 1996. It will engage the domain of medieval University of Maryland at College Park, College dynastic church of Emperor Yekunno Amlak, Fellow of the Huntington Library in 1996. Grants, preregister for the meeting and be members in studies by examining the reception by medieval­ Park, MD 20742; 301/405-1482. founder of Ethiopia's Solomonic dynasty. During his residence he will work on a project good standing of MARl AAS before June 1, 1996. ists of newer theoretical paradigms and will on the visual culture of landscape and technol­ For information: Vinay Bahl, South Asia examine the involvement, active or potential, of How Does History Lie? This symposium, April Robert Hromec won first prize at the 40th ogy of the first transcontinental railroad. Regional Studies, 820 Williams HalL University medieval studies in the production of culture, in 13, 1996, is sponsored by the M.F.A. painting Awards, & National Print Biennial at Silvermine Galleries, of Pennsylvania, Philadelphia, PA 19104-6305; various sense of the word. For information: and sculpture departments of Parsons School of New Canaan, Conn., for his monoprint First Michael Young has been awarded a fellOWShip 215/386-0624. Deadline: April 16, 1996. Charles Burroughs, Binghamton University, PO Design, in celebration of its centennial. Why is Kiss. for College Teachers and Independent Scholars Box 6000, Binghamton, NY 13902-6000; 607/777- history so hard to grasp? How does the material Honors from the National Endowment for the Humani­ Technology, Interdisciplinary Art, and 2730; [email protected]. record function as representation? How is Irma B. Jaffe has been honored with the rank of ties for the completion of his book The Architec­ Teaching: Hybrid or Low-Bred? is the theme of Deadline: June 1, 1996. memory, both individual and collective, written Cavaliere in the Order of Merit of the Republic of ture and Patrons of J. B. Santini-Aicllel: Tile the School of Visual Arts' 10th annual confer­ into history? Is history a stable entity or is it Italy in recognition of her books, articles, and Flowering of tile Esoteric Architectural Tradition in Publication policy: Only grants, awards, or hOllors ence on liberal arts and the education of artists. Redefining Italian Gothic in Italian Gothic Art pliable, a product of the politics of culture? This symposia dealing with Italian and Italian­ Eighteenth-Century Bohemia. received by individual eAA members are listed. TIle Participants are invited to submit proposals for is the theme of the Italian Art SOciety-sponsored conference will address these issues. For American art. grant/award/honor amount is 110t included. Please open sessions on the following topics: art in the session at the 1997 CAA conference. In much of information: R. Shepherd, 212/229-8942. Nancy E. 2inn was awarded a Presidential note the following format: cite name, institutional age of electronic reproduction; sources of current art historical interpretation, the art of Eduardo Kac received tvoJo awards for his Fellowship, Ohio State University, for comple­ affiliation, and title of the grant, award, or honof, and inspiration in a digital world; naming new Italy betvoJeen Nicola Pisano's arrival in Tuscany Out of Order: Culture and the Three Worlds electronic art: a 1995 Shearwater Holography tion of her dissertation "Jacques Daret: Beyond (optional) use or purpose of grant. Please indicate traditions; legal quandaries in an age of multiple ca. 1260 and the early 1400s seems to exist in a Theory is the 1996 W. Hawkins Ferry Sympo­ Award for his 12-year development of the Arras Altarpiece." that you are a CAA member. authors; virtual aesthetics; computer-assisted state of limbo, characterized either as continuing sium at Wayne State University in Detroit, April Holopoetry, and the 1996 Al Smith fellOWShip instruction, interactive media; the Internet; and medieval traditions or as advancing technologi­ 13. It vv:ill focus on the ways in which culture can from the Kentucky Arts Council for his work in communications. Send 200-word publication­ cally toward the achievements of the Renais­ work to undermine the hierarchy of the three computer art. ready proposal and 50-word abstract to: Laurie sance. Despite Pope-Hennessy's argument in worlds theory by strategic dis-order, and Johenning, SVA, 209 E. 23rd St., New York, NY Italian Gothic Sculpture that the period is explore how culture can question the ideology Jeff McMahon has been awarded a 1996 Isabel S. Cooper won first prize for sculpture at 10010. Deadline: April 19, 1996. distinguished by a unique language and that preserves this political and economic choreographer's fellowship from the National the Art Society of Old Greenwich eighth annual identity, beginning students continue to learn division despite the global influence of the first Endowment for the Arts. photo/sculpture show. Bringing the Renaissance Home: Domestic that this art belongs to a proto-Renaissance or world, the co-optation of the second world by Arts and Design in Italy ca. 1400-ca. 1600, the first stage of the Renaissance. . capitalism, and the increasing presence of third Sungmi Naylor was awarded a 1996 artists Julie Couzens was awarded a Lows Comfort March 15-16, 1997, is an interdisciplinary This session will consider to what extent world poverty in first world countries. For fellowship grant by the Illinois Arts Council. Tiffany grant by the Louis Comfort Tiffany Conferences conference to be held in New York, sponsored these views are justified and explore the period's information: Jane Blocker, Art and Art History Foundation. by the Cooper-Hewitt National Design Museum, own goals. Should questions of typology, Dept., 150 Art Bldg., Wayne State University, Norman E. Pendergraft has been awarded the Smithsonian Institution, and the American patronage, context, regional contributions, and Detroit, MI 48202; 313/577-2980. Outstanding Achievement Award given Lisa Davis won a 1995 NEA visual artists & 5 ia Academy in Rome. Proposals for papers on the tendencies toward eclecticism and the vernacu­ annually by the North Carolina Museums fellowship grant. decorative arts and material culture in 15th- and lar enter into the discussion? Should a new Colonial Silver and SiIversmithing in New Council to a member who has given exemplary 16th-century Italy are invited. In addition to label-gothic classicism and medieval modern­ England, 1620-1815, is a symposium on early service to the community and profession. Jeffrey Hamburger has been appointed to the studies of the cultural context of objects, topics ism have been suggested but not widely American silver April 19-20, 1996, at the conseil scientifique for the catalogue of German could include social rituals of secular life

16 CAA NEWS MARCHI APRIL 1996 CAA NEWS MARCHI APRIL 1996 17 The Landscape of Theme Parks and Their world professionals and fine artists, the National Conference, May 30-June 2, 1997. Send Send 1-2-page proposal to each editor. Internship Antecedents is the topic of the next Dumbarton encyclopedia is a widely referenced book. The resume, slides, and statement to: Surface Design Authors will be invited to participate by Oaks Studies in Landscape Architecture grand winner will have artwork showcased on Conference Exhibitions, S. Cromwell-Lacy, 4-E September 1, 1996, with completed manuscripts symposium, May 17-18, 1996. The symposium front cover; up to five runners-up will be Lakeshore Dr., Lake Lotawana, MO 64086. due by February 1, 1997. Send to: James Smalls, will deal with the role of landscape architecture showcased on the back cover, and five entrants Deadline: June 1, 1996. Rutgers University, Voorhees Hall, Rm. 112, Internships International offers internships in in the design of theme parks. For information: will be showcased in front editorial section of New Brunswick, NJ 08903; and Judith Wilson, all fields for art history /studio art majors. Studies in Landscape Architecture, Dumbarton the book. Entry fee, $35/3 slides, $5 each Midwest Focus '96: a juried competition for History of Art Dept., Yale University, PO Box Internships are nonpaying and full-time, for Oaks, 1703 32nd St., NW, Washington, DC additional. Send SASE for prospectus to: photographers residing in Michigan, Ohio, and 209272, New Haven, CT 06520. Deadline: June 15, college graduates or graduate students. Possible 20007. ArtNehvork, Cover Contest, 18757-99 Wild­ Indiana. $500 Best of Show award, Art Center 1996. placements include universities, art institutes, Award flower Dr., PO Box 1268, Penn Valley, CA 95946; Collection purchase award, plus other cash auction houses, galleries, museums, advertising Asian Ceramics: Functions and Forms: Field 916/432-7630; fax 916/432-7633. Deadline: April awards. For prospectus: Midwest Focus, Art agencies, and others, in such cities as London, Museum, Chicago, will host a conference May 30,1996. Center of Battle Creek, 265 E. Emmett St., Battle Grants and Fellowships Paris, Florence, Budapest, Santiago, Stuttgart, Creek,:rvrr 49017; 616/962-9511; fax 616/969- Dublin, and Mexico City. $500 placement fee. 24-26, 1996, where specialists will discuss the Metalsmithing magazine is soliciting submis­ impact of changing cultural influences on the All media: 2- and 3-d works sought for 5th 3838. Deadline: June 2, 1996. For information: Internships International, 1116B sions for its annual Award for Excellence in annual North American Summer competition Cowper Dr., Raleigh, NC 27608; 919/832-1575; design, use, and appreciation of Asian ceramics Critical Writing in the field of metalsmithing exhibition at nonprofit art center gallery. Entry Aljira National II: open to 2- and 3-d works in [email protected]. during the past two millermia. For information: and/or jewelry. The award of $500 is augmented Peter Krueger-Christie's Fellowship is available Asian Ceramics Conference, Field Museum, fee, $16. Send 55¢ stamp for prospectus to: all media. Prize is solo exhibition in 1997-98. by a $500 publishing stipend, and the selected to a scholar with an M.A. who has not yet Contemporary Artists Center, Historic Beaver Send SASE for prospectus to: Aljira, A Center for Anthropology Dept., Roosevelt Road at essay will appear in Metalsmithing. Submission received a Ph.D., to pursue research in a field Mill, 189 Beaver St., North Adams, MA 01247; Contemporary Art, 2 Washington Place, Lakeshore Dr., Chicago, IL 60605; 312/922-9410, of up to 4,500 words should focus on contempo­ that complements the National Design Online ext. 832 or 444; fax 312/427-7269. 413/663-9555. Deadline: J.' 'y 1, 1996. Newark, NJ 07102. Deadline: June 7, 1996. rary or historical issues in metalsmithing, or a Museum's interests and resources: drawings and critically significant examination of an artist's prints, textiles, wall coverings, European and Florida's Art in State Buildings Program Wheelchairs and Crutches part of yom work? As a new regular feature, CAA News willUst Collaboration in the Visual Arts is the topic of oeuvre or recent body of work. For information: American decorative arts, contemporary art, etc. the arumal meeting of the American Institute for requires that up to .5 percent of the costs for Preliminary search for upcoming show on Internet offerings and website addresses of interest to Frank Lewis, Meta/smithing, 414/332-6375. $15,000 maximum 12-month stipend; $2,000 constructing new state buildings be set aside for mobility and meaning. Will focus on art with or artists, art historians, curators, art educators, and Conservation of Historic and Artistic Works, Deadline: December 31, 1996. research-related travel stipend. For information: June 12-15, 1996, to be held at the Norfolk the purchase or commission of artwork for about these elements. Likely to tour. Send slides, Caroline Mortimer, Cooper-Hewitt National others that make up our constituency. Feel free to Waterside Marriott, Norfolk, Va. Speakers will permanent display. Proposals for pUblic resume, SASE, artist's statement to: Museums Design Museum, Smithsonian Institution, 2 E. contribute information. Collaborative, 6819 Greene St., Philadelphia, PA address collaborative efforts behveen conserva­ Calls for Entries commissions are now being solicited. Entries 91stSt., New York, NY 10128. Deadline: April 30, tors, scientists, artists, designers, fabricators, and will be considered by local selection committees 19119. 1996. Arts Wire architects. Topics to be discussed include the who will conduct an initial blind review of the http://www.artswire.org/ Artswire/www / selection of stable, long-lasting materials and the first five slides from each artist in order to judge William Morris Society in the U.S. offers awfront.html handling, storage, and treatment of objects. For artistic quality and appropriateness to the site. Calls for Manuscripts fellowships to support projects on the life and Arts Wire is the first online communications SPACES, northeast Ohio's artist-run, alternative information: American Institute for Conserva­ Entries will be pared down and final committee work of William Morris. Up to $1,000 per year is network designed to enable artists, individuals, gallery, is accepting applications for its 1996-97 tion of Historic and Artistic Works, 1717 K St., selections will be reviewed by the Florida Arts granted to individuals for research and ofher and arts organizations to better communicate, season from artists in all media including video NW, Ste. 301, Washington, DC 20006; 202/452- Council at their quarterly meeting. For expenses, including travel to conferences. share ideas, and information, and coordinate and installation. Proposals to curate exhibitions 9545; fax 202/452-9328; [email protected]. information: Robin Franklin Nye, 904/644-1253. Rutgers Art Review, Journal of Graduate Projects may deal with any subject and may be their activities. are encouraged. Honoraria for artists and Deadline: May 1, 1996. Research inArt Histon) is accepting full-length scholarly or creative in nature. Available only to curators available. Students eligible only for Veiled Histories: The Reinterpretation of Place articles and shorter research notes on a wide U.S. citizens or permanent residents. Send Electronic Frontiers Foundation SPACE lab exhibitions. Send 15 slides, n'isume, through the Work of Contemporary Public Indiana Directions, a juried exhibition for artists range of topics concerning the history of art and resume and I-page proposal; 2 letters of http://www.eff.org/ and SASE to: SPACES, 2220 Superior Viaduct, Artists is an international conference hosted by within the state of Indiana, is accepting entries. architecture, material culture, art theory and recommendation should be sent separately. For A nonprofit dvilliberties organization working Cleveland, OH 44113; 216/621-2314. Deadline: the San Francisco Art Institute, July 8-13, 1996. Entry fee, $20/5 works. Honorarium, illustrated criticism, aesthetics, film, and photography. All information: Mark Samuels Lasner, William in the public interest to protect privacy, free AprilS, 1996. This will be a week-long exploration into the catalogue. For prospectus: S. Robertson, graduate students, including those who have Morris Society in the U.S., 1870 Wyoming Ave., expression, and access to online resources. nature of history as a series of veiled constructs. Indianapolis Art Center, 820 E. 67th St., completed their doctoral degrees within a year NW, Apt. 101, Washington, DC 20009; 202/745- Minority artists needed for 1- or 2-person Through keynote addresses, panel discussions, Indianapolis, iN 46220; 317/255-2464; fax 317/ of the date of submission, are eligible to submit 1927; [email protected]. Deadline: June 1, 1996. National Association of Artists' Organizations exhibition during fall 1996 season and beyond. site visits, and special exhibitions, the conference 254-0486; [email protected]. Deadline: May papers. Manuscripts must be original scholarly http://artswire.org/ Artswire/naao/index.html Small stipend. Send 20 slides, resume, statement will provide a unique opportunity for some of 10,1996. contributions and should confonn to style Fulbright Scholar Awards for U.S. Faculty and NAAO is a nonprofit organization dedicated to of work, and SASE to: John Bohac, Division of the seminal artists of this geme to meet and guidelines established by the Chicago Manual of Professionals: opportunities for lecturing or serving and promoting artists-run organizations: Fine Arts, Northeast Missouri State University, discuss provocative issues in their own work Photo Review 1996: 12th annual photography Style. Send 2 copies of manuscript to: Gabrielle advanced research in over 135 countries are the primary makers, presenters, and supporters 100 E. Normal St., Kirksville, MO 63501. and how these are played out within various competition. All accepted entries will be Rose/Kelly Winquist, Rutgers Art Review/ available to college and university faculty and of new and emerging work in the visual, Deadline: Apri/lS, 1996. systems of cultural dissemination. For informa­ reproduced in summer 1996 issue of Photo Voorhees Hall, Rutgers, State University of New professionals outside academe. Basic eligibility performing, literary, and interdisciplinary arts. tion: Anna Novakov, San Francisco Art Institute, Review, and will be installed as part of an Jersey, New Brunswick, NJ 08903. Deadline: requirements for a Fulbright senior scholar National competition, June 18-July 6, 1996. 800 Chestnut St., San Francisco, CA 94133; 415/ exhibition. One photographer will be chosen as March 31, 1996. award are U.S. citizenship and the Ph.D., or New York Foundation for the Arts Send SASE for prospectus to: First Street Gallery, 771-7020; fax 510/548-5431. winner and will receive a one-person exhibition comparable profeSSional qualifications, for http://www /artswire.org/ Artswire/ 560 Broadway, Rm. 402, New York, NY 10012. at the Print Center, a Philadelphia gallery for Art Journal is seeking manuscripts for an issue certain fields such as the fine arts the terminal Deadline: April 25, 1996. wwwnyfa.html Popular Culture Association in the South will works on paper. Entry fee, $20/up to 3 prints or titled "Race and Visual Representation," to be degree may be sufficient. Applications are NYFA is a nonprofit arts service organization, meet October 17-20, 1996, in Savannah, Ga., to slides, $5 each for up to two additional. Send edited by James Smalls and Judith Wilson. encouraged from professionals outside academe, one of the largest providers of grants and Alternative Museum, SoHo, New York, seeks celebrate their 25th anniversary. For informa­ SASE for prospectus to: Photo Review, 301 Hill Looking beyond familiar frames of essentialized faculty at all types of institutions and of all services to individual artists and their organiza­ artists in all media for a national exhibition. tion: Dennis Hall, Dept. of English, University of Ave., Langhorne, PA 19047; 215/757-8921. All identity, it will consider how "race" works in ranks, and from academic administrators, tions in all artistic disciplines in the U.S. NYFA Send SASE for prospectus to: Exhibition Louisville, Louisville, KY 40292; 502/852-6896; entries must arrive between May 15 and May 31, and on visual representation. How might we independent scholars, artists, and professionals provides leadership, advocacy, financial, Committee, Dept. 100, Alternative Museum, 594 fax 502/852-4182; [email protected]. 1996. examine the interface of race and visual from the public and private sectors. For gerneral information, and collaborative support Broadway, Ste. 402, New York, NY 10012. edu. representation without reducing a complex field information: USIA Fulbright Senior Scholar to others committed to the arts in New York Deadline: April 27, 1996. Light through Glass '96 is a competition of significations to the poles of affirmation Program, Council for International Exchange of state and the U.S. Art History in the Age of Bellori is a conference sponsored by the Stained Glass Association of versus denigration? We are particularly Scholars, 3007 Tilden St., NW, Ste. 5M, Box ARC Gallery is jurying for solo and group to be held in Rome, November 20-22, 1996, America, open to members of the Stained Glass interested in new theoretical, critical, and visual Gnews, Washington, DC 20008-3009; 202/686- exhibitions for 1996-97 year. Categories include commemorating the 300th anniversary of the Association of America and Art Glass Suppliers approaches to the history, historiography, and 7877; http://vvww.cies.org/; ciesl@ciesnet. all media, including performance, video, and Publications death of Giovanni Pietro Bellori (1613-1696), art Association. Entry fee, $50. For entry form: theory of art! aesthetics in this regard, as well as des.org (requests for mailing of application film, and Raw Space, a dedicated installation theorist, historian, and antiquarian. Sponsored Kathy Murdock, SGAA, 800/888-7422. Deadline: in work along these lines by artists, critics, and materials only). Deadline: August 1, 1996. space. Send SASE for prospectus to: ARC Gallery, by the Association for Textual Scholarship in Art May 24, 1996. historians from all parts of the globe. Especially 1040 W. Huron, Chicago, IL 60622; 312/733- History (ATSAH), the American Academy in welcome are papers that focus on the intersec­ 2787. Deadline: April 30, 1996. Accreditation: A Statement of Principles~ first Rome, and the Samuel H. Kress Foundation. For What's in the Air? invites submissions from tions of race and gender, class (post)colonial published by the Committee on Institutional information: Janis Bell, 320 Oakland Park Ave., artists under the age of 40. The exhibition will institutions/structures, and/or hetero-/homo-/ Encyclopedia Living Artists cover contest: Cooperation in 1985, has been published in an Columbus, OH 43214; fax 614/427-3077; of coincide with the Srnface Design Association bi-/ trans-sexualities. intended to encourage interaction between art updated edition. The statement, periodically jcbell@postbox. acs.ohio-state.edu.

18 CAA NEWS MARCH/APRIL 1996 CAA NEWS MARCH/APRIL 1996 19 reviewed, updated, and reconfirmed by B.A. or eqUivalent experience in chosen committee members (University of Chicago, medium; M.A. is preferred. For infonnation: Miscellany Information Wanted Datebook Classified Ads University of Illinois, Indiana University, 615/372-3034. Deadline: April IS, 1996. University of Iowa, University of Michigan, Michigan State University, University of Chowan College Artist-in-Residency Program The CAA newsletter accepts classified ads of a Minnesota, Northwestern University, Ohio State offers visual artists (holding an lyf.A. or M.F.A.) profeSSional or semiprofessional nature. $1.25/word University, Pennsylvania State University, one semester of open time to create art in a ($2jword for nonmembers). Ukmerge School of Art in Lithuania Giovanni Giacometti: Catalogue March 29 Purdue University, and University of Wiscon­ spacious studio with apartment and food wishes donations of art books, maga­ sin-Madison), describes the standards program provided, with the exception of Raisonne. Project to document all of Deadline for submissions to May/June accreditation must meet to serve the universities, teaching one basic course. $2,275 stipend. Send zines, and materials. Also seeks infor­ Giacometti's paintings being organized CAANews their students, and the public. Committee on SASE, cover letter, slides, and resume to: C. mation about teaching methods and by the Swiss Institute for Art Research, Institutional Cooperation, 302 East John St., Ste. Rupsch, Visual Artist Residency Program, Div. materials used in US. art schools. Kathy Zurich. Owners of paintings not already AprilS Art Editors. Directory lists 95 editors 1705, Champaign, IL 61820-5698; 217/333-8475; of Visual Art, Chowan College, PO Box 1848, Luscheck, Peace Corps, Ukrnerge inventoried are kindly requested to Deadline for submissions for May with their areas of free-lance specialty. fax 217/244-7127. Murfreesboro, NC 27855; 919/398-6306. Regional Government, Kestucio A. 3, contact Paul Millier or Viola Radlach, Careers $6.00 + $2.00 mailing charge; prepaid Deadline: June 15, 1996. Ukmerge 4120, Lithuania. "Alternatives for Art Historians" is a small PO Box CH~8032, Zurich; fax 10381 52 only (payable to AAE). V. Wageman, pamphlet that may be obtained by sending a 50. April 10 360 Ridgeview Rd., Princeton, NT 08540. Visual Artists Program Fellowship SASE to: Charles Rosenberg, Art Dept., University Schools and Workshops Deadline for submitting paper proposals of Notre Dame, Notre Dame, IN 46556; borso@ Archive: National Endowment for the Mackinley Helm (1896-1963): Seeking to sessions chairs for 1997 annual Art slides for sale: approximately irishmvs.cc.nd.edu. Arts is celebrating its 30th anniversary biographical information, correspon­ conference in New York 10,000+ slides, slide cabinets, viewer by launching the Visual Artists Program dence, photographs, or any other notes. Slides cover art appreciation, art 1996 Archaeological Fieldwork Opportunities Archaeological fieldwork opportunity: 3-week Fellowship Archive, a joint endeavor information pertaining to his activities May 30 history I and II. "Gepe" glass mounts. Bulletin, published by the Archaeological fieldwork and lecture plus I-week tour in Xian, with the Smithsonian's National Institute of America (AlA), is a comprehensive China, incooperation with Xian Jiaotong as scholar, writer, collector, and curator, Deadline for submissions to July / Retired art professor. 908/681-3013. Museum of American Art, which will guide to excavations, field schools, and University and the Fudan Museum Foundation, in both the U.S. and Mexico. Cathy August CAA News programs with openings for volunteers, Ambler, Pa. For information: Alfonz Lengyel, make available the work of over 5,000 Paquette, 1110 Las alas Ave., Santa Art Workshop International, Assisi, students, and staff throughout the world. The Fudan Museum Foundation, 1522 Schoolhouse artists who have received fellowships Barbara, CA 93109; 6500cmpO@ucsbuxa. JuneS Italy. Two three-week sessions: June 28- AFOB has over 250 opportunities listed, divided Rd., Ambler, PA 19002j 215/699-6448. since 1967. The National Museum of ucsb.edu. Deadline for submissions for July July 18/Ju1y 19-August 8,1996. Live/ into geographical regions including the U.S., American Art will house a slide and Careers work in a 12th-century hill town· Canada, Latin America, continental Europe, the Real Estate Institute of New York University electronic image archive that will make U.K., the Republic of Ireland, the Eastern Ernst Ferdinand Oehme (1797-1855): surrounded by the Umbrian landscape. offers a summer program in classical design for the work of thousands of award Mediterranean and Near East, the Common­ architects, designers, preservationists, builders, Information is sought regarding his July 26 Courses: painting, drawing, art making, wealth of Independent States, Africa, and Asia. educators, and students in design professions. recipients publicly available. The painting Herbstabend. Verfallene Warte am Deadline for submissions to September / all media, art history. Creative writing, $9.00 for AlA members; $11.00 for nonmembers, The session will run June I5-July 27, 1996, and museum will also digitize the collection See, 1841. Records indicate it has been October CAA News playwriting, and screenwriting. Inde­ plus $4.00 for shipping and handling for the first will cover such topics as design, proportion, and make it available online. The first privately owned in the US. since 1980. pendent program for professional! copy, 501i' each additionaL Kendall/Hunt building, literature, theory, rendering, and step in the project is to contact artists Wanted for retrospective being orga­ February 12-15, 1997 advanced painters/writers. Grace Paley, Publishing Company, Order Dept., 4050 figure drawing, in addition to daily workshops and secure permission to include their nized by the Staatliche Kunst~ CAA annual conference, New York writer-in-residence. 4-, 5-, or 6-week Westmark Dr., Dubuque, IA 52002; 800/228- and field trips to New York institutions and work in the archive. Artists who have 0818 (credit card orders). artisans' facilities. Base tuition $1,700. For sanuillungen Dresden-Gemaldegalerie sessions available. Housing, most meals, information: Summer Program in Classical received fellowships are encouraged to Neue Meister, spring 1997. Staatliche February 25-28, 1998 studio space, critiques, lectures. Art Introduction to Imaging: Issues in Constrncting Architecture, Real Estate Institute, New York call the NEA at 202/ 682~5448. Kunstsammlungen Dresden­ CAA annual conference, Toronto Workshop, 463 West 51., New York, NY an Image Database by Howard Besser and University, 11 W. 42nd St., Rm. 522, New York, Gemaldegalerie Neue Meister, 01006 10014; te1./fax212/691~1159; http:// Jennifer Trant, published by the Getty Art NY 10036, 212/790~1608; fax 212/790~ 1690. Dresden, Postfach 12 05 51. www.vacation-inc.com/artworkshop. History Infonnation Program, is a primer that Deadline: May 24,1996. introduces the technology and vocabulary of htm!. digital imaging as applied to the management of Seeking slides and biographies of Fine Arts Work Center in Provincetown offers CAA in the News digital-image databases, introducing curators, workshops and residencies in creative writing artists that utilize blood as an element in Atelier du Jazz and Art, Switzerland: CONTINUED FROM PAGE 9 librarians, collection managers, administrators, and the visual arts for summer 1996. Weekend their artwork or performance art. Slides July 28-August 19, 1996. Painting, scholars, and students to the basics of creating and week-long courses available, June 23- and information will be used in papers, drawing, fresco painting critique databases of digital images. It also identifies August 31. Scholarship opportunities are lectures, and for future publication. be an unprecedented strain of fatalism program. Museum trips, guest lecturers. such fundamental issues as how to integrate an available for minority candidates. For infonna­ Dawn Perlmutter, Asst. Prof. of Art And in this year's offerings, with scholars For professionals, teachers, students. image database with other information tion: Peter Ho Davies, Fine Arts Work Center in Philosophy, Depl. of Fine Arts, Box 526, discussing 'The Death of the Author and Atelier du Jazz and Art, 55 Bethune 51., resources and how to interchange visual Provincetown, 24 Pearl St., Provincetown, MA the Life of the Artist,' 'The Death of the information along a variety of computerized 02657; 508/487~9960; fax 508/487~8873. Cheyney· University of Pennsylvania, B645, New York, NY 10014; 212/727~ systems. $7.95 plus $3.00 shipping and handling Cheney, PA 19319. Artist's Book,' 'Pamting: Dead Again/ 1756. for each order ($5.00 outside the U.5.). Tele­ Born Again?' and 'Abstract Painting: phone credit card orders: 800/223-3431; fax 310/ William and Marguerite Zorach (1887- Dead or Alive?'" Books on the Fine Arts. We wish to 453~7966. 1966 and 1887-1968): American modern~ -Art Newsletter, February 1996, p. 4 purchase scholarly o.p. books on ists. For Ph.D. dissertation on their Western European art and architecture; Residencies prints, any personal or professional also review copies. Andrew D. Washton information regarding location of Books, 411 E. 83rd 51., New York, NY works, reproductions, and correspon­ 10028; 212/481~0479; fax 212/861~0588. Tennessee Tech Appalachian Center for Crafts dence related to this aspect of their offers 9-month residencies. In exchange for 20 oeuvre would be greatly appreciated. Charming 19th~century barn: renovated hours of work, emerging professional artists Efram Burk, 1701 Nittany Apts., 600 E. into art studio, 1 acre. $259,000. Perfect receive free housing, studio space, and access to Pollock Rd., State College, PA 16801; living/work area for sculptor /painter/ facilities. Residents serve in one of six areas: [email protected]. edu. photographer. Big central area, two glass, ceramics, fibers, metals, wood, or arts administration. Applicants must hold at least a lofts, kitchen, darkroom, large base­ ment, skylight studio with cement floor.

CAANEWS MARCH/APRIL 1996 20 CAA NEWS MAIKH/ APRIL 1996 21 REII'S'T THE CONFERENCE••• Garage/shed. Near North Fork vine­ Robert Beverly Hale on videotape. cleaning and utilities. Security deposit. yards, beaches, Cutchogue, Long Island. Hale's famous series of ten original Available January/February 1996; June lilA AUDIOTAPE 90 miles NYC. 516/323-3851. demonstration lectures on artistic and August 1996; September 1996-May College Art Association's " ,--,,' anatomy and figure drawing given by 1997.416/961-4190; fax 416/961-0162. ,',-- ,:'- _.', Editor: editing, copyediting, proofread­ him at the Art Student's League, New 84TH ANNUAL CONFERENCE ing, MS evaluation, research, writing, York (1976).-Fourteen hours of instruc­ Paris ge, 46 rue LaFayette (2-20-minute RECORDEDtlllE .. February 21-24,1996 - Boston, MA general art history, architecture, design, tion. Jo-An Pictures Ltd., Box 6020 FOR, walk Bibliotheque Nationale, Louvre), These cassettes provide a great opportunity to catch up on the latest developments by the experts in the field. They provide an decorative arts. Scholarly and reference New York, NY 10150; 212/532-5003. 4th-floor (elevator), 2-bedroom apart­ -.-1 excellent recap of conference topics and are a great training tool and informational source for those who could not affend. books. Exhibition catalogues. Magazine ment. Quiet, completely furnished/ PRICING INFORMATION: All sessions are double-tapes and are $20.00 per set unless noted and may be ordered individually or". PURCHASE THE and journal production. Twenty years Italy: rustic Umbrian house. Wonderful clothes washer. $800/ week; $2,500/ • ___ad_oIl COMPLETE CONFERENCE SET FOR $850.00 AND SAVE OVER 20%. Complete package comes in attractive storage albums at no extra charge. experience in publishing. Member: views, quiet. Ideal for painter, writer. month, including cleaning and utilities. CAA/ Association of Art Editors, $600/month.408/427-0340. Security deposit. Anne van Buren, 011- 0160221-010 ..... $10.00 (1 tape} ..... Making Money, Making Art in the New Media: Law, o 160221-320,321 ..... Galaxies, Black Holes, Dark Malter: Contemporary tnterpretations Editorial Freelancers Association. 914/ 33-148.00.98.81. After April 15, fax 207/ Business, Policy, and Ethics in a Digilal Environment I 01 Outer Space 358-6012. Italy: Tuscan farmhouse for rent. Close 348-6761. o 160221-020,021 ..... Marcel Duchamp and the Readymade: From Origin to Conse­ o 160221-330.331 ..... Modern American Photography: The Struggle between Art and to Pietrasanta/ Pisa, Florence, and beach. quence Commerce o 160221-030,031 ..... Visual Para-tntentionality: Critical and Forensic Theory o 160221-340,341 ..... The "Essential" Subjecl, or the Boundaries ot tdentily For rent: 2,000-square-foot-loft near Fully furnished, sleeps four. $1,000/ Pietrasanta, Italy (Tuscany): house with o 160221-040,041... .. Beauty, tnvention, and Good tntentions: Toward a Critical Analysis o 160221-350.351 ...•. TheAbject in Art History Guggenheim SoHo. Available Memorial month for summer; $800/ month studio, inspirational location by water­ 01 Public Art 0160221-360 ..... $10.00 (1 tape} ..... Work tn Progress: Presentations by CAA Protege(e) Day to Labor Day. $2,500/month. September-April. 501/521-2919. faIt foot of marble mountains, minutes o 160221-060,061 ..... Who's Deconstructingthe Closet? Travel Grant Recipients Security deposit required. 212/966-0865. from beach. Choice of 4-bedroom o 160221-070,071 ..... 19th-Century tnternationalism 0160221-370 ..... $10.00 (1 tape} ..... Reintroducing the Visual Arts: New Strategies for o 160221-080.081 ..... The Global Sweatshop: tmagery ot Women Factory Workers Teaching BeginningArt History Landscape Painting Workshops­ apartment or studio apartment. $200- Around the World 0160221-380 ..... $10.00 (1 tape} ..... Learning from the 70s For rent. Attractive furnished bedroom. Tuscany: idyllic San Gimignano farm. $1,OOO/week, less expensive monthly, o 160221-090,091 ..... British Colonialism and Cross-Cultural Exchanges, ca. 16th - 20th o 160221-390,391... .. The Copy as Original NYC, upper East Side near museums. 212/663-0770; 102175.3471@ off-season. Craig Schaffer, PO Box 270, Centuries o 160221-400,401... .. The Portable Aura: Fine Art and Its Reproductions in Ihe 19th Suitable visiting woman scholar. compuserve. com. Pataskala, Ohio 43062; te1./fax 614/927- 0160221-100,1 01 •... .tnteltectual Property Rights in the Electronic Age: The Issues tor Century Doorman building. Good transporta­ 4102. librarians, Visual Resource Curators, Scholars, and Arlists 0160221-41 0,411... .. 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Hislorici'ing Ihe Arl Hislorical Objecl (Does Nol Contain Talks By clothes washers. Spring 1997 semester. 21-August 21, mlnutes to NYc. A/C, Dialogue S. Blier and T. Kaufmann) Summer Sublet: one block Columbia 0160221-180, 181 ..... 0pen Session -- Contemporary Art History o 160221-480,481 ..... Going Digital: Computers in Studio Art Education $1,500/month, plus utilities. Professor first floor, 1,300 square feet, $900/ University. Spacious, sunny I-bedroom o 160221-190,191 ..... The Art ot Humor in the Middle Ages (Does Not Contain Talks 8y E. o 160221-490,491 ..... Alienating Subjects: Art, Identity, and Colonizalion in Latin Jack Wasserman, 215/625-3902. month. 201/656-1475. + hidabed. 24-hr. doorman. June 1- Dauterman Maguire and L Freeman Sandler) America (Does Not Contain Talk By M. Schreffler or Discussant J. Rabasa) August 25. $1,400/month plus utilities; o 160221-200,201 ..... Families in Early Modern Europe, 1300 -1650: Ideal Families 0160221-500,501 Art History and the MaUer of Art For rent: large Umbrian (Italy) home. London: quiet Georgian square. Sunny, deposit. 212/316-3438. 0160221-21 0,211 ..... Making Connections: Building Broader Understanding of 0160221-510 ..... $10.00 (1 tape) ... The Visual Surrogate as Intellectual Properly: ts Visualization "FaiT Use" on the Verge of Extinction? $650/month; 6-month minimum or cozy, sma113-bedrrom house, 20-minute o 160221-220,221 ..... Painters Who Don't Painl o 160221-S20,521 ..... Artists' Writings about Art summer. Ideal for sabbatica1. 812/855- walk to Parliament, 2 blocks from tube, Support the Arts-your art! Print full­ o 160221-230,231 ..... Revisions and Restitulions: Spanish and Portuguese Art, 1788-92 o 160221-530,531 ..... Upstream: Theoretical Headwaters of the Craft Arts 0578, or 812/336-3860. garden, parkillg, modernized. $2,300 color postcards, exhibition announce­ o 160221-240,241 ..... 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PostmodernAliegorical Painting and Indentity Politics 16th-c palazzo amidst magnificent area, terrace, A/e, views, July-August fax 513/961-5655. Families (Contains only Talks by J. Nelson, C. Hulse) o 160221-590.591 ..... The Boundaries Etruscan landscape. All aspects of these (possibly June). $1,600/month. Amy, o 160221-280.281 ..... The Visual Culture 01 the French Revotution of Domesticity in Early Modern o 160221-290,291 ..... Negotiating Boundaries: Art, Theory, and Life Europe techniques covered; field trips included. 212/285-1813. Wanted: Rome, Italy/ Centro Storieo o 160221-300.301 .•... Expanding the Limits of the Objecl in the tslamic World o 160221-600,601 ..... Constructing "Tradition": Modern JapaneseArchitecture and the Write/ call for brochure: Accademia furnished apartment, June I-July 15, or 0160221-31 0.311 ..... Representing "Queerness" Formation of a Viable Past Caerite, Inc., 135 Greene St./ New York, Manhattan summer sublet: Lower East portion. Will pay rent or option to trade 0160221-61 0.611 .... .tnlermedia: Soapbox or Closet? OROER: NY 10012; 212/473-5657; fax 212/777- Side. Large, comfortable, furnished 10ft spring/summer dates for small terraced BY MAil: Complete this form, enclose payment to: Audio Archives Int'l, Inc,,3043 Foothill Blvd.,Ste.2, La Crescenta,CA 91214 7551; or te1./fax 914/271-3380. apartment with roof top garden. Mid­ apartment overlooking Mediterranean BY FAX: FAX your order form with credit card information to: (818) 957~0876 - 24 hours/daYi 7 days/week May through August (possibly Septem­ in Sperlonga. [email protected], BY PHONE, With your credit cord, plea,e call, (800) 747-8069; (818) 957-0874 - 8,30-4,00 Pacific Time, Mondoy - Friday Greenwich Village B & B: in stunning ber). $1,100/month, plus utilities and or fax, 212/517-4626. loft with lovely garden. Minutes to water garden. References please. 212/ MAIL ORDER FORM - COllEGE ART ASSOCIATION ALL PRICES ARE IN U.S. FUNDS SoHo. 212/614-3034; fax 212/979-7007. 925-0647. All tapes are covered by a lifetime guarantee - Defective tapes will be replaced free.of·charge * FREE CASSmE STORAGE ALBUM WITH EACH 6 TAPE PURCHASE * All returned tapes after 30 days subject to 2S% restocking fee * We accept VISA, MasterCard, American Express, and personal or company checks payable to AUDIO ARCHIVES INTERNATIONAL INC. Gulf Islands, British Columbia: 2 Paris apartment: research/sabbatical; Q Check Endosed Q VISA Q MasterCard Q American Express Exp. Date ______Total Selections at $10.00 ...... $, _____ bedrooms plus loft. Woods setting/ five­ 4eme, Isle St. Louis/ minutes to librar­ Account Number ______Total Selections at $20.00 ...... $. _____ minute walk to beach, sunshine, ies/archives. Two rooms plus mezza­ Signature ______wildlife, easy access to Vancouver and nine; historic 17th-c building. 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