newsletter Volume 6. Number 2 June 1981 Joshua C. Taylor: 1917-1981

CAA PresidentJoshua C. Taylor died on April 26. It is begging the question to say that no obituary, no matter how carefully or lovingly written, could do justice to his life and accomplishments. He would have been the first to note, with one of those famous harrumphs, that inarticulateness is the last refuge afike unintelligent, the uninformed, the lazy, and those lacking grace and wit. Be that as it may, he would have been the first to agree that, i'n the verbal as well as the visual arts, there is no substitute for the object itself. For that reason, rather theLn because of any of the aforementioned failures of intellect or of character, we reprint here his last written work. Completed only a few days before his death, it is the text ofa commencement address that he had been t'rtvited to deh'ver on May 23, 1981, to the graduating class of the Rhode Island School of Design.

WHERE YOU ARE

There has never been a time in which so much conscious knowledge has been crowded into the minds of so many people. Not only are we constantly aware of the full geographic extension of the earth and the galaxy in which it functions, but also of the vast variety of peoples who inhabit it and their beliefs and goals, often markedly different from our own. There was a time in which we regarded a small bodyofprac­ tices as civilization and all else simply as barbarian life waiting to be tamed, but to hold such beliefs now is regarded as being backward or Joshua C. Taylor, Director of the National Museum of American Art, even politically and socially dangerous. The moon has become a target 1970-1981; President of the College Art Association, 1980-1981. rather than a romantic symbol, and to practice someone else's religion seems to be far more attractive than to ally one's self with the church or we thought. We live longer, go faster, and have more ways to pamper synagogue at home. We are faced with the necessity of building a real­ our bodies and distract our minds, but we still come into the world, ity out of blocks that never seem to fit together and mortar that refuses reproduce, and die much as human creatures always have. Regardless to hold. of how much information and theory may crowd our consciousness, Once this brave new world opened up by scientists and endlessly the fact remains that we are still ourselves, sentient, intellectual described by psychologists and anthropologists was bright with prom­ human beings, each of whom must come to grips with his own destiny. ise. "We live in a world of change" was a boastful excuse for throwing In the process of "coming to grips" there seem to be various stages. over all traces of the past and moving heedlessly ahead into something Possibly the lowest is that at which individuals begin to sense their own known as the future. A concept of the new was a stimulant for a great isolation, conscious that communication is at best a tenuous opera­ flourishing of creativity in all areas of Hfe, including the arts. To teeter tion. To belong to something outside themselves becomes an obses­ on the threshold of great things to come was a way of life that was invig­ sion, whether it is just collecting the same records or wearing the same orating and at times productive, even though the threshold was never clothes as everyone else in the group, or blindly identifying themselves passed. We used to talk of ,'breakthroughs" with a giddy optimism, an­ with some political or religious organization. The fanatic support of an ticipating that at some transcendent moment, with a great surge of abstract schematism, sustained by catch-words and pat formulations background music, all of life's problems would be solved. Ah, those that need not be defined, is a useful, albeit misleading, means for were happy days- but they now seem so far in the past. The world has escaping the frustration that comes from recognizing human limita­ always been in a process of change, but somehow we thought our kind tions. "A cause," one says, "if only I had a cause into which to throw of change was different. myself, then life would be meaningful." More damage has been inflic­ Humanity is hurting. We have been so busy spinning our systems, ted on humankind through the pursuit of causes than through any gathering information, and explaining what everything is about, that other device contrived to win power over self by gaining dominance we have become elements in our own narratives with no place to go over others. that we can call home. The artist has not been immune to the persuasion of causes, either in This is not a new plaint. It began early in the century and has been the pursuit of his art or in using his art to support social or religious grumbling along ever since, alternately listened to and by-passed with crusades. One of the most popular, begun at the turn of the century a new burst of optimism. But the human fabric gets weary. How long but at times still evident, sprang from the separation of the artist from can we sustain ourselves with abstractions and systems when all in the his nonartistic fellows. It became an act of aesthetic faith either to bait past have ultimately proved false? We even tried a system based on no the uncomprehending public or to set about teaching it to accept ex­ system, but when intellectual suicide becomes chic, we know that we periences to which the artist had attached his own values. "I want to are lost again. awaken a consciousness ... ," "I want to show, .. " are phrases that Possibly it is time to realize that mankind has changed far less than Continued on p. 2, col. 1 {Joshua C. Taylor: 1917-1981 1982 annual meeting: call for papers and panelists stem from a concept of art as pedagogy, with the artist as the unrelent­ separate the mind from the senses, from what we tend to think of as The 1982 annual meeting will be held in New York City, Thursday, specific instances of such contacts, up to and including the twentieth ing pedagogue. In fact, the didactic process as a theme in itself has automatic responses. The painters, the sculptors, the designers deal, February 25 through Saturday, February 27, The New York Hilton will century. become, at times, the central burden of some tendencies in art, with however, not just with symbol but with the stuff-the physical mat­ serve as headquarters hotel. the artist deriving his chief satisfaction from the protests or resistance ter-of the world. They must remain consciously and continuously Art history sessions have been planned by A. Richard Turner: Insti­ Ancient Art. Brunilde S. Ridgway, Dept, Classical and Near Eastern provoked by his works. This artistic one-upmanship has its limitations, aware of the testimony of their senses, not simply because this tute of Fine Arts, New York University, Studio sessions have been Archaeology, Thomas Library, Bryn Mawr College, Bryn Mawr, Penn. as do most causes that depend on general social response, since yester­ testimony informs them about the materials with which they express planned by artist Ellen Lanyon. Listed below are the topics they have 19010. day's burr under the tail of society becomes taday's pleasurable titilla­ their ideas, but because their sensuous responsiveness forms part of the selected. Those wishing to participate in any session should write to the Papers are invited on any aspect of Ancient Greek and Roman art; tion. It has been years since shock in art has had an effective value, substance of the ideas themselves. If they are to serve their proper role, chair of that session before October 1, 1981. topics dealing with art historical problems are particularly welcome. except to make one remember that shock was sometime ago admitted artists must think with their senses, providing a point of union between ~eminders: (~). No.one,may ~arti~ipate in more than one art history into the vocabulary of art. Attempting aesthetic shock today is simply the inner world of thought and dream and the outer world of evocative seSSlOn. (2) PartlclpatlOn m sessIOns m two successive years, while not to indulge in nostalgia. Of course there is still much to be done in edu­ substance, which is no less a part of the human fabric. Although it may Early Medieval Art in the West. Joachim E. Gaehde, Dept. Fine prohibited, is discouraged. (3) Abstracts may be submitted to more than Arts, Brandeis University, Waltham, Mass, 02154. cation about art, but the work of art itself should not be made into a also report an event in religious history, a painting by Piero della one specific topic session provided that the respective chairs are in­ primer or it will be rejected once the lesson is learned. Francesca makes its real contribution to humanity by bringing the Papers are invited on recent discoveries or new appraisals and inter· formed of the multiple submission. (4) No abstract may be submitted for pretations of specific works in all mediums from the Carolingian to the I sometimes think it would be useful- is possibly necessary - to look senses and the mind into a magical accord, providing a quivering, a paper that has previously been published or that has previously been Romanesque periods. at the world anew without the encumbrance of all the words and momentary revelation of wholeness that serves as an anchor in the anx' presented at another scholarly conference, (5) It is not uncommon for categories of thought that once served the purposes of understanding ious sea of experience. To recognize such a moment as unique in a time chairs to request to see final papers several weeks in advance of the annu· Medieval Spain. Jerrilynn D, Dodds, Dept. Art History and Archae­ but have long since detached themselves from their original meanings hell-bent on uniformity is enough to give one heart to assume that al meeting; speakers should be prepared to comply with that request. (6) ology, Columbia University, 815 Schermerhorn Hall, N.Y.C. 10027. to obscure motivations and befuddle our thoughts. Our political ter­ there is an element in life that is still one's own, Each work of art is a Unless your name is a household word, it is useful to include a curricu­ Papers will be considered that concern the Islamic, Judaic, and Chris­ minology has become ridiculous, with the most disparate systems in· renewed bond, negotiated in terms of individual sensibility, between lum vitae. Telephone numbers are helpful, too. tian arts of Medieval Spain. sisting on describing themselves by the same terms. Equally misleading the inner and the outer substances that constitute mankind, is the use of different terms to describe the same actions, thus claiming I am quite aware from the theories of some of my colleagues who virtue for one system while decrying another when in truth the differ­ militantly identify themselves with social and political theories that ART HISTORY PROGRAM Spirituality and Secular Power: Monastic and Mendicant Art in ence is more verbal than real. what I have been talking about can be regarded as socially irresponsi· the Middle Ages and the Renaissance. Rona Coffen, Dept. Art, Duke University, East Duke Building, Durham, N.C, 27708 and Sarah Wilk, Why not call a moratorium for a month or so on the use of all ble. In face of grievous political repression and social inequities, they Papers for art history sessions must be proposed in the form of a one· Dept. Art History, Rutgers University, Voorhees Hall, New Brunswick, established terminologies so that we might discover what the world is would insist-following a rather simplistic nineteenth-century theo­ page abstract, Submit clean copy in original, typed on one, single­ N.J. 08903 really like? We might discover some surprising and even disagreeable ry - that artists must direct their art toward changing (or maintaining) spaced, 8!4xll inch page, pica type, on bond paper. Do not fold, Although the monastic and mendicant orders were among the facts, but at least we would know what we were covering up with our a particular social system. Others, devoted to the support of a sectar­ spindle, mutilate, or stain with coffee. Leave!4 inch margin at top; no greatest patrons of art, there has been no systematic study of their influ­ jingoism and pompous talk. Of course conversation on political ian cause, would insist that the artist must serve to heighten awareness less than 1 inch at the left and % inch margins at the bottom and right. ence, Yet is is evident that their commissions promoted each order's par­ matters would practically come to a halt and, among others, social of their sectarian assumptions, whether of race, gender, nationality, or ~ype session title, ~hairperson and his or her institution in the upper ticular interpretation of doctrinal controversies, and that certain scientists and psychologists would be hard hit, but that might not be all religious creed. I would hope that the artist, as an active member of ngh~ c?rn~r. Type tItle of your paper, your name, and your institutional society, would indeed be concerned in such matters, but I do not affihatlOn III the upper left corner. For confirmation that your abstract iconographic themes may have distinguished each order's monuments. bad. And what about art? The critic would have to scramble and some Their art was intended to secure both the devotion of the faithful and the artists, too, might have a problem. Without terms like abstraction believe that one's dedication to a social cause should undermine the has been received, enclose a stamped, self-addressed postcard. Pro­ artist's obligation to a larger, more permanent aspect of mankind. It posals for papers not confonning to the above specifications and those secular power of the order. The focus of this session is the consideration (hard-edge or expressionist?), figurative, gut reaction, or academic to of monastic and mendicant art in its original historical, political and fall back on, they might find themselves adrift and lost. has been argued that once all social ills are remedied, then we can set­ received after October 1 cannot be considered. (Note: For sessions hav­ tle down to reap the pleasures of art. We need art now, to help keep up­ ing co-chairs, abstracts should be sent to each chairperson.) spiritual environment. Papers dealing with art and architecture from The moratorium would have to be temporary, of course, One can the thirteenth through the sixteenth centuries will be considered. stand reality in only brief sessions. But what a shining sea and promise· permost in mind those very qualities that supposedly are the goals for that politically achieved millennium we constantly hear about. To Individual Works of African Art. Suzanne Preston BIier, Dept. Art filled voyage if one does not have to worry about being "with it," Narrative Art in the Italian Renaissance: Renewal, Revival and "avant-garde," "true to one's real self," or "suffering on the threshold cease to be human in order to make the world safe for humankind is a History, Northwestern University, Evanston, IlL 60201. Transformations, 1300-1600. Marilyn Aronberg Lavin, Princeton of a breakthrough." Artists might have a chance to rediscover a great sinister procedure. Papers focusing on a single work of Mrican art are invited, The work The best course for an artist is to provide society with what only an may come from any area or period of time. Approaches may (and, it is University. Address abstracts to 56 Maxwell Lane, Princeton, N.J. many things that gradually were locked out of their experience during 08540. the process of defining themselves as artists. artist can, a human reality beyond social abstractions, aesthetic hoped, will) vary to reflect differing concerns with the iconographic, dogmas, and political cant, But before this can be done, each artist stylistic, source, or sociocultural significance of the selected work. , Papers are invited t.hat deal with Italian fourteenth· through It is indeed a brave world in which we live, even though it may not be must first face up to where he or she is as a person, an individual who is sIXteenth·century narratIve cycles and themes, focusing on concepts of so new as one would like to think. Newness is a matter of perception, also part of a society. We might like to be somewhere else or somebody The Word-Image Relationship in Asian Painting. Vishakha N, narrative, the relation of narrative modes to style, and of narrative not of novelty but of the continuous rediscovery of that which is perma­ else, but the fashionable habit of role playing affords only a quick Desai, Keeper of the Indian, S.E. Asian and Islamic Collections scenes to devotional images. Topics should be presented in the context of nent in mankind, To sense, to feel, to suffer, to rejoice, to prevail are passport to nowhere. Art begins not with an aesthetic system or an art of Fine Arts, Boston, Mass. 02115 and Maribeth Graybill: the renewal of public narrative in the Renaissance, the conscious and part of the act of living. To be exhilarated is no less real than to be Museu~ school but with a person, a person who draws upon that which he or Dept. History of Art, University of California, Berkeley, Calif, 94720. unconscious references to narrative techniques from other times and depressed, although the word "reality" has become synonymous with she knows best, that which is closest. Otherwise, how can an artist The panel will explore the nature of connections between texts and mediums, and the significant changes and innovations made to serve the that which is not pleasurable. Laughter is no less serious than tears. To bring us close to an understanding of our own reality? paintings. The topics will cover China, Japan, and India and may in­ needs of a new age. see and to dream are complementary elements in human existence. To So, I would ask each of you as an artist, in spite of the attractions of a o.f approaches: based on one text from a variety join with others in celebrating what we actually are-rather than clu~e ~ariety painti~gs outer space and the lure of one ideology or another, please to let us of hlstoncal penods (for example, patntings of Tales of Genji in Japan), Venetian Art in Its Cultural and Intellectual Context desperately trying to see ourselves as elements in some abstract entity, know just where you are as a sentient, thoughtful individual when you or one particular set of paintings from a given period in time (for exam­ 1400-1600. Wendy Stedman Sheard, 693 Leetes Island Road, Ston; whether the counterculture or the capitalist cause-can provide more create your works, so that the rest of us, too, may be reassured that our ple, a set of Indian paintings based on the poetic love rhetoric text of Creek, Conn. 06405, solace than can political or financial power. Systems of thought or of roots as individual beings reach deeper than the fluctuating surface of Rasikapriya, dated 1634 A.D.), The emphasis will be on the way the Papers are invited that consider works of painting, sculpture or archi· social organization are necessary expediencies, but they have no last­ a world in constant change, J.C,T. II1II visual image is related to the text it illustrates rather than on a purely tecture in relation to other contemporary arts (literature or music, for ing value in themselves. iconographic analysis. example); to developments in contemporary philosophy, religion, or To remain in contact with the basic qualities of mankind as one con­ science; to circumstances of patronage that affect the artist's handling of fronts the changing environment and the pressures of social organiza­ Chinese Styles. Richard Barnhart, Dept, History of Art, Box 2009, form or content; or to the revival of antique art and literature. tion, society has need of the artist, today more than ever before. Bom­ JOSHUA C. TAYLOR 56 High Street, Yale University, New Haven, Conn. 06520, barded on all sides with contrived assaults on our senses and urged to RESEARCH FELLOWSHIP Papers are solicited on all aspects of Chinese art. Preference will be Italian Art, 1600-1750. Elizabeth Cropper, Temple University, organize our lives on the basis of necessities that usually prove expend­ A fund for a research fellowship at the National Museum of given, however, to those dealing with questions of styles, or concepts of Tyler School of Art. Papers should be sent, after August 15, to 3918 able, we need to be brought up short to realize what and where we American Art has been established in Dr. Taylor's name. style that are intrinsic to the history and theory of the arts in China, and Cloverhill Road, Baltimore, Md, 21218. really are, Reality is not an external assault but the continuity of values Checks for the fund should be made payable to "Smithsonian that focus on major masters and/ or monuments. A general session, but papers devoted to the relations~up between the that make our short lives worth living, It is the artist, not the merchant Institutt'on,Joshua C. Taylor Research Fellowship Fund," visual arts and the arts of rhetoric and poetry are especially encouraged. or politician, who can best keep us in touch with that reality. and all contributt"ons should be sent to the The Artistic Cross-Fertilization of East and West. H, W. Janson, Office of Administratt"on What is the particular power of the visual artists? We look to the Dept. Fine Arts, New York University, 303 Main Building, Washington philosopher for the organization of our thinking, for answers to the Natt"onal Museum of American Art Seventeenth-Century Art in the North. Egbert Haverkamp­ Square, N.Y.C. 10003, Begemann, Institute of Fine Arts, 1 East 78th Street, N,Y.C. 10021. Washington, D. C. 20560 questions formulated by the mind. But the rational mind is only one Artistic contacts between the West and the Far East have existed since part of the human economy, even though our education is organized to . A general session, but with a preference for papers that clarify the role prehistoric times, For this session, papers are invited that deal with Continued on p. 4, col. 1 CAA newsletter 2 June 1981 • 11982 annual meeting: call for papers and panelists 11982 annual meeting: call for papers and panelists

of the artist and the role of the spectator in the defInition of meaning of Conservation Center, Institute of Fine Arts, 1 East 78th Street, N. Y.C. Revisionism, Pluralism, and Post-Modernism, was devoted to a discus­ have served as a bridge between new and more traditional art expres­ works of art as the age itself understood it. Papers that focus on allusions 10021. sion of the radical reappraisal that took place during the seventies of sion. Recognizing the range of differences and similarities in concep­ intended by the artist and/ or on implicit associations brought to bear on This session will be devoted to analyses of materials and techniques in what had been the artistic and art historical certainties of the sixties. In tual approach, this panel will focus on the interplay between media as the work of art by the seventeenth-century viewer are particularly relation to artists' concepts, conservation methods, and ethical consider­ this session, a panel of critics will continue to explore this central a documentary tool and media as an integral part of the installation welcome. ations relating to the problems posed by the rapid deterioration of theme and attempt to anticipate its implications for the art of the itself. modem materials and the possible alteration of the visual aspect of an eighties. England and the Continent c. 1750-1850. Allen Staley, Dept. Art object by conservation treatments. Moving from Concern to Involvement: Challenges from an Ac­ History and Archaeology, Columbia University, Schermerhorn Hall, Deliberately Good/D~liberately Bad. Peter Plagens, Dept. of tivist Art. Jerry Kearns, Art Dept., University of Massachusetts, N.Y.C. lOOn The Inner History of Art. G. Dennis O'Brien, President's Office, Art, University of North Carolina, 104 Ackland 003A, Chapel Hill, Amherst, Mass. 01002. Proposals are invited for papers touching on any aspect of cross­ Bucknell University, Lewisburgh, Penn. 17837. N.C. 27514. For most political art produced during the past decade, forms of in­ Channel relations (including hostile ones) in the period from the War of Great attention has been paid to the philosophy of the history of The alleged end, or at least dilution, of mainstream modernism has dividual production and commercial distribution have remained the Austrian Succession to the Crimean War. science since the publication of Thomas Kuhn's The Structure ofScien­ resulted in not only an acceptance of a wide variety of styles and modes within artworld norms. However, a growing number of artists are mov­ tific Revolutions. The problem that Kuhn raised concerned the inner but, most recently, in a prizing of the look of the "bad." T~e semblance ing from concern to involvement. They are beginning to produce an Architectural Sculpture, 1800-1981. Michele Bogart, University of history of science, i.e., what is the "logical" relation of scientific theories of untutored drawing, unbridled color, impolite iconography, and activist art, often in collaboration with other artists and with grass­ Georgia, Visual Arts Building, Athens, Ga. 30602. to one another. Kuhn caused considerable scandal by suggesting that crude fabrication raises critical questions concerning obsession vs. roots political groups. As a result, production and distribution are Papers may address the work of one particular sculptor; the style or the inner history was not a logic of progressive advance over false theories strategy, innovation vs. trendiness, and the possibility of a new usually outside established artworld channels. Moreover, form and iconography of a specific sculptural program; relations between archi­ but "the abandoning of a paradigm." Traditionalist philosophers of lumpen-Academy. The panel will examine these and other issues content have changed subtly and are often relatively incompatible tect, sculptor, contractor or patron; and the social history of architec­ science accused Kuhn of reducing the history of science to the history of raised by "bad painting," "new images," "stupid art," and "energism." with artworld standards. Yet these cultural activists declare that their tural scul pture. taste and fashion. production is art and demand that it be respected and analyzed as The purpose of this session is to examine what can be claimed for the Issues of Intention: Three Contemporary Artists. Jonathan such. This panel will examine some of the challenges they raise to the French Art and Politics in the Third Republic, 1870-1940. Kirk inner history of art. Having ahnost universally rejected progressivist Fineberg, Dept. History of Art, Yale University, Box 2009, New form and content of contemporary art. Varnedoe, Institute of Fine Arts, 1 East 78th Street, N.Y.C. 10021. philosophies of art history, the history of art has often been treated as Haven, Conn. 06520. Papers are invited on the interrelation of art and social! political issues having no inner history. History of art is a chronology of fashion and in­ This session will focus on individual artists talking about their own Light as a Medium. Susan Dallas-Swann, Black Box Theatre, 186 in France's Third Republic. Selection will favor papers that, while suc­ fluences, the repetition of motifs and styles, or the endless cycle from work; it will attempt to probe the content and character of the work in Franklin Street, N.Y.C. 10013. cinct and specific, take up matters broader rather than narrower in im­ classic to romantic. Yet an inner history so characterized seems oddly in­ greater depth than the customary twenty-minute paper pennits. The A panel devoted to the development and variety of art that uses light plication. The session as a whole, straddling centuries and eschewing consistent with the claims often made by the artists themselves that session moderator will select three well-known artists, each of whom as the primary medium and main concern. The discussion will also en­ compartmentalization by style or "isms," should illuminate common painting! sculpture! architecture "at last" has been placed on the proper will take fifty minutes to discuss aspects of his or her work, with ques­ compass the gallery, non-profit, and foundation situation; an overview socio-political conditions and debates addressed by artists from the foundation as abstract, emotive, functional and so forth. The attempt of tions by the moderator. of equipment, applications, and techniques; as well as the sensibilities Commune to Vichy: e.g., politics of leisure and labor, progress and these discussions will be to see what, if any, inner claims great works and and attitudes of artist and viewer. tradition, as they specifically affect and are reflected in art (all great periods make upon one another for aesthetic adequacy, moral The Union of Painting and Sculpture: New Two- and Three~ mediums -- painting, sculpture, printmaking, photography, [Ilm, and worth, or even "truth." SPecial session comprised of non-art historians, Dimensional Work. Judith Tannenbaum, 220 East 78 Street, N.Y.C. Effects of the Attention of the Sixties and Seventies on Third architecture - are valid). by invitation. 1002l. World Artists and Arts Organizations. Linda Goode-Bryant, Just The overlap or breakdown of boundaries that distinguish painting Above Midtown!Downtown Gallery, 178-80 Franklin Street, N.Y.C. European Art from 1900 to 1950 and Intellectual and Cultural Open Sessions I and II. Isabelle Hyman, Dept. Fine Arts, New York from sculpture has become an increasingly significant development in 10013. History. Marilyn McCully, Princeton University, 104 McCormickHall, recent art. Striking new forms that may not be adequately described as Princeton, N.J. 08544. University, 303 Main Building, Washington Square, N. Y.C. 10003 and Carol Lewine, Dept. Art History, Queens College, C. U.N. Y., Flushing, either paintings, reliefs, or freestanding sculpture continue to emerge. Paperworks, Part I: Directions in Watercolor (1 Y4 -hour session). Papers are invited concerning European art in first half of the twen­ N.Y. 11367. Many sculptors now work with paint and color and, conversely, Lee Anne Miller, Dept. Art and Art History, Wayne State University, tieth century and its connection with developments in contemporary painters are combining two-dimensional painted surfaces with three­ Detroit, Mich. 48202. science, literature, music, and philosophical inquiry. The purpose of the open sessions is to accommodate papers on topics not appropriate to other sessions in the meeting program. Abstracts may dimensional structural elements that move away from the wall. Non­ An overview of multiple directions in the watercolor medium, par­ be submitted for the open sessions only if they are not appropriate for traditional materials are often used, and subjects may be figurative or ticularly those which extend or break traditional boundaries. Contem­ American Art and Great Britain, 1725-1925: Contacts, Connec­ another scheduled session. In no event should the same paper be submit­ non-representational. Ramifications of the current interrelationships porary watercolors will be discussed as a major form of visual expres­ tions, and Interchanges. Gerald L. Carr, Division Art and Art History, between once-distinct modes will be explored. How do they extend or sion through variations of technique and through a range of scale and Southern Methodist University, Dallas, Tex. 75275. ted to a specific topic session and an open sesSlon. break with the concerns of previous painting and sculpture? concepts. The purpose of this session is to focus attention on the lingering, im­ mensely fruitful artistic interaction between America and Britain dur­ Prepared To Be Photographed. Charles Traub, Tyler School of Paperworks: Part II: The New Monotype (1Y4-hour session). ing the two centuries bounded by the work of John Smibert and John STUDIO PROGRAM Art, Beech and Penrose Avenues, Elkins Park, Pa. 19126. Robert Broner, Dept. Art and Art History, Wayne State University, Singer Sargent. Papers on a variety of topics are invited, including paint­ With a set stage, drawn backdrops, and roles played by actors, a Detroit, Mich. 48202. ing, sculpture, photography, printmaking and print publishing; artists' New Figuration: New York. Jeanne Siegel, Fine Arts Dept., School new photographic image has emerged; photography enters the "art Recent widespread adoption of monotype (or monoprint) by travels, art institutions, art-dealing; exhibitions, collectors and collect­ of Visual Arts, 209 East 23 Street, N.Y.C. 10012. world." The vision is not taken, as traditionally, from the settings of the American artists has created a revival of the medium between painting ing; art theory, criticism, and art-historical literature; and on broader This panel will explore current trends in imagist art. It will embrace "real" world but instead from a fabricated environment of the photog­ and printmaking. Slides and discussion by artist panel members will Anglo-American cultural contacts, e.g., theatre and literature, which the work of artists who represent a range of styles that contain images. rapher-author's own construction. All is prepared with preconceived examine the role of monotype in the development of their ideas and influenced their visual arts. The unifying characteristic will be their relationship to modernism notions to be beheld for narrative meaning. Whether a visual joke, a images. and the influence of New York on their development. Issues about drama of the absurd, a surrealist nightmare, or a single-shot soap Towards New Histories of Photography. Eugenia Pall)' Janis, space and content in connection with the imagery will be stressed. opera, the interest is in the constructed reflection of the human Artists and Architects: Close Encounters of Several Kinds. Nancy Dept. Art, Jewett Arts Center, Wellesley College, Wellesley, drama. A new distance is created, allowing us to laugh a little harder Rosen, 180 West 58 Street, N.Y.C. 10019. Mass. 0218l. The Art!Craft Connection: Grass Roots or Glass Houses? Rose or cry a little more easily. A panel of photographers will discuss how A panel of practicing architects and artists will briefly present slides This session calls for papers clarifying aspects of the photographic Slivka, Craft International, 107 Bank Street, N. Y.C. 10014. they broke with convention and crossed unusual frontiers to ally of their own recent work and of work in the other medium that they ad­ revolution by treating them integrally with art history and! or criticism. With the flowering of handcraft in the second half of twentieth­ themselves with conceptual artists and thinkers in all mediums. mire. They will then address (at least some of) the following: In what This implies a recognition of photographs' visual and structural differ­ century America, we are conscious of the changes, crossovers, overlaps ways are artists and architects different? Their training? Working ences from other art works, as well as a recognition of photographic among fine arts, decorative arts, design, in a multiplicity of old and Performance and/ or Installation as an Interface between Paint­ methods? Values? What is the role of drawings, models, and "gallery practice's continuity within intellectual and! or cultural history. A wide new applications and directions. This panel will address itself to ing/Sculpture and the Media Arts: Film, Video. Alan Bloom, objects" in their careers? What is the role of the commercial art range of subjects and strategies is welcome. Primary criteria for paper modern pluralism in the arts; to the mingling of disciplines; to the Temple University, address proposals to 2300 Walnut Street #715, gallery? What is the prognosis for collaborations between artists and selection include critical methodology that foregoes defining photog­ disappearing distinctions between the high arts and low arts, popular Philadelphia, Penn. 19103 and David Tafler, Philadelphia College of architects? Why collaborate? How? raphy whole or unilaterally, and a clearly formulated problem whose culture and elite culture; of timeless vs. temporal, permanent vs. tran­ Art, Broad and Spruce Streets, Philadelphia, Penn. 19102. focus implicitly acknowledges photography's complexity as it affected sient, cheap vs. expensive vs. quality. In recent years, the interactive process between art and its audience More Is More, Part I: Towards an Art of Eloquence (1Y4-hour art and knowledge. has been modified through the use of media. No longer confined to session). James McGarrell, Dept. of Art, Indiana University, Bloom­ Post-Modernist Update. Irving Sandler, Dept. of Humanities, traditional museum contexts, contemporary artists have increasingly ington, Ind. 47401. Technical and Ethical Problems in the Conservation of Modern S.U.N.Y., Purchase, N.Y. 10577. explored various presentational formats. As the most dynamic This panel will be comprised of painters who are attempting to Art. Antoinette King, Museum of Modern Art. Papers should be sent to The Fall!Winter 1980 issue of theArtJournal, entitled Modernism, representation of the artist's reflexivity, performance and installation Conlz'nued on p. 6, col. 1

4 eAA newsletter June 1981 5 11982 annual meeting: call for papers and panelists people and programs

restore to visual art a capacity for humane discourse by the restitution Images for Today's Classrooms. Christine L. Sundt, Dept. Art ACADEMIA to it of certain bodies of information and certain disciplines of nerve History, University of Wisconsin, 800 University Avenue, Madison, .James McGarrell has accepted an appoint­ and vision. These, having once formed part of every significant artist's Wise. 53706. ment at Washington University, St. Louis, equipment, seem to have been gradually suppressed between 1870 and This session will examine the capabilities offered by new technology leaving Indiana University where he has 1970 by a reductive moderrrist perference for the mute. such as multi-image and dissolve projection, microfiche, video disc, headed the graduate painting program for and holography as adjuncts to slides and films for classroom or lecture twenty-one years. McGarrell replaces Arthur More Is More, Part II: Subject Matter, the New Frontier presentations and will consider advantages, disadvantages, and cost­ Osver, who is retiring after his own twenty­ (l%,-hour session). Ruth Weisberg, Dept. Fine Arts, University of effectiveness in their production and/or use for teaching, We will one year stint there. Southern California, Watt Hall 103, University Park, Los Angeles, endeavor to make this a "hands-on" session, offering an opportunity to Calif. 90007. see actual hardware in operation_ The University of Arizona at Tucson's first After decades of primarily formalist concerns, artists have renewed Joseph Gross faculty award for outstanding a focus on subject matter and its primacy in determining other pictor­ professional achievement went to printmaker ial issues. Discussion will focus on the subjectivity of content, its CAA-ARLIS/NA JOINT SESSION Todd Walker. His two most recent portfolios possibilities and problems, as well as on topics such as personal myth­ of photolithographs, Fragments of Melan­ ology, difficult or taboo subject matter, and political commitments. The Role of Art Galleries and Dealers in the Documentation of choly and AR-I-ZO-NA, cited by the award Art. Cam Newell, M. Knoedler & Co., 19 East 70 Street, N. Y.C. 10021 committee, were printed on Walker's own BOARD-SPONSORED SESSIONS and Bob Kaufman, 220 West 93 Street, N.Y.C. 10025. press and printed and assembled by him. This session will review the contributions of some important dealers These sessions deal with topics of current concern that either affect and institutions, possibly including: exhibition catalogs, gallery Architectural historian Nicholas Adams both studio art and art history or do not fit "neatly" into either notices and announcements; dealer records and correspondence files; (MA, Cornell Univ.; PhD, IFA) received category. Participation is generally by invitation. efforts of dealers in developing artists; and the organization and Lehigh University's Alfred Noble Robinson availability of material for the art researcher. award, which recognizes "outstanding per­ The Museum's Responsibility to the Living Artist: Exhibitions, formance in the service of the University and Archives, Symposia, Publications. Holliday T. Day, Joslyn Art unusual promise to professional achieve­ Museum, 2200 Dodge Street, Omaha, Neb. 68102. ment." Robert p, Bergman, Walters Art Gallery Gregory Hedberg, Wadsworth Atheneum Is the museum to play the role of "Enlightened Patron" or the role The 1982 'Prelimi'nary' 'P~ograni,:co:nt~ining :>~~e~ary of "Preserver of History"? If the former, then what is "enlightened"? forms and complete information on,annuatn1e,e~ng,regis:­ Ann Sutherland Harris was awarded an What is the role of competitions, curated surveys, project spaces, tration" hotel room rates, group flights, 'etc.c---will b~ honorary Doctor of Arts by Eastern Michigan Medievalist Robert P. Bergman will leave theme shows, historical surveys, sales and rental galleries, regional mailed at the end of November. The Wadsworth Atheneum has announced University. BeginningJune 1981 she will be on Harvard in September to become director of galleries, and retrospectives? Do they serve or demean the art the appointment of Gregory Hedberg as an NEH grant to study the relationship be­ the Walters Art Gallery in Baltimore. He will presented? chief curator. Hedberg (Ph.D., I.F.A.) leaves tween art practice and theory in seventeenth­ succeed Richard H. Randall, Jr., director of the Minneapolis Institute of Arts, where he century Rome. the Walters since 1966, who is resigning as was curator of paintings, a post he has held director to become the Walter's curator of since 1974. inside the CAA WOMEN'S CAUCUS FOR ART Wood craftsman and sculptor Peter John' Medieval art. Bergman (Ph.D., Princeton) One of the most urgent points raised during Robbie (MFA, Cornell Univ.), who has been was active at the Fogg, as well as in the depart­ this year's national conference in San Fran­ teaching at Dartmouth College since 1972, ment, during his five years in Cambridge; Several museums in search of directors have PRESIDENTIAL SUCCESSION cialist in both Northern Renaissance and con­ cisco was the responsibility of the organiza­ will become director of the Hopkins Center among the exhibitions and symposia he or­ recently found them. The new director of the In accordance with the By-Laws, Vice Presi­ temporary art, Blum earned her masters tion to represent and support the needs of all Student Workshops for the Crafts in July. ganized was Byzantine Art in the Making, the Hudson River Museum, Yonkers, is Peter dent Lucy Freeman Sandler became Presi­ degree at the University of Chicago and her women in the arts. National Advisory Board Robbie succeeds Walker Weed, who directed Fogg's 1979 tribute to retiring Ernst Kitzinger. Langlykke, who has worked for the past five dent of the Association upon the death of doctorate at U.C.L.A. She taught at Pomona member Vivian Browne spoke strongly of the the workshop since 1964. years in New York City as a consultant for pro­ Joshua C. Taylor. The post of Vice President College, the University of Chicago, the Uni­ need to make greater efforts to involve Black gram, management, and fund-raising with a MUSEUMS will remain vacant until the next election. versity of California at Riverside, Colgate and other minority women in the Caucus­ Craig Felton (Ph.D., Univ. Pittsburgh) has variety of museums and other institutions, in­ The Executive Committee, at a special meet­ University, and Bryn Mawr before coming to not only for the sake of those who have often Controversy continues to trail Barbara Rose, been named assistant director in charge of cluding the Grey Art Gallery at N. Y. U. Edgar ing held in Washington, D.C. on May 15, Purchase in 1977. Her publications include felt excluded, although they, even more than whose exhibition American Painting: The programs and academic services at the Kim­ Peters Bowron took charge of the brand new 1981, voted to contribute $5,000 from the EaTly Netherlandish Tnpytychs: A Study in most artists, need group support, but also to Eighties was one of the most hotly debated of bell Art Museum. Felton first came to Fort facilities of the North Carolina Museum of CAA General Fund to the Joshua C. Taylor Patronage (1969) as well as several catalogues prevent the WCA itself from becoming the past year. In May, Rose was appointed Worth in 1972, to develop the art history pro­ Art in Raleigh in May, leaving his previous Research Fellowship Fund (see page 2). of exhibitions she organized, among them limited and exclusive by default. Browne urg­ curator of exhibitions and collections at the gram at Texas Christian University. Also at position as administrative assistant to the Jawlensky and the Senal Image, co-authored ed a much greater commitment and activism, Houston Museum of Fine Arts. Criticisms the Kimbell, Erika Esau (Ph.D. cand., Bryn director and curator of Renaissance and Bar­ SLIDE COLLECTIONS with John Coplans (1966), Judd, Morris, and President DeRenne Coerr has promised concerned the fact that Rose will continue to Mawr) has been appointed librarian, suc­ oque art at the Nelson Gallery-Atkins Muse­ At its last meeting, on April 25, 1981, the Flavin, Andre (1970); and The Cubist Circle to make such efforts. reside in New York (and retain her position as ceeding founding librarian Ilse S. Rothrock, um, Kansas City. On the west coast, the Board of Directors unanimously adopted the (1971). She was a member of the CAA Board This issue was brought into dramatic focus art editor of Vogue), spending only one week who died this past January. University of California, Riverside, named following resolution: of Directors from 1976 to 1980, during which at the Awards Ceremony, when Elizabeth out of every four in Houston; the sale of some the first full-time director of the California "WHEREAS, for departments of art and time she organized and was the first chair of Catlett spoke in response to the presentation paintings owned by her husband to the Hou­ Museum of Photography. He is Charles J. art history the slide collection and its curators the Committee on the Preservation of Art and of her award: "I can clearly see the efforts ston Museum; her close association with a The Corning Museum of Glass has both a new Desmarais, who has held positions as a gallery are indispensable for effective teaching, chaired the Committee on Annual Meeting against racism on your part. You are honor­ Houston gallery owner; and an "overabun­ director and a new chief curator. Dwight P. director, curator, and most recently as chief BE IT RESOLVED THAT it is imperative Program Guidelines. ing me-Black and Mexican. You honored dance of expertise," in that both Rose and Lanmon, who joined the staff in 1973 as editor for Exposure, the quarterly journal of that academic institutions acknowledge and The CAA Monograph Series was estab­ Selma Burke ... you are trying to reach and Houston director William C. Agee are best deputy director of collections, takes over the the Society for Photographic Education, support the need for well-staffed, well­ lished in 1944; its thirty-sixth volume is now in include Black women artists in your organiza­ known for their work in modern and contem­ post of director, Trained both in physics (BA, housed, well-equipped, and well-financed press. Manuscripts proposed for considera­ tion. For these reasons I salute you ... But porary art. In response to the above, both Univ. Colorado) and in American culture slide collections. The CAA stands ready to tion for the Monograph Series should make your efforts are not successful. ... We have Rose and the Museum assert that New York (MA, Winterthur Program, Univ. Delaware), Buck Pennington has been appointed mid­ support in general any steps which would in­ an original contribution to art-historical different lives and different problems ... We City is the best possible location for the Lanmon was associate curator at Winterthur atlantic area collector for the Archives of sure the high standards necessary for the care research and should range in length from 150 have a long history of struggle. You can learn curator of any place; that personal relations before coming to the Corning. The new chief American Art. Pennington (Ph.D. cand., and desirable growth of slide collections." to 300 typewritten pages, double-spaced, a lot from us. We will be accepted in the art had nothing to do with the previous sale and curator, Sidney M. Goldstein (Ph.D. classi­ George Washington Univ.) has been a techni­ with not more than 100 illustrations. All world if you work with us. If women are ex­ will have nothing to do with future acquisi­ cal archaeology, Harvard Univ.), taught art cian at the Archives since 1978 and prior to NEW MONOGRAPH SERIES EDITOR periods and areas of art history are eligible. cluded, Blacks are even more excluded. tion and exhibition decisions; and that Rose is history at the University of Wisconsin before that served as museum technician and educa­ Shirley Blum, professor of art history at Submissions should be addressed to the End this exclusion, work harder for our inclu­ an "all-around" art historian, whose training joining the Corning in 1974 as associate tion aide at the Smithsonian's National Por­ S.U.N. Y., Purchase, has been named the new Editor, c/o College Art Association, 16 East sion, I beg of you." Alison Hilton .. and early teaching experience was not in curator of ancient glass; he was named cura­ trait Gallery. Editor of the CAA Monograph Series. A spe- 52 Street, N.Y.C.10022. .. Wayne State University modern but in Spanish and Baroque art. tor in 1977. Continued on p. 8, col. 1

6 CAA newsletter June 1981 7 Ipeople and programs conferences announcements

The Center for Creative Photography of the and symposia Kress Fellows Update Kunsthistorisches Institut, Florence Media Arts Caucus: Film. Video. and University of Arizona now houses the Edward The Samuel H. Kress Foundation asks that all Owing to unforseen building delays, the Photography Weston Archive, which consists of nearly Humanities Association Meeting past recipients of any type of Kress fellowship Kunsthistorisches Institut in Florenz will not The MAC convened last February at the 1981 2,500 silver and platinum prints, approxi­ The American Association for the Advance­ send updated c. v.s to Miss Mary M. Davis, Ex­ be able to re-open until Spring 1982. CAA annual meeting and elected two co­ mately 10,000 negatives, a personal collection ment of the Humanities wiU hold its second ecutive Vice President, at the Foundation, chairpersons to coordinate its activities for the of other photographers' works, the original annual meeting October 30-November 1 at 221 West 57 Street, N.Y.C. 10019. coming year. The goals of the Caucus are to daybooks and record books, and hundreds the Capital Hilton in Washington, D.C. The increase media arts exposure and involve­ of letters, scrapbooks, camera equipment, Rothko Collection and Study Center theme is "The Responsibilities of the Human­ ment within the CAA, on the part of both his­ memorabilia, and ephemera spanning Some 1,000 works of the late American artist ities"; tentative sessions include the state of torians and artists. Interested persons are en­ Weston's career. American Academy in Rome have been consolidated and are now housed scholarship; specialization and graduate edu­ ,couraged to contact Alan Bloom, Dept. of The Andrew W. Mellon Foundation has pro­ in the newly renovated Manhattan storage cation; learned societies, professional associa­ Radio Televison Film, Temple University, It's what's called "creative contraction," and vided AAR with a grant for a new four-year and viewing facility of the Mark Rothko tions and nonacademic professions; and Philadelphia, Penn. 19122, or David Tafler, we'll probably be seeing more and more of it. program of fellowships designed to give schol­ Foundation. A full-time curator, Bonnie recent developments in libraries. For further Philadelphia College of Art, Philadelphia, The three-year diploma program of the ars and teachers, at an early stage in their Clearwater, and a conservator, Dana Cran­ information: AAAH-Annual Meeting, 918 Penn. 19102, for further information. School of the Worcester Art Museum has careers, an opportunity to prepare work for mer, have been engaged. The Foundation has 16th Street, NW (Suite 601), Washington, publication. One fellowship a year will be merged with the curriculum of Clark Uni­ D.C. 20006. also opened a study center, which includes a versity's department of visual and perform­ available in each of Classical Studies, Art photograph and slide collection, a contem­ ing arts. The merger agreement enables the History, and Medieval or Renaissance Yale Resident Fellows Program Peale Conference porary American art library, and a card Museum to continue to play a role in the Studies. Applicants must have their doctor­ catalogue of works in the collection. Study The Yale Center for British Art is offering a An interdisciplinary conference on Charles training of professional artists while freeing it ates and, at the time of appointment, must Center hours are 10:00 A.M. to 4:00 P.M., limited number of fellowships for scholars en­ Willson Peale will be held October 23 at the from the financial strain of a small museum hold the rank of assistant professor or have Monday through Friday, by appointment gaged in advanced research related to British National Portrait Gallery. A related exhibi­ school program and enables the Clark to ex­ been appointed associate professor within the only. For additional information: MRF, 1133 art. Grants include travel expenses and living tion, Charles Willson Peale as Print Maker, pand its studio art program. previous two years. Fellows will hold one-year Broadway, Room 1324, N.Y.C. 10010. (212) allowance and are normally for periods of two will be on view. For further information: Lil­ appointments in residence at the Academy to fourteen weeks, although grants for a full Carol Macht, Cincinnati Art Museum, emerita 255-6662. lian B. Miller, Editor, Peale Family Papers, and will be required to spend one quarter of academic year (thirty weeks) may be awarded ASSOCIATIONS NPG, Washington, D.C. 20560. (202) their time contributing to the academic pro­ in exceptional cases. For detailed informa­ Carol Macht, senior curator of the Cincin­ 357-2174. grams of the Academy's School of Classical tion: Director, YCBA, Box 2120 Yale Station, nati Art Museum, retired after twenty-three Studies. The first fellowships begin in Sep­ New Haven, Conn. 06520, Application dead­ years as the museum's first curator of decora­ Victorian Humor tember 1982 and provide round-trip trans­ Filmnet line: 1 November. tive arts. Macht (Ph.D., Johns Hopkins Univ.) The Midwest Victorian Studies Association portation, room, study and partial board, A computerized film users network. Free-of­ was named curator emerita by the museum's invites papers for its 1982 meeting, to be held and an annual stipend of $15,000. For appli­ charge membership will provide brochures, hoard of trustees at its February meeting. She at Ohio State University, April 30-May 1. cation forms: AAR, 41 East 65 Street, N .Y.C. catalogs, and announcements of films suit­ will continue her extensive lecturing sched­ The theme is "Victorian Humor" and refers 10021. Application deadline: 1 October. able to your or your institution's screening 18th-Century Article Prize ule. Anita Ellis, who was assistant curator to all forms of wit, satire, parody, comedy and needs. Membership forms and choice of forty­ Submissions are invited for the annual has been named associate curator and actin~ humor in a variety of mediums, including art. five interest areas available from Cine Infor­ Southeastern American Society for Eigh­ head of decorative arts. Ellis (MA, Univ. Cin­ Proposals that extend the concept of humor mation, 419 Park Avenue South, N.Y.C. teenth-Century Studies article award. The International Fund for Monuments cinnati) joined the staff in 1974 as assistant beyond its conventional usage are welcome. 10016. prize of $150 is for any article in the field Established in 1965 and dedicated to the registrar. Papers or detailed (250-500 word) abstracts published in any scholarly journal, collection preservation of important historic architec­ to Frederick Kirchhoff, Dept. English & Lin­ of essays, etc. during the period 1 September ture, archaeological sites, and works of art, guistics, Indiana Univ. -Purdue Univ., Fort 1980-31 August 1981. Authors must be mem­ Christina Orr-Cahall (Ph.D., Yale Univ.) IFM has been involved in major restoration Wayne, Ind. 46805. Include a stamped, self­ bers of SEASECS or must live or work in the leaves her teaching post at California Poly­ and research projects in Ethiopia, Easter Is­ Volunteer Interns Sought addressed envelope if the return of manu­ Southeastern U.S. Submit three copies of technic State University, San Luis Obispo, to land, Nepal, Ireland, Spain, Italy (particu­ Opportunities exist for qualified, conscien­ script is desired. Deadline: 1 December. • essay to Jane Perry-Camp, School of Music, join the Oakland Museum as curator for art. larly in Venice), and other parts of the world. tious individuals to do research on the art col­ Florida State University, Tallahassee, Fla. A $25.00 annual membership fee provides lection of the Cathedral of Saint John the Di­ 32306. Deadline: 1 November. not only participation in this very worthwhile vine, which includes European and American At the University of Miami's Lowe Art Muse" work, but also an extremely interesting and painting, sculpture, and tapestries from the urn, Arnold H. Crane, art collector and pho­ FOR .... witty (if irregular) newsletter and discounts at fourteenth through the nineteenth centuries. CASVA Fellowships tographer, has been named adjunct curator selected hotels, car rentals, restaurants, and Interested applicants should contact Susan for photography. CAATEACHINQAWAabS' Applications are invited for the third year of clothing and other shops throughout the Schreiber, The Cathedral Museum, 1047 the Resident Scholarship Program at the -- -NqI11i:~~ti~nS:f~b~-'th~:m~~~t~s:Il:i0'-~~~- world. A rare opportunity to do well by doing Amsterdam Avenue, N.Y.C. 10025. (212) Center for Advanced Study in the Visual Arts --invited: fOF __the J?is~ingiiish~g.: -Te~c~jllg' good. For membership information: IFM, 678-6913. at the National Gallery of Art. Recent recip­ FACILITIES & PROGRAMS 'ofArfandthe Distin~is)I~d-'Tea:~hiI;lg:bf 3624 Legation Avenue, Washington, D.C. ients of the doctoral degree (or its equivalent) Robert G. Calkins, International Center -ArtRistory:Awards;-_;:'_:y-~_-_--: ___ ~<-_-~_ -::: 20015. (202) 726-5225. as well as more experienced scholars are eligi­ for Medieval Art For-obvious reasons;: -thes-e-tWo:aw(lrqs-; The National Gallery of Art has announced ble. Applications may be made for study in which-are not the establishment of a major archive of con­ based'tipo?:a_bo-dY~Q£pii~~: In Search of the Southern City the history, theory, and criticism of any form Robert G. Calkins is the new president of the temporary American graphic art, based upon lished__ -mater{a:f,: are_-_I!lore:'~epe_~~ent-:' History of Gardens Award The inaugural issue of Reconstruction, a of visual art of any geographical area and for International Center of Medieval Art. The than are the: other- Ass()dation',aw-ards works published by Gemini G.E.L. The ar­ Dumbarton Oaks announces the second an­ critical journal published by the College of any period. Resident scholarships will norm­ author of Monuments of Medieval Art and a upon recomniemlations'fioin '-.:Jje -:mefu'." ,:­ chive, which has been started with an initial nual Mildred Barnes Bliss prize for the best Architecture at the University of North Caro­ ally be awarded for an academic year, but monograph on the Master of Catherine of bership.'~ -Letters --of :--r~(O.oin-men~:1'a-ti6rt; book-length manuscript representing origin­ lina, will focus on the above theme, address­ shorter-term scholarships and two-year gift of 256 prints and multiples by 22 contem­ Cleves, Calkins has taught at Cornell Univer­ porary artists and a deposit and pledge of al1_d appropriate;-_sUpp6ftin?:~in~fe~ials-,c-:­ al research on subjects related to the history of ing the forms and meanings that the idea of awards are also possible. The Center will also sity since 1966 and has been chairman of the should- be sent- to_lhe-_ -Ex-ecutive~-Secr~" - additional works, will include preparatory gardens. The award will be $1,000, and the the city holds and has held in the South. Con­ consider appointment of Associates who have department of the history of art since 1976. tary, CAA,_-16 materials, trial proofs, and written material East,52--St!r~e('-New-: Xork, __ manuscript will be published by Dumbarton tributors are invited to examine the idea of obtained funding elsewhere and would like to N. Y;T0022: by Novemberi]:.:,Th~:;llames-': relating to the creation of the works, as well as Oaks. Submissions will be judged by a com­ the Southern city~ as built, as envisioned, as be affiliated with the Center. Privileges of New officers of the International Association : and:-Ietters--of-nomiriati.on additional finished prints and multiples. A fo~ fuY_~.iridl"­ mittee whose decision, including thatofmak­ imported, as indigenous. The format to be scholars include a study, secretarial assis­ of Art Critics, elected for the next three years, -da_tes _who ate_ strong' coni:~ridei:s:hu:~ llQt-: selection of the archival material is available ingno award, is final. For details about length followed appears annually in the March issue tance, a monthly stipend, and additonal al­ are Jeanne Siegel, president, David Bour­ the -finalist in:, any --given>'year---:wjU-- he-:~ for viewing by appointment in the Gallery's and format: Center for Studies in Landscape of The Journal of the Society ofArchitectural lowances for research materials, travel, and don, vice president; Ellen Lubell, secretary; p_assed- on' to_ tbe':awa:rd:,comml_t"tees- fo~ ,_ print room; an exhibition is being planned for Architecture, DO, 1703 32nd Street, N.W., Historians (Notes for Contributors). Send to housing. For applications: Dean, CASVA, and A. L. Stubbs, treasurer. All live in New the' foUowi~g year'- __ ---- 1984. ! Washington, D.C. 20007. Submission dead­ Reconstruction, COA, UNCC, Charlotte, NGA, Washington, D.C. 20565. Application York City. • line: 1 November. N.C. 28223. Manuscripts deadline 1 October. deadline: 31 October. III 8 CAA newsletter June 1981 9 J lessons in preservation grants and awards "La deuxt'eme mort du major Davel" -so ran MILLARD MEISS FUND Clinic Educational Foundation: Filmmaking; CASVA FELLOWSHIPS the headline in a Swiss newspaper in August The Millard Meiss Publication Fund Com­ Paul Kwilecki, Bainbridge, Ga.: Photogra­ The National Gallery of Art's Center for of last year. Major Davel's first death took mittee met in April and announced the award phy; Helen Levitt, N.Y.C.: Photography; Advanced Study in the Visual Arts has an­ place in 1723 after he had led an unsuccessful of subventions to the following: Jerome Liebling, Hampshire College: Pho­ nounced its awards for 1981~82. uprising in the canton of Berne. The unfortu­ George Hersey, for Caserta: Myth and tography; Pedro Lujan, N.Y.C.: Sculpture; nate Davel's "second death" took place in the Order in an Absolute Palace, MIT Press. William Lundberg, N.Y.C.: Film installa­ Senior fellows. Christiane D. Andersson, early morning hours of August 25,1980 when Sara L. Schastok, for Sixth Century Indian tion pieces; William Maguire, Florida Inter­ Columbia Univ.. will complete a catalogue a vandal burned Charles Gleyre's painting, Sculptures from Samalajl: Style and Iconog­ national Univ.: Photography; Tom Marioni, raisonne of the drawings of the Germani L'Executz'on du major Davel (1850). raphy, E. J. Brill, Leiden. San Francisco: Conceptual art; Paul A. Mc­ Swiss Renaissance artist Urs Graf, to be pub­ The circumstances surrounding that event John Timothy Turpin, for John Hogan Donough, Pratt Inst.: Photography; Laura lished by the Swiss Inst. for Art Research. are worth noting, since they provide lessons (1800-1858), Irish Neoclassical Sculptor z"n Newman, N.Y.C.: Painting; Raymond Irene A. Bierman, Univ. Washington, will that can be applied to art objects in similar Rome, Irish Academic Press. Parker, Hunter College·, C.U.N.Y.: Paint­ investigate the religious significance of medi­ locations throughout the world. For forty The Millard Meiss publication Fund Com­ ing; Joanna Pousette-Dart, N.Y.C.: Paint­ eval Arabic calligraphy, including the phe­ years the painting had hung in the corridor mittee will next meet in the Fall. Deadline for ing; Vladimir Rif, N.Y.C.: Filmmaking; nomenon of Kufesque script. Peter Bru­ leading to the Musee Cantonal des Beaux­ submission of applications: 1 September. Meride1 Rubenstein, College of Santa Fe: nette, George Mason Univ., will finish a Arts, which is housed in the Palais de Rumine Photography; Arden Scott, Parsons School of critical study of the films of Roberto Rossel­ in Lausanne. Since it was impossible to hang Design: Sculpture; Roswell Spears, Johnson lini. Alan Gowans, Univ. Victoria, Canada, GUGGENHEIM FELLOWSHIPS the painting in the museum itself (possibly City, Tenn.: Filmmaking; John Sturgeon, will prepare a book-length manuscript des­ Charles Gleyre, The Execution of Major Davel The John Simon Guggenheim Memorial because of size), the painting was situated in Park City, Utah: Video; John Walker, King­ cribing the interrelationships of style and an exposed position. (left) and remnants of the painting after the fire Foundation awarded grants to 288 scholars, ston, N.Y.: Painting; Michael Wei!, San social function in North American architec­ (above). The conflagration occurred during the scientists, and artists chosen from among Francisco: Filmmaking; David Wing, Gross­ ture, both historic and mpdern. Donald A. middle of the night, when the Palais de painting at one time had been attributed to 3,017 applicants in its fifty-seventh annual mont College: Photography; Isaac Witkin, Preziosi, S.U.N.Y., Binghamton, will study Rumine was officially closed. However, ac­ del Sarto, but early in this century the attribu­ competition. Grants totaled $5,099,000, Parsons School of Design: Sculpture. the narrative and textual elements in Palaeo­ cording to a report released by Rene Berger, tion was changed to Domenico Puligo, one of lithic art in terms of current critical and semi­ director of the museum, access to the building del Sarto's followers. Further obscuring the letters Art History/Cognate Areas otic theory of the visual arts. Claire Richter during the night was possible since many peo­ painting's lineage, in the mid-nineteenth cen­ Sherman, Washington, D.C., will complete a ple who had offices in the Palais de Rumine tury a restorer had transferred the work from Robert P. Bergman, Harvard Univ.: Urban­ monograph on the illustrations found in seven THE ART BULLETIN had keys to the building. These keys were the original wooden panel to a canvas. In ism, architecture, and the arts in medieval 1981 NEH FELLOWSHIPS medieval French manuscripts of Aristotle's To the Editor, numerous, easily duplicated, and not strictly 1959, the work was given to All Saints Amalfi; Jean Bony, Univ. California, Among the recipients of the awards in the arts Nt'comachean EtMcs and PoUtt'cs and will Those of us, especially younger scholars, controlled. Without regular police rounds in (Episcopal) Church in Worcester, Mass.; in Berkeley: The architectural consequences of (history and criticism) were: assess the revival of Aristotelian tradition in who are interested in having articles pub­ the Palais (these had been discontinued) 1977 it was included in a group of art objects the Norman conquest of England; Walter the later Middle Ages. Barbara Maria Staf­ lished in The Art Bullet£n or elsewhere should security within the building was not tight. slated to be sold in a church auction. Dr. Cahn, Yale Univ.: The illustrations of the ford, Univ. of Chicago, will complete a survey be grateful to Professor Creighton Gilbert for Security for the painting was theoretically James A. WeIu, chief curator of the Wor­ Grandes Chront'ques de France,' James T. Independent study and research. Freder­ of illustrated travel accounts written between demystifying the process by which articles are provided by the museum's three-year-old cester Art Museum, was called in to examine Maher, N.Y.C.: Palace architecture in the ick M. Asher, Minneapolis; James H. Beck, 1760 and 1830. She will interpret the land­ selected. He has given us, in the April issue of electronic security system, which ran directly those works and immediately requested that United States; Marianne W. Martin, Boston Columbia Univ.; Richard J. Betts, Univ. Il­ scape imagery found in these accounts and in­ CAA newsletter, a behind-the-scenes look behind the painting and was supposedly heat­ the painting be removed to the museum for College: The relationship between art and linois, Urbana; Herbert R. Broderick. III, dicate its influence on the romantic percep­ that is rarely publicized by practicing editors, sensitive. Unfortunately, when the painting study. After extensive research, Dr. Welu and dance during the past hundred years; Tho­ C. U.N. Y.; William A. Camfield, Rice tion of nature. and yet which underscores the reasonable mas R. Metcalf, Univ. California, Berkeley: Univ.; Malcolm J. Campbell, Univ. Penn­ caught fire no alarm was ignited. The only the museum conservator, Norman Muller, manner in which editing has been and is be­ salvageable piece left of Gleyre's work was a came to the conclusion that the work was in­ British colonial architecture in India and sylvania; Anne D. Clapp, Wellesley College; Sprt'ng and summer fellows. Yasushi ing done at The Art Bulletin. small segment from the lower right -hand deed by Andrea del Sarto, an opinion which is Africa, 1880-1930; W. J. T. Mitchell, Univ. Jonathan D. Fineberg, Yale Univ.; Jaroslav Egami, Tokyo National Research Inst. Cul­ Also welcome are his "many small modifi­ corner. shared by the Fogg Museum's Sidney Freed­ Chicago: The image in literature and the vis­ T. Folda, Univ. North Carolina, Chapel Hill; tural Properties, will employ infrared and cations" of The Art Bullet£n such as abstracts berg. On December 9, 1980, the reclaimed St. ual arts: Loren W. Partridge, Univ. Califor­ Ann Sutherland Harris, Metropolitan x-ray photography and statistical techniques Who the vandal was, how hel she entered of articles, biographical annotations on the John the Baptt'st was placed on exhibition at nia, Berkeley: The image of war and peace in Museum of Art; Alan J. Hay, Harvard Univ.; to determine the physical components of two the building, and why the painting was des­ authors, and groupings of articles that to­ the Worcester Art Museum. Italian Renaissance art and culture; David Carra Ferguson O'Meara, Georgetown 14th-century Oriental scrolls and part of a troyed are questions that remain unanswered gether make for a more informative, coherent Summers, Univ. Pittsburgh: Art and psychol­ Univ.; Lee A. Parsons, St. Louis Art 12th-century manuscript in the Freer Gallery a year after the event, There are other nag­ A final lesson in preservation comes from and attractive fonnat. Charles D. Collins ogy in the late Middle Ages; Marianna Tor­ Museum; Marilyn L. Schmitt, Univ. Miami, ging questions that remain unanswered. Why Midland, Mich" where two enterprising of Art. Molly Ann Faries, Indiana Univ., will Eisenhower College govnick, Williams College: Modern art and Coral Gables; Peg Weiss, Guggenheim use infrared reflectography equipment to ex­ didn't the secu.rity system work? Why were women have obtained a collection of paint­ PRESERVATION the modern novel; O. K. Werckmeister, Museum. amine Jan van Scorel's Rest on the Flt'ght t'nto museum officials not more concerned about ings and chalk drawings by the nineteenth­ Univ. California, Los Angeles: The historical Egypt, a painting in the National Gallery's the availability of keys? Why was this impor­ century French painter Henri Douzil. The To the Editor: conditions of Paul Klee's career; Henry Wil­ Kress Collection. Jonathan Lane, architect, tant painting hanging in a corridor? Hind­ collection was acquired from a niece of I nodded in agreement all the way through helm, Grinnell, Iowa: Studies in the stability College teachers. William L. Bareham, will complete research on a study entitled sight makes it easy to ask some of these ques­ Douzil's godson, who had inherited Douzil's Gabriel P. Weisberg's "Preservation News­ and preservation of color photographs. Fashion Inst. Technology; Norma Broude, "The Pattern of Suburban Growth in the tions, but not to provide answers. works and who had subsequently moved to Spreading the Word," in the April 1981 American Univ.; Peter Brunette, George the United States. Mim Lorimer and Jan Newsletter, until I came to the sentence: "A United States." Joseph Rykwert, Cambridge Too late the locks of the Palais de Rumine Artists Mason Univ.; Whitney Chadwick, San Fran­ University, England, will continue work on a Hanner are having these paintings cleaned single sheet of newsprint can be folded into cisco State Univ.; Katherine P. Erhart, Univ. have been changed and stricter controls and restored in preparation for an exhibition library books as they are being checked out." book dealing with the origin of ancient Greek placed on the availability of keys. The Alice Adams, School of Visual Arts: Sculp­ Southern California; Diane C. Johnson, architectural orders up to the time of the Per­ to be held at the Midland Center for the Arts. If we are as concerned with the preservation ture; Edward Bakst, N. Y.C.: Filmmaking; College of Charleston; Daniel E. Mader, museum is now trying to find new space for While Douzil's work is not of outstanding im­ of books as we are with paintings, we will sian wars of the fifth century B. C. Virginia works not housed in its own premises. These Rudolf Baranik, Pratt Inst.: Painting; Jake College of Mount Saint Joseph; Janice K. Grace Tuttle, National Gallery, will study portance- at best he could be described as a never recommend folding newsprint into Berthot, Cooper Union: Painting; John S. Ross, Tuskegee lust.; Leatrice Y. Tucker, issues should have been thought about earlier. provincial, somewhat primitive painter-the books. Unless removed within a few days, the the imagery found in the creation panels of Other museums with space and security prob­ Block, Brooklyn, N.Y.: Fihnmaking; Skip Florida A. & M. Univ. measures being taken to preserve and show his acid in the cheap paper will transfer itself to Hieronymus Bosch's Garden of Earthly lems should consider their own needs and be Blumberg,. N,Y.C.: Video; Paul Brown, DeUght, work are commendable. In Midland, at least, the more stable book paper, planting will N.Y,C.: Painting; KarenA. Carson, Santa alert to the tragedy in Lausanne so that a sim­ there seems to be a general awareness of pres­ transfer itself to the more stable book paper, ilar act of vandalism or destruction can be Monica: Painting; Tom Clancy, Fordham Summer semt'nars for college teachers. ervation issues at the grass roots level which planting the seeds of discoloration and em­ prevented in the future. College: Sculpture; Arthur Morris Cohen, Philipp Fehl, Univ. Illinois, Urbana: ACLS TRAVEL GRANT could stand as an example of what can be brittlement. Let us not hasten the deteriora­ N. Y.C.: Painting; Jerry Dantzic, Long Amert'can Art and the Classt'cal Tradt'tt'on; Charles S. Rhyne, Reed College, was A happier circumstance to report is the re­ done with a broader public awareness and tion of one cultural product while advocating Island Univ.: Photography; Julie Dash, Los Jacques Guilmain, S.U.N.Y., Stony Brook: awarded a travel grant by the American cent rediscovery of Andrea del Sarto's St.John support. III the preservation of another. Angeles: Filmmaking; Jay Dusard, Prescott, The A bstractt'on of Nature tn Early Med£eval Council of Learned Societies to attend the the Baptt'st (ca. 1517-1520). Held in a private Gabriel P. Weisberg and Alan M. Fern III Ariz.: Photography; Vera Klement, Univ. Art; Howard Hibbard, Columbia Univ.: International Colloquium on Style and Tech­ American collection since the 1860s, the Ann Boger Library of Congress Chicago: Painting; Josef Krames, Cleveland From Mt'chelangelo to Bernt'nt'. nique in Zurich this September. III June 1981 II 10 CAA newsletter shows by classifieds

artist members The CAA newsletter will accept classiJieds of creative process of new art of cast hand-made a professional or semi-professional nature paper. Write Multi-Arts Workshops, 3 Wood Walter Askin. Kunstlerhaus. Vienna, Aus­ (sale of libraries, summer rental or exchange Lane, Plainview, N. Y. 11803. tria, March 31-April 24. Work completed of homes, etc.) The charge is 50f per word, during past ten years. minimum charge 110.00, advance payment Unusual Country HOLIDAYS IN BURGUN­ required. Make checks payable to CAA. DY. Near Chablis: Painting, sculpture, Grace Bishko. Philadelphia Art Alliance, ClassiJieds will be accepted at the discretion medal-making, ceramics, bird watching, June 26-July 31. Recent paintings. of the Editor. Deadline for next issue 31 bird photography. Small friendly village in August. spectacularly beautiful countryside. Village Pegan Brooke. Hansen Fuller Goldeen lodgings, country-inn dinners, use of artists' Gallery, San Francisco, May 27 -June 27. CATALOGUES covering rare and elusive ateliers. Write Phillips, 15 Square de Paintings and drawings. books on Oriental/Primitive/ African art Chatillon, 75014 Paris. Telephone: Paris 542 reference will be sent, on request. worldwide. 5703. For last minute decisions, telephone 86 Robert Cronin. Sculpture Center Gallery, (Our major interest is Early Chinese Art.) (l'Yonne) 75 91 71. Two hours from Paris by N,V.C., April21-May 13. Sculpture. Richard Lyon, P.O. Box 150, Kingston, Sur­ car, or train to Tonnerre. 250 francs/day, all rey, England KT2 5SZ. included. Any number of days, starting June. Bruce Erman. Southern Exposure Gallery, San Francisco, May 13-June 5, "Bruce FLORENCE, ITALY: SHORT-TERM The third annual issue of RUTGERS ART Erman - Paintings: Potrero Dwellings." RENTALS: modern, comfortable furnished REVIEW will appear inJanuary 1982. Manu­ apartments; central locations; 2-6 months. scripts from graduate students are welcomed Carol Philips. Bryant Library, Roslyn, Dott. U. Caravadossi, Piazzetta Del Bene 1, for consideration and should be addressed to N.Y., June 4-June 30. Paintings and prints. Florence; Telephone: 055-283-701. RAR, Art Department, Voorhees Hall, Rut­ gers University, New Brunswick, NJ, 08903. Diego Hernandez Rivera. Galeria Contem­ RAGDALE FOUNDATION, A place for Subscriptions to the RAR ($7.00) should be poranea de Lourdes Chum acero, Mexico writers and artists to work. Room, board, mailed to the same address. City. April 3-May 15. Oil paintings on studios in beautiful surroundings for 2 weeks canvas. to 2 months. $50 a week. To apply write: HOUSE SWAP/RENT: Paris or London, Selection Committee, 1260 N. Green Bay approx. mid Sept to mid Oct, Wash. D.C. Debora Gilbert Ryan. Bromfield Gallery. Road, Lake Forest, II 60045. area, Metro, two adults, mind cat, write Mary Boston, April 18-May 8. "New Objects," Anne Goley, 4909 North Washington, Blvd., paintings in encaustic. II 16mm Film, CAST PAPER. demonstrating Arlington, Va. 22205. II

Non-Profit Org. Q4.4 newsletter U.S. Postage PAID ©1981 New York, N.Y. College Art Association of America Permit No. 4683 16 East 52 Street, New York 10022 Editor: Rose R. Weil Associate Editor: Minerva Navarrete

June 1981 1982 ANNUAL MEETING CALL FOR PAPERS: On page 3