newsletter Volume 9, Number 1-2 Spring-Summer 1984 1985 annual meeting: studio sessions
Studio sessions for the 1985 annual meeting in Los Angeles have Crossovers: Artists, Architects, and Landscape Architects. Don been planned by James Melchert, formerly chair of the art depart lyn Lyndon, University of California, Department of Art, 201 Camp ment at the University of California, Berkeley, currently director of bell Hall, Berkeley, Calif. 94720. the American Academy in Rome, Listed below are the topics he has Artworks in public places can benefit from the attention of many selected. Those wishing to participate in any session must submit pro different types of designers and artists, who bring their special ways of posals to the chair of that session by October I, 1984. Note: Art history imagining into a particular place and situation. The education of art session topics were announced in a special mailing in March. If your ists, architects, and landscape architects could profitably include ex copy has been lost in themail, chewed-up by the dog, or stolen by a col perience in such collaborative working process. A number of issues league: an additional copy may be obtained from the CAA office. need to be examined; these include establishing working conditions Please send $1.00 for postage and handling. such that each participant can bring his or her particular way of mak ing connections with previous work into a common discussion and ex Film in the Video Era: Survival of the Mediums. Julie Lazar, ploration of one particular site; encouraging people to look beyond the Museum of Contemporary Art, 152 North Central Avenue, Los specialized skills and techniques that serve as badges of competence in Angeles, Calif. 90012. each peer-group field; and recognizing the need for looking at the par This will be a panel discussion. ticular place in which a work is to be made in very close detail and with the eyes and alertnesses of many disciplines and ways of imagining. The Collaborative Print Workshops. Clinton Adams, Tamarind The questions addressed by this panel will of necessity deal both with Institute, University of New Mexico, 108 Cornell Avenue S.E., Albu the act of "crossing over" and with patterns of education that may help querque, N.M. 87131. to prepare for collaborative public work. The discussion will focus on the reasons for the workshops' early suc cesses in the 1960s and 1970s and their present status. The panelists Artists and Private Living Spaces. Melinda Wortz, University of will consider shifts in art styles and environment, economic conditions, California, Studio Art Department, School of Fine Arts, Irvine, Calif. geographical factors, administrative structures, personalities, etc. We 92717. hope that the panel will include a workshop director, a scholar, a print This panel will deal with artists whose aesthetic sensibilities subsume curator, a critic, and a prominent artist who has made prints in at least their entire living/working environments, or, to put it differently, a two different workshops. fusion of art and life. This approach parallels on a personalleveI the concept of site-specific or site-detennined sculpture on a public level. Teaching Non-Traditional Mediums in an Academic Institu As with many of the most radical ideas in contemporary art, this use of tion. Chris Burden, Department of Art, V.C.L.A., 405 Hilgard installed environments in the context of daily life is also found in an Avenue, Los Angeles, Calif. 90024. cient times, in sculpture built into architecture and painting done on The panel will address itself to the special problems involved in walls. The elimination of rigid categorizations for art is a major issue teaching video, performance, and installation art within the institu for this panel and the art world today, especially in the United States, tion. The panelists will be artists who are either currently teaching which has a partially subconscious memory of the Protestant Ethic and such courses or have recently taught them. Whether these mediums its strict separation of work and pleasure. are legitimate areas of study and the special problems of introducing them into a traditional art department will be the main topics of dis New Directions in Chicano and Latino Art. Rene Yanez, Galeria cussion. de al Raza, Studio 24,2851 24th Street, San Francisco, Calif. 94110. The panel will also consider the question of technique versus con Artists from Chicano and Latino communities in California, and tent and quality. How do you teach this type of art? What kind of crit from Los Angeles particularly, will focus on new directions in their ical judgements can be made? What are the implications for the more work that reflects the diversity of the culture. In many instances, their traditional mediums? What are the instructors' and institution's discussion will introduce recent innovative activities that are begin responsibilities for students' actions? What responsibility do the ning to attract attention outside those communities. students have? Finally, the special needs of non-traditional mediums will be addressed, such as the cost of buying and maintaining video Artists and Social Change. Leonard Hunter III, California State equipment and the physical constraints associated with installation University at San Francisco. Reply to 335 Moscow Street, San Fran type works. cisco, Calif. 94112. The panel will consider current and future cultural changes and Beyond Site Specific, or, A True American Art Form? Richard how artists can take advantage of them. The discussion is intended to Andrews, Seattle Arts Commission, 305 Harrison, Seattle, Wash. help clarify the issues and artists' options, such as support systems, 98109. organizations, and spaces. The panel will discuss the assertion that current developments in art in public places that explore the nature of "place" are peculiar to Secular Attitudes: Factors that Influence the Production of Art. American society. Works based on site, history, and context (such as Bob Smith, Los Angeles Institute of Contemporary Art, 2020 Robert those by Irwin, Holt, Fleischner, Armajani, and Miss, for example) use son Boulevard, Los Angeles, Calif. 90034. an aesthetic, a vernacular, that has developed from years of thinking During the past ten years, much of contemporary art has aban about and working in public spaces. The nature of American culture doned traditional gallery contexts and aesthetic concerns in an at and its influence on these public spaces also can be seen as a determin tempt to create relevant responses to pressing social, political, and ing factor in these artists' work. Continued on p. 2, col. 1 11985 annual meeting: studio sessions 1986 annual meeting: call for session proposals
economic problems. This panel and the corresponding exhibition at in modem art and life by providing paradigms of transformation by The 1986 annual meeting will be held in New the Los Angeles Institute of Contemporary Art (LAICA) seek to dis which an increasingly rigid society ritually transcends the fixed pros York City; the New York Hilton will be the cuss the relationship between the production of art and its presenta pect of its own destruction. What are the experiential considerations headquarters hotel. The dates for sessions are tion and reception. Does the dominant secularization of art negate its posed by nihilistic art? Is it efficacious and, if so, at what levels? How Thursday, February 13 through Saturday, role as an aesthetically "pure" moral force? Do galleries and museums successfully does it integrate social and aesthetic concerns? What roles February 15. Those wishing to propose topics subvert the social value of art by emphasizing its existence as a com do ethics and values play in nihilistic art, especially in comparison to for sessions for the 1986 annual meeting modity rather than an idea? Must art reject artworld structures to re traditional works? Letters are requested which explain the potential should submit them to the appropriate chair tain its integrity? participant's research, interests, and the general topic proposed for by November 15, 1984. discussion at the session. Interdisciplinary participation is encouraged Proposals should be submitted in the form The Next Twenty~Five Years. Sidra Stich, University Art as are comments or suggestions for speakers from individuals with no of a letter to the appropriate chair describing Museum, University of California at Berkeley, 2626 Bancroft Way, interest in formal participation. A joint session with Art History. the subject of the session and explaining any Berkeley, Calif. 94720. special or timely significance it may have for This panel will discuss future directions in art. Projections about art Analysis of Rhetorical Conventions in Photography. John your particular field and/ or for the discipline trends, new forms, theme and image transformations, revolutions in Brumfield, Photography Department, California Institute ofthe Arts, in general. Other factors, such as ideas about mediums, vanguard collaborations, unconventional exhibition School of Art, 24700 McBean Parkway, Valencia, Calif. 91355. the session's format or organization, should spaces, and visionary exhibition formats will be presented. These mus This will be a lecture. also be mentioned. Explanatory or supportive ings, by persons presently at the helm of change, are meant to provide materials may be appended. Please include a thought about art in the twenty· first century. Conversation: Looking at Pictures. Peter Plagens. curriculum vitae, preferred mailing address, A conversation about paintings. This will be an invitational session. and both office and home telephone numbers. Nihilism in Post-1945 Art. Kristine Stiles, University of Califor· To summarize briefly our procedures: (1) nia, Berkeley. Reply to 612 Pennsylvania Street, San Francisco, Calif. Interviewing on Videotape. Lyn Blumenthal, Video Data Bank, Anyone may submit a proposal for an art his Janet Cox-Rearick, 1986 Art History Chair Barbara Zucker, 1986 Studio Chair 94107. Chicago Art Institute, Michigan Avenue at Adams Street, Chicago, tory or a studio session. (2) Program chairs Nihilistic works of art, with their attention to destruction, violence, Ill. 60603. make their selection from among those pro· Institute of Chicago and at The Frick Collec Zucker received her B.S. from the University aggression, and cultural taboos, are commonly seen as socially non· This will be a lecture/ demonstration. The demonstration will in posals purely on the basis of merit; however, if tion. A specialist in the Italian Renaissance, of Michigan and her M.A. from Hunter Col productive, engaged in political and ideological activity exclusive of clude the taping of a live interview with a prominent artist. essentially the same proposal is received from Cox-Rearick is the author of the two-volume lege. Before coming to Vermont in 1979, she the traditional concerns of art. While the structure and character of two or more individuals, preference will he Drawings of Pontormo: A Catalogue Raison· taught at the Provincetown Fine Arts Work· the traditional avant garde remains transgressive, the resurgence of SESSIONS OF AFFILIATED SOCIETIES given to the individual from the region in ne with Notes on the Paintings, 1964 (revised shop, Fordham University, the Philadelphia nihilistic forms during periods of social and political transition, which the meeting will be held. (3) In addi· and expanded edition, 1981) and Dynasty College of Art, and the Pratt Institute, among unrest, war, especially since 1945, continues to be labelled "anti-art." eAA/ ARLIS Joint Session. The Artist and the Critic. Joyce Pel tion to selecting sessions among these propo and Destiny in Medici Art: Pontormo, Leo X, others. Her sculpture has been seen in solo ex Yet, nihilistic art generates visual metaphors and symbolic forms that lerano Ludmer, U.C.L.A. Art Library, 405 Hilgard Avenue, Los sals, program chairs will balance and shape and the Two Cosimos, Princeton, 1984. She hibitions at Douglass College, A.I.R. Gallery, address the essential contradiction of this era -survival in a period of Angeles, Calif. 90024. the program by inviting individuals to chair also wrote the cat'alogues for Eighteenth-Cen 112 Greene Street Galley, the Pennsylvania potential annihilation. This session asks the seemingly paradoxical Papers are solicited that raise issues about art criticism, from his general or special sessions. In doing so, pro tury Italian Drawings: A Loan Exh£bz~£on, Academy of Art, and the Robert Miller Gal question of whether nihilistic art has not played a revitalizing function toric criticism of the past (as discussed in Lionello Venturi's seminal gram chairs consider a number of factors, in· Jewett Arts Center, Wellesley College, 1960, lery, among others, as well as in numerous work) to the most recent contemporary discussions of the history of cluding which topics or periods were not and La Collection de Fran(,ois I, Louvre, group exhibitions. She has received a Yaddo critical response to art (Rezeptionsgeseht'ehte). The aim of this session NOTE: The announcement of Studio and Art History Chairs for covered in recent CAA annual meetings. As 1972, and has published numerous articles in fellowship and an NEA sculpture award. A is to explore the symbiotic relationship between artist and critic and to the 1986 Annual Meeting in New York City appears on p. 3. above, all other things being equal, prefer Master Drawings, Revue de ['Art, The Burl· writer as well as an artist. Zucker was an edito foster discussion from varied points of view. If you are interested in Those wishing to propose topics for 1986 must do so by November ence is given to artists/scholars from the ington Magazine, Mitteilungen des Kunsthis rial associate at Art News and has published participating in this session, please send a letter of approximately two 15, 1984. region in which the meeting will be held, but torisehen Institutes in Florenz, Artibus et articles and reviews inArt News, Artz'nAmer· pages describing the particular aspects of art criticism you wish to ad beyond that there is no geographic, institu Historiae, and other scholarly periodicals. iea, Heresies, Art journal, and other art peri dress and the specific approach you wish to take; also include a brief tional, or other consideration. Currently, she is working on a book on Bron odicals. She was one of the co-founders of the c. v. If you do not want to participate but are interested in helping Art history sessions will be chaired by Janet zino's chapel for Eleonora da Toledo and on A.I.R. Gallery and has served on the Ver define the topic or have any comments and suggestions , your notes and Cox-Rearick, professor of the history of art at the expansion of her catalogue of the collec mont Artists Task Force. A member of the letters are heartily encouraged. Hunter College, C.U.N.Y. Cox·Rearick reo tion of Fran«,;ois I. Address proposals to: Box CAA Board of Directors since 1982, Zucker ceived her B.A. from Wellesley College and 339, Department of Art. Hunter College, 695 chaired the session on "Color in Sculpture Historians of Netherlandish Art. Famous Artists-Famous her M.A. and Ph.D, degrees from Harvard Park Avenue, New York City 10021. Sculpture in Color" at the 1980 CAA Annual Works: New Insights on Old Chestnuts. Laurinda Dixon, Fine Arts University. Before coming to Hunter in 1964, Studio sessions will be chaired by Barbara Meeting. Address proposals to: Art Depart· Dept., 441 Hall of Languages, Syracuse University, Syracuse, N.Y. she taught at Wellesley College and held Zucker, professor of art and chair of the art ment, Williams Hall, University of Vermont, 13210. curatorial and research positions at the Art department at the University of Vermont. Burlington, Vt. 05405. III Send one-page abstract of paper that offers new angle on a major monument in Northern art. III information president's statement For a dissertation in progress, information is in the United States (1885) by the Hungarian The Bay Area's Howard family is the subject sought on the location of paintings by the artist Mihaly Munka_csy (1844-1900) a cor of research for an exhibition at The Oakland I feel fortunate in being called on to take over the presidency of our American artist Irene Rice Pereira pus of his works is in preparation. If you have Museum. Biographical data and information association after the very successful meeting in Toronto, where every (1907-71). Biographical data from persons any information related to the works of Mun· on the location of works by the following art thing (including the weather) seemed to work in our favor. In reality, who may have known the artist would also be kacsy, please send to Alfom Lengyel, Arts ists would be appreciated: John Galen How of course, this success was the result of careful planning and hard work appreciated by Karen A. Bearor, Dept. Art Division, Rosemont College, Rosemont, Pa. ard, architect; Mary Robertson Bradbury by many dedicated people. We owe a special debt of gratitude to Lucy History, University of Texas at Austin, 19010. Howard, painter; Henry Temple Howard, ar Freeman Sandler, who had unexpectedly to assume the duties of presi Austin, Texas 78712. chitect; Robert Boardman Howard, sculptor; dent on the death ofJoshua C. Taylor in April 1981. Her term of office For a monograph and catalogue raisonne of Charles Houghton Howard, painter; John thus ran for nearly three years instead of two, and she accordingly pre Information concerning Paul T. Frankl, the early painting career of the Belgian archi· Langley Howard, painter; Ja.ne Berlandina, sided at the annual meetings held in New York, Philadelphia, and twentieth- century American furniture tect Henry Van de Velde (1863-1957), infor painter; Adaline Kent, sculptor; Madge Toronto. Lucy Sandler not only carried out these responsibilities designer, is requested by Cooper-Hewitt mation is sought on life and works including: Knight, painter; Blanche Phillips, sculptor. cheerfully and efficiently but instituted measures to expand the mem graduate student. Please contact Grace Keat· past and present location of work, correspon Please send information to Barbara Bowman, bership and to improve the financial state of the organization. ing, 45 Tudor City 1118, N.Y.C, 10017. dence, personal mementos. Please contact Art Dept., The Oakland Museum, 1000 Oak John Rupert Martin III Susan M. Canning, Dept. Art, University of Street, Oakland, Calif. 94607. III CAA President John Rupert Martin Princeton University In order to commemorate the first exhibition North Carolina, Greensboro, N.C. 27412. CAA newsletter Spring-Summer 1984 3 announcements conferences and symposia art bulletin The J. Paul Getty Trust Publication Rome Prize Fellowships Rockefeller Foundation Humanities editor Program The American Academy in Rome offers fel Fellowships Colloque Versailles Art and Science in Related Revolutions Revised 1984 guidelines and applications lowships in the fields of architecture, land For research that aids in the understanding of To be held 29 September-4 October, 1985 at A conference to be held at Williams College, forms are available from the Publication Pro scape architecture, painting, sculpture, mu contemporary social and cultural issues. Ap the Chateau, in conjunction with a group of October 18-20. Papers and discussion will gram of The]. Paul Getty Trust. The pro sical composition, classical studies, classical proximately twenty awards will be made in related exhibitions at Versailles and in Paris. focus on the interrelationship between art gram includes co-publication or support for art and archaeology, post-classical humanis 1985-86; in addition, eight fellowships will be The Comite International pour Ie Colloque and science during the Renaissance and dur specific enhancements for a broad range of tic studies, history of art, and modern Italian made available through host institutions Versailles invites proposals for papers related ing the late nineteenth and early twentieth book-length scholarly manuscripts in the his studies, American citizens compete for one (separate announcement available). to a wide variety of subjects about art at Ver centuries. At issue will be whether, during tory of art. In general, applications should be year fellowships to live and work indepen Last year, because the number of ap sailles: architecture, the gardens, the painted these two periods of profound artistic and sci submitted by the publisher. For further infor dently in the Academy's community of artists plicants had been low in the past, applica and sculptured decorations, the furnishings, entific revolutions, the visual arts and the ex mation please contact Deborah Marrow, and scholars in Rome. tions from art history were particularly in decorations for fetes and the theatre, as well perimental sciences as practiced in those Publications Coordinator, JPGT, 1875 Cen The Academy program also includes the vited. We don't know how many applications as papers discussing the use and maintenance times had any mutual, even causal, influence tury Park East, Suite 2300, Los Angeles, following special Rome Prize Fellowships in there were, but we do know that two fellow of the palace and its dependencies. It also in on one another. For further information: Calif., 90067. (213) 277-9188. the Fine Arts and Humanities: The National ships were awarded in the field: to Rosemarie vites papers on subjects related to Versailles, Samuel Y. Edgerton, Jr., Dept. Art History, Endowment for the Arts six-month advanced Haag Bletter, I .F. A" for American architec such as the royal manufactories, the academ WC, Williamstown, Mass. 01267. fellowships in design arts; Graham Founda ture, 1945-85: promise and crisis, and to ies of painting and architecture, the activities tion six-month advanced fellowship in arch Mary Schmidt Campbell, Studio Museum in of the Maison du Rot· (administrative and Creativity and Science Villa I Tatti Fellowships itecture; Andrew W. Mellon post-doctoral Harlem, for Romare Bearden: toward an creative), to the extent that there is a direct An interdisciplinary national conference that Upward of ten stipendiary fellowships for fellowships in the humanities; and the Samuel Amen·can myth. connection with the history of Versailles. Pro will be held in Honolulu March 23-24,1985. independent study on any aspect of the Ital H, Kress Foundation two-year pre-doctoral The ordinary grant is for one year's dura posals of a more general nature relating to Papers are invited on all aspects of the confer ian Renaissance. Fellows are normally post fellowships in the history of art. Please state tion and is in the range of $15,000 - $20,000, culture, politics, or religion will also be con ence theme. Limited funds are available for doctoral and in the earlier stages of their interest in specific fellowship with application Awards cannot be made for completion of sidered. Papers may be delivered in French, travel support, modest honoraria, and local careers, must be free to devote full time to request: AAR, Fellowships Coordinator, 41 graduate or professional studies or for curri English or German; it is expected that the expenses, Papers should be a maximum of Richard E. Spear, Oberlin College East 65th Street, N.Y,C. 10021. Application cular projects. Additional information from papers will be published. Some financial help five single-spaced pages and written for an study, and are expected to reside in Florence Richard E. Spear, Mildred C. Jay Professor may be available for travel to Versailles by for the academic year. Stipends vary; maxi~ deadline: 15 November. RFHF, 1133 Avenue of the Americas, N.Y. C, informed but non-specialist audience. Ad· of Art History at Oberlin College, will be the those selected to give papers. Send proposals dress to D. DeLuca, Windward Community mum $22,000. Each Fellow receives a study 10036, Deadline for first-stage proposals: 15 next Editor-in-Chief of The Art Bullet£n. October, to CIVC, Att. M. Lemoine, Inspecteur Cen College, Keaahala Road, Kaneohe, Hawaii and use of the Biblioteca Berenson and Foto Spear assumed the position of Associate Edi eral des Musees de France, Direction du 96744, Deadline: 1 November. teca. I Tatti also offers a limited number of tor on July 1, 1984; he will succeed Creighton Musee, Chateau de Versailles, 78000 Ver non-stipendiary fellowships for scholars E. Gilbert as Editor-in-Chief onJuly 1, 1985, Betty Parsons Foundation sailles, France, Deadline for proposals: 1 Sep funded by other sources. Qualifications and Victorians at Home for a term of three years. Offers Works of Art I.F.A. Travel Fellowships tember 1984. privileges same as above. For application: The topic of the ninth annual meeting of the Spear received his B.A. from the University The New York art dealer and artist Betty Par submit curriculum vitae and project descrip The Institute of Fine Arts, N. Y. U., has an Midwest Victorian Studies Association, to be of Chicago and both his M,F.A. and Ph.D. sons died in July 1982, leaving a collection of nounced the establishment of a fellowship tion and have three confidential letters of held in Chicago, April 26-27, 1985. The degrees from Princeton University. Oberlin recommendation sent to: The Director, Villa more than 2000 paintings, sculptures, and program in aid of summer travel abroad for Association welcomes proposals treating has been his home base since he began teach works on paper by American artists of the all its students at an early stage of their I Tatti, Via di Vincigliata 26,50135 Florence, Whistler: Harbors and Waterways varied aspects of Victorian home life, includ ing in 1964. From 1972 to 1983 he also served 1940s through the 1970s. A number of the Italy; duplicate copies of all materials should graduate careers, Each student will, after the A symposium celebrating the 150th anniver ing domestic architecture and design. Send as director of Oberlin's Allen Memorial Art most important works were auctioned at be sent to Prof. Walter Kaiser, 401 Boylston satisfactory completion of five courses, sary of the birth of Whistler will be held on eight- to ten-page papers or two-page ab Museum and in 1983-84 he was distinguished Hall, Harvard University, Cambridge, Mass. Christie's in November 1983, In accordance become entitled to an Odyssey Fellowship, October 13 at the University of Lowell. stracts to Kristine Ottesen Carrigan, Dept, visiting professor at George Washington Uni with Mrs, Parsons' wishes, the remaining normally in the amount of$2,OOO, to support 02138. Application deadline: 1 November. Among the speakers will be Margaret Mc English and Communication, DePaul Univ., versity. works are to be distributed to regional muse such travel. The purpose of this program is to Donald, Univ. Glasgow; Katharine Lochnan, 2323 North Seminary Ave., Chicago, Ill. A specialist in the Baroque, Spear is the ums and collections outside the City of New assure all students the opportunity to study Art Gallery of Ontario; Robert Getscher, 60614. Deadline: 15 November. author of Caravaggt·o and His Followers, York. These works are primarily abstract and the original works of art that form the basis of John Carroll Univ,; Susan Hobbs, Smithso 1971, rev. ed. 1975; Renaissance and are by lesser-known artists of the period. Insti their discipline. Application for the fellow nian Institution; David Curry, Denver Art Furniture Symposium Baroque Paintings from the SC£arra and Franklin Furnace Internships tutions interested in being considered as can ship, made at the beginning of the term in Museum; and Paul Marks. For further infor The Shelburne Museum will host a day-long Ftano Collections, 1972 (winner of the Daria Franklin Furnace exhibits installation work didates for donations should contact Marilyn which the applicant will complete the requi mation: Liana Cheny, Art Dept., UL, symposium and "hands-on" workshop on Borghese gold medal for the most important and book art, presents two performance Cohen, curator, BPF, 14 East 90th Street, site course work, will consist of a brief travel Lowell, Mass. 01854. (617) 452-5000. American furniture on Saturday, September book of the year dealing with a Roman topic); series, and houses the largest collection of art N.Y,C. 10128. (212) 410-7077. plan and a budget. The student will, on 15, Speakers will be Brock Jobe, Society for and Domenichino, 1982 (2 vols.), as well as ists' books in the United States. Interns may return, submit a brief report on the use made numerous articles and reviews in A lien work within several areas of this contempo of the fellowship, the Preservation of New England Antiquities, rary art museum, including: exhibition in who will talk on stylistic and aesthetic consid Memonal Art Museum Bulletin, The Burl stallation, technical assistance with perfor Literature and the Visual Arts erations of seventeenth- and eighteenth-cen ington Magazine, Gazette des Beaux-Arts, mance, cataloguing, publications, and gen Studies in Medievalism A conference to be held at Dartmouth Col tury furniture and Jonathan Fairbanks, Master Draw~·ngs, Art Quarterly, The French eral administration. For further information: Submissions are invited for the following Briefing Papers on Copyright lege, October 5-7. Through analyses of Museum of Fine Arts, Boston, who will ad Review, and - not surprisingly -- The Art Internship Coordinator, FF, 112 Franklin issues of SzM: Medievalism in England, The Association of Research Libraries has literature, painting, and film, the conference dress symbolism and style in nineteenth-cen Bulletin. Street, N.Y.C, 10013, 1500-1750 (Editor, D. Nicholas Ranson, prepared two briefing papers on copyright will seek to answer the two basic questions tury American furniture. For information Spear chaired "The Seventeenth Century" Dept. English, Univ. Akron, Akron, Ohio designed to inform university faculty mem that now occupy the center of critical debate and reservations: Laura C. Luckey, SM, Shel session at the 1977 CAA annual meeting and 44325, deadline 1 November 1984); Medi bers, administrative officers, and library staff about the relation between literature and the bume, Vt. 05482. (802) 985-3346, was co-chair of the "Open Sessions" at the evalism in France, 1500-1750 (Editor, on issues that relate to educational uses of visual arts: to what extent are the two divided CAA annual meeting in 1984. He has served Medical Heritage Heather Arden, Dept. Romance Languages, photocopies of copyrighted materials in the by the difference between conventional signi Art Historians of Southern California on the CAA Nominating Committee, the Art A new, juried, bimonthly journal devoted to Univ, Cincinnati, Cincinnati, Ohio, 45221. classroom and the library. Both papers, fication and "natural" resemblance, and to AHSC will hold its annual meeting at the History Jury for the American Academy in medical history and medicine and the hu deadline 1 January 1985); Medievalism in Reproduction of Copynghted Maten·als for what extent are they divided by the difference Huntington Library and Art Gallery on Sat Rome, the Visual Arts Advisory Panel of the man£t£es, Publication will begin in January, Italy, 1500-1750 (Editor, Domenico Pietro Classroom Use; A Bn·ef£ng Paper for Teach between space and time? Speakers will in urday, November 17, and invites the partici Ohio Arts Council, and as trustee and presi 1985, An honorarium will be awarded for paolo, Dept. Italian Studies, Univ. Toronto, ing Faculty and Administrators and Current clude Rudolph Arnheim, W.J.T. Mitchell, pation of art historians throughout the coun dent of the Intermuseum Conservation Asso each article accepted for publication. Submit Toronto, Ontario M5S 1Al, deadline 1 Issues in Library Photocopying and Copy Ronald Paulson, Wendy Steiner, Gerald try, Papers should not exceed twenty minutes ciation. • manuscripts in triplicate and illustrations April). Medievalism has been defined as "any nght; A Briefing Paper for Libranans and Mast, and Marilyn Lavin. The conference has and will be followed by a question and discus (color or black and white) to Sharon Romm, aspect of the post-medieval idea and study of Archivists, are available from the Associa been organized by James Heffernan (Dept. sion period, Submit one-page abstracts (pret The CAA Annual Financial Reports M,D" Div. Plastic Surgery, Univ, Kentucky the Middle Ages, and of the influence, both tion. Send a stamped (37~) self· addressed # 10 English) and Barbara Walsh Lynes (Dept. ty much same form as for CAA) to Shelley M, for the year ending December 31, 1983 Medical Center, Room MN275, 800 Rose popular and scholarly, of this study on envelope to: ARL, 1527 New Hampshire Av Art History). For further information: Bar Bennett, HLAG, 1151 Oxford Road, San are available upon request from the Street, Lexington, Ky. 40536. Western society after 1500." enueN,W., Washington, D.C. 20036. • bara Walsh Lynes, Dept. Art History, D.C., Marino, Calif. 91108. (818) 405-2225. CAA office, Hanover, N.H. 03755. Deadline: 15 October. • 4 CAA newsletter Spring-Summer 1984 5
,~ CAA awards ICAA awards
scholarly pitfalls. Finally, we take great plea Awards for excellence in scholarship, teach The Distinguished Teaching of Art History rity, his belief in the life of the individual work sure in the fact that the author is a museum ing, and criticism were presented at the Con Award of art, and his basic respect for the imagina curator who, amidst the endless and varied vocation ceremonies of the 72nd Annual The recipient of this year's CAA Award for tion of its creator. Under his guidance, the pa responsibilities of daily museum life, has yet Meeting of the College Art Association of Distinguished Teaching of Art History is the tient and loving exploration of the paintingof conceived, prepared, and realized a project of America, held on Friday evening, February Moore Collegiate Professor of Art History at past centuries becomes a vital process, the such scope. 24, at the Art Gallery of Ontario in Toronto. Columbia, Howard McP. Davis. _For nearly grave pathos of Giotto's drama or the symbol We are, therefore, pleased to present the The Distinguished Teaching of An History four decades Howard Davis has been a model ic illumination of Jan van Eyck's universe 1982 Alfred H. Barr, Jr. Award for Excellence Award was presented to Howard McP. to students and colleagues, as teacher, ad comes to life-precisely to the degree that in Museum Scholarship to H. Diane Russell, Davis, Moore Collegiate Professor of Art His visor, and responsive friend. Generations of they become important experiences in the life of Washington's National Gallery, for her tory at Columbia University. The Distin Columbia students have paid him warm trib of the student. Postulating meaning in the monumental Claude Lorrain, 1600-1682. guished Teaching of Art Award went to Pat ute, honoring him with the Mark Van Doren full experience of an image, Howard Davis Committee: Margaret Frazer, Chair; Adams, Professor of Art at Bennington Col Award (1968) and the Great Teacher Award has demonstrated that analysis proceeds from Wayne Begley; Hayden Maginnis. lege. The Charles Rufus Morey Book Award of the Society of Older Graduates (1970). He direct and personal engagement, that it is was given to James Cahill, University of has significantly affected education in art guided by fundamental questions concerning The Frank Jewett Mather Award California, Berkeley, for The Compelling Im history at every level at Columbia and, the essence of the object and the sensibility of He is a mesmeric lecturer. A master of the age: Nature and Style in Seventeenth-Cen through his impact on his students, well its maker. His students have learned about the long haul in pure scholarship, he also brought tury Chinese Painting. H. Diane Russell, of beyond Morningside Heights. One of the de quality and obligation of seeing, the necessary new dignity to the brief review. Few people the National Gallery of Art, was the recipient signers of the Art Humanities course that is an human context and measure of this enter now living have read as much, looked as of the Alfred H. Barr, Jr. Award for her integral pan of Columbia College's cele prise; through the example of their professor much, thought as much or communicated as Claude Lorrain, 1600-1682. The FrankJew brated cQre curriculum, he has continued to they have learned about the humanity of art. much of wonder and surprise. At ease with ett Mather Award for distinction in art or guide that introduction to masterpieces of the For having so movingly professed that im Michelangelo at full stretch, he was no less at architectural criticism went to Leo Stein fine arts, through which visual literacy was portant lesson, the College Art Association is home with paintings stilI wet from the studio berg, University of Pennsylvania, for "The made a serious goal of general education. pleased to present its eighth annual Award for at a time when, as he said himself, "few art Sexuality of Christ in Renaissance Art and in Supervising younger colleagues participating Distinguished Teaching of Art History to historians took the contemporary scene ser Modem Oblivion," which appeared in the Howard McP. Davis. in the Humanities program, he has initiated ious~y enough to give it the time of day." All issue of October magazine for Summer, 1983. generations of graduate students and new Committee: William Loerke, Chair; Bea Pat Adams, Distinguished Teaching of Art James Cahill, Morey Book Award Photo: Matthew Longo Photo: Barry Donahue history is his province, and he is as likely to The Arthur Kingsley Porter Prize for the best assistant professors into the art of teaching trice Farwell; David Rosand. refer to an image in Bonnie and Clyde as to a article in The Art Bulletin by a scholar at the and the humane values of the study of art. leged to have been on the receiving end have look, and for bringing issues of Chinese Art lecture given in Leyden by Max Planck in beginning of his or her scholarly career ap His qualities as a teacher are disarmingly always come away with something new to into the wider perspective of art history of the 1908. pearing in the year 1983 was awarded to simple, but profound in effect. They are not think about. world, we award the 1982 Charles Rufus Leo Steinberg-for it is with him that this The Distinguished Teaching of Art Award Kathleen J. Shelton, University of Chicago, communicated by means of conventional Articulate, tough, dear, probing, intensely Morey Award for the best art history book of citation is concerned - has never hesitated to This year's Distinguished Professor of Art is in for "The Consular Muse of Flavius Constan classroom rhetoric. Howard Davis is no per private, intensely intimate, intuitive, art doc the year to James Cahill's The Compelling enter areas of feeling and experience from some ways as steady as a rock. Twenty-eight tius." former. Rather, he teaches by the example of tor, visionary, mystic, teacher, philosopher, Image: Nature and Style in Seventeenth- Cen which others stand aside. Nowhere and never years with Virginia Zabriskie, showing bian The citations read as follows: his own passionate commitment and integ- poet and artist: we congratulate you, Pat tury Chinese Painting. has this been more conspicuous than in the nually; twenty years teaching at Bennington Adams, and with great pleasure present you Committee: Meredith Lillich, Chair; Her long essay called "The Sexuality of Christ in College. She began teaching because she with this well-deserved award. schel Chipp; John Walsh, Jr. Renaissance Art and in Modem Oblivion" "needed somebody to talk to." That conversa Committee: Barbara Zucker, Chair; Peter which appeared in the issue of Octobermaga tion was and continues to be with her stu Plagens; Roy Slade. zine for Summer, 1983. The work of a great dents, who, she says, "somehow match one's scholar for whom the word "tabu" has no own intensity." The dialogue continues to be The Alfred H. Barr, Jr. Award meaning, it brought to the notion of a quar as fresh and vivid as at the start. The Charles Rufus Morey Book Award In reviewing the catalogues of 1982, the com terly magazine the kind of amplitude that he She thinks of herself not so much as a teach James Cahill's The Compelling Image: mittee was faced with the stimulating difficul had brought nearly thirty years earlier, in er but as one "who is passionate to know." Nature and Style in Seventeenth-Century ties created by a year that saw a number of writing for Arts magazine, to the notion of a This passion has touched many young paint Chinese Painting studies later Chinese paint fine exhibitions accompanied by equally fine monthly review. ers in the last two decades. She states that her ing by means of distinction "between natural catalogues. The variety of subject matter was Committee: Janet Kardon, Chair; Brenda painting is "absolutely essential" to the teach izing and conventionalizing tendencies" in rich; from textiles to sculpture, from east to Richardson; John Russell. ing-she is always working towards another show. This energy and purpose have been a landscape representation. Developed from west, from antiquity to the modern period. the Charles Eliot Norton lectures delivered at Weighing the various factors which make for The Arth ur Kingsley Porter Prize source of inspiration to her students, and her Harvard University in the spring of 1979, the a distinguished catalogue amidst such variety In her article Kathleen Shelton reassesses our reputation as an artist is secure and solid. book gives compelling lessons on what to see, was not easy. We looked, of course, for schol traditional assumptions about the consular Graduates and undergraduates bear wit where to look, and how to infer ideas and arship - but also for readability, presentation diptych. The focus of her attention is a lost ness to her "surgical precision" with words. meaning through pictorial forms and tech· fifth century fragment, relegated to marginal They describe her exquisite ability to cut to and space. And even within that framework, more than one item qualifies for honourable status chiefly because its subject, a Muse, did the core of the matter, to be specific, and then niques. In describing the eccentric and fantastic not fit the categories accepted for this type of to "quietly create an earthquake." One grad mention. painters of the late Ming times, Professor object. Her rigorous and comprehensive uate said "her critiques would jar you off your Ultimately we have selected a catalogue Cahill successfully portrays a picture of con that is daunting in its breadth: a work that study solves the problems which the ivory tracks, she could always shed new light on flict, discord, and breakdown in late Ming enlarges our understanding of the artist con poses and allows her to establish that it what you were doing." Another speaks of her China that seems to mirror his perception of belongs to a hitherto unrecognized type of ability to say something valuable to everyone, cerned by including drawings and etchings as our own modern·day world. In this book well as pictures, and by providing the reader consular diptych - that of the Muse Kalliope to "key in," and be always on the mark. Still Cahill states that he is "less concerned with offering inspiration to a poet or philosopher. another young artist, now living and working with a context woven of chronological charts, what Ming-Ch'ing history tells us about the scholarly appendices, and critical commen Our knowledge is thereby significantly en in New York, said: "She takes you and your paintings than with the reverse: what Ming taries on the painter. It is a work that is access larged, and we are given a valuable reminder painting so seriously, you begin to take your Ch'ingpainting, seen in its full dynamic com ible to the general reader and, given its exten that the exception does not so much confirm self seriously, and find some place for yourself Howard McP. Davis plexity, tells us about the age, its intellectual sive bibliography and scholarly apparatus, the rule as provide a basis for its critical reo Distinguished in the world." tensions, and its adjustments to such pro provides a new foundation for further re examination. Teaching of Art It's not just students to whom she has given; History found cultural wrenches." search by art historians and connoisseurs. It is Committee: Eve Twose Kliman and Jeffrey she has reached her contemporaries through Photo: Arnold Browne, a work that dares to think large in spite of the M. Muller, Co· Chairs; Walter Gibson; Penel her writings, voluminous correspondence, For breaking new ground in the study of Columbia College temptation to restrict material and thus avoid ope Mason;Jane Rosenthal • Today workshops, and lectures. Those of us privi- Chinese paintings, for teaching us how to Spring-Summer 1984 7 6 CAA newsletter lpeople and programs people and programs the Freer Gallery of Art, to be connected un museum programs at NMAA. O'Sullivan held by Egbert Haverkamp-Begemann and derground, will make up the Center for Asian (Ph.D., Univ. Maryland) has previously been Material for inclusion in People and Pro Jonathan Brown. Haverkamp-Begemann, Art, which will be directed by Thomas Law executive director of The Center for the Book grams should be sent to College Art Associa who taught at Yale before joining the I.F.A. ton, currently director of the Freer. Beach at the Library of Congress, director of institu tion, 149 Madison Avenue, N. Y. C. 10016. faculty in 1978, will hold the John Langeloth (Ph.D., Harvard Univ.), a scholar in the tional development at the National Archives, Deadline next issue: 1 September. JOT Loeb Professorship in the History of Art. The Islamic art of India, leaves Williams College, and associate program coordinator for the Carroll and Milton Petrie Professorship of where he had been on the faculty since 1969 Smithsonian Institution's resident associates. IN MEMORIAM Fine Arts will be held by Jonathan Brown, and chair of the art department since 1981. who left Princeton to come to the Institute in Richard N. Murray, most recently director Medievalist Peter N. Brieger, the senior art 1973 and was its director from 1974 to 1978. of the Birmingham Museum of Art, returns to historian in Canada, died in October at the the Smithsonian as director of the Archives of age of 85. Born in Breslau, he left Germany in At Columbia University, Barnard College, James T. Demetrion, director of the Des American Art. Murray (M.A., Univ. Chica 1933 and came to the University of Toronto, too, has a newly endowed chair: the Helen Moines Art Center since 1969, has been go) joined the Smithsonian as a fellow in 1970 via the Courtauld Institute, in 1936. He Goodhart Altschul Professorship. Barbara named the new director of the Smithsonian's at the then National Collection of Fine Arts, taught there full-time until 1964. Brieger was Novak, who joined the Barnard faculty in Hirshhorn Museum and Sculpture Garden. was later a research assistant, and in 1975 founding president of the Universities Art 1956, has been named as its first incumbent. Previously director of the Pasadena Art became coordinator of the Museum's Bicen Association of Canada from 1959 to 1964 and The author of Nature and Culture and Museum, Demetrion organized major m6no tennial exhibition, Amen'ca as Art. From Canadian representative to the Comite Inter American Painting in the Nineteenth Cen graphic exhibitions on Lyonel Feininger (at 1977 until his departure in 1979 for Birming national d'Histoire de l'art until 1968. Among tury, among numerous other publications, Pasadena), Paul Klee, and Egon Schiele, as ham, he was assistant to Joshua Taylor, the his publications are English Art, 1216-1307; Novak is also a member of the Art Journal well as the major survey Twenty-five Years of late director of NCFA. Retiring director of the facsimile edition of The Trinity College Editorial Board. A men'can Pa£nting, 1948-1973. He has been the Archives William E. Woolfender has Apocalypse; and, jointly with Millard Meiss co-chair of the NEA's museum advisory pa been named director emeritus. and Charles S. Singleton, The Illuminated Howard Smagula became dean of the San nel, is a consultant for the NEA's Art in Public Manuscripts of the Divz1t€ Comedy. Antonio Art Institute in December, succeed Places project, and has held three positions, More news from Washington: The Library of George V. Bayliss, Tyler School of Art ing George Parrino, who is now director of including that of president, for the Associa Congress has named Stephen E. Ostrow chief Denald E. Gordon, professor of fine arts at Photo: V. Veenstra. School of Art. U-M SAAI. Smagula (MFA, Yale) will serve as tion of Art Museum Directors. Demetrion will of its prints and photographs division, a col John Perreault, Everson Museum of Art the University of Pittsburgh, died in April at dean of both the SAAI community school and assume his new position in mid-October, re lection of more than ten million images. the age of 52. Gordon received his Ph.D. from and small-group exhibitions of his work. He is of the new College of Art, scheduled to open placing Abram Lerner, director of the Hirsh Ostrow, executive director of the Portland Writer and art critic John Perreault was Harvard and began his teaching career in active in many national art organizations, in fall 1985. He taught at the San Francisco horn since its inception in 1967. Art Association since 1981, will oversee the named curator of contemporary art of the 1960 at Dickinson College. He joined the among them the CAA (he has been a member Art Institute for the last ten years and is the five curatorial areas of the division: fine Everson Museum of Art in Syracuse. Per Pittsburgh faculty in 1969 and from 1969 to and chair of the Nominating Committee, a author of Currents: Comtemporary Direc prints, architecture, popular and applied art, reault, who had been senior art critic for Soho 1974 was department chair and director of member of the Distinguished Teaching of Art tions in the Visual Arts, among other works. posters, and photographs. At the Textile Mu News and whose articles have appeared in the university's Henry Clay Frick Fine Arts Award Committee, and has taken an active seum, Carol Bier has been appointed numerous major art publications, was presi Building. The author of Ernst Ludwig Kirch role at many annual meetings) and is current At Williams College, Americanist Milton associate curator of eastern hemisphere tex dent for the American section of the Interna ner: The Paintings and the two-volume Mod ly president of the National Association of Brown, resident professor at the Graduate tiles. !3ier (Ph.D. cand., I.F.A.) has taught tional Association of Art Critics from 1979 to ern Art Exhibitions 1900-1916, he completed Schools of Art and Design. School and University Center, C.U.N.Y., has IslamIC art at George Washington University, 1981. He replaces Ross Anderson, who a third book, Expressionism: Art and Idea, been named senior Prendergast fellow. He is Ilene H. Forsyth, a member of the faculty at Ge?rge~own University, The Johns Hopkins assumed the directorship of the Montgomery shortly before his death. It will be published the University of Michigan since 1961, has directing the compilation of a systematic cat Umverslty, and the University of Maryland Museum of Fine Arts in Alabama. in the fall of 1'985 by Yale University Press, been named Arthur F. Thurnau Professor of alogue of the complete works of Maurice and and has served as a research associate at the supported in part by a grant from the CAA's History of Art. Forsyth received the CAA's Charles Prendergast, a project that is ex Freer Gallery of Art. She replaces James Douglas G. Schultz, who had been serving as Millard Meiss Publication Fund. Charles Rufus Morey Book Award in 1974for pected to take three to four years to complete. Trilling, who resigned to do independent acting director of the Albright-Knox Art Gal The Throne of Wisdom: Wood Sculpture of Working with Brown is Carol Clark, as exec research and to complete a book. lery, was named director. Schultz (M.A., Abner A. Schram, publisher, importer, and the Madonna in Romanesque France. A utive fellow in residence. Clark, formerly cu Univ. California, Berkeley) joined the Al distributor of art history and graphic art member of the Editorial Board of The Art rator of paintings at the Amon Carter Muse Richard H. Randall Jr. has retired as cura bright-Knox eleven years ago as a curatorial books, died in April at the age of78. A photo Bulletin since 1975, she has just completed a um, has also been appointed adjunct curator tor of medieval art at The Walters Art Gal intern. After holding various curatorial posi engraver for many years, he founded his four-year term on the Board of Directors of of American art at the Clark Art Institute. lery. With the Walters since 1964, he served tions, he was appointed chief curator in 1980. publishing firm in New York City in 1963 and the CAA and a two-year term on the Execu first assistant director and then as director Other appointments: Sharon C. Blume moved to Montclair, N.]. in 1977. Schram At the Art Academy of Cincinnati, Jay from 1966 to 1981, when he stepped down to (S.U.N.Y., Buffalo) has been promoted to as was a familiar figure at the CAA annual meet tive Committee. Zumeta has been named chair of the art hist assume his most recent position. Announce sistant curator of education for school pro ings, returning year after year to exhibit the At the Johns Hopkins University, William ory!liberal studies department. Faculty ment of his retirement was timed to coincide grams; Catherine Green (M.A., Univ. Michi most recent additions to his list. His en Tronzo has been appointed assistant profes member Tony Batchelor has written a man with the completion of his last exhibition gan) was promoted to assistant curator of counters with scholars at the meetings were sor of medieval art. Most recently Tronzo ual for water-base screen printing. Ivory: The Sumptuous Art, and with education for adult programs. seminal to some of his publishing projects. His hi~ (Ph.D., Harvard) has been a research asso James T. Demetrion; Hirschhorn Museum and catalogue of the Walters' world-renowned wife, Frances G. Schram, is assuming direc ciate at Dumbarton Oaks and assistant MUSEUMS Sculpture Garden ivory collection. Randall (M.A., Harvard) In Lincoln, Mass. Paul Master-Karnik has tion of the firm. professor at The American University. Also now plans to prepare a comprehensive book been named director of the DeCordova and joining the art history faculty this fall as The Smithsonian Institution has announced At another Smithsonian constituent, the Na on Gothic ivories in America. Succeeding Dana Museum and Park. Master-Karnik ACADEME several key appointments: Robert McCor visiting associate professor (part-time) is tional Museum of American Art, Elizabeth R~ndall as curator of Medieval art is Gary K. (Ph.D., Rutgers Univ.) had been director of mick Adams, Howard H. Swift Distinguished George V. Bayliss, dean of the University of Giovanna Perini, a specialist in seventeenth Broun has been appointed chief curator and Vlkan. He has also been appointed associate the Summit Art Center in New Jersey since Professor of Anthropology and provost of the Michigan's School of Art since its inception in century art -and theory, who regularly teaches assistant director. Broun (Ph.D., Univ. Kan director for curatorial affairs, succeeding 1980 and had taught in the graduate program at the Scuola Superiore of Pisa. University of Chicago, has been named the sas) had been curator of prints and drawings William R. Johnston, recently promoted to in museum studies at N.Y.U. from 1980 to 1974, assumed the position of dean of the new Secretary. He is the ninth person to hold Tyler School of Art, Temple University, on at the Spencer Museum of Art, Universty of associate director of the Gallery. Vikan 1983. Also joining the DeCordova Museum is Rona GoHen has been named chair of the de that post, succeeding S. Dillon Ripley, who Kansas since 1976 and had served as acting di (Ph.D., Princeton Univ.) most recently was Rachel Rosenfield Lafo, who has been June 1. Bayliss was professor of art and chair guided the Smithsonian's enormous expan of Michigan's department of art when it be partment of art at Duke University and John rector since 1982. Her research interests in senior associate for Byzantine Art Studies at named senior curator. Lafo (M.A., Univ. sion during the past twenty five years. came a separate school of the University; R. Spencer is the new director of the Art clude contemporary art, photography, the Dumbarton Oaks Library and Collection, Massachusetts) had been associate curator of before that he had been chair of the depart Museum. Joining the faculty are Walter Chicago World's Fair, and the art ofJohn Sin having held several other positions there. He the Portland Art Museum (Oregon) for five Milo Cleveland Beach will head the new Ar ment of art at the State University College at Melion as instructor and Yvonne Muller as gleton Copley and James McNeill Whistler. had also been teaching for a consortium of years prior to her most recent post as special thur M. Sackler Gallery, a component of the Fredonia, N.Y. from 1967 to 1972 and acting visiting artist. Judith O'Sullivan, formerly executive direc Washington D.C. universities. Along with his assistant to the director of the Fogg Art Smithsonian's Center for African, Near tor of the Maryland Humanities Council, has posts at the Walters, Vikan assumes an ad Museum's Center for Conservation and Tech dean of the Parsons School of Design from Eastern and Asian Cultures, scheduled for 1963 to 1967. An abstract expressionist paint Two newly endowed professorships at New been appointed deputy assistant director for junct professorship at Johns Hopkins. nical Studies. II completion in 1986. The Sackler Gallery and er, Bayliss has had more than twenty-five solo York University's Institute of Fine Arts will be Spring-Summer 1984 9 CAA newsletter 8 J grants and awards Igrants and awards shows by artist members
GUGGENHEIM FELLOWSHIPS MAC ARTHUR PRIZE FELLOWS ACLS TRAVEL GRANTS The Art Libraries Society of North America Katherine T. Andrle. Catholic University Fairleigh Dickinson University, Hackensack, Guggenheim grants this year went to 283 We always told you it was alright to go ahead Provide funds to attend international schol presented its Wittenborn awards for excel of America, Department of Art, Washington, N.j, April 9-27. Paintings, scholars, scientists, and artists chosen from and be an artist, and now the MacArthur arly conferences. Recipients in the most re lence in publishing for books with 1982 im D.C., March 5-30. "Earth Symbols," paint Jack Hanley. Max Gallery, N.Y.C., Feb among 3,542 applicants. Foundation agrees. For the first time, two cent competition are: Carl Radcliffe Bolon. prints to: The Cooper-Hewitt Museum and ings. ruary 3-25. Paintings. visual artists-environmental artists, yet Univ. Chicago: for Pantheons of Power, an Harry N. Abrams for Scandinavian Modem Art History/Cognate Areas Walter Askin. University of Denver, are among the recipients (22, this round) of Exploration of Historical Concepts of Power Design, 1880-1980, edited by David Revere Roger Howrigan. Linda Rhodes Gallery, School of Art, January 30-February 26, Albert Boime, V.C.L.A.: A social history of the Foundation's famed "genius awards." as Expressed through the Religious Idiom of McFadden; MacMillan Publishing Company Winter Park, Fla., January 12-February 8. Screen prints and lithographs. 19th-century art; Sarah Catharine Brett The artists are Robert Irwin and James Tur the Sacred Arts, in Rajasthan, India; Adel for The MacMillan Encyclopedia of Archi Watercolors Don Yates Art Gallery, N.Y.C. Smith, Princeton, N.J.: Bamana sculpture rell. The awards-for anyone just come down aide Bennett, Index of Christian Art, Prince tects, edited by Adolf Placzek; the Canadian Carolyn Autry. U.S. Embassy, American February. Oil paintings and watercolors. and shifts in male gender identity; Timothy from Mars-are five-year, no-strings-at ton: for Interdisciplinary Symposium of En Center, Belgrade, Yugoslavia, December 1- Centre for Architecture for Photography and Stephen James. Hunter Gallery, N.Y.C., Clark, Harvard Univ.: Avant-garde paint glish Thirteenth-Century Studies, in Gran 15; other cultural centers in Yugoslavia J. tached stipends that range from $24,000 to Architecture, 1839-1939, edited by Richard February 27-March 3. "Works from the Con ing and sculpture in Paris, 1900-1914; Her $60,000 annually, depending on the age of tham, England; Annemarie Weyl Carr, Pare; and the University Press of New En through March 1. Prints. tainer Series," sculpture in granite, cast iron, bert L. Kessler, Johns Hopkins Univ.: The the recipient. Another of this year's MacAr Southern Methodist Univ.: for the First Inter gland for The Works of Augustus Saint-Gau Tony Batchelor. Cincinnati Commission steel, and related prints. 5th-century churches in Rome; Paul Need thur awards went to Renaissance historian national Congress on Cypriot Palaeography, dens, by John Dryfout. The 1983 Gerd on the Arts Gallery, September 8-October ham, Pierpont Morgan Library: The chron Paul Kristeller. in Nicosia, Cyprus; and Marcia Kupfer, Muehsam Award was presented to Nancy M. Philip Pearlstein. The Toledo Museum of 17,1983, Water-based scree'n prints. ology of 15th-century English printing; Northwestern Univ.: for the Congres archeo Pike, Univ. Wisconsin-Madison for her Art, March 18-April 29, A retrospective: Linda Nochlin, Grad. Center, C.D.N.Y.: logique de France, in Chateauroux. library science paper The Golden Cockerel Ruth Bavetta. Orlando Gallery, Sherman paintings, drawings, watercolors and prints. Women, art, and power in the later 19th cen FULBRIGHT SCHOLARS Oaks, Calif., March 2-30. "An Anonymous Press, 1921-1961: A History, Bibliography Siena Porta. 14 Sculptors Gallery, N. Y .C" tury; David Porter, Dept. English, Univ. Each year approximately 700 U.S. scholars Autobiography," drawings. and Index. February 21-March 10. "Passing Through," Mass., Amherst: Linguistic theory and the art are awarded Fulbright grants to lecture, do AWARDS IN THE VISUAL ARTS William A. Berry. Muscarelle Museum of cast plastic figures, housed in steel and cloth of Joseph Cornell; John W. Williams, Univ. research, or study abroad. In 1983-84, The AVA program, administered by the INDIVIDUAL AWARDS Art, College of William and Mary, Williams environments. Pittsburgh: The Palatine Church of San lsi awards in art and art history were made to: Southeastern Center for Contemporary Art, burg, Va., April 26-June 11. Drawings in doro de Leon; Richard Guy Wilson, Univ. Terry A. Allen, Univ, Michigan: Research selects ten American artists each year who Daniel E. Mader, College of Mt. St. Joseph, Carolyn Reid. Auraria Campus, Denver, colored pencil. Virginia: Architecture and design in machine (Islamic Civilization Project) in Ceres Tunis, receive a $15,000 stipend and a $5,000 received the 1984 Scholarship Award of the April 2-27. "Pavilion Paintings," oil paint age America, 1920-1941. Tunisia, and Cairo Univ.; Jane Block, Univ. museum purchase grant and whose work is in Cincinnati Branch of the English-Speaking Paul Binai. Tyler School of Art, Temple ings. Wisconsin-Milwaukee: Research, Museum cluded in a major (and catalogued) travelling Union. The travel award will enable him to do University, February I-March 2. "Fears," Yasue Sakaoka. Martin Janis Center, Col Artists Modern Art, Brussels; Nancy K. Canipe, exhibition, The recipients this year are: pho research in the India and Chinese collections Galerie Taub, Philadelphia, January 18- umbus, Ohio, October 26-December 31, John Alexander, N.Y.C.: painting; Carl Univ, North Alabama: Research, Govt. ColI. tographer / sculptor Robert Cumming, Hart of the British Museum and the Sir Percival February 8, 1983. Recent works. Ohio Designer Crafts Andre, N,Y.C.: sculpture; Zeke Berman, Arts & Crafts, Madras, India; Louis Finkel ford Art School; sculptor Donald Lipski, David Foundation for Chinese Art in London. men Winter Fair, Columbus, December 1-4. Fordham Uillv.: photography; David Budd, stein: Research, Museum Fine Arts, Sao New York City; painter Rolando Briseno, C. Roy Blackwood. Arthur Roger Gallery, New Orleans, March 10-29. "Social Meta Installation. School of Visual Arts: painting; Domenick Paulo; Walter S. Gibson, Case Western Brooklyn, N.Y.; sculptor Genna Watson, Annemarie Weyl Carr received one of three phors," sculpture. Capobianco, Newark Coll. Arts & Sci., Rut Reserve Univ.: Research (Flemish cosmic Alexandria, Va.; painter Leonard Koscian $1,000 awards given by Southern Methodist Lynda Schmid. Janet Fleisher Gallery, gers Univ.: painting and drawing; William landscape), Museum v. Schone Kunsten, ski, Univ. Tennessee, Knoxville; sculptor Ed University to faculty who "exhibited a special Gloria DeFilipps Brush. Film in the Cities Philadelphia, March 16-ApriI30; Delaware Christenberry. Cocoran School of Art: pho Antwerp; Marc Goldring, Artist Crafts, S, ward Mayer, Ohio University; sculptor Mar commitment to excellence as teachers! Gallery, St. Paul. January; University of Ala Art Museum, Wilmington, July-August, Re tography; Lois Conner. New School for Acworth, N.H.: Lecture (leatherworking), garet Wharton, Glenview, Ill.; sculptor/ scholars. " bama, March; Catskill Center for Photog cent mixed media paintings. Social Research: photography; Alan Cote. New Zealand Crafts Council; Barbara D. performer Tom Marioni, San Francisco; raphy, South Woodstock, N.Y" September. Anne Scott. Marion Koogler McNay Art Bard CoiL: painting; Donigan Cumming. Groseclose, Ohio State Univ.: Research, photographer Louis Carlos Bernal, Pima Artist Banerjee, who teaches at the New Museum, San Antonio, May 6-July 22. Mixed Montreal: photography; Michael David. Banaras Hindu Univ., Varanasi, India; John Community College, Tucson; and sculptor Katharine T. Carter. Thompson Park School, was awarded the 1984 World Culture media drawings, N.Y.C.: painting; Connie Field, Emeryville, M. Jacobus, Dartmouth ColI.: Research, Ali Robert Therrien, Los Angeles, Prize for Letters, Arts, and Sciences by the Gallery, Lincroft, N.j" April 15-May 13. Calif.: filmmaking; Stephanie Frank, garh Muslim Univ., India; Martha Kings Centro Studi e Ricerche delle Nazioni in Sal Paintings and works on paper. Valerie Seligsohn. Gross-McCleaf Gallery, N, Y .C.: painting; Robert M. Fresco, PUBLICATION AWARDS Philadelphia, March 21-April 7; Herbert F. bury, Univ. Washington, Seattle: Lecture somaggiore, Italy. Mario Cassisa. Art and Wines of the N.Y.C.: filmmaking; Mary Frey, Hartford Johnson Museum, Cornell University, Ithaca, (American art), Hiroshima Univ.; James World, Miami, Fla., January, Paintings. Art School: photography; Ernie Gehr, Krenov, Call. of the Redwoods: Lecture The $10,000 Mitchell Prize for 1983 was Stella Kramrish, curator of Indian art at the June 7-July I. Landscape and still-life Brooklyn, N. Y.: fUmmaking; Barry Gerson, (woodworking), Queen Elizabeth II Arts awarded to Lorenz Eitner, Stanford Univer Philadelphia Museum and professor of fine Karina Caval. Atkinson Art Gallery, San gouache paintings. R.LS.D.: filmmaking and fUm sculpture; Council, New Zealand; Meredith P. Lillich, sity, for Gericault, His Life and Work (Orbis/ ta Barbara City College. March 2-28. Still arts at the Institute of Fine Arts, N. y, U" was Julie Shapiro. Widener Gallery, Trinity Frank Gohlke, Minneapolis: photography; Syracuse Univ.: Research, Bibliotheque Na Cornell), the first comprehensive study of this life paintings. awarded a Doctor of Humane Letters by the College, Hartford, Conn., February 6-26. David Hammons, N. Y .C,: sculpture; Nancy tionale, Paris; Arnold G. Rubin, U,C,L.A.: artist to appear since 1879. The prize, found University of Chicago on June 8. Kramrish Lamar Dodd. Georgia Museum of Art, Paintings, prints, drawings. Hellebrand, Bucks Cty. Community ColI.: ed in 1977, is for an outstanding contribution Research, Univ. of Delhi, India; Fred T. also delivered the George Bobrisskoy lecture, Athens, February 26-ApriI8. "Lamar Dodd: photography; Patrick Hogan, Los Angeles: in English to the understanding of the visual Steffi Simkin. Janvier Gallery, University Smith, Univ. Minnesota: Lecture (African entitled Shive, Lord ofthe Cave, onJune 7. II The Heart," paintings. painting; Robert Israel, Univ. California, art), Univ. Benin, Nigeria; Judith B_ Sobre, arts. of Delaware, Newark, February 17-March San Diego: sculpture: Deanna Kamiel, Min Univ, Texas, San Antonio: Research, various Sally Elliott_ Boulder Center for the Visual 26. Recent work. neapolis: video; Joyce Kohl, Univ. Southern institutions, Spain; Carol H. Yeh, Fayette, And one of Eitner's students, Clive F. Getty, ...i~6Mi~x-ri<>~si~~fil~ ..• ·c •.· •.• Arts, January I3-February 12. "Installation: Beth Ames Swartz. Elaine Horwitch Gal California: sculpture; Ted Kurahara, Pratt N.Y.: Research (printmaking), various insti received a prix It'tteraire from the Academie Drawings on Cloth." leries, Scottsdale, Ariz., March 8-21. lost: painting; Baldwin S. Lee, Univ. Ten de Stanislas in France for his doctoral disser tutions, Mexico City. ···.··.. ··.~,a;~~A~if1~gxwiWr,L ~t0n April Foster. Cincinnati Art Museum "Selected Works: 1970-1984," paintings. nessee: photography; Thomas Macaulay, tation, The Drawings ofJI Grandrn'lle until Library, July 1983, Etchings, Duveneck Wright State Univ.; John McCarty, George 1830: The Development of His Style during Burton Wasserman. Pavilion Gallery, Gallery, Carnegie Art Center, Covington, Mason Univ.: sculpture; Ross McElwee, NEH TRANSLATIONS PROGRAM His Formative Years, completed in 1981, Get Memorial Hospital, Mount Holly, N.j., Jan Ky" October 14-November 18,1983. Prints Harvard Univ.: filmmaking; Tyrone Mit Among the 1984 recipients: Enzo O. Macag ty is the first foreigner in twenty-five years and ~~~~l~£~~~r~~~~~l~~!n~~\ uary 16-February 26. Screenprints. ,,()f,Ar~;af1t1:t~:e::,I):~~:~~,U~~::'1'~\t:~l~~,\, and paintings. chell, N.Y.C.: sculpture; Antonio Munta no, Univ. Iowa, Iowa City, for the translation the first American ever to be granted a prize Idelle Weber. Siegel Contemporary Art, das, N.Y.C.: Video; Barbara Pugh Nor of all the notes, with accompanying drawings, by that academy, ",:',~',!\,,~f'~:~w~y:a~~r~\~'::,:: ::,:<,,::"",:/:\";,::\ ,,:-,,' ': Gary Gaffney. Pikeville College, Pikeville, :\< <',\~,~¢,it~ti:>~f:-:,r:~:f~II1~~~aJ:i£ii~':,<~~~: ':~P~,,' {" N.Y.C. April 3-28. Paintings and works on fleet, Carpenter Ctr. for Visual Arts and Har on fluid flow in the Paris notebooks of Leon Ky" September 1983. University of Dayton, paper, 1982-84. vard Univ.: photography; Deborah Reming ardo da Vinci; Nina A. Mallory, New York Another $10,000 prize, Columbia Univer '- ,': ,pr~'P~~t~: ~J,lPIl9~tiiig,:~~t~~1l1~:,':sJ~,9!-il~: "~~' Rike Center Gallery, December 5-January 3, ton, Cooper Union: painting; Paul Resika, City, for an edition and annotated translation sity's Alfred Harcourt Award in Biography 's~t::fo\di~', C~';:':~+~::M:idisq,~,:~:vd?U~;,:::: Robert P. Weiss. Capricorn Galleries, Parsons School of Design: painting; Peter of Antonio Palimino's Lives of the Eminent and Memoirs, went to Lloyd Goodrich, ··.NewY?~1,.'l'l,Y,kOOr6.l>~l!l¢y~lIib."rl, . Anne Gochenour. Cedar Rapids Museum Bethesda, Md. May 4- 27. Recent paintings Rose, Philadelphia CoIl. of Art: filmmaking Spanish Painters and Sculptors, 1724,- and director emeritus of the Whitney Museum, ,:'±f~~>~aJl1~"'~Il~,'l¢,tt~,rs,'q'(!t~i1)i~,~tio~-foi,:,: of Art, Cedar Rapids, Iowa, November. and watercolors. ':' ,::~p:y:~~ri4i~t,~ 'w:ho:'~~\~,li,t,~~J};,~A?it,~,~'?~~x~t:' "Gridwoman presents, .," sculpture, video, and video; Sage Sohier, Boston: photog Roy Perkinson, Museum of Fine Arts, Bos for Thomas Eakins (Harvard, 1982). Good Robert Yoskowitz_ Tomasulo Gallery, ,;,:,:b'US:'ll:orJhe:fu:alis~,: in,::,
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G44newsletter Non-Profit Org. U.S. Postage © 1984 PAID College Art Association of America New York, N.Y. 149 Madison Avenue, New York, N.Y. 10016 Permit No. 4683 Editor: Rose R. Weil Associate Editor: Minerva Navarrete
Spring-Summer 1984 1985 STUDIO SESSIONS: PAGE I