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'" Datebook Information Wanted Miscellany '";!:i .~ ----~~~--- -~--- -N Po.

~< April 3 Aaron Boluod (1907-1992): For a Attention CAA Exhibit Attendees: "5 Deadline for submissions to May /June dissertation on this American realist I anyone placing an order at the AAUP "ffJ CAANews would like to hear from the artist's (Association of American University :E friends, colleagues, students, and Presses) booth should immediately mail April 15 collectors. Joseph Futtner, 945 Brentnal or fax a copy of the order to, or contact, N '"(jJ Deadline for nominations to CAA Rd., Pasadena, CA 91105. AAUP, 584 Broadway, New York, NY Committees (see January IFebruary CAA 10012; 2l2/941~6610; fax 212/941-6618. News, page 4). Peruzzi: Trying to locate present AAUP does not have the original 1z location (and owners) of 2 drawings of orders. 0 May 29 Virtues by Baldassare Peruzzi: Temper­ '"OJ Deadline for submissions to July / ance and Fortitude. I need photographs S August CAA News and permission to publish. J. Caldwellr 5 ::l 920 Robert St., New Orleans, LA 70115. -~ February 21-24, 1996

CAA Annual Conference, Boston ~ --._- .~ program at UTSA. Located in a former iii'" M.F.A. industrial complex anchored by Blue .~u <:> Star Art Space, which presented an "' installation by Fort Worth artist Vernon <'" Exhibition in Fisher, the Satellite Space was visited by about 4,500 people during the confer­ <- ence. A handbill with artists' statements United States, regional aesthetic meant considering not Award for Museum Scholarship only Texas and multiculturalism within Anne Burkus-Chasson's "Elegant or Awarded to Richard Barnhart for Painters as well as Latin America and Europe, as the U.s. but our geographic and culhlral Common? Chen Hongshou's Birthday of the Great Ming: The Imperial Court an indication of the success of our 22 Classified Ads proximity to Mexico and Latin America. Presentation Pictures and His Profes­ and the Zhe School efforts. It is our hope that future Regional issues concerning gender, sional Status" (Art Bulletin, June 1994) conferences will retain the same spirit of CAAINational Institute for Datebook sexual preference, and censorship were presents a fascinating and instructive The Alfred I-I. Barr, Jr., Award was openness, inclusiveness, international Conservation Joint Award for Information Wal1ted also very important elements in this mix. study of artistic self-fashioning by the established in 1980 in honor of a former dialogue, and collaboration Distinction in Scholarship So it was very heartening to have these seventeenth-century Chinese painter director of the Museum of Modern Art 24 Miscellany We would like to thank members of and Conservation issues addressed by participants Chen Hongshou (1598-1652). Departing and scholar of early twentieth-century CAA who attended the conference for Prese11ted by Arthur K. Wheelock, representing a broad range of ages and from the traditional Chinese distinction painting. It is presented to the author or Jr. CAA News, a publication of the their enthusiastic support of the San abundant diversity of affiliations: between elite and popular artists, authors of an especially distinguished Awarded to Molly An11 Faries ColJege Art Association, is published Antonio program, and in particular the six times a year. Material for colleges, primary and secondary schools, Burkus-Chasson shows that Chen's own catalogue in the history of art, published session chairs for working so diligently Molly Ann Faries has devoted her career inclusion should be addressed to: alternative schools, galleries, nonprofit social and artistic status was much more during the penultimate calendar year to meet our charge for sessions that to the examination of Netherlandish arts organizations, foundations, support complex and that his struggle to define under the auspices of a museum, library, Editor would be inclusive and innovative in or collection. paintings with infrared reflectography, CAANews and funding organizations, grass roots this status was a central and abiding their approach. We are also greatly one of the most exciting research tools 275 Seventh A venue art activists, and tmaffiliated artists concern that informed the character of Richard Barnhart's exemplary appreciative of the visual art program New York, New York 10001 curators, and arts writers. ' his art. Through a carefully nuanced catalogue Painters of the Great Ming: The developed in the last decade. Through chairs and the annual conference her individual efforts, as well as through Telephone: 212/691-1051, ext. 215 The lively and intelligent discussion analysis of a group of Chen's paintings Imperial Court and the Zhe School (Dallas Fax: 212/627-2381 program committee and of the CAA generated during the sessions, the plans, and a fresh reading of contemporary Museum of Art, 1993, with essays by her extensive collaboration with staff, in particular Suzanne Schanzer, for strategies, and actions presented by both literature, ranging from Chen's poetry to Mary Ann Rogers and Richard Stanley­ conservators and scientists in this Edifor Renee A. Ramirez making everything happen. Baker) successfully "recovers" the country and abroad, she has earned an Mnnaging Editor Virginia Wageman speakers and audiences, will hopefully writing manuals, Burkus-Chasson -John R. Clarke and Mari Carmen Ramzrez international reputation as an art Editor-in-Chief Susan Ball serve as a guide in the troubling times demonstrates that Chen's self-image was tradition of Ming court and academic 1995 Art History Program Chairs presently confronting contemporary art. a highly ambiguous and unstable painting. Overcoming historiographic historian who has brought to fruition the Printed on recycled paper. -Kathy Vargas and Liliana Wilson conception that sought its validation in complexities through discriminating enormous potential of this examination © 1995 College Art Association, Inc. 1995 Studio Art Program Chairs

CAA NEWS MARCI-IjAl'RIL 1<)<)5 2 CAA NEWS MARC1 [j APRlL 1995 3 where she has taught for the last twenty students through his studio instruction The publications of Professor Heller highly acclaimed for his teaching of both years, she has constantly tried to bring a and critiques, and he has influenced the are inseparable from his teaching. His undergraduate and graduate students at familiarity with the technical study of serious study of art and its quest 1958 Prilltmaking Today is a classic the University of California, Berkeley, paintings into the classroom. One of the through his own widely recognized and reference familiar to all serious stu­ and who has shaped the practices, exciting outgrowths of her many years admired painting and writing. That, dents-and teachers~of the discipline. concerns, and literature of Chinese art of experience is a text she has developed coupled with his remarkable record ill And his book Papennaking, written history. Professor Cahill has been an on the studying of underdrawings, art administration and leadership ill the twenty years later, became an equally inspiration to a broad range of students which she hopes to publish as a book to profession, distinguishes him as a model popular text. A new book, All Ellcyclope­ who praise him for his receptivity to make even more accessible the study of of the artist who teaches not only for the dia of 20th-Centllry North Americall new ideas, especially in the area of this fascinating world in which art and sake of other artists but also for the Women Artists, co-authored with his theory and methodology, and for the science are so intricately merged. purposes and future of art. Andrew daughter, the art historian Nancy C. common ground he has found with Forge's numerous students~and there Heller, is to be published this year, scholars writing "new" histories of Committee: Arthur K. Wheelock, Jr., chair; is a growing list of remarkable artists revealing still another facet of Heller's Western art. His work and his teaching James Coddington; Inge-Lise Eckmann; E. and teachers among them~are alike in character-his longtime role as an have steadily broadened in scope to bear Melanie Gifford; Debbie Hess' Norris praising his ability to convey an intense activist, advocate, and supporter of recently on such issues as the economic and highly articulate curiosity about art equality for women. status of the artist, intracultural influ­ in ways that engaged them in what one Jules Heller, we are deeply honored ences on China froill' Europe, and Distinguished Teaching called a "fantastic adventure," or, as to award you with the Distinguished images of women and sexuality in of Art Award another declared, "a sense of the Teaching of Art Award for your Chinese pictorial culture. He has held importance of the whole enterprise of art strength of purpose and a lifetime of rigorous intellectual standards in Presented by Willial11 Conger Jules Heller, Distinguished as an urgent search." teaching and scholarship, while giving Awarded to Andrew Forge Teaching of Art Award accomplishments. By presenting the Distinguished PHOTO: JOSE y, 8ERMUDEZ vigorously of himself to students. His Molly Ann Faries, CAAlNational Teaching of Art Award to Andrew enthusiasm and energy, critical guid­ The extraordinary achievements of Committee: Joan Backes, co-chair; Diane Institute for Conservation Award Forge, we honor his career, the success ance, ideas, and resources-including Andrew Forge as a brilliant educator of Burko, co-chair; William COllger; Raymond PHOTO: KIRK R. TUCK. SAN ANTONIO of his search, and in so doing we refresh his personal library, which one student artists began in 1950 at the Slade School Saunders our own aspirations. has described as a "scholar's treasure in London and continued at other technique. It seems only fitting that in Distinguished Teaching chest"-have been freely shared and leading institutions, including Cooper 1995, on the twentieth anniversary of Committee: joan Backes, co-chair; Diane of Art Award available to all his students at the Union, the New York Studio School, Award for Distinguished her seminal study on the under­ Burko, co-chair; William Conger; Patricia Presented by Diane Burko undergraduate and graduate levels. His and most recently, Yale University, Teaching of Art History drawings in the workshop ofJan van Mainardi; Raymond Saunders Awarded to Jules Heller graduate students have published where he was professor and a former Presented by David Wilkh1S Scoret she should be honored with this widely and occupy major teaching dean of the School of Art until his Awarded to James Cahill award. Jules Heller's contribution to the positions in Japan, Australia, and the retirement a few months ago. While the paintings of Jan van Scorel teaching of studio art is legendary. In United States. Many of their scholarly Durillg four decades of achievement It is a pleasure and an honor to present and his workshop have been at the core over four decades, his integrity, imagi­ careers began with group exhibition and and continuing today, Andrew Forge the Distinguished Teaching of Art of her scholarly interest, Professor nation, and philosophy have impacted catalogue projects originating in has inspired successive generations of :History Award to James Cahilt who is Faries's writings have touched on a on literally thousands. Three major graduate seminars organized and wide range of fifteenth- and sixteenth­ universities across North America have guided by Professor Cahill. He has century Netherlandish masters, from been inspired and led by this man, who made sure that his students have had Jan van Eyck and Rogier van der has been consistently described by professional experiences and exposure Weyden to Maerten van Heemskerk. colleagues and former students with the to works of art in great public and She has been instrumental in the respect and love due usually to a private collections. His students conception and realization of a number demigod. describe the "passion for Chinese of major international loan exhlbitions, As an artist, teacher, mentor, educa­ painting" that his teaching has instilled including Jan van SCOI'el at the Centraal tional pioneer, historian, and author, in them and that has changed their lives. Museum in Utrecht in 1977, Art before Hener's accomplishments are over­ They praise his ability to offer new ways iconoclasm at the Rijksmuseum in whelming. He was professor and Fine of seeing, to inspire curiosity, and to Amsterdam in 1986, and Stefan Lochner Arts chair at USC, 1946-61; founding challenge them to confront ever more in Cologne in 1993. The Scorel exhibi­ dean of the new College of Fine Arts complex interpretive questions. For his tion was the first instance in which and Architecture at Penn State Univer­ many years of inspiring students in and technical documentation was incorpo­ sity, 1963-68; founding dean of the out of the classroom, we congratulate rated into the presentation itself, an Faculty of Fine Arts at York University James Cahill as the 1995 recipient of the ilmovation that not only speaks to the in Toronto, 1968-73; and then finally CAA Distinguished Teaching of Art important role Professor Faries played dean of the College of Fine Arts at History Award. in that exhibition, but also to the Arizona State University, 1976-85. evolution of scholarly exhibitions in Throughout these decades of adminis­ Committee: Linda Stone-Ferrier, chair; generaL trative innovation, Jules Heller has Susan J. Barnes; David Levine; David Beyond her ability to bridge the gap remained a productive and inquiring Wilkins between art history and conservation, artist who never stopped teaching. That Professor Faries has been equally passion for teaching surfaced in lectures successful in bridging the gap between and seminars from Alaska to Sri Lanka, Marcia S. Weiner accepts the the world of museums and academia. Andrew Forge, Distinguished Teaching of Art Award from the Dominican Republic to Distinguished Teaching of Art History As a professor at Indiana University, PHOTO: JACAPO BENCI Argentina. Award for James Cahill PHOTO: KIRK R. TUCK. SAN ANTONIO

4 CAA NEWS lI.1ARCH! APRIL 1995 CAA NEWS lvlARCI!j APRIL 1995 5 J •

Charles Rufus their ecclesiastical competitors. Her provocative contemporary exhibitions. nounced. Since then Applebroog has nates of a whimsical private literature Morey Award painstaking research with these difficult Her reviews are characterized by the turned sixty-five, a time when many of increase her narratives' complexity as us think about retirement. Instead, she story and text ricochet. Unearthing Presented by Whitney Davis and often opaque materials brilliantly same serious insight she brings to her Awarded to Jeanette Favrot Peterson succeeds in revealing the connotations, many longer articles and exhibition continues to expand her extraordinary today's disturbing private realities, she sometimes allied and sometimes catalogue essays. While she is especially body of work which, since her first solo has jolted many from composure. show in 1971, has consistently explored Stagelike tableaux and multipaneled The Charles Rufus Morey Award is competing, of the several indigenous attentive to issues of sexuality, gencter, new material. From early installations paintings mischievously explore presented for an especially distin­ and Hispanic visual vocabularies in use and identity, the variety of her subjects through book series, an unfailingly painfully taboo subjects retrieved from guished book in the history of art at Malinalco. indicates a breadth of scope and a nightmarish yet humorously gendered her life and suppressed throughout published in the penultimate calendar Peterson's book stands at the willingness to view art from a broad vision of ordinary humanity has society. year. For the calendar year 1993, the intersection of recent developments in perspective rather than through a glowed. Perhaps her most admirable, endear­ Morey award is presented to Jeanette art history, ethnohistory, and archaeol­ preconceived agenda. A partial list of Because of her audacity, those ing, and impressive trait is that Ida Favrot Peterson for her book The ogy. For example, in her extended artists she has written about in the last Applebroog continues to grow. This Paradise Garden Murals of Malinalco: considerations of the floral and faunal year alone includes Cindy Sherman, llllacquainted with Ida Applebroog assume she is much younger than the award does not simply acknowledge Utopia and Empire in Sixteenth-Century iconography of the frescoes, her Sean Landers, Paul McCarthy and Mike grandmother she is. Her courageous longevity, it was never meant to, nor is Mexico, published by the University of typologies are enriched by the Kelley, Mira Recanati, Gary Simmons, peculiarity provokes not so much it intended to recognize a long-ago Texas Press. ethnohistorical thesis that a complex Josiah McElhenny, Martin Kippen­ reverence as admiration from younger contribution now musty on a shelf and Peterson presents a nuanced, wide­ and politically charged visual-cognitive berger, Andrea Fraser, Felix Gonzalez­ artists. repeated endlessly and witlessly. ranging analysis of the sixteenth-century classification lies behind the selection Torres, and Rudolf Stingel. Like her Cleverly subversive drawings coolly Applebroog has disdained a complacent garden frescoes in the Augustinian and arrangement of motifs. The Paradise subjects, she gives credence to risk­ Bruce Nauman, Award for magnify telling human details. Lami- signature style. With prodigious monastery in the valley of Malinalco, Garden Murals of Malina/co strengthens a taking, and to complex and often Distinguished Body of Work Mexico-a site previously known for its substantial tradition of scholarship on controversial examinations of contem­ PHOTO: DONALD WOODMAN Aztec temple structures that contain colonial arts and on the arts generated in porary society. In an effort to find new remnants of indigenous murals. cross-cultural contact and conquest. It ways of writing about new art and to Peterson shows that the garden frescoes shows both the resilience of tried-and­ explore its meaning both inside and true methods and the importance of outside the art world, she lucidly preserved aspects of this Aztec "picto­ materials, is more than a collapsing of adopting fresh perspectives. Thought­ articulates the direction of art after graphic style" at the same time as the traditional hierarchies in art. Nauman fully illustrated and engaging to read, poshnodernism. Augustinians introduced Euro-Christian shifts to conquer, and his restless Peterson's book is a model for art forms of naturalism and a symbolism aesthetic has always been both mysteri­ historical achievement in fields that will Committee: Frances Colpitt, chair; David connected with Spanish viceregal OilS and accomplished. increasingly attract the attention of our Carrier; Victor Margolin; Suzanne MucJmic aspirations in Mexico. To develop this As Kathy Halbreich notes, Bruce students and the next generation of our analysis, Peterson examines many other Nauman "has been called many things: colleagues. visual documents, such as Spanish tile a Dadaist, an eccentric abstractionist, work and tapestry, and consults the Award for Distinguished anti-formalist, anti-Minimalist, a Committee: Whitney Davis, chair; Stephanie various quasi-historical chronicles Body of Work, Exhibition, phenomenologist, puritan, narcissist, Barl'On; Margaret Olin; Anne Markham produced by the Augustinian friars and Presentation, or Performance moralist, sadomasochist, and a body Schulz Presented by James W. Yood process or conceptual artist." That Bruce Awarded to Bruce Nauman Nauman is all, none, part, and finally more than these things is not the Frank Jewett Mather Award In honoring Bruce Nauman for the smallest part of his continuing signifi­ Presented by Frances Colpitt superb retrospective organized by cance and allure. Awarded to Jan Avgikos Kathy Halbreich of the Walker Art Center and Neal Benezra of the Committee: James W. Yood, chair; Tom The Frank Jewett Mather Award for art Hirshhorn Museum and Sculpture Barrow; Martha Jackson Jarvis; Tom journalism, first presented in 1963, is Garden, we are pleased to acknowledge Nakashima; ldelle Weber awarded for published art criticism that one of the most significant artistic forces has appeared in whole or in part in of our age. For thirty years Bruce North American publications during the Nauman's challenging and intriguing Distinguished Artist Award preceding year. intellect has been creating work that for Lifetime Achievement This year's Frank Jewett Mather extends definitions of art, that restlessly Award is presented to Jan Avgikos, Presented by Harry Rand but pointedly shifts from medium to Awarded to Ida App/ebroog whose name may not yet be a household medium in what has been a consistent word but whose incisive and prolific pursuit of the anxieties and ambiguities This celebration draws us together from contributions to criticism clearly merit of contemporary existence. Bruce the recognition of the College Art around the cotmtry, when art historians, Nauman is modern art's omnivore; his critics, and artists honor one who has Association. Widely published in the ability to move from sculpture to United States and Europe, A vgikos has advanced'art's evolution. The transfor­ installation to video to neon to drawing ma tion from audience to honoree can be tackled an impressive range of artists to photography to performance to and challenged critical issues with dramatically swift. Last year Ida prinbnaking, and to move within each Applebroog and her friend Joyce Jeanette Favrot Peterson, clarity and intelligence. of these disciplines with an extraordi­ Charles Rufus Morey Award As a contributing editor of Artforum, Kozloff sat together in our convocation Ida Applebroog, Distinguished Artist narily inventive and effective employ of Award for Lifetime Achievement PHOTO, KIRK R. TUCK. SAN ANTONlO audience when this award was an- A vgikos regularly covers the most PHOTO: BETH B. COURTESY RONALD FELDMAN FINE ARTS. NEW YORK

CAA NEWS MARCHI APRIL 1995 CAA NEWS MARCHI APRIL 1995 7 I 6 I certainly been time of intellectual craft, break the white (that'll make sense Once again there was an experience strength, she keeps dilating her art's on colleagues and students and have adventure and unexpected discovery. to painters out there), and be ready to from this time that sticks in my mind. limits. Commensurate with a lifetime of influenced the very shape of the Reflections In thinking back on the jOlU'ney that take advantage of a happy accident When I attended my first CAA (it was in achievement, her tempo of change has discipline. brought me here, I think it's important when it occurred. In his methodology, St. Louis) as a young studio person quickened with time, which is this You have brought the vast range of to acknowledge that my formative we never knew where we would get seeking a first job, I attended a session award's idea1. As completely as any your knowledge to illuminate many from the education was not in art history or in a before we started because our goal was on how to make art relevant to the who have already received such honor works of art and periods from early traditional"academic" discipline at all. I to follow where the painting wanted to everyday lives of people. I remember a Christian art to 19th-century French from their peers, Ida Applebroog Forest: 1995 went to college to become an artist. As go. studio artist saying that he wanted to be provides a beacon for younger artists realism to abstract expressionism. You children of the Depression, my parents That's what I do in my own work like a Balinese batik artist ... so pro­ . internationally. brilliantly opened the discipline to all wanted to be sure that I had a trade that and that's what I teach my graduate foundly engaged in his culhtre that a kinds of neighboring fields, spinning Convocation would earn a living, so when I wanted students to do in theirs. Learn your change in his painting would signal a Committee: Harry Ralld, chair; Pat Adams; out political, philosophical, and ideo­ to become an artist, they sent me to the craft, target a question or an area of major change in his culture. At the time, Rupert Garcia; Joyce Kozlo!!; Margaret logical interpretations that drew from a University of Cincinnati in commercial inquiry (it doesn't matter which­ that seemed like a weird way of saying Lazzari; dazzling and even bewildering variety Address art. After a year I changed into the fine although a good question is the most it, but his words would come back to of evidence---social and urban history, arts program with the proviso that I take precious asset a researcher has), spread hawlt me within a short time. literature, intellectual history, popular a degree in art education-so that I a very wide net, and when the data In 1970 at my grandparents' sixtieth­ CAA Special Award for culture, psychology, and semiotics. You would have a trade. After graduating I patterns, follow where it wants to go. wedding anniversary, my husband's Lifetime Achievement were years ahead of the discipline. worked as a piping draftsman for The great debates that rage in art history mother-in-law (think about that) asked Presented by Larry Silver You have bestowed on us a complex nuclear submarines and as a draftsman over methodology and theory have not him when we were coming home for Awarded to Meyer Schapiro view of art, one that starts with the I'm one of those lucky people who has for an architect, and promptly decided I seemed central to me, for I have come to Christmas. In an sudden impulse, he object and goes on to give insight into always found public speaking an easy did not want to work for a living. So I see theory as a tool. It can detect new told her we were going to Mexico. I Meyer Schapiro, you have been a the creative process, and into the and mostly exhilarating experience. In went back to graduate school and took kinds of patterns and open our eyes to thought that was a great idea, so I got a member of the College Art Association meaning of the object within the context twenty-five years of academic life I have an M.F.A. also at the University of new ways of seeing, but for me theory is research grant for $232.16 to buy film on since 1926, almost seventy years. Your of its own time and ours. You have used read a speech twice-once in my first Cincinnati. All of my imagination, my never an end in itself. I have always the premise that I might as well be membership has conferred honor upon theoretical structures but never dog­ international conference in 1974-and ambition, and my conceptions of the tried to let the final arbitrar be the taking photographs for the department us. We are proud of our cOlmection to matically, always to help us gain this speech I'm giving now. I'm admit­ future were fixed on a career as a patterns that emerge from the art and if I was going on a trip to a strange and you and proud of the fact that the CAA understanding. Meyer Schapiro, we ting up front that preparing for this talk painter and as a teacher of drawing and architecture. For me, interpretation is an exotic land. We built a bed in the back of published your 1931 dissertation on the honor you for seventy years of unique made me feel like a graduate student painting. ephemeral thing that constantly adapts our van, recruited three students, and sculptures in the French Abbey at scholarship and perception, for showing presenting my first seminar paper My time at Cincinnati gave me two to these underlying patterns in the data. set off on the grand adventure. Moissac in the Art Bulletin. us the way in which art history en­ before a very large and probably critical invaluable gifts that I believe in retro­ As they change, as we learn more, as That trip was truly a life-changing As one of the most distinguished hances our understanding of human audience. To put it another way, I'm not spect to have been the key experiences new excavations discover new objects, experience. We visited a site called accomplishment. real sure what I'm doing here. This is of my education. The first gift came Palenque on the way, and I saw an art American art historians of the 20th ------as new people add their insights to the century, you have had enormous impact true not only for this moment, but for from an English teacher named Robert common pool, the patterns of connec­ that was exactly like that fnlstrated the last twenty-five years of my career. Gebhart, who spent four years guiding tions change ... and so do the interpre­ artist had described two years earlier. It My friends John Clarke and Sam me through his beloved world of tations. was clear that this art and architecture Edgerton told me that most people literature and helping me learn critical After taking an M.F.A., my true waS as central to Maya life as science asked to give one of these talks reflect thinking about the great works we read education began when I took my first and teclmology is to ours. T fell in love on their work and the field in which together. He taught me how to make an job at the University of South Alabama with the place and found myself they work. I will try to do that with a argument and to do research in a one-to­ in Mobile as a painting teacher. I spent obsessed about learning who had built little humor and perhaps a little insight one relationship that resembled an twelve glorious years there, learning it, why, when, and how. As a result of into what has been for me a career of apprenticeship more than anything else. what many of us do when we go to that obsession, I became an art historian surprises and unexpected turns. Most of all he ingrained in me a passion small departments in second- or third­ (of sorts) and a glypher by trade. For those of you who don't know for ideas and using art to try and level state universities. You have to be a You have to understand I was not who I am, I should begin by telling you understand the people who made it. jack of all trades. I taught the expected educated as either-I was a painter who that I once was a fair to middling The second gift came from an studio classes, but I also found myself had fallen in love with a new area of painter who went on a Christmas trip to irascible, wonderfully eccentric one­ teaching Introduction to Art and study. The art history I knew had been Mexico and came back an art historian eyed painter named Phil Foster. During Modern Art. My mentor in teaching was learned in a department where art and Mayanist. Through the unplanned my junior year, he thought he was a master art historian named Elizabeth history serviced studio and was taught serendipity of that trip I became a player teaching me how to watercolor, but Gould, and it was from her and the mostly by misplaced studio people. I in what has been called by some, one of instead, he was implanting the method­ teaching of the introduction class that I didn't work with a professional art the greatest intellectual accomplish­ ology I would come to use in my work learned how to talk about art. In six historian lmtil graduate school. I had ments of the late twentieth century . as a research scholar and Mayanist. I years of studio classes, I had learned by never taken anthropology or archaeol­ the decipherment of the Maya hiero­ might even go so far as to say it's my osmosis from my professors and fellow ogy and didn't even know until that glyphic writing system and the recovery philosophy of life. He called his ap­ students, but no one had ever defined in accidental trip that I might be interested of the history recorded by it between the proach the methodology of the "happy words what a line was, or tone, or value. in them. first century B.C. and the Spanish accident." There was a little Zen in it I just kind of figured out what these I was a very lucky painter because invasion of Mesoamerica in 1519. It has and a lot of personal experience, all things meant by picking the definitions the first people I met were those kinds Meyer Schapiro, CAA Special Award for been a time of remarkable discovery seasoned by a dose of pure Foster. He out of the air. When teaching, I found I of rare academics who do not care about Lifetime Achievement during which our perception of the PHOTO: RICHARD SANDLER taught not to worry about the subject or couldn't get away with vaguely learned credentials and background. These history of the American continents has where we would get an idea. We could definitions. Horror of horrors! I was people included working archaeologists, changed forever. It may one day be use any thing-a still life, a bone, a tree, expected to know what I was talking artists, anthropologists, linguists, and remembered as a time of legend-it has whatever. Our task was to hone our about! art historians who ranged from graduate

CAA NEWS MARCH/APRIL 1995 9 8 CAA NEWS lvlARCH/ APRIL 1995 and how we generate symbols and use [Guatemala workshop] to an audience World. During the years, several of students in several major programs to heart of multidisciplinary approach. It is represents the great king Hanab-Pakal at them socially and politically. They also of forty Mayan speakers from all over them have told me that they grew up young beginning faculty to chaired what I teach by example and instruction. the moment of his death. We not only offer a mirror that reflects our own Guatemala. Since then, Nikolai Grube of believing that the only way they could professors at Yale and to museum and And in it, there is no winning or know his date of birth, accession, and images back at us in strange and the University of Bonn in Germany has progress was to become Western, to administrative people at Dumbarton losing-only the work. death, as well as many details of his life, disorienting ways. I will never forget joined me and we have given seven learn to do things as we do them, and to Oaks and Princeton. The theme of this year's CAA is but we know the same information my seminar on war in Mesoamerica that more ten-day workshops, each on a be educated in the way we see the Instead of studying in a classroom, I multiculturalism, and now I must bring [fold-out with sides] for eleven genera­ began on the day the F17s crossed the different theme. Two years ago [Mexi­ world. Many of them had come to learned by working with them. And all of these ruminations to bear on that tions of his ancestors and at least three border into Iraq. We saw that while the can workshop], an organization of perceive that their own cultural heritage because I was never formally educated question. I study Maya archaeological of his descendants. The actors on this weapons had changed, the way of Yukatek Maya asked us to begin giving is primitive and comprised of supersti­ in this new world I had found, I never culture through the media of the art, extraordinary lintel from Yaxchilan justifying war, of presenting it to the workshops in Valladolid to a group of tions and they had sought to distance learned limitations on what I was architecture, and writing that these [Lintel 24] were known in 1970, but public, and the roles and strategies of bilingual teachers working in the rural themselves from those heritages. Many supposed to be able to know or on what ancient people left to us. Recently I have since then we have learned about the leaders bore eerie resemblance to the communities in the region. Maya in Guatemala and Mexico have was thought to be unknowable. I begun describing myself as a paleon­ social and political context in which they behavior of Aztec and Maya lords from To my students in Texas and to my expressed the same feelings to me. learned by doing-iconography, tologist of the human mind. Through acted and [detail] why the woman another world and time. audiences throughout the United States, These same people have also told me I archaeology, linguistics, ethnohistory, the fossils left in art, architecture, and carried out her extraordinary sacrifice. And what value to the world today the history and religion I explore is a am the first in all the years of their ethnology-by working with some of writing I try to reconstnlct the social For art historians, epigrapher David is that history I help reconstruct? More matter of interest ranging from the education at home and abroad who the best young turks as well as the old and mental beings who created them. Stuart may have discovered the most than we think. The interest in Maya casual to the intense. For some that treated their cultural heritage with the archons. More importantly, since these Once at Oberlin, an art historian told me precious information of all. Here ... history has reached a historic high in interest can provide the focus of lifetime same prestige as I did my own. They people openly listened to and valued that the difference between an art [drawing] following yuxul, "he sculpted recent years. While I do not believe this avocations or can lead to career oppor­ learned to value their own heritages what I had to contribute, I learned historian and an anthropologist is that it," is the name of the artist who made it. kind of interest will have much long­ tunities in academia. But for the Maya in through that process and to see it in a collaboration as my principal way of the art historian studies people to In 1970 many people could appreciate term effect on the way we think about these workshops, it is a matter of new way. working. From the very beginning I understand an art object, while an the beauty of a pot like this [Metropoli­ history, I do see profound change identity and the recovery of a history I do not present myself as a paragon worked with people from many anthropologist studies the art object to tan Pot], but only few people like coming in other arenas. An undergradu­ [Yucatecs at Chichen Itza] that descen­ because I did not plan to become a different disciplines creating teams of understand the people who made it. By Terrence Grieder believed we could ate in the honors program at Texas is dants of the European colonists system­ bridge between worlds. My role many different kinds. this definition, I am more anthropologist learn from the art of the object. Archae­ about to depart on an amazing trip atically tried to eradicate for five resulted from one of those "happy I Calmot describe to you the shear joy thall art historian. My goal is no less ologists treated pots as voiceless called MayaQuest. Along with a small hundred years. It is a matter of learning accidents" that present themselves of working with colleagues who follow than to generate, along with like­ artifacts useful in dating associated team of people, she will begin bicycling that they are just as connected to their unexpectedly. And I have learned a lot different approaches, while still sharing minded colleagues, not only an archae­ ruins, but little else. The leading through Mexico, Belize, and Guatemala, ancient past [Maya at Tikall as we are about myself and my world as I have mind-disagreeing about many things, ology of the ancient Maya, but also a epigraphers of the time thought the hooked into the Internet by satellite. cOlmected to ours. If we perceive the worked with the Maya. I have come to combining ideas and data, debating, history and an appreciation of the world glyphs to be meaningless imitations Classes all over the United States have Egyptians, the Mesopotamians, the believe that learning to value other playing together until a new kind of view and religion that underlies that drawn by illiterate painters. Michael already tapped into resources on the Greeks, and the Romans as creators of cultural traditions is the way to a more understanding emerges from the history. The Maya, of course, have a Cae changed all that by showing us that World Wide Web and will fwmel "our" culhrre, then the Maya are tolerant society and that the value in a collaboration that would never come written history preserved along with many of the scenes came from the Popol questions to the team as they bicycle learning to see a direct line to their multicultural program is to widen the from anyone of us alone. By choice, images of the players [slide] in that Vuh, the Maya equivalent of the Odyssey from site to site. Professional archaeolo­ ancient forebears that is no less strong. way each of us understands the world. every book I have written and the history on hundreds of stone and plaster and Iliad. And as Painting the Maya gists and art historians will use the For the moment, I and people like me And the Maya have taught me some­ majority of my articles are co-authored. monuments scattered through four of Universe by Dorie Reents-Budet has internet to act as consultants to both the are forging that history as an interesting thing else. In their world they are bi­ the modern nations of Central America. recently shown, the meaningless Each partner or team I work with students al1d the traveling team. CNN intellectual endeavorf but through these cultural. They know how to live in the combines with me in different ways. I My ambition is to bring that history to doodles [Altar Pot II] have now been will broadcast weekly updates on their workshops al1d the work of many Maya world and how to navigate in the think of these different partnerships the attention of my own people and to deciphered to reveal the dedication of progress, and the students will vote by others, especially linguists, we are Ladino one. The Ladinos, as with people almost as different personalities into add it to the cultural heritage we teach each vessel, the kinds of things they Internet on where the next phase of the giving the Maya access to the tools they in all dominant groups, only know their which I transform as the opportunity our children. Modern theory, of course, held, and the patrons who commis­ journey will go. Students all over the need to take back their history and turn own world and they are blind to the arises. I have lost count of the different says what I do is impossible and sioned them. Many of them [detail of country-joined together by the Internet it to their own use. Some of their Maya one. That is true of our society teams in which I work, but they include hopelessly tainted with my own bias. I signature] are signed by the people who and educational TV-will guide an children [Sinakan and Nikolai] are too. African-Americans, Hispanic­ partners from the U.s., Canada, Europe, accept the probable truth of those painted them. I have not made a count, investigation of Maya history and the learning to write in the old writing Americans, Asian-American, al1d all the Mexico, Guatemala, and from the Maya assertions, but do not yield to the but I would not be surprised to find that collapse of that civilization. The team [Sinakal1's drawing], and when they other ethnic minorities live in their communities of Guatemala and limitations that they would place on me. we have more artists and sculptors will be their eyes and ears on the doodle, it is with the images of ancient world and know how to navigate the Yukatan, who are art historians, I am a maker of history in the deepest named in the ancient Maya inscriptions ground. Perhaps nothing will come of it kings and they sign their doodles in Euro-American one. It is us Euro­ epigraphers, archaeologists, anthropolo­ heart of what I do, and history is not an than we do for the Greeks. that we professionals will deem valu­ glyphs. Like Native Americans all over Americans who are blind to their gists, ethnologists, biologists, gifted endeavor that has absolute untainted The history and world view I strive able and new. Nevertheless, this is the the Americas, they want the right to worlds, and because of this blindness, amateurs, Maya scholars alld teachers, truth as its goal. History is a relationship to recover comes from a cultural way a new history begins to become create their own identities and to multicultural programs benefit us most and many more. between the living people of the present tradition that is generally not seen as part of the heritage we teach our contribute to, if not control the way we of all. Through them we may learn to For me collaboration is a central and their perception of the past. This part of the heritage of our people, so children. perceive who they are and what they see at different cultural frequencies, to requirement for my work because in my relationship is subject to continuous what can it contribute to us? For me, the The second arena of change may be have been. By luck not intention, I find think about the world and reality in field no one discipline or one person can modification and change. Americas served as the great human even more profound. In another one of myself a participant in that process, and new ways, and to hear the multivocalic any longer command all the knowledge And where have we come in these laboratory where people invented those unplanned moments of serendip­ what I have learned from it brings me to song of those who live around us. It is, and methodologies that are required for twenty-five years since I made that institutions, symbolic systems, social ity, a Kaqchikel Maya who was head of comment on what I think the value of in the end, a matter of respect. successful research. The only effective fateful trip to Mexico? In 1970 the most and cultural strategies out of contact a Mayan institute of linguistics invited multiculturalism is. -Linda D. Schele, John D. Murchison popular interpretation of this world­ with the Old World. The pre-Columbian way I have found to break out of the box me to come to Guatemala to give a In my work as a teacherf I have encoun­ Professor, University of Texas at Austin, created by my own limited experience famous sarcophagus was that it repre­ Americas offer a comparison to Old workshop on hieroglyphic writing. I tered not only the Maya of Central delivered in San Antonio and imagination is to combine myself sented an astronaut from another world World strategies that allows us to thought about it about five seconds and America, but foreign students from with others who have different kinds of landing in a rocket [slide of sarcophagus address larger questions about what we accepted. I gave the first one in 1987 many areas of what we call the Third experience and imagination. That is the at Palenquel Today we know the image are as a species, how we create culture,

CM NEWS MARCH/ APRIL IY95 11 10 CM NEWS MARCH/APRIL 1995 Wooster. Majority leader Richard challenge grants from both the National CAA thanks members and friends Endowment for the Humanities and the From the President Armey's district received 13 grants CAA who contributed a total of $17,000 Annual totaling $748,677 for projects that National Endowment for the Arts. As toward the Endowment Campaign in included one at a public high school, many of you know, NEA and NEH December and January in response to two at Texas Christian University, and challenge grants require a 3:1 match. News appeals in the January /February CAA Conference several at University of North Texas and And as many of you will also know, the News and at the conference in San University of Texas at Arlington. funds are released only when the match Antonio. The following contributors Update As you know, the new Congress is is in hand. We still need to raise gave $50 or more during this period: debating the value of the NEH and the $560,000. We thought we had three Paul B. Arnold, Catherine and NEA to Americans. There are several more years to raise those funds. But Reduced Rate Subscriptions Frederick Asher, Phyllis Pray Bober, actions that are under consideration. Congress may give us a timetable that One of the benefits CAA offers to its Ruth Bowman, Richard and Eleanor One is to eliminate federal funding of does away with those three years. If cuts s members of the College Art members is the opportunity to subscribe Brilliant, Diane Burko, Kevin and Susan the endowments completely. A second or recisions occur, NEA and NEH will Association we're artists and to various art magazines and periodicals Consey, Teri J. Edelstein, Jonathan is to sharply reduce future funding. A not be able to honor commihnents humanists. We are creators of at reduced rates. Over 50 titles are now Fineberg, Ofelia Garcia, Richard and A third is to rescind or reduce funds unless the challenges have been met. objects, ideas, and structures of knowl­ available to 1995 CAA members at Mary L. Gray, Julius S. Held, Reinhold 1996 Call for Participation: already allocated. If Congress takes any I am asking you to take two actions. I edge. Like scientists, artists and human­ reduced rates. Full details are available Heller, Susan and John Huntington, Addition and Correction of these actions, the College Art Associa­ The first is to become an advocate for ists are essential contributors to Ameri­ in the 1995 Reduced Rate Subscription Michael Larvey and John Clarke, Robert The following session has been added tion may not receive the Challenge direct federal funding for culture. Your I can society. Without the arts and Coupons that are sent to new and J. Loescher, Margo Machida, Patricia for the 1996 conference in Boston: "The Grant funding awarded by the NEA and Congress members will listen to you humanities all Americans would be renewed 1995 CAA members. Mainardi, Edward J. Nygren, Debra Patient Search: Emergence of Clarity in the NEH to the CAA Professional because you are voters in their districts. deprived of certain areas of knowledge After the 1995 Reduced Rate Subscrip­ Pincus, Charles S. Rhyne, Danielle Rice, Mid-Career Painting." Chair: Marcia Development Fellowships recently Two telephone hot lilles have been and understanding that science can't tion Coupons were printed, a publisher Rita Robillard, Moira Roth, Emily J. Lloyd, Massachusetts College of Art, 621 established-the fellowships that are established. By calling either of these provide. informed CAA about an address Sano, Larry A. Silver and Elizabeth Huntington A venue, Boston, MA 02115- intended to support the next generation numbers, mailgrams will be sent to your The new Congress is considering change, and a publication was added to Silver-Schack, Edith A. Standen, Judith 5882. of art historians and artists. congreSSional representatives and the termination of direct government CAA's list of discounted subscription E. Stein, Marilyn Stokstad, Mary E. Growth and development happens From Arkansas, New Jersey, senators. You don't even have to know support to the arts and humanities. Will offerings. Subscriptions to American Art Stringer, Eugenia Summer, Jean A. through incremental change or a California, Oklahoma, Washington state, their names. The numbers are 800/651- such an action be the ruination of the Journal should now be addressed to: Vincent, the Andy Warhol Foundation paradigm shift. Throughout art history Missouri, from modest economic 1575 or 900/370-9000. There are 14,000 arts and humanities in America? Given American Art Journal, 730 Fifth Ave" for the Visual Arts, Ruth Weisberg, and and in the contemporary art world, backgrounds, dedicated to expressing individual CAA members. What an the small size of actual government New York, NY 10019. Also, CAA three anonymous donors. much has been made of the value of the spirit and meaning of the arts and impact 14,000 sets of mailgrams would subsidies, it looks as if it wouldn't members can now subscribe to World The Andy Warhol FOtmdation for the dramatic shifts of style. This session will humanities, the emerging art historians make! matter all that much. But the contrary is Art at a reduced rate. Subscription Visual Arts awarded a grant of $50,000 focus on artists who have chosen more and artists who are selected as CAA You can carry out other effective true. Abolishing direct support wi1l orders should be sent to: World Art, over two years to support the fellowship discrete meanS to arrive at a personal Fellows exemplify the philosophy of the steps. Persuade trustees of your institu­ mean that the arts and humanities will International Publishers Distributors, program. This generous contribution vision. Emphasis will be placed on bipartisan congressional action to tions to use their influence with your benefit only a few Americans rather P.O. Box 41010, Newark, NJ 07101-8007; will be directly allocated to funding specific sources for the work and the establish the Endowments in 1965, Congress members. And write your than nourish the vast population that it 800/545-8398 (4 issues: regular rate, fellowships for the next two years. ilnpact of time, place, and personal exactly 30 years ago. In the act itself, Congress members about the impact now sustains. Direct government $38.00; member rate, $30.00). Make history on the gradual changes in the Congress declared that the "arts and the NEA, NEH, and IMS grants have made funding has ensured that all Americans, checks payable to International Publish­ work. humanities belong to all the people of in their districts. The CAA office can not just those who live in traditional ers Distributor. Rates apply to u.s. Conference Attendee For submission guidelines, see the the United States" and that "it is supply you with the lists of grants. You centers of the arts and humanities like individuals only and include postage. Wins Tickets general Call for Participation mailed to necessary and appropriate for the have only to call Melissa Kalul. New York, Chicago, or Los Angeles, Refer to code WA2CAA95 when Two round-trip airline tickets to any a11 members in February. The submis­ Federal Government to help create and The second action is to make a have access to the arts and humanities. ordering. European or South American destina­ sion deadlille (receipt, not postmark) for sustain a climate encouraging freedom pledge to the CAA fellowship program. The National Humanities Alliance tion on American Airlines were won by this session is May 18, 1995. of thought, imagination, and inquiry The sooner we can raise the rna tching has compiled statistics on NEH grants ill Richard Hutton of the National Gallery "The Object after Theory" (chairs: (and) the material conditions facilitating funds, the more likely we will receive each congressional district. These Endowment Campaign Update of Art. Hutton was randomly selected Nan Rosenthal, Metropolitan Museum the release of this creative talent." the full amount of our NEH and NEA statistics show the impact of the NEH on The Endowment Campaign, established from among the conference goers who of Art, and Richard Shiff, University of We don't want to end a program challenge grants. America quite clearly. There isn't a for the support, continuation, and flew on American Airlines to the 1995 Texas at Austin) will be presented as that has just been reinstated. In the Through your advocacy for direct congressional constituency that hasn't expansion of CAA's Professional annual conference in San Antonio. To be one two-and-a-half hour session, rather 1940s CAA gave fellowships, fonded by federal funding of culture, you can help benefited from NEH grants. For Development Fellowship Program, now eligible for the drawing, travel had to be than as two one-and-a-half hour the Carnegie Foundation, which enabled the United States remain a leader in the example, Dan Weldon's 15th congres­ stands at $601,000. We are counting on on American Airlines, CAA's official sessions. talented students to pursue graduate realm of the ideas and the spirit. And sional district in Florida received 14 our members to help raise the remaining carrier, and tickets had to have been degrees in art history. Many became through your gift to the College Art NEH grants in 1993 to replace library $521,000 to meet our goal of $1,122,000, purchased through CAA's travel distinguished art historians, including Association Professional Development 1995 Acknowledgment materials destroyed during Hurricane By building the endowment, members agency, Zenith Travel. Phyllis Pray Bober, president of CAA Program you can ensure that there will CAA wishes to thank the Getty Art Andrew. Ralph Regula, new chair of the provide support for future generations Each year CAA negotiates with air from 1988 to 1990. Bober, one of the co­ be future generations of artists and art History Information Program for House Interior Subcommittee that will of. art historians and artists. If you carriers to get the lowest fares available chairs of the first Long Range Planning historians who will represent the providing funding for the audio-visual playa key role in determining the would like to make a contribution, to a particular conference site. The Committee, urged the committee to "diversity of excellence that comprises requirements of the CAA Education continuation of direct government please send a check to CAA, 275 airline offering the best combination of provide fellowships for promising our cultural heritClge, and artistic and Committee session, "Teaching and funding to the arts and humanities, is Seventh Ave., New York, NY 10001; service and discounts is designated the graduate students once again. I am scholarly expression." Technology (chair: Linda Downs). congress member from the 16th Ohio Attn: Endowment Campaign. Contribu­ official conference airline. By traveling proud of having been one of the -Judith K. Brodsky district, which benefited from 8 grants­ tions will match grants from the on the conference airline, conference architects of the fellowship program that to faculty members at Kenyon College in National Endowment for the Arts or the attendees save money through dis­ emerged from her plea. We've worked Gambier, the main campus of the National Endowment for the Humani­ counted airfares while helping CAA very hard on funding it and received University of Akron, and the College of ties. Indicate whether your gift should earn credits toward free tickets. match the NEH grant or the NEA grant.

CAA NEWS MARCI I/AI'RIL 1995 13 12 CAA NEWS MARCI-I/ APRIL 1995 I America in the nineteenth century: Paris JoAnn Boehmer. McDonough Museum of Art, Letter to envy. Solo Youngstown, Ohio, December 7, 1994-January 4, Elsewhere in the trend trend, we note 1995. "Valence," installation. with sorrow that the following words Cat Crotchett. A. Montgomery Ward Gallery, the Editor have been placed on the Endangered Exhibitions University of Illinois-Chicago, March 13-April List: metaphoric, realistic, natural, 14,1995. "The Re-Sounding Fall." handmade, manmade, masterpiece, Gloria De Duncan. Nnrick Art Center, story, craft, soul. by Artist Oklahoma City University, March 5-26,1995. No sightings of metaphoric have "Visions and Revisions," painting and Sculpture. been reported at all in the past year, and Mary Ann Johns. Zone VI GalIery, Sinclair A Member Writes it appears to be extinct, driven out of its Members Community College, Dayton, Ohio, February 1- 2S, 1995. Photography. I must say, there was a disappointing natural habitat by the more aggressive shortage of good new jargon at CAA semiotic. Should CAA members sight Dilly artists who are CAA /Hembers are iI/eluded Margaret Keller. Gallery of st. Louis Commu­ this year. The conference showed signs (or site) any of these extremely rare il1 t/lis Iistil1g. W!Jm submit/ing in/onl/ation, nity ColIege-Memmec, St. Louis, Mo., January 6- words out there in the context, they are iI/elude !I(ll11e 0/ artist, gallery or /Ill/seUIll !lallie, 30,1995. "Passages," installation with paintings of some new trends in expressive and drawings. mannerism(s), but there seems to be a requested to treat them very, very city, dates 0/ exhibition, medium. Please indicate CAA membership. Ralph Murrell Larmann. Fine Arts Department ground swell of resistance to neolo­ gently. Kirk Pedersen. Road Relics #14. acrylic on P/lOfogmplis (Ire welcome but will be used ollly i/ Gallery, Loyola University Chicago, February See you next year in Boston. " canvas, 48" x 96" gisms. In addition, many of our favorite space allows. P/wtogmplls cal1not be retllmed. 26-March 27, 1995. "Microwave Meats," coded signifiers, appearing for the -Eve Harrington painting. fourth or fifth year in a rowI can no Peter Lenzo. Artemisia Gallery, Chicago, May 2- Robert van Vranken. O.K. Harris, New York, longer be considered eligible for the NeD 27,1995. Francis Marion College, Florence, S.c., Tina Dickey. Dean's Gallery, MIT Sloan School March l1-Aprill, 1995. Paintings on plaster. Prize, nor yet for the special Post Prize. February 2-March 2, 1995. Valencia College, of Management, Cambridge, March 20-May 10, Indeed, in a Greenbergian Act of Orlando, Fla., February I-March 1, 1995. Mixed­ 1995. "Works from a Small Studio." ABROAD! SOUTH! media sculpture. Barbara Fox. Edith Barrett Art Gallery, Utica, Clemency, several have been removed Margo Kren. University of Durban, Westville, Marty Baird. Raleigh Contemporary Gallery, N.Y., February 6-March 10, 1995. "Recent from the jargon category altogether. Durban, South Africa, July 7-August S, 1995. Sungmi Naylor. Zolla/Lieberman Gallery, Raleigh, N.C., November 1994. "Fragile Works." Among these are marginality, discourse, "Dreams and Memories," lithographs. Chicago, February 17-March IS, 1995. "Ages of Fragments," works on paper. Communication," photo/installation. Wendy Giuler. First Street Gallery, New York, unstable, and nearly everything ending Jeffrey Silverthorne. Galerie A, Stuttgart, Karin Batten. CaroJina Union Gallery, April 4--22, 1995. "Voyages and Totems," in -centric. The intraverbal (pun)ctuation Germany, January 13-February 24, 1995. Galerie Dale Osterle. Chicago Center for the Print, University of North Carolina, Chapel Hill, paintings and watercolors. mark is also on the wane, alas, and only 4, Cheb, Czechoslovakia, March 24-May 5, 1995. Chicago, March-May, 1995. "New Landscapes," November 8-December 15, 1994. Drawings and Photography. one world-class example has been noted etchings. John Isherwood. Myers Fine Arts Gallery, paintings. SUNY Plattsburgh Art Museum, Plattsburgh, for 1995. The solidus is/is not maintain­ Mika Watanabe. Wacoal Ginza Art Space, Beverly Semmes. Kemper Museum of Louise McLean Bodenheimer. Bry Gallery, N.Y., October 21-November 20,1994. ing a modest presence. Tokyo, Japan, February 6-11, 1995. "Origin," Contcmpormy Art and Design, Kansas City, Northeast Louisiana University, Monroe, sculpture. Mo., February 1995. Installation. However, I am glad to report that Susan Leites. Gallery B.A.I., New York, January Febntary 6-March 9, 1995. Mixed-media lO-February 4, 1995. some very appealing word-pairs have drawings. surfaced to take the place of our old MIDWEST! NORD-lEAST! Lisa Lesniak. Gallery 57, Cambridge, March 1- Alfred Durante. Presser Gallery, University of 31,1995. ''It's Right Here in Black and White," Michael Aurbach. ARC/Raw Space, Chicago, Tom Aprile and Laura Young. Longyear Mary Hardin-Baylor, Beiton, Tex., January 16- friends the neologisms, and two of these mixed media. May 3-27, 1995. "Recent Work," sculpture. Museum of Anthropology, Colgate University, February 17, 1995. "Slightly East of the West: have made the Top-Ten List this year. So Images of East Texas," photography. despite the loss of some sturdy and Hamilton, N.Y., January 16-February 10, 1995. Adam Licht. Sandra Gering Gallery, New York, "African Encounters: Making Art in Nigeria January 21-February 18, 1995. Photography. reliable members of the jargon lexicon, Raymond Olivero. Art Gallery, Pembroke Pines, 1992-93," sculpture and painting. Fla., January 19-March 31, 1995. "Tropical we have a nice blend of hardy perenni­ Eva Lundsager. Jack Tilton Gallery, New York, Orty Azran. New York MacUsers Group, New January ll-February 11, 1995. Tropes," paintings. als and new additions, and are able to York, December 27, 1994--February 27, 1995. Gregory W. Shelnutt. University of Arkansas at present, herewith, a notable list for 1995: Dennis Masback. K & E Gallery, New York, "Cave Drawings." February S-March 11, 1995. Little Rock, February 17-March 22, 1995. "Journey: The Indifference of Place," sculpture 10. antiderridean Rande Barke. E. M. Donahue Gallery, New Ann Meredith. Spectra Gallery, New York, York, February 25-March 18, 1995. Paintings. installation. 9. normative January 9-February IS, 1995. "Faggots, Fairies, Bill N. Thompson. Warehouse Living Arts 8. agency Les Barta. Roy H. Park School of Communica­ Dykes, and Queens," photography. tions, Ithaca College, Ithaca, N.Y., January 16- Center, CorsiG1l1a, Tex., March 3-31, 1995. 7. to foreground Tom Nakashima. Steinbamll Krauss Gallery, February 10, 1995. "Photographic Construc­ New York, Febntary 18-March 18, 1995. 6. authorspeak An installation by 3 Women in Black: an tions." 5. influence claim artist-collective that stands for peace. The Libby Seaberg. Queens College Art Center, WEST! three dresses they wear have just Ruth Bernard. Here to Tirnbuktu, Lancaster, Pa., 4. sup(e)r(s)ession* New York, March 6-April4, 1995. "Private Lisa Adams. Community College of Southern returned from the ex-Yugoslavia where February 8-March 11, 1995. "P

14 CAA NEWS MARCH/A1'RJL 1995 CAA NEWS MARCHI APRlL 1995 15 ity and personal attention to students whose 1940s and 1950s.1n the 1960s McNeil began to Daniel Robbins is survived by his wife, efforts he respected, fostering with his advisees include roughly rendered figures in his Eugenia Scandrett Robbins, and two daughters, People in master-apprentice relationships that hc hoped Juliette and Miranda. canvases, prompting critics to associate his later would instill appreciation for the benefits of 'work with the deliberately crude style of Jean -Nallcy J. Troy scholarly cooperation. To combat the unhappy Dubuffet and the heavily painted images of such the News tradition of graduate study as a long period of artists as Asger Jorn. Born in Brooklyn, McNeil Charles J. Umlauf, a sculptor who lived in slavish subjugation, he sought for his students attended Saturday art classes at the Brooklyn Austin, Texas, died on November 19, 1994. early opportunities to teach, publish, and Museum as a high school student. He studied Umlauf studied at the Art Institute of Chicago organize exhibitions, often in collaboration with with Hans Hoffmann from 1932 to 1936, who and produced work for the Federal Art Project himself, and then rode hard on them to finish strongly influenced his understanding of during the 1930s. He became a professor at the their theses and get on with their careers. modern art. His distinguished teaching career University of Texas at Austin in 1941 and retired Elsen thought of the links between art and began at the University of Wyoming, and he Cubism as a movement executive director, chief curator of the Contem­ personal and professional dignity. She was Professional Practice by Art Historians, a Elsen was often perceived as pugnacious, much broader and in some ways more complex porary Arts Center, Cincinnati, Ohio. Statement of Standards for Modern Sculptural opinionated, obstinate, and maddening by preeminently a scholar of the visual arts, a than the canonical histories focusing on Picasso Carolyn Kolb, professor of the history of art at Reproduction, and a focus on toxicity and other various officials, administrators, and institu­ diligent researcher for whom the archives and and Braque might suggest. By analyzing the the University of New Orleans, died on Gilbert Leebrick has been named director of the dangers in artists' materials, leading among tions; he would have been entirely happy with libraries of Europe were gold mines to be ideologically charged constmction of Cubism February 9, 1994, at the age of 54. She had Wellington B. Gray Gallcry at East Carolina other things to the CAA publication Safe Studio such a description, finding nothing negative in lovingly and painstakingly excavated, in the through criticism, exhibitions, and scholarship previously taught at Dickinson College, George University. Practices. it. Sometimes mistaken for arrogance, this drive service of Italian art and architecture. At the since the 1920s, Robbins not only exposed the Mason University, the University of Maryland, Born in Nev,' York City, Elsen received his had in it little that was self-serving; it typically same time, she was most emphatically a lady, limitations of a history defined in terms of and Vassar College. She received her Ph.D. from Doralynn S. Pines has been named Arthur K. B.A. (1949), M.A. (1951), and Ph.D. (1955) from propelled his efforts on behalf of other, less possessing great personal chann that often Picasso and Braque, but he also established the Harvard University in 1973, working with Watson Chief Librarian at the Metropolitan Columbia University. His college career was powerhtl people or for causes from which he masked the depth of her knowledge about a framework and provided a great deal of hard Sydney Freedberg and James Ackerman. Museum of Art, New York. interrupted in 1945--46 by army service in Italy, could draw no personal benefit. wide range of art historical and architectural evidence for a more inclusive view in which the Professor Kolb held fellowships at Dumbarton and he later returned to Europe as one of the Elsen began his teaching career at Carleton problems. Carolyn Kolb's rarc combination of socially engaged dimensions of the movement Oaks in Washington, Villa I Tatti near Florence, Kimberly Rorschach has been appointed first Fulbright scholars, to prepare a dissertation College in 1952, and rose to full professor at Southern charm and East Coast savvy will be might bc described and discussed. at Venice through the Gladys Krieble Delmas director of the Smart Museum of Art, University on Rodin's Gafes of Hell. The artist was then out Indiana University between 1959 and 1963. greatly missed by her many friends and Robbins initiated this project in 1958 when, as Foundation, and was a Samuel H. Kress Senior of Chicago. of fashion and little studied, and Elscn's Lured by his longtime friend Lorenz Eihler, he colleagues. a student of Robert Goldwater at the Institute of Fellow at the National Gallery's Center for research was further thwarted by a lack of visited in 1963-64 at the new department of art -Clifford BroWII, DOllglas Lewis, and Debra Pincus Fine Arts, he began work on his dissertation Advanced Study in the Visual Arts in Washing­ David S. Rubin has been named curator of cooperation from the Musee Rodin. The labor Eitner was forming at Stanford, and then moved (completed in 1974) on the Cubist painter Albert ton. twentieth-century art at the Phoenix Art was, however, one of love, for Elsen was drawn there definitively in 1968. His undergraduate George McNeil, an Abstract Expressionist Gleizes. In 1964 he curated a major retrospective A specialist in Italian Renaissance art and Museum. by a profound emotional response to Rodin's lectures were consistently packed, and in 1979 painter, died on January 13, 1995. He was 86. of Gleizes's work. Over the next twenty years architecture, with a focus on the Veneto, she had Gates into a strong identification with this artist he received the Award for Distinguished McNeil was an important member of the second Robbins made substantive contributions to done extensive work on Palladio Clnd Francesco Maurice Tuchman has been appointed senior whom he saw-and then made others sel.'-as Teaching from the Dean of Humanities and wave of Abstract Expressionists, the group of exhibitions and publications devoted to other di Giorgio. Her dissertation on the Villa curator emeritus at the Los Angeles County the fountainhead of modernity in sculpture. Sciences. As a graduate inshuctor he gave American artists including Jackson Pollock and Right Bank Cubists, induding Henri Le Giustinian at Roncade, attributed by her to Museum of Art. The dissertation subject had been proposed extraordinary measures of intellectual generns- Willem de Kooning who achieved fame in the FaucOlmier, Jean Metzinger, and Jacques Villon.

16 CAA NEWS MARCH/APRIL 1995 CAA NEWS MARCHI APRIL IY95 17

I Kim E. Tester will be visiting guest artist at the Fine Arts, Vanderbilt University, Nashville, TN the first venue of a traveling exhibition of sixty Migration Period Art in the Metropolitan University of Dallas. She will create an edition 37235. Dcadline: Jlllle 1, 1995. paintings from Burghley House, Stamford, Museum of Art, 3rd-8th Century: Highlights Opportunities Grants, England, that includes 16th- and 17th-century from the J. Pierpont Morgan Collection and of screenprints. Religious Strategies of Mannerism in the 16th­ Italian paintings. The occasion offers the Related Material Reconsidered is a symposium and 17th-Century Art of Spain and the New opporhmity to consider the taste of British to be held May 22-23, 1995, and will offer the Awards, & World is the topic of a symposium that will take collecting in Italy at the end of the 17th century first forum in this country for scholars and place at the 1995 16th-Century Studies and to analyze the prevailing preference of both conservators to discuss new research and Conference in San Francisco, October 26-28, foreign and local patrons for subjects with erotic findings in this burgeoning field. No tickets or Honors 1995. Papers on all aspects of Mannerism in the and violent content. For infonnation: Robin reservations are required; free with museum painting, sculpture, "minor arts," "folk arts," Pflasterer, Frick Art and Historical Center, 7227 admission. For information: Education, architechue, literature, music, religious practice Reynolds St., Pittsburgh, PA 15208-2923; 412/ Metropolitan Museum of Art, 1000 Fifth Ave., or belief, ritual, and liturgy of Spain and the 371-0600; fax 412/731-9415. New York, NY 10028; 212/570-3710. Publicatioll policy: Dilly gnmfs, awards, or tumors New World are welcome. For information: received by illdividual CAA members are lisled. TIle Richard E. Phillips, 1616 W. 6th St., #133, Austin, Symposium on the Arts of Africa and the Ethics in Conservation: The Dilemmas Posed is grant/award/llOl/or {/molllif is not iI/eluded. Please Conferences Award TX 78703-5007; 512/483-7237. Deadline: Jllne 1, African Diaspora, co-sponsored by the Arts the title of the 23rd annual conference of the l10te the fol/owing [ol'l/lat: cite lIame, illstitutiol1al 1995. Council of the African Studies Association American Institute for Conservation of Historic nffilintioll, alld title of fhe grallt, award, or 11011O/", al/d (ACASA) and New York University, will be held and Artistic Works, to be held June 6-10, 1995, in (optiona/) lise or purpose of grant. Please illdicate & Symposia Fulbright Scholar Awards for U.S. Faculty and Tenth International Conference on Medieval­ April 19-23, 1995, at New York University. TIle St. Paul, Minn. Speakers will examine ethical that YOIl are a CAA mem/Jer. ism will be held September 27-30, 1995, at five-day event will feature roundtable discus­ challenges posed by diverse collections, among Professionals arc available in 140 counhies, Higgins Armory Museum, Worcester, Mass. The sions, lectures, and sessions on such topics as them: outdoor sculpture, hlffilan skeletal ranging from periods of 2 months to a full focus will be Spiritual Dimensions of Medieval­ "Spectacle and Display in African Performance," materials, scientific and industrial collections, academic year. Eligibility requirements arc U.S. ism, however; papers are welcome on all aspects "Afro-Brazil Arts, History, and Hegemony," natural science materials, archaeological sites, citizenship and the Ph.D. or terminal degree in of medievalism. Send proposals to: James "Photography in Africa: Contemporary and Native American materials. For information: the field. For lecturing awards, university or Calls for Papers Gallant, 10 Lyndale Rd., Worcester, MA 01606; Photographers Discuss Their Work," and "Art American Institute for Conservation of Historic college teaching experience is expected. Marty Baird received a 1994 Southern Arts or fax to Linda Honan, Higgins Armory or Artifice: Post-Colonial Art in Africa," as well and Artistic Works, 1717 K Street, NW, Ste. 301, Applications are encOluaged from professionals Foundation/NEA Regional Visual Arts outside academe, as well as from faculty at all Mid-Atlantic Region/Association for Asian Museum, 508/852-7697. Deadline: June 10, 1995< as visits to artists studios, studio and gallery Washington, DC 20006; 202/452-9545; fax 202/ Fellowship in painting, drawing, and works on open houses, and feature films. For information: 452-9328. types of institutions. Academic administrators, paper and a 1994 Professional Development Studies will hold its 1995 conference at Towson independent scholars, artists, and professionals State College, Towson, Md., October 21-22, 1995. Cultural Transmission and Transformation in Barbara Frank, Dept. of Art, SUNY Stony Brook, Grant from Raleigh Arts Commission. the Ibero-American World, 1200-1800 is the Stony Brook, NY 11794-5400. Sculpture and Photography is a conference from the private and public sectors are eligible. Papers and panel proposals are solicited in all There are different deadlines for different JoAnn Boehmer has been awarded a 1995 fields of the arts, humanities, social sciences, and theme of a Conference on Colonial Ibero­ sponsored by the Department of the History of American Civilization, October 21-22, 1995, at Art and Ritual at the 'Threshold: The imagery Art at University College London, June 16-17, programs, which include lecturing or research Fellowship Grant in Visual Arts from the nahtral sciences. For information: Jonathan H. grants, distinguished Fulbright chairs in Western Pennsylvania COlUlcil on the Arts. Wolff, Asian Shtdies Program, 4E37 Forbes Virginia Tech University, Blacksburg. 111irty­ of Portals in Medieval Europe is the theme of a 1995. Historians of photography and sculpture, minute presentations are invited that treat any conference to be held under the auspices of the together with practicing sculptors and Europe, and Fulbright seminars and academic Quadrangle, University of Pittsburgh, Pitts­ administrator awards. For information: Council David Padilla Cabrera was selected as a visiting burgh, PA 15260; 412/648-7370; fax 412/648- aspect of cross-cultural transmission and Index of Christian Art at Princeton University, photographers, will explore the relationship fellow for Curare: Espacio pam/as Artes in Mexico transformation of artistic, religious, and social April 22, 1995. Scholars from various disciplines for International Exchange of Scholars, 3007 2199. Dendlil1c: April 15, 1995. between sculpture and photography from City, to participate in Progmma dc flltered/nbio. patterns in or between Spain, Porhtgal, Brazil, will present and discuss the social, political, historical, theoretical, and practical points of Tilden St., NW, Ste. 5M, Box GNEWS, Washing­ and the New World. For information: Richard E. religious, and artistic impact of portals and their view. For information: Geraldine Jo1111son, Dept. ton, DC 20008-3009; 202/686-7877. Eleanor Dickinson received the 1995 Women's Art between the Public and Private Spheres is Phillips, 1616 W. 6th St., #133, Austin, TX 78703- imagery throughout medieval Europe. For of History of Art, University College London, Caucus for Art President's Award. the theme of the 1995 Centro Argentino de Investigadores de Artes symposium on the 5007; 512/483-7237. Deadlinc: Jllly 1, 1995. information: Linda J. Clos, Center for Visitors London WCIE 6BT, UK; fax 44-71-916-5939. Helen Glazer has been awarded a 1994-95 History and Theory of the Arts, to be held and Conference Services, Princeton University, Calls for Entries Fellowship in Museum Practice from the Office September 1995 in Buenos Aires, Argentina. All Art of the Multiple Cultures and Religions of 71 University Place, Princeton, NJ 08544-2088; Christ among the Medieval Dominicans: of Museum Programs at the Smithsonian contributions will be considered as long as they Medieval Iberia is the theme of sessions 609/258-61J6. Representations of Christ in the Texts and sponsored by the International Center of Images of the Order of Preachers is a Institution. deal specifically with Latin American artistic National Juried Competition: July 7-26, 1995, Medieval Art at the 31st International Congress Middle Atlantic Symposium in the History of multidisciplinary conference co-sponsored by issues. For information: Centro Argentino de Bowery Gallery. Open to all artists working in 2- Helen Horowitz has been awarded the Ludwig on Medieval Studies at Western Michigan Art will present its twenty-fifth sessions on the Medieval Institute and the Department of Investigadores de Artes, Casillo de Correo No. dimensional media. Send SASE for prospectus to: Vogelstein Foundation grant in arts criticism. University, Kalamazoo, May 1996. Papers are April 28-29, 1995. The George Levitine Lecture Theology, University of Notre Dame, September 3587, Correo Central, 1000, Buenos Aires. Bowery Gallery, 121 Wooster St., New York, NY solicited that deal with Christian, Jewish, and will be given at the University of Maryland, 6-9,1995. For information: Joseph Wawrykow, Elaine A. King has received an Art Criticism Deadlinc: May 15, 1995. 10012. Deadlillc: April 10, 1995. Moslem monuments and particularly with the April 28, titled "The Art Historian in the Dept. of Theology, University of Notre Dame, Fellowship Grant from the PelU1sylvania interchanges between the various peoples who Studio." April 29 graduate students from twelve Notre Dame, IN 46556; 219/289-3629. Council on the Arts. Art and Agitation is the theme of a symposium The Halpert Biennial, a national juried visual occupied the Iberian peninsula during the middle Atlantic Universities will present papers organized by the Denver Art Museum, art competition, is part of an Appalachian Susan Krane received a 1994 Norton Family Middle Ages. Medieval Spain's relationship on a variety of art historical topics at the The Popular Culture Association and the September 15-16, 1995, devoted to political and Summer Festival, held in Boone, N.C. Visual with ultramarine and ultra pyrenean regions will National Gallery of .Art. For information: Sally American Culture Association will meet in Foundation curator's grant. social agitation, protest, and propaganda in the artists residing in the U.S., at least 18 years old, also be considered. Send abstracts to: David Promey, Dept. of Art History and Archaeology, Richmond, Va., October 5-7, 1995. For visual arts. Papers addressing any aspect of and working in 2-dimensional media are eligible. Marietta Patricia Leis received an E.D. Simon, Casa Tejedor, 22713 Araguas del Solano University of Maryland, College Park, MD information: Robert L. McDonald, Dept. of agitation within the history of art are welcome. $15 fee for each entry (2 max.). Artists may Foundation Artist Grant. (Huesca), Spain (until August 15, 1995). Dept. of 20742;301/405-7720. English and Fine Arts, Virginia Military Limited travel subsidies available. Send submit slides in plastic holders with each slide Art, Colby College, Waterville, ME 04901 (after Institute, Lexington, VA 24450. William H. Samonides received a 1995 grant abstracts (500 words max.) to: Linda Frickman, labeled with artist's name, title of work, media, August 15, 1995). Dendlille: September l5, 1995. Herter Brothers: FllTIliture and Interiors for a ------from the International Research Center for Dept. of Art, Colorado State University, Ft. top indication, and dimensions. Include SASE. For Gilded Age, on view at the Metropolitan Japanese Studies, Kyoto, Japan. He will Collins, CO 80523; 303/491-7634; fax 303/491- information: Terry Suhre, Catherine Smith Museum of Art, May 10-July 30, 1995, is the first complete a study on Japanese lacquer of the 0505. Deadlil1c: jllne 1, 1995. Gallery, Office of Cultural Affairs, Appalachian comprehensive exhibition of one of the most seventeenth century. To Attend State University, Boone, NC 28608; 704/262- -.------important 19th-century American furniture The Politics of Place. Historians of British Art 3017; fax 704/262-2848. Deadlil1c: April 17, 1995. Mara Scrupe is artist-in-residence at Sculphtre invites papers on topics that explore art and firms. A day-long symposium will be held in Space, Inc., Utica, N.Y., March-April 1995, and conjunction with the exhibition on May 19. No architecture in Britain (medieval to modern) Brave New Art World: Patronage, Politics, and ARC Regional Juried Exhibition: open to all received a 1994 Mid-Atlantic Arts Foundation tickets or reservations are required; free with related to the politics of space. Work intended the Public Function of Art is a symposium at media, artists must reside in Iowa, Ind., Ill., Ky., Visual Arts residency Grant. museum admission. For information: Education, for specific sites or engaged with social issues at Parsons School of Design, April 1, 1995. For Mich., Minn., Mo., or Wis. Cash awards. Send Metropolitan Museum of Art, 1000 Fifth Ave., Peter Selz was awarded a residency at the points of reception are appropriate as case information: 212/229-8942. SASE for prospectus to: ARC Regional, ARC New York, NY 10028; 212/570-3710. Bellagio Study Center of the Rockefeller shldies. Topics covering any medium are Gallery, 1040 W. HurOH, Chicago, IL 60622. Foundation. welcome, with emphasis on political strategies Amor vincit omnia? Seicento Images of Deadlil1e: May 21, 1995. applied to sculpture or building projects. Submit Passion and Power is the subject of a sympo­ Joseph Siry received a 1994 Award for Teaching 1-page abstract (2 copies) for proposed 15- sium to be held at the Frick Art Museum, The Print Club of Albany is having its triennial Excellence at Wesleyan University. minute presentation to: Robert L. Mode, Dept. of Pittsburgh, April 7-8, 1995. It will coincide with juried competition. All artists in the printmaking

18 CAANEWS MARCH/APRIL 1995 CAA NEWS MARCH/ A!'HIL 1995 19 debates on beauty, the moral function of art, and research in Germany. Opportunities are Workshops and Schools media are invited to enter. $15 for 2 slides, $750 Grants and Fellowships the relationship between art and culture, available in the following: Research Fellowship each additional slide. Send SASE for prospectus through an examination of early modern Programs Program, Humboldt Research Award, Feodor to: Print Club of Albany, PO Box 6578, Albany, concepts of the aesthetic in the works of Lynen Fellowship Program, Max-Planck Award, Art curators and librarians: The Department of NY 12206. Deadli/le: May 26, 1995. Alexander Baumgarten, David Hume, Grant Funds for Mesoamericanists. The and Bundeskanzler Scholarship Program. For the History of Art at the University of Michigan Immanuel Kant, G. E. Lessing, Lord Shaftesbury, New & Photography in the 1990s. International survey Foundation for the Advancement of information: Bernard Stein, Alexander von and the School of Art History at the University Friedrich Schiller, and others. Contributions are on CD-ROM and exhibition with collection Mesoamerican Studies announces a foundation Humboldt Foundation, Ste. 903, 1350 Connecti­ of St. Andrews will offer a seminar at St. sought examining the relevance and implica­ purchases juried by museum curators from grant competition available for studies cut Ave., NW, Washington, DC 20036; 202/296- Andrews, June 24-July 2,1995. It is intended for Chicago, Houston, New York, and Paris. For tions of 18th-century European aesthetic Revised concerning Ancient Mesoamerica. Awards 2990; fax 202/833-8514. librarians and curators with an interest in, or philosophy for contemporary debates in culture prospectus: Wright State University Art normally range from between $1,000 and $5,000 specific responsibility for, collections relating to and the arts-ul particular its relationship to Galleries, 3640 Col. Glenn Hwy., Dayton, OH ($10,000 max. amount awarded). Applications the history of photography and to the history of liberalism and liberal models of self-expression, 45435; fax 513/873-4082. Deadline: lillie 2, 1995. are welcome from scholars in such fields as Scottish painting, architecture, and decorative Internship autonomy, and moral agency. Proposals should anthropology, archaeology, art history, history, arts. The fee for the program is $1,275, which 1995 Juried Works on Paper Exhibition, address not simply the apprehension of works of humanities, linguistics, and social sciences. For includes accommodations for eight nights in one sponsored by the Berkshire Art Association, art but also a broader range of issues associated M.F.A. in Studio Art: New York University's information: Sandra Noble Bardsley, FAMSI, 268 of the university halls, meals, admissions on open to New England and New York residents. with aesthetic experience, induding questions of Department of Art and Art Professions will offer S. Suncoast Blvd., Crystal River, FL 34429-5498; Native American Summer Internship provides organized site visits, transportation to site visits, Send SASE for prospectus to: Berkshire Art taste, beauty, and the sublime, morality, modes an M.F.A. in studio art, effective September 1, fax 904/795-1970; E-l\MIL: SANDYNOIlLI::[email protected]. an opportunity for a qualified student to work and a day excursion to Edinburgh. For Association, PO Box 829, Stockbridge, MA of political and cultural judgnlent and discrimi­ 1995. This 60-credit program offers studios, Deadlil1es: April 30 alld Sepfember .30, 1995. full-time during the summer with the Montclair information: Dept. of· the History of Art, Slide 01262-0829. Deadline: IlllJe3, 1995. nation, the relationship between the aesthetic teaching assistantships, and the opportunity to Art Museum's collection of Native American art. and Photograph Collection, University of NEH Fellowships support 6-12 months of full­ and the political in thc modern liberal tradition, study with an array of renowned artists and Interns will v,'ork on educational and public Michigan, Ann Arbor, MI48109-1357; 313/763- Call for Works: For a show on guns and time, uninterrupted study and rescarch for the function of the aesthetic in relation to critics from New York-Internships in museums, outreach programs, on upcoming exhibitions, 6114; fax 313/747-4123. violence, looking for diverse works surrounding projects that will make significant contributions and conduct research. Applicants must be questions of race, class, or gender-based artists' studios, galleries, etc., are a required part these issues. Work must critically examine the to the humanities. NEH fellowships can be Llsed difference, and the status of transcendence and of the program. For information: M.F.A. currently enrolled in a graduate or undergradu­ Seminar in Florence: The Department of the ramifications of guns in our society, not just to work on books, monographs, series of articles, universality in current art production. Grant Graduate Advisor, Dept. of Art and Art ate program in anthropology, museology, History of Art at the University of Michigan is illustrate them. Pro- and anti-gun work will be and interpretive catalogues to accompany Kester, 77 AveriJI Ave., Rochester, NY 14620- Professions, School of Education, NYU, 34 Native American studies, or Native American again sponsoring its seminar in Florence in May considered. Must be photo-based work exhibitions. While NEH fellowships cannot be 1205. Deadline: lillie 15, 1995. Stuyvesant St.,3rd fl., Ncw York, NY 10003- art history, with the intent of receiving a degree 1995. Participants will be housed at the Villa including, but not limited to, traditional used to catalogue or organize collections or to 7599; 212/998-5700; fax 212/995-4320. Ul that area. $5,000 stipend. Send letter of Corsi-Salviati at Sesto Fiorentino. The seminar photography, mixed media, installation, and prepare exhibitions, such work may be eligible Drawing, the internJtional review published by interest, resume, list of relevant course work, will run for ten days and will focus on a study of digital imagery. Also interested in video, through programs in the Division of Public the Drawing Society, is seeking contributions on Ph.D. Program in Art History at the City and 3 academic references to: Twig Johnson, Renaissance altarpieces in Tuscany. The goal of interactive work, electronic network pieces, and Programs or the DiviSion of Preservation and drawings of all styles and periods covering University of New York Graduate Center has Curator of Education, Montclair Art Museum, 3 the seminar will be to appreciate the altarpiece's performance. Prefer current work but will Access. There are two competitions for the topics on recent scholarship, collecting, and added a specialization in pre-Columbian art and South Mountain Ave., Montclair, NT 07042-1747; historical importance as the ancestor of the great consider work produced in last 5 years. Send fellowships: one f()f scholars in lmdergraduate conservation. Manuscripts must be typewritten, the arts of Africa, Oceania (the Pacific Islands), fax 201/746-0920. DeadlillC: April 15, 1995. European tradition of easel painting. The fee for slides, statement about work, and SASE to: Nancy colleges and univefsities, independent scholars, double-spaced, ca. 250 words per page, 8-10 and North America. Other concentrations are the ten-day seminar is $J.,600, which includes Floyd, Dept. of Art, California State University and for scholars associated with such institu­ pages in length, and accompanied by 6-8 b / w offered in the history of modern and contempo­ accommodation at the Villa Corsi-Salviati, Long Beach, 1250 Bellflower, Long Beach, CA tions as museums, libraries, and historical photographs. Drawillg follows the Chicago rary art, both American and European, as well Calis for Manuscripts meals, admissions on site visits, transportation 90840; 714/581-1239. Deadlille: Jllly 1, 1995. societies; the second for scholars at Ph.D.­ Mil/wal of Style, 13th cd. For information: Patricia as criticism and theory. For information: Rose­ to site visits, a day excursion, and special granting instihttions. For information: Division Hurley, Drawing, 15 Penn Plaza, 415 Seventh Carol Wash ton Long, PhD. Program in Art lectures at the villa. For information: Dept. of the Artemisia Gallery, a nonprofit cooperative, has of Research Programs, National Endowment for Ave., Box 66, New York, NY 10001; 212/563- History, Graduate School and University Center History of Art, Slide and Photograph Collection, exhibition opportwlities for solo and group the Humanities, Rm. 316, 1100 Pennsylvania Alt !olllilal is seeking manuscripts for an issue 4822. of the City of New York, 33 W. 42 St., New York, University of Michigan, 20A Tappan Hall, Ann shows. Submit 10 slides, vita, and SASE to: Ave., NW, Washington, DC 20506; 202/606- focused on "Visual Culture, Lesbian and Gay NY 10036; 212/642-2865. Arbor, MI 48109-1357; 313/763-6114; fax 313/ Artemisia Gallery, Search Committee, 700 N. 8466. Deadlille: May 1, 1995. Presence, and Art Historical Suppressions," to The Rutgers Art Review, a publication of the 747-4123. Carpenter St., Chicago, IL 60622. be guest edited by Flavia Rando and Jonathan graduate students of Rutgers University art The University of Stony Brook ,·",ill offer a The Wolfsonian Research Center atulounces the Weinberg. For a decade, precipitated by the history department, seeks submissions from doctoral program in art history and criticism, Photo Focus Workshop: April-October 1995, on The Emerging Collector, New York announces following program of fellowships for the gay/lesbian liberation movements, feminism, graduate students and recent Ph.D.s. Published beginning fall 1995. With this move the art Whidbey Island, Olympic Peninsula, and Mt. its yearly slide review. Talented, energized, and academic term of February 1996-July 1996: and the AIDS crisis, and reflecting a changing articles will be scholarly contributions and department joins the majority of the graduate Baker. For information: Coupeville Arts Center, conunitted artists working in all media are Wolfsonian Scholar, Visiting Scholars, Senior public climate, the conshuction of sexual should confonn to Cflicago Manual of Style. Send programs at Stony Brook, which are permitted PO Box 171, Coupeville, WA 98239; 206/678- invited to submit slides and resume to the Fellowships, Wolfsonian Senior Fellowship at identity /s and sexuality /s have been topics of two copies to: Maurice Rose/Maggie Patrick, to confer doctoral degrees. For information: 3396. Emerging Collector, PO Box 90, New York, NY the American Academy in Rome, Wolfsonian/ central concern to visual artists and the theme of Rutgers Art Revicw, Voorhees Hall, College Jeanne Vinicombe, 516/632-7270. ------_.... - 10276. Victoria and Albert Museum Fellowship, and major exhibitions. What are the implications of Avenue Campus, Rutgers, the State University associate appointments. The center was sexuality and sexual identity treated as of New Jersey, New BlUnswick, NJ 08903. Lesbian Visibility in International Arts. Calling established in 1993 to promote scholarly "categories of analysis" for the disciplinary for lesbian artists to participate in an interna­ research in the decorative arts, design, and paradignls of art history? Central to our inquiry tional panel/presentation as part of thc NGO '95 architecture of the late-nineteenth to the mid­ is the conunitment to a discussion of sexuality Residency and the UN Fourth World Conference on twentieth cenhtries. For information: Wolfsonian and sexual identity as it is known and con­ Women, Beijing, China, August 3D-September 8, Research Center, 1001 Washington Ave., Miami structed within frameworks of race/ethnicity, 1995. Artists in the visual arts, performing, Beach, FL 33139; 305/531-1001; fax 305/531- class, and gender. Priority will be given to literary, and art history disciplines are invited. 2133. Deadlille: May IS, 1995. essays that engage current theoretical debates as Montana Artists Refuge, an artist-run residency All participants must be fulIy responsible for well as those that discuss previously lmexplored program located in Basin, Montana, is accepting Couturier Research Fellowship is available to their own funding for travel, food, lodging, and visual material from these perspectives. We seek applications for Jamtary through fall 1995. PhD. candidates or postdoctorates in theology required NGO registration fee of $50. Send to represent a range of viewpoints-art history, Artists of all disciplines are invited to apply. and arts or lihiTgics with specialization in 2Oth­ resume, visual artists 5-10 slides of current criticism, visual and performance art. We also Residencies are normally three months to one century littugiC

CM NEWS MARCH/APRIL 1995 20 CAA NEWS MARCH/APRIL 1995 21 • •

For rent: attractive furnished bedroom. NYC, couple or small family. $1,900/month, utilities 150125-400,401 .... THE RECEPTION OF CHRISTIAN DEVOTIONAL ART FROM THE Classified Ads upper East Side near museums. Suitable visiting induded. Available from mid-August 1995. o Revisit the 1995 College Art RENAISSANCE TO THE PRESENT woman scholar. Doorman building. Good Philip Weinstein, 34 rue des Plantes, 75014 Paris, 150125-410 ($10.00) ... FEMINIST POLITICS AND CURATORIAL DREAMING: JOBS, h·ansportation. Security and references required. France; 011-33-1-40-44-67-83 or Katherine Association Conference via o SHOWS, POWER $200/week; min. 3 weeks. Call DG Associates, Weinstein, 212/727-9858. Audiocassette o 150l25-420,421 .... THE SOCIAL AND IOEOLOGICAL FUNCTIONS OF ART EXHIBITION The CAA newsletter accepts classified ads of n 212/226-4134. o 150125-430,431 ... RECEPTiON AND RECEPTION THEORY IN ART HISTORY professional or sellliprofessiol1f1/natllre. $1.25/word Renaissance art specialist wanted to read Recorded Live - January 25-28 in San Antonio o J50125-440,441 .... NATIONALISM AND THE NORTHERN TRADITION (Does not ($2/word for nOl1members); $15 lI1il1imlll11. For rent fully furnished Rome apartment near These cassettes provide a great opportunity to catch up on the material for CD-ROM presentation for accuracy. contain talk by C. Hertel) American Academy. 2 bedrooms, living/dining, Fee negotiable. Write/call: Margaret Herke, 212 latest developments by the experts in the field. They provide an excellent recap of conference topics and- are a great o 150125-450,451 .... THE GEOGRAPHY OF POLITICAL RHETORIC IN MESOAMERICA study, eat-in kitchen, bath, central heating, dish/ _. Heron Cove Road, Denton, NC 27239; 704/869- training tool and informational source for those wha could o J50125-460,461 .... WORK IN PROGRESS: PRESENTATIONS BY ROCKEFELLER clothes washers. Spring 1996'temester. $1'lbO/ Y) 5506. not attend. FOUNDATION PROTEGE{E) TRAVEL GRANT RECIPIENTS month, plus utilities. ProfeJsor Jack Wasserman, o 150l25-470,471 .... BODY/SPACE: THROUGH THE CYBERNETIC LOOKING GLASS PRICING INFORMATION: All sessions are 2.tape sets and 215/625-3902. Research services available: credentials include o 150125-4B0,481.. .. MoDERN ART AND SCIENCE: WHERE DOES HISTORY STAN~? 14 Sculptors Gallery moved to larger space at M.L.S. in library science and M.A. in art history. are $20.00 per set unless otherwise noted, and may be o 150125-490,491 ... IMPLICATIONS OF NEW VISUAL RESOURCES TECHNOLOGIES FOR 168 MeTcer St., New York, NY 10012; accepting Fresco Painting and Stucco~Marmo~Scagliola For fees and information, Miranda Howard ordered individually or ... PURCHASE THE COMPLETE THE CLASSROOMS AND MUSEUMS OF THE 21 ST CENTURY applications for membership and paid Workshops-Ceri, Italy: 40 kilometers north of Haddock, 941 N. Linden Ave., Oak Park, IL CONFERENCE SET FOR $960.00 AND SAVE OVER 20%. 0150125-500,501 ... SCHOOL BULLIES: PREDATORY PERSONNEL PRACTICES IN THE FINE invitational exhibitions. Send slides resume, Rome, July 6-26, 1995. Live/work in an unusual 60302; 708/445-0099. Complete package comes in attractive storage albums. ARTS ACADEMY SASE. 16th-century palazzo. Ail aspects of fresco o 150125-01 O,011 .... ART MATERIALS: QUALITY AND SAFETY o 150125-51 O,511 .... THE METAMORPHOSIS OF GREEK MYTHS IN DIVERSE CULTURES painting and scagliola are covered. Field trips Robert Beverly Hale on videotape. I--Iale's o 150125-020,021 .... FROM THE HOLY LAND TO GRACELAND: 20TH~CENTURY o 150125-520 ($1 O.OO) .... CLEMENT GREENBERG AND HIS LEGACY: A CRITICAL 1995 Summer Seminars for Art Professionals: induded. Write/call for fmther details. famous series of ten original demonstration PILGRIMAGE SITES, RITUALS, AND RELICS REASSESSMENT (Does not contain talk by I. Sandler) -TIle Indoor EnvirOlm1ent, June 12-16: Accademia Caerite, Inc. (formerly Fresco lectures on artistic anatomy and figure drawing o 150125-030,031.. .. TEACHING THE CANON: PRO, CON, OR COMPROMISE? (Does o 150125-530,531 .... THE COMPUTER AND THE VISUAL ARTS: A REVOLUTION IN monitoring and control of environmental Associates), 133 Greene St., New York, NY given by him at the Art Student's League, New not contain talk by D. Wilkins) PROGRESS conditions for museums, libraries,