NEWS

NEWSLETTER OF THE COLLEGE ART ASSOCIATION Volume 27, Number 6 OCTOBER 2002 PHOTO CREDIT:JULIE GRABER/THE NEW MEXICAN Diane Karp, director of the Sante Fe Art Institute, created the Emergency Residency Relief Program NATIONAL STUDY OF ONE RESPONSE TO ART-HISTORY CAREER PATHS SEPTEMBER 11 Was the Ph.D. Worth the Effort? n September 11, 2001, Diane Karp, publisher of the art jour- nal New Observations, was driv- 4% 1% Oing to New Mexico to assume her new 1% 2% position as director of the Santa Fe Art 20% 14% Institute when she heard the catastrophic news about two planes crashing into the Women Men World Trade Center in New York. Soon after arriving at her new post, she 75% 83% responded by initiating the Emergency Residency Relief Program at the Art Institute, which provided living space and studios to artists in New York Definitely Probably Probably not Definitely not whose lives had been deeply affected by the devastation. According to Karp, Source: “Ph.D.s in Art History—Over a Decade Later,” study, University of California, Berkeley, and CIRGE, June 2002 “There was a crying need for these artists not only to have a place to work, ore than ten years after completing their doctorates, roughly three-quarters of the but also to find some emotional refuge.” respondents to a survey of art-history Ph.D. holders said the degree was “defi- She gathered conceptual and financial nitely” worth the effort. However, fewer women (75 percent) said that the art- support for her project from her depart- Mhistory Ph.D. was “definitely” worthwhile than did men (83 percent). ment at the College of Santa Fe, where Why this difference? Do men and women have a different career path? And if so, why? How satisfied are men and women with their postdoctoral jobs? These and other CONTINUED ON PAGE 23 questions were pursued as part of a national study, “Ph.D.s in Art History—Over a Decade Later,” conducted by a research team from the University of California, Berkeley, and the University of Washington in Seattle. Researchers Maresi Nerad, Renate Sadrozinski, and IN THIS ISSUE Joseph Cerny surveyed nearly all art historians who received their Ph.D.s between 1985 and 1991 from art-history doctoral programs in the . Participants filled out a From the Executive Director questionnaire either on the Internet or on paper. 2 The response rate was high: 68 percent (511 respondents) from nearly all of the doc- 2002 CAA Fellows Named toral programs. About 90 percent of the respondents were white and more than two-thirds 3 were women, reflecting the low participation of nonwhites and the high participation of Conference Registration women in the field. The average age at which they earned the Ph.D. was thirty-eight. 6 Changes “Ph.D.s in Art History—Over a Decade Later” is funded by the J. Paul Getty Trust Grant Program and endorsed by the American Council of Learned Societies, the College Thanks to Members Art Association, the American Association of Museums, and the Society of Architectural 7 Historians. The ten-member advisory board includes CAA Executive Director Susan Ball Join A CAA Committee and former CAA Board members E. Bruce Robertson and Lowery Stokes Sims. 8 Books Published by CAA CONTINUED ON PAGE 23 16 Members

INSIDE: AFFILIATED SOCIETIES DIRECTORY. See Insert 17 People in the News FROM THE EXECUTIVE DIRECTOR THE ART BULLETIN NAMES NEW BOOK- THE ART BULLETIN AND ART JOURNAL: PUBLIC FACES OF CAA REVIEWS EDITOR wo of CAA’s decades. The percentage of articles deal- ariët Westermann, director of public faces, ing with non-Western art has also risen, the Institute of Fine Arts, New the covers of and a series of popular, challenging state- York University, has been TThe Art Bulletin and of-the-field essays has been reinstated. An Mappointed to a three-year term as book- Art Journal, are as art historian myself, I read The Art reviews editor of The Art Bulletin. She excitingly different Bulletin not only to gain new insights into takes over from Christopher Wood of

PHOTO CREDIT: ANDREI RALKO as ever this fall, my own and other areas of specialization, Yale University, whose term ended in July. Susan Ball, CAA showing, respec- but also to follow the careers of col- Until recently, Westermann, a scholar of Executive Director tively, a witty draw- leagues and their students. early modern Netherlandish art, was asso- ing by Bartolomeo Art Journal has gone through several ciate director of research and academic Passerotti (1529–92) and the comic-strip transformations in its sixty-one-year his- programs at the Sterling and Francine art of Ben Katchor (b. 1951). tory. Its Editorial Board, writing in the Clark Art Institute in Williamstown, MA. As most members know, The Art summer 1998 issue, noted that among Art Westermann writes, “As new forms of Bulletin publishes articles in all periods Journal’s goals were “to provide a serious electronic publishing proliferate, most of and subfields of art history, while Art forum for scholarship and visual explo- them with a commitment to brevity, the Journal focuses on art of the twentieth ration in the visual arts; to be a unique genre of the scholarly book, with its sus- and twenty-first centuries. Both quarterly voice in the field as a peer-reviewed, pro- tained argumentation and detailed histori- journals are dedicated to serving the fessionally mediated forum for the arts; to cal texture, may par- fields of art and art history through a col- operate in the spaces among commercial adoxically become laboration of CAA’s publications depart- publishing, academic presses, and artist more vital to the dis- ment with editors and Editorial Boards presses; to be pedagogically useful by cipline of art history. made up of committed volunteers. making links between theoretical issues Although academic The majority of CAA’s individual and their use in teaching at the college book reviewing has members choose to receive one of the two and university levels; to explore relation- come under pressure

journals as a benefit of membership. ships among art making, art history, theo- Mariët Westermann for a range of poten- About 2,000 members pay an additional ry, and criticism; to give voice and publi- tial abuses, I remain fee to receive both magazines. This sug- cation opportunity to artists, art histori- committed to rigor- gests, unsurprisingly, that a number of art ans, and other writers in the arts; to be ous peer analysis of significant books and historians (not just those specializing in responsive to issues of the moment in the catalogues as a vehicle for furthering criti- contemporary art) have an interest in the arts, both nationally and internationally; cal discourse. In recent years The Art art of today and a number of artists and to focus on topics related to twentieth- Bulletin’s book-review section has been a others have an interest in scholarly writ- and twenty-first-century concerns; [and] model of such incisive and pluralistic ing about the art of other times and to prompt dialogue and debate.” engagement, for it has produced construc- places. Janet Kaplan, who oversaw this tive critiques across the boundaries of art Published since 1913, The Art major shift from the magazine’s old for- history’s subspecialties and through the Bulletin is almost as old as CAA itself. It mat of historically based, thematically discipline’s porous borders with disci- remains the publication of record for art- organized issues (each compiled by a plines such as aesthetics, visual culture, historical research in English. Under the guest editor) to a program concentrating and anthropology. I look forward to work- present Editor-in-Chief, H. Perry on the exploration of current ideas, criti- ing with the editors of The Art Bulletin, Chapman, who began her term in 2000, cal theory, and recent art, stepped down Art Journal, and CAA.Reviews to maintain the journal has displayed a striking ener- in July as Executive Editor of Art the current strengths of The Art Bulletin’s gy. The number of four-color reproduc- Journal. Having completed her second book-reviews feature and to conceptualize tions has greatly increased, thanks in part three-year term, she has turned her abun- an optimal form and role for it within the to the generous support of the Samuel H. dant energies to new curatorial and constellation of CAA publications.” Kress Foundation, which has been assist- Wood, a scholar of Renaissance art, ing The Art Bulletin in many ways for CONTINUED ON PAGE 23 will be spending the 2002–3 academic year at the American Academy in Rome as Volume 27, Number 5 Material for inclusion should be sent via email to a National Endowment for the Humanities Christopher Howard at [email protected]. Black- CAA News is published six times per year by the College and-white photographs may be submitted to the above Postdoctoral Rome Prize Fellow. CAA and Art Association, 275 Seventh Avenue, New York, NY street address for consideration. They cannot be returned. the Art Bulletin Editorial Board take this 10001; www.collegeart.org All advertising and submission guidelines can be found at www.collegeart.org/caa/news/index.html opportunity to congratulate him, to thank Editor-in-Chief Susan Ball Managing Editor Christopher Howard Printed on recycled paper him warmly for his excellent, scrupulous, Graphic Designer Tom Brydelsky © 2002 College Art Association energetic work as book-reviews editor, and to welcome his successor. 2 CAA NEWS SEPTEMBER 2002 help them make the most of the confer- Jason Weems is the Terra Foundation CAA NAMES ence’s resources and provide advice as Pre-1940 American Art Fellowship recipi- they pursue their professional goals during ent. He received his B.A. from the 2002 PROFESSIONAL their fellowship term. At the conference University of Iowa in Iowa City, graduat- DEVELOPMENT the recipients will give a presentation ing magna cum laude in art history and about their work during a session entitled history. He is currently completing his FELLOWS “Work-in-Progress: 2002 Professional Ph.D. in the Department of Art and Art Development Fellows.” History at Stanford University in Stanford, Here are the 2002 fellows: CA. AA proudly announces the fellow- Erika Vogt is a National Endowment Weems’s dissertation, entitled ship recipients for 2002. CAA for the Arts grant recipient. Born and “Barnstorming the Prairies: Flight, Aerial administered three grants this year raised in New Jersey, she received her Views, and the Idea of the Midwest, Cin its Professional Development B.F.A. in film from 1920–1940,” explores the role played by Fellowship Program (PDFP), funded New York University practices of aerial view-making in the cre- through the generous support of the and for six years has ation of an aesthetic and cognitive image National Endowment for the Arts, the worked at Women for the midwestern landscape. Beginning National Endowment for the Humanities, Make Movies, a non- with nineteenth-century settlement images and the Terra Foundation for the Arts. profit media-arts such as survey maps and atlas illustrations, CAA initiated the PDFP in 1993 to organization that his work underscores the synoptic “aeriali- help student artists and art historians facilitates the pro- ty” embedded in the rational geometric bridge the gap between their graduate Erika Vogt duction, promotion, order of the region’s studies and professional careers. The pro- distribution, and conceptualization gram’s main incentive is to offer support exhibition of inde- and settlement. With to outstanding students from socially and pendent films and videotapes by and about the advent of visual economically diverse backgrounds who women. She currently lives in Los perspectives created have been underrepresented in their fields. Angeles, where she attends graduate film by aviation in the By offering support to scholars and artists school at California Institute of the Arts in twentieth century, he at a critical juncture in their careers, CAA Valencia. She expects to receive her argues, a second hopes to make timely degree completion Jason Weems M.F.A. in May 2003. generation of mid- more viable and first employment opportu- Vogt makes narrative-based work westerners gained nities more accessible. In turn, by nurtur- without employing traditional means of new vantage points from which to repre- ing outstanding artists and scholars at the narrative filmmaking, such as a script, sent and reconceptualize their home beginning of their careers, CAA aims to cast, crew, or artificial lighting. Instead, spaces. By employing a wide range of strengthen and diversify the profession as she seeks out history as it exists in the visual objects, from the painting of Grant a whole. spaces of our everyday lives and con- Wood and the photography of the U.S. Here’s how the grants work: First, the structs visually and emotionally com- government and Life Magazine to the cine- PDFP recipients receive awards of $5,000 pelling narratives with highly composed matic imagery of Hollywood films and the toward the completion of their M.F.A., images commonly used as “cutaways,” as utopian designs of Greenbelt cities, he Ph.D., or terminal M.A. degrees in the well as ambient soundtracks. locates aerial vision at the center of the 2002–3 academic year. In the following In 1999, Vogt made a video, The Year modern refiguration of midwestern and, by year, as the fellows pursue postgraduate My Water Broke, about the emotional and extension, American life. employment at museums, art institutes, physical impact of her mother’s death, in During the course of his graduate colleges, or universities, CAA subsidizes addition to the inadequacy of language and career, Weems has earned several academ- their professional salary with a $10,000 filmic storytelling devices such as ic awards, including the Geballe grant to the fellows’ hiring institutions, voiceover and titles to communicate loss. Dissertation Prize Fellowship at the which must be matched two to one. Vogt recently completed a video, Stanford Humanities Center, the Henry The Terra Foundation Pre-1940 Architecture of Riot, about the former Luce/American Council of Learned American Art Fellowship recipient California State Building, which, although Societies Doctoral Dissertation Fellowship receives a grant of $5,000 toward the com- vacant, remained a strong architectural in American Art, a Smithsonian Museum pletion of his or her Ph.D. degree in the presence until it was razed in April 2002. of American Art Predoctoral Fellowship, 2002–3 academic year. During the follow- The video closely examines the duality the Daniel and Florence Guggenheim ing summer, the fellow will receive a inherent in the modernist institution: a Predoctoral Fellowship at the National Air $10,000 stipend for a three-month residen- structure built out of a desire for change and Space Museum, a Graduate Research cy at the Terra Museum of American Art but ultimately destined for failure. Opportunities Grant from the Stanford in Chicago. Stillness is juxtaposed with movement, School of the Humanities, and a full fel- All recipients receive complimentary and moments of discovery give voice and lowship from Stanford’s Department of Art CAA memberships and travel grants to presence to the building’s past and sym- and Art History. He also has served as a attend the 2003 Annual Conference, where bolic significance. The video will premiere teaching assistant at Stanford and has they will be paired with mentors who will at the Viennale in Austria this October. played semiprofessional rugby in

CAA NEWS SEPTEMBER 2002 3

Washington, DC. After completing his dis- From a highly competitive pool of sertation, Weems plans to pursue a career applicants, the visual-artist and art-histori- SEPC SUPPORTS in university teaching. an juries also chose to award honorable Risë Wilson is a National Endowment mentions to the following individuals: STUDENTS AT for the Humanities grant recipient. She Victor De La Rosa of Rhode Island ANNUAL received her B.A. in African American School of Design and Julia Friedman of Studies from in New . CONFERENCE York and is currently working on an M.A. CAA thanks the members who served at New York University (NYU) that com- on the PDFP juries. The visual-artist jury he Student and Emerging bines Africana Studies with Fine Art. included Ann Renee Gower, Virginia Professionals Committee (SEPC) Wilson perceives visual art as an under- Commonwealth University; Laura was established to represent the used tool in African American cultural Heyman, Syracuse University; John Tneeds of CAA’s student and recent gradu- autobiography and seeks to strengthen the Kissick, Ontario College of Art and ate members as they interact with the larg- interaction of black Design; and past fellowship recipient er CAA body and its academic and profes- audiences with visual Jeanine Oleson, Art in General. The art- sional framework. The committee recog- art. Her graduate historian jury comprised past fellowship nizes that students and recent graduates work explores ways recipient Judith Huacuja-Pearson, entering the professional art world face in which the art University of Dayton; Elizabeth many challenges. Therefore, SEPC focuses process and “prod- Kennedy, Terra Foundation for the Arts; on developing services that ease this tran- uct” has been and W. Jackson Rushing, University of sition by making the available resources can be brought to Houston; and Helen Shannon, New Jersey Risë Wilson more accessible and providing support for new spaces and con- State Museum. students who are still in graduate school. texts specific to CAA is grateful for the long-term sup- One of the ways to ease the transition African American populations. Such work port of its funders, without whom these from student to professional is to attend serves as preparation to create a laundro- programs would be impossible. CAA also the CAA Annual Conference. A bit like mat-kunsthalle in a historically black thanks the numerous individual supporters walking the gauntlet, the conference—with neighborhood. who have contributed to the funding of its maze of rooms, myriad lecture possibil- Before entering the field of nonprofit these fellowships. ities, and the ever-daunting job search— arts, Wilson spent several years working in You too can support the fellowships can be stressful, to say the least. Yet it is sales and organizational development. through the purchase of an original print an opportunity to participate in cross-disci- After a stint of corporate-world jobs that from CAA’s editions program, which plinary discourse, gather with colleagues proved unfulfilling, she sought to marry includes works by Sam Gilliam, Miriam and students from across the country, her interest in art with her bachelor’s Schapiro, Kiki Smith, and Buzz Spector. and—yes—network! The conference is degree. This transition out of the corporate All proceeds go toward PDFP and truly equally useful both for those of us well arena was aided by freelance positions and make a difference. into careers and for those not yet gainfully short-term projects in Philadelphia’s art Be on the lookout for our ongoing employed. During the past four years, the community. More recently, Wilson has column in CAA News, “Follow-a-Fellow,” committee has strived to ease the bewil- been introduced to the challenges of art which tracks the first professional year of derment of job hunting and to make education and audience development fellowship recipients. Providing an inside attending the conference more affordable through a twelve-month internship at the perspective on the field, “Follow-a- through a series of projects such as the in New York. She Fellow” identifies the shifting needs of hosting program and the “Students’ applied these newfound lessons in method- recent graduates and not only informs Survival Guide.” ology and teaching strategies, comple- readers about the program, but also guides The guide is a great introduction to mented by her past experience in sales, to the direction it will take in the future. the host city; posted on CAA’s website, it her role as the outreach coordinator for To request information on our print provides information and suggestions to The Short Century: Liberation and series or to receive the guidelines and minimize expenses and includes website Independence Movements in Africa, application for the 2003 PDFP, please con- addresses where possible. The guide’s 1945–1994, an exhibition of contemporary tact Stephanie Davies, Programs links to museums, galleries, and other sites African art at P.S.1 Contemporary Art Coordinator, at 212/691-1051, ext. 242; complete a well-rounded view of each Center in Long Island City, NY, which was [email protected]. You may also conference city. First completed by SEPC on view in spring 2002. send an S.A.S.E. to CAA, Professional for the 2000 Annual Conference in New Wilson is a member of CAA, the Development Fellowship Program, 275 York, the guide was also produced for the American Association of Museums, the Seventh Ave., 18th Floor, New York, NY gatherings that followed in Chicago and Association of African American 10001; www.collegeart.org. Deadline: Philadelphia. Because the guides have Museums, and the New York Coalition for January 31, 2003. been well received, the current listing will the Arts. She has also been named the —Stephanie Davies, CAA Programs be updated and expanded once more for MacCracken Fellow in Africana Studies at Coordinator next year’s conference in New York. NYU. Information on the “Student Survival

4 CAA NEWS SEPTEMBER 2002 Guide” will be listed on the CAA website address this, CAA took a fiscally conser- in late fall. BOARD APPROVES vative view in setting both revenue and In keeping with the committee’s goal expenditure levels. Staff uncovered oppor- to make the conference more accessible, a BALANCED BUDGET tunities to apply new technology and other few years ago SEPC started a hosting proj- improvements to our operations to keep ect aimed at offering alternatives to hotels t its spring meeting, the CAA expenditures in check. CAA will work to and hostels. This project, in which student Board of Directors reviewed and increase revenues through fundraising, members are paired with students who live accepted a $4.1 million balanced marketing, and by recruiting more individ- in the host city, is designed not only to Abudget for fiscal year 2003 (July 1, 2002– ual and institutional members. provide affordable stays, but also as a way June 30, 2003). The guidelines used in The graphs below provide information for fellow CAA members to meet and evaluating the budget were based on the about our sources of revenue and their build lasting connections. There was great CAA Strategic Plan for the fiscal years allocation to expenditures. On the income interest in the host program at the 2000–5. The new budget moves CAA sub- side, the popular New York site for the Philadelphia conference, and many gra- stantially closer to achieving these goals. 2003 Annual Conference will spur growth cious students opened up their homes. Building capacity, expanding programs, through registrations, memberships, SEPC would like to extend its deep appre- and increasing services to the membership exhibit-booth and interviewer-table sales. ciation to those who participated. The pro- and to the field are all addressed. At this Grants, corporate sponsorships, and other gram was so popular that we had twice as point in the Strategic Plan the budget has unearned income are targeted to increase many students requesting accommodations increased by $1 million, from $3.1 million several times over last year’s level. On the as we did volunteer hosts. Anticipating in 1999 to $4.1 million in 2003. other hand, expenditures are generally that demand will continue to grow, and CAA’s current budget reflects the slightly below the levels of previous years. that requests for the New York conference assumption that there will be only a mod- Income-generating areas, however, have will be especially high, we have rethought est economic recovery and gradual required more financial resources in order the system. This year we are extending an improvement in business activity in 2002. to reach our revenue targets, and adminis- invitation to all CAA members in the New Clearly, the challenge in developing this trative costs have been forced up by York area to host a student member during budget lies in reconciling the slower increases in health insurance, postage, the conference. A willingness to accommo- growth of CAA’s revenues resulting from printing, and computer support. date more than one student or a last- the economic downturn that began last CAA is looking forward to a challeng- minute request for housing is especially year with the greater growth of expenses ing but very rewarding fiscal year. appreciated. Inquiries regarding the host as mandated in the Strategic Plan. To —Denise Mitchell, CAA Deputy Director program should be sent to Becca Albee at [email protected]. This year we hope to accommodate everyone, but SEPC is solely a liaison on this project and cannot Sources of Income guarantee that all applicants will be in $thousandsWhere Funds Come From matched with a host. By Source in $s SEPC hopes that all CAA student Placement Publications Grants/Other $255 K Publications 11% members will attend the upcoming New 6% 8% Grants/Other Conference $335 K York conference, as the participation of 22% Placement $452 K students and recent graduates helps to keep Investments it vital. We intend that the survival guide $513 K and hosting program will make such par- Conference $905 K ticipation more viable. Membership Dues Investments Membership $1,650 K 13% Any CAA student or emerging profes- 40% 250 500 750 1000 1250 1500 1750 2000 sional who wishes to join our listserv can do so by sending an email message to STUDENTMEM-L- SUBSCRIBEREQUEST@listserv. Uses of Income collegeart.org. Do not type anything in the subject line or message body. If you in $thousands have questions or would like to suggest How They Are Spent other projects to the committee, please Advocacy/ Governance/ Governance Development/ Advocacy $87 K Publications send your ideas to Dara Sicherman, SEPC 2% Marketing Chair, at [email protected]. 21% 8% Placement $160 K Conference/ Development/ $324 K —Holen Kahn, SEPC member, with contri- Programs Marketing 17% Conference/ $690 K butions from Dara Sicherman, Becca Programs Albee, and Stephanie Thomas Publications $853 K Placement Administration/ 4% $2,002 K Member Services/Administration Membership 48% 250 500 750 1000 1250 1500 1750 2000

CAA NEWS SEPTEMBER 2002 5 bers, and $305 for nonmembers. For the Rhode Island School of Design; Tom first time, all registrants for the 2003 Ouimet, health and safety officer at Yale Annual Conference in New York will University; Don Messec, director of the receive a free copy of the Abstracts. Center for Non-Toxic Printmaking at the (Other participants may purchase a copy College of Santa Fe; Catherine King, liai- onsite for $30.) son for the College and University “Since the Annual Conference is a Initiative in Region Three, Environmental benefit of membership, registration fees Protection Agency (EPA); and Duane for nonmembers have increased the most,” Slick, session chair and associate professor

PHOTO CREDIT: JOHN KOPP says Emmanuel Lemakis, CAA Director of of painting at the Rhode Island School of Registration for the 2002 Annual Conference in Philadelphia Programs. “Naturally, we want to keep Design. took place in the Pennsylvania Convention Center’s spacious Grand Hall, originally the Reading Terminal train shed CAA membership attractive financially as In the days prior to this session, studio well as professionally.” artists and administrators were informally Individual membership dues for 2003 asked at the conference to rate their have not increased, except for the fee to knowledge and awareness of issues relat- NEW CONFERENCE receive a second journal (The Art Bulletin ing to personal and environmental health & INSTITUTIONAL or Art Journal), which rises from $25 to and safety in the arts. The results varied $30. widely on the topic of personal health and MEMBERSHIP FEE Institutional membership has been safety. This included issues of materials split into two levels: Basic, at $275 (the handling and knowledge of the long-term STRUCTURE 2002 rate), and Premium, at $325. Basic effects of exposure to materials. The mem- institutional members will receive all but bers polled rated their awareness of envi- ANNOUNCED one of the benefits provided in 2002: Their ronmental health and safety issues at staff will no longer be able to register for almost zero. arly Bird registration for CAA’s the Annual Conference in advance at the Additionally, members were asked to 91st Annual Conference in New individual-member rates. Premium institu- rate the quality of health-and-safety train- York will close two weeks earlier tional members will have the additional ing in their own undergraduate art-school Eand will be only $5 more than Early Bird benefit of registering an unlimited number experience. In all cases, the age of the registration for the 90th Annual Confer- of staff (of the department in which the member played a major factor in the ence in Philadelphia. membership resides) at the individual- response. Members who graduated after “Even though our expenses for pro- member rates, even onsite. 1996 consistently rated their training better ducing the Annual Conference are signifi- The conference dates are February than those who graduated before that year. cantly higher in , we have 19–22, 2003; and, as in past years, the When asked what kinds of problems made a special effort to keep the Early headquarters hotel will be the Hilton New exist in the schools where they teach, Bird registration fees for members as close York. The Preliminary Program for the instructors listed a lack of general aware- to last year’s as possible,” notes Susan 2003 Annual Conference will be mailed in ness, inconsistent administrative and insti- Ball, CAA Executive Director. “Typically, October. Information may also be found at tutional support, and the overall need for about half our attendees take advantage of www.collegeart.org/2003conference.html. improved ventilation. the discounted Early Bird rates.” Based on these responses, the Instead of closing the Friday before practicum’s goals were to gauge the level New Year’s Day, when few colleges and of awareness of attendees, disseminate universities are in session, Early Bird reg- information, and raise discussion on a istration for the 2003 conference will close SAC ISSUES topic that affects us all. The panelists gave on Friday, December 13, 2002. The 2003 FOLLOW-UP guidelines for safety protocols, ventilation Early Bird rates are $130 for members, systems, management practices for art- $80 for student and retired members, and REPORT ON STUDIO department waste management, and cur- $205 for nonmembers. riculum recommendations. Early Bird registration is the most HEALTH AND Messec pointed out that too many economical way to register. Second is respondents are relying on experts and Advance registration. The deadline for this SAFETY ISSUES technology rather than addressing the mis- is Friday, January 17, 2003. Advance reg- use of harmful materials in the classroom. istration fees are $190 for members, $115 t the 2002 Annual Conference in The use of technology could be rendered for student and retired members, and $265 Philadelphia, the Services to almost unnecessary just by changing for nonmembers. These rates are $15 more Artists Committee (SAC) spon- clean-up practices and pursuing alternative for members and $40 more for nonmem- soredA a practicum session on personal and techniques. bers than were the Advance rates for the environmental health and safety for artists The EPA outlined the College and Philadelphia conference. and institutions. The panel consisted of University Initiative program that has Onsite registration is $230 for mem- five individuals: Alan Cantara, environ- swept through schools in New England bers, $140 for student and retired mem- mental, health, and safety manager at the and mid-Atlantic states. This program has

6 CAA NEWS SEPTEMBER 2002 taken on more importance as many art Art Journal, and CAA’s annual report. Davidson, Joe Deal, Elizabeth Mc G departments at major universities and art Membership fees cover less than half of Enders, Beatrice Farwell, Norman B. schools have fallen under scrutiny. In May CAA’s operating costs, so voluntary con- Gulamerian, Katherine W. Haskins, Anne 2002, a major New York City arts college tributions from our members significantly Hollander, Dennis Y. Ichiyama, Mark A. was audited by the EPA, and substantial help to make possible the wide range of Kline, Suzanne and Emmanuel Lemakis, fines, in excess of $300,000, are pending programs and services we offer. Elizabeth A. Liebman, Elisabeth B. based on these alleged violations (please MacDougall, Charlene C. Marsh, Andrea visit www.epa.gov/region2 for more Patron Members S. Norris, Ruth R. Philbrick, Anne information). Basil Alkazzi, Judith K. Brodsky, Kevin E. d’Harnoncourt and Joseph Rishel, Peter D. The civil complaint, the basis for the Consey, Jeffrey P. Cunard, Hester Roos, Anne N. Rorimer, David Rosand, assessed penalty, charges the school with Diamond, Margaret J. Herke, and Jean M. Stephen K. Scher, Mary E. Stringer, seven violations of the federal Resource Massengale. Geraldine K. Velasquez, Mark Weil, Ruth Conservation and Recovery Act, which Weisberg, Renate and Ron Wiedenhoeft, ensures that hazardous waste is managed Sponsoring Members and Rachel Zimmerman. from “cradle to grave” in an environmen- George S. Abrams, Jonathan J. G. tally sound manner. The complaint also Alexander, Catherine and Frederick Asher, Sustaining Members alleges that the art college: failed to deter- Patricia Berger, Faya Causey, Sol Alfred Mary L. Abbott, Morton C. Abromson, mine whether the solid waste it generated constituted hazardous waste; stored haz- ardous waste without having obtained a permit or interim status; treated and dis- posed of hazardous waste without having the necessary permit; failed to keep con- tainers holding hazardous waste closed; did not follow procedures to minimize the possibility of fire, explosion, or any unplanned release of hazardous waste into the air or surface water that could threaten human health or the environment; had not made appropriate arrangements with des- ignated agencies in case of a dangerous situation, such as a medical emergency or fire, involving the stored hazardous waste; and failed to regularly inspect its waste storage areas. SAC urges both individual and institu- tional members to consult the EPA website for further information on the College and University Initiative: www.epa.gov/ ebtpages/complianceenforcement.html. A follow-up practicum session on these topics will take place at the 2003 Annual Conference in New York. —Duane Slick, CAA Services to Artists Committee, [email protected]

THANKS TO OUR MEMBERS

AA expresses its most sincere grat- itude to our 2002 Patron, Sponsoring, and Sustaining mem- Cbers—individuals who contribute to CAA above and beyond their regular dues. These members receive The Art Bulletin,

CAA NEWS SEPTEMBER 2002 7 Laurie Schneider Adams, Maryan W. McHam, Susan R. McKillop, Virginia M. Ainsworth, Maxwell L. Anderson, Joseph Mecklenburg, Guy P. R. Metraux, Jerry D. JOIN A CAA P. Ansell, Eric C. Apfelstadt, Ronald R. Meyer, Creighton Michael, Ellen G. Miles, Atkins, Cynthia M. Augsbury, Ellen T. Henry A. Millon, Yong Soon Min, Barbara COMMITTEE Baird, Susan Ball, Robert A. Baron, Terry J. Mitnick, James Morganstern, Dewey F. L. Barrett, Stephanie J. Barron, Stephen Mosby, Keith Moxey, Don R. Mullins, CAA PROFESSIONAL Beal, Carol Becker, Melissa F. Benca, Weston J. Naef, Katherine Harding INTERESTS, PRACTICES, Janetta Rebold Benton, Marie Krane Nahum, Lawrence Nees, John Hallmark AND STANDARDS (PIPS) Bergman, Ann C. Bermingham, Jo Anne Neff, Jenifer Neils, Roy R. Neuberger, COMMITTEES Bernstein, David V. Bjelajac, Annette Amy D. Newman, Nancy M. Newman, CAA urges members to join one of our Blaugrund, Violet R. Blunt, John E. Linda Nochlin, Edward J. Nygren, John S. diverse, active PIPS committees. Serving Bosson, Host Bredekamp, Pamela Merrill O’Brian, Osmund Overby, George Pappas, on a PIPS committee is a great way to get Brekka, Richard Brettell, Richard Brilliant, Melvin Pekarsky, Ralph F. Peters, Jr., involved in the issues and debates that Estrellita Brodsky, Elizabeth A. R. Brown, Sarah W. Peters, Jeanette F. Peterson, concern our members, as well as to recom- Jack Perry Brown, Jonathan M. Brown, Katherine A. Phillips, Crystal A. Polis, mend programs and initiatives that further Marilyn R. Brown, Celeste Brusati, Sarah Barbara G. Price, Sally M. Promey, Archie CAA’s goals. Joining a CAA committee is Burns, James Cahill, William A. Camfield, Rand, Charles S. Rhyne, Danielle Rice, also an excellent way to network with Susan L. Caroselli, Yvonne P. Carter, Peter Robert Rindler, E. Bruce Robertson, other members. Chapin, H. Perry Chapman, Petra T. D. Michael R. Rodriguez, Peter S. Rohowsky, Committee members serve a three- Chu, Hollis Clayson, Judith Colton, James H. Rolling, Jr., Jane Mayo Roos, year fixed term (2003–6) with at least one Michele C. Cone, Nadia Constantin, Margaret Root, Charles M. Rosenberg, new member rotating onto a committee Michael W. Cothren, Holland Cotter, Janet Lisa A. Rotmil, Wendy W. Roworth, James each year. Candidates must possess expert- Cox-Rearick, Joyce A. Cutler-Shaw, Karen H. Rubin, Polly N. Rubin, Jeffrey Ruda, ise appropriate to the committee’s work C. C. Dalton, John T. Daxland, Kosme M. W. Jackson Rushing III, Jacqueline M. and must be CAA members in good stand- De Baranano, Philippe de Montebello, Sandro-Greenwell, James Saslow, Norie ing. Members of all committees volunteer Elizabeth De Rosa, Barbara K. Debs, Sato, Allison H. Sauls, Amanda Saxton, their services to CAA without compensa- Katharine B. Desai, Dedree A. Drees, Carl N. Schmalz, Jr., John M. tion. CAA Vice President for Committees Stephen R. Edidin, Lee M. Edwards, Schnorrenberg, Frederick C. Schroeder, Andrea Norris and President Michael Susan H. Edwards, Sonia H. Evers, Tecton Susan W. Schwartz, Paul Schweizer, Aurbach will review all candidates and Fabricator, Everett Fahy, Ruth E. Fine, Nancy J. Scott, Linda Seidel, Rivka T. make appointments prior to the 2003 Evan R. Firestone, Ilene H. Forsyth, Sevy, Ellen Sharp, Allyson E. Sheckler, Annual Conference in New York this Joseph C. Forte, Brandon B. Fortune, Lola K Sherman, Alan Shestack, Richard February. All new members will be intro- Jacqueline A. Frank, Mary E. Frank, A. Shiff, Larry A. Silver, Robert B. Simon, duced to their committees at their respec- Clarke H. Garnsey, Dana M. Garvey, Robert T. Singer, Donald E. Sloan, Martin tive business meetings at the conference. A.Yale Gerol, Mary W. Gibbons, Andrea Smith, Sherri Smith, Terence E. Smith, Giumarra, Mary Gladue, Elizabeth Webster Smith, Theresa Smyth, Thomas Glassman, Rona Goffen, Edward W. Sokolowski, Katherine Solender, Susan Goodstein, George Gorse, Cissy G. Solomon, Priscilla P. Soucek, John T. Grossman, Elizabeth F. Harris, Lyall F. Spike, Barbara M. Stafford, Roger B. Harris, Reiner Haussherr, Andree M. Stein, Joan K. Stemmler, Julien M. Stock, Hayum, Jean I. Heilbrunn, Kathryn M. Mary K. Stofflet, Joyce H. Stoner, Heleniak, Joel Herschman, Richard A. Elizabeth Streicher, Charles Talbot, Hertz, Barbara H. Hess, Patricia S. Hills, Roberta K. Tarbell, D. E. Tebow, Mark E. Sharon L. Hirsh, Carol J. Hobson, Renata Thistlethwaite, Gail J. Tierney, Esther Holod, William E. Hood, Constance C. Tornai, Richard E. Toscan, Aimee B. Hungerford, Nancy R. Huntsinger, Isabelle Troyen, Amanda C. Tudor, Nancy D. H. Hyman, Rosalee O. Isaly, Christopher A. Underhill, Biron F. Valier, Kathryn A. Van Johnson, D. Signe M. Jones, Pamela Dyke, Jane A. Van Nimmen, Barbara A. Joseph, Steven Kapelke, Pepe Karmel, Ventresco, Timothy Verdon, Sonoko S. Dieter Kimpel, Dale Kinney, Alice Wakita, Leonard E. Walcott, Jr., John Kramer, Travis Barton Kranz, Susan D. Walsh, Abby B. Ward, Ian B. Wardropper, Kuretsky, Dona J. Lantz, Irving Lavin, Jack Wasserman, Judith Wechsler, Phoebe Babatunde Lawal, Dell Danielle Lemmon, D. Weil, Gabriel P. Weisberg, Richard V. Cathie Lemon, Madeline Lennon, William West, David G. Wilkins, Jean C. Wilson, W. Lew, Joseph S. Lewis, Lucia S. Lilien, Irene J. Winter, Reva J. Wolf, Jim Wright, Rose-Carol Washton Long, Carla Lord, Patricia M. Wynne, Michael R. Zakian, Glenn D. Lowry, Hans A. Luthy, Patricia Joyce Zemans, Henri Zerner, and Judith K. Mainardi, Katherine E. Manthorne, James Zilczer. H. Marrow, Joan M. Marter, Sarah Blake

8 CAA NEWS SEPTEMBER 2002 Nominations for PIPS committee distinguished professionals, many of Award for Lifetime Achievement: at least memberships should include a brief state- whom have been honored by CAA in the two members; Artist Award for ment (no more than 150 words), outlining past. Distinguished Body of Work: at least two the individual’s qualifications and experi- Committee members serve a three- members; CAA/Heritage Preservation ence, and an abbreviated c.v. (no more year fixed term (2003–6) with at least one Award for Distinction in Scholarship and than two pages). Self-nominated persons new member rotating onto a committee Conservation: at least two members; and past award recipients are encouraged each year. Candidates must possess expert- Charles Rufus Morey Book Award: at least to apply. Please send all materials to ise appropriate to the committee’s work one member; Frank Jewett Mather Award: Andrea Norris, Vice President for and be members in good standing. As a at least one member; Distinguished Committees, c/o Deirdre Barrett, Assistant collective body, the committee is expected Lifetime Achievement Award for Writing to the Executive Director, CAA, 275 to provide a national perspective for the on Art: at least one member; Arthur Seventh Ave., 18th Floor, New York, NY Kingsley Porter Prize: at least one mem- 10001. Materials may also be submitted to ber; Distinguished Teaching of Art Award: [email protected] (all email sub- at least one member; Distinguished missions must be sent as Microsoft Word Teaching of Art History: at least two attachments). Deadline: November 1, members. 2002. For information about the mandate and activities of each PIPS committee, please visit our website and follow the Committees link. You may also contact ANNUAL

Marta Teegen, Manager of Governance, PHOTO CREDIT: JOHN KOPP CONFERENCE Advocacy, and Special Projects, at Former CAA President Ellen T. Baird, left, congratulates [email protected] for further infor- Miriam Schapiro, winner of CAA’s 2002 Distinguished Artist Award for Lifetime Achievement. Previous winners include UPDATE mation. , , Willem de Kooning, and The following vacancies will be filled ENTRIES REQUESTED FOR for terms beginning in February 2003: MEMBERS’ EXHIBITION Cultural Diversity: at least one member; award. Members of all committees volun- Education: at least three members; teer their services to CAA without com- Curators Anne Ellegood and Rachel Intellectual Property: at least one member; pensation. CAA Vice President for Gugelberger invite CAA members in good International: at least one member; Committees Andrea Norris and President standing to enter submissions to Museum: at least one member; Michael Aurbach will review all candi- Crossings: Artistic and Curatorial Professional Practices: at least three mem- dates and make appointments prior to the Practice, a group of citywide exhibitions bers; Services to Artists: at least one mem- 2003 Annual Conference in New York. examining art in relation to curatorial prac- ber; Student and Emerging Professionals: Nominations for awards committee tice to be held February 19–22, 2003, in at least one member; and Women in the membership should include a brief state- association with CAA’s 2003 Annual Arts: at least one member. ment (no more than 150 words) outlining Conference in New York. the individual’s qualifications and experi- Exhibitions within the Crossings proj- CAA AWARDS COMMITTEES ence and an abbreviated c.v. (no more than ect will take place in a variety of noncom- two pages). Self-nominated persons and mercial galleries, alternative art spaces, CAA urges its membership to submit nom- past award recipients are encouraged to retail storefronts, and outdoor public inations and self-nominations for openings apply. Please send all materials to Andrea spaces. We welcome submissions of gener- on CAA awards committees. At all times, Norris, Vice President for Committees, c/o al information on artists’ work to be con- CAA encourages the highest standards of Deirdre Barrett, Assistant to the Executive sidered for thematic group exhibitions and scholarship, practice, connoisseurship, and Director, CAA, 275 Seventh Ave., 18th proposals for solo projects intended for a teaching in the arts. To this end we pub- Floor, New York, NY 10001. Materials specific type of space, including a gallery licly recognize achievements by individual may also be submitted to dbarrett@ space, a retail twentieth-century furniture artists, art historians, curators, and critics collegeart.org (all email submissions must and design storefront and/or window, an by regularly conferring a number of annual be sent as Microsoft Word attachments). open-air market, or an outdoor location. awards, several of which are named for Deadline: November 1, 2002. Exhibition themes, single-artist proj- distinguished members of the profession. For information about the mandate ects, and performances will be organized These awards are made to living individu- and activities of each awards committee, based on the conceptual and formal sensi- als whose achievements transcend the please visit CAA’s website and follow the bilities of the works submitted and will be immediate region where they work and Awards link. coordinated in relation to the types of serve the profession and the larger commu- The following committee vacancies venues and spaces participating. nity. The awards are presented each year at will be filled for terms beginning in The call for entries is open to all 2003 the Annual Conference on the recommen- February 2003: Alfred H. Barr Award: at CAA individual members working in any dation of the individual awards commit- least two members; Art Journal Award: at medium. Membership forms for 2003 will tees. Members of awards committees are least two members; Distinguished Artist be available after September 1, 2002;

CAA NEWS SEPTEMBER 2002 9 Memoriam” on page 17). Chaired by 2003 ARTISTS’ PORTFOLIO REVIEW REGISTRATION Ingrid Rowland, the session will be both a celebration and a remembrance of the THURSDAY, FEBRUARY 20 & FRIDAY, FEBRUARY 21 great scholar and inspiring teacher who died this past spring as the session was being formed. NAME Art’s Place will feature three days of lively activities, including the Annual ADDRESS Artists’ Interviews, advocacy sessions, artists’ talks, workshops on conservation CITY / STATE / ZIP and studio safety, as well as concurrent art demonstrations and other events of special EMAIL interest to artist members. CAA’s placement and mentoring PHONE MEMBER ID# activities will include the popular Career Development Workshop, the Artists’

DISCIPLINE / MEDIUM Portfolio Review, and the second install- ment of the lunchtime Professional Development Roundtables, which are I WILL BRING: 35-mm SLIDES VHS VIDEO geared to issues that concern beginning Complete and return to Artists’ Portfolio Review, CAA, 275 7th Ave., New York, NY 10001 and midcareer professionals. Deadline: November 8, 2002 For great savings, use the insert in the Preliminary Program to register for the please call CAA directly for membership the city has undergone the shock and trau- conference in advance. We look forward to information at 212/691-1051, ext. 12. ma of September 11, but, one year later, it seeing you in New York! Please send up to ten labeled slides has bounced back with a stirring display of with a checklist, a five-minute cued video resilience, its cultural life thriving once ARTISTS’ PORTFOLIO REVIEW of the work to be considered, or a CD or again. OFFERED CD-ROM containing ten images and a In October, CAA members will The Artists’ Portfolio Review at the 2003 checklist. A description of the work and receive the Preliminary Program for 2003; Annual Conference in New York will offer any technical requirements should be it will also be posted to www.collegeart. artist members the opportunity to have included with your submission, along with org. The booklet will list all of the regular slides or VHS-format videos of their work your name, address, phone number, and program sessions, as well as information reviewed by curators and critics in private email address. Please also include a c.v. on the Trade and Book Fair, business twenty-minute consultations. and artist’s statement. Artists will be asked meetings, special sessions, receptions, spe- Appointments will be scheduled for to arrange for delivery or shipping of the cial events, and postconference tours. With Thursday, February 20, and Friday, selected work to New York. Insurance and more than 120 panels in historical studies, February 21. Interested artists should com- return shipping charges will be covered. studio art, and contemporary issues, many plete the Artist’s Portfolio Review coupon Please send materials and an S.A.S.E. to of them sponsored by CAA affiliated soci- at the upper left; the coupon may be CAA Members Exhibition NYC 2003, c/o eties, this year’s program promises to be a copied and distributed. Be sure to indicate Ellegood & Gugelberger, 111 Third Ave., stimulating one. As in the recent past, a whether the work to be reviewed will be 10J, New York, NY 10003. Notification of number of sessions will be held at area on slides or video. All applicants must be acceptance will be sent on or about museums: the Metropolitan Museum of CAA members in good standing for 2003. December 1, 2002. Deadline: October 18, Art, the Frick Collection, the American Participants will be chosen by a lot- 2002. Folk Art Museum, and the Bard Graduate tery of the applications received by the Center for the Study of Decorative Arts. deadline; all applicants will be notified by As usual, the program will be comple- LOOK FOR 2003 PRELIMINARY mail in January. Please send the completed mented by an array of receptions, open- PROGRAM coupon to Artists’ Portfolio Review, CAA, ings, and special events. The conference 275 Seventh Ave., 18th Floor, New York, The 91st Annual Conference will be held will be launched on Wednesday evening, NY 10001. Deadline: November 8, 2002. February 19–22, 2003, at the Hilton New February 20, with Convocation and the York. As many CAA members know, the presentation of CAA’s 2003 Awards for conference is held in New York every Distinction; the ceremony will be followed CAREER DEVELOPMENT three to four years, alternating with sites in by a gala at the Whitney Museum of WORKSHOPS OFFERED other parts of the country, most recently American Art. In addition, the third annual Artists, art historians, and museum profes- Chicago and Philadelphia and, looking Kress Foundation–funded Distinguished sionals at all stages of their careers are ahead, Seattle in 2004 and Atlanta in 2005. Scholar’s Session will be devoted to the encouraged to apply for a one-on-one con- Since the New York conference in 2000, late Phyllis Pray Bober (see “In sultation with veterans in their fields at the

10 CAA NEWS SEPTEMBER 2002 2003 Annual Conference in New York. MENTORS NEEDED FOR experience and current employment with a The Career Development Workshops offer CAREER DEVELOPMENT museum or university gallery. a unique opportunity for participants to WORKSHOPS The workshops are not intended to be receive candid advice on how to conduct a used as a screening process by institutions thorough job search, present work, and The 2003 CAA Annual Conference will seeking new faculty. Applications will not prepare for interviews. The workshops will mark the seventh anniversary of the Career be accepted from individuals whose take place on Thursday, February 20, and Development Workshops. To date, approx- departments are conducting a faculty Friday, February 21. Workshops are by imately 1,850 members who are beginning search in the field in which they are men- appointment only; all participants must be their careers have met with professionals toring. Mentors should not attend as CAA members in good standing for 2003. in their respective fields to receive valu- candidates for positions in the same field To apply, complete the Career able professional advice and guidance. in which workshop candidates may be Development Workshop coupon at lower To ensure the continued success of the applying. right. Participants will be chosen by a lot- program, we are seeking mentors from all Send a current c.v. and letter of inter- tery of applications received by the dead- areas of art history, studio art, and the est to Michael Aurbach, Dept. of Fine line; all applicants will be notified by mail museum professions. Those serving as Arts, Vanderbilt University, Box 1801-B, in January. While CAA will make every mentors provide a significant professional Nashville, TN 37235; 615/322-2831. effort to accommodate all applicants, service to members. In the past seven Deadline: November 1, 2002. workshop participation is limited. Please years, several mentors have described this send the completed coupon to Career experience as one of the most rewarding PROJECTIONISTS SOUGHT Development Workshops, CAA, 275 of their professional careers. Applications are being accepted for pro- Seventh Ave., 18th Floor, New York, NY Mentors spend twenty minutes with jectionist positions at the 91st Annual 10001. Deadline: November 8, 2002. each candidate, reviewing cover letters, c.v.s, slides, and other pertinent material. Conference, to be held at the Hilton New York, February 19–22, 2003. CURATORS AND CRITICS Given the anxiety associated with confer- ence placement, mentors must be sensitive Successful applicants will be paid NEEDED FOR ARTISTS’ $10 per hour and will receive complimen- PORTFOLIO REVIEW to the needs of the candidates and must be able to provide constructive criticism tary registration. Projectionists are when necessary. required to work a minimum of four 2 The Artists’ Portfolio Review at the 2003 1 ⁄2–hour program sessions, from Thursday, Annual Conference in New York will pro- All mentor applicants must be mem- February 20 to Saturday, February 22, and vide an opportunity for artists from a wide bers in good standing, must register for the attend a training meeting at 7:30 A.M. on range of backgrounds to have slides or conference, and must be prepared to com- Thursday. Projectionists must be able to videos of their work critiqued by profes- mit three consecutive hours on one of the operate a 35-mm slide projector; familiari- sionals. The program pairs a member artist two days of the workshops: Thursday, ty with video and overhead projectors is with a critic or curator for a twenty-minute February 20, and Friday, February 21. Art preferred. Send a brief letter of interest to appointment. The individual sessions are historians and studio artists must be CAA Projectionist Coordinator, c/o scheduled on two days: Thursday, tenured; curators must have five years of February 20, and Friday, February 21. Whenever possible, artists are matched 2003 CAREER DEVELOPMENT WORKSHOPS with reviewers based on medium or discipline. THURSDAY, FEBRUARY 20 & FRIDAY, FEBRUARY 21 Curators and critics who volunteer Check one topic, indicating your area of specialization. If choosing more than one specialty, please indicate the order of your preference. provide an important service to early- career artists. Given the competitiveness of ART HISTORY STUDIO ART OTHER _____Ancient to Medieval _____Painting _____Curatorial today’s art world, the value to artists of _____Renaissance, Baroque, 18th Century _____Sculpture / Installation _____Publishing this contribution cannot be overestimated. _____19th Century to Modern _____Ceramics / Metal / Jewelry _____Nonprofit Interested individuals must be CAA _____Contemporary _____Drawing / Printmaking / Works on Paper individual members in good standing, _____Africa, Asia, Oceania, Americas _____Photography / Film / Video must register for the conference, and must _____Architectural History _____Computer Graphics / Illustration / Graphic Design _____Performance be willing to contribute one two-hour peri- od for five successive twenty-minute cri- NAME tiques. If you are a critic or curator inter- ested in participating in this valuable pro- ADDRESS gram, send a brief letter of interest and CITY / STATE / ZIP résumé to Stephanie Davies, Programs Coordinator, Artists’ Portfolio Review, EMAIL CAA, 275 Seventh Ave., 18th Floor, New York, NY 10001. Deadline: November 1, PHONE MEMBER ID# 2002. Complete and return to Career Development Workshops, CAA, 275 7th Ave., New York, NY 10001 Deadline: November 8, 2002

CAA NEWS SEPTEMBER 2002 11 Conference Coordinator, CAA, 275 nonprofit organization promotes the work 1) there is a significant membership over- Seventh Ave., 18th Floor, New York, NY of students, faculty, and art departments of lap between CAA and the group applying 10001. Deadline: January 1, 2003. colleges and universities and invites their for affiliation; 2) it is primarily, or in large participation in a variety of public pro- part, committed to the serious practice and ROOM MONITORS SOUGHT grams. These include: annual student advancement of the visual arts or to the recognition competitions; an annual educa- study of some broad, major area of the his- Room monitors are needed for two of tor of the year award; coverage in ISC’s tory of art; and 3) it possesses a formal CAA’s mentoring programs, the Artist’s Sculpture magazine and Insider newsletter; organizational structure, that is, elected Portfolio Review and the Career opportunities for recruiting students on officers, an identifiable membership, and Development Workshops, as well as for ISC’s website, www.sculpture.org; arti- signs of ongoing activity such as a several offsite sessions, to be held during cles about trends in sculpture education; newsletter, periodical, exhibition record, or the 91st Annual Conference in New York, coverage of faculty, alumni, and student other documentation. February 19–22, 2003. work, and more. Emphasis will also be on Application. Applications for affiliat- Successful candidates will be paid $10 getting undergraduates involved with ed-society status will be screened by the per hour and will receive complimentary organizations. Executive Committee of the Board of registration. Room monitors will be The session will be chaired by Jeff Directors. The committee’s rulings may be expected to work a minimum of four hours Nathanson, president and executive direc- appealed to the Board. CAA’s Director of checking in participants and facilitating the tor, International Sculpture Center, and Programs will be the staff liaison and will work of the mentors. Send a brief letter of will include participants Joe Seipel, senior report annually to the Board and review interest to CAA Room Monitors, c/o associate dean for academic affairs and the status of affiliated societies every two Conference Coordinator, CAA, 275 director of graduate studies for the School years. Seventh Ave., 18th Floor New York, NY of the Arts, Virginia Commonwealth CAA News. CAA features information 10001. Deadline: January 1, 2003. University; Will Kavesh, M.F.A. graduate and articles about affiliated societies in of Virginia Commonwealth University’s each issue of CAA News, and publishes an MEET THE CANDIDATES Sculpture Department and 2002 recipient annual “Directory of Affiliated Societies” SESSION of the ISC Outstanding Student Achieve- that includes the following information as ment in Contemporary Sculpture Award; provided by the societies: name, date of In its effort to enable more CAA members and Carol Sterling, director of education founding, size of membership, annual to participate in the annual Board of and ISC Resource Center, International dues, name and address of president and/or Directors election process, the “Meet the Sculpture Center. corresponding secretary, and a statement Candidates” session will again be held as a of twenty-five to fifty words on the soci- freestanding event on Friday, February 21, ety’s nature or purpose. Each year, affili- from 4:45 to 5:45 P.M. By scheduling this ates will receive a reminder about the important session without the competition directory, at which time the above infor- of concurrent events and activities, we BECOMING AN mation, as well as a current list of individ- hope to encourage greater attendance and ual affiliate members (with membership communication and provide more opportu- AFFILIATED SOCIETY overlap indicated, if possible), should be nities for interaction between CAA’s mem- submitted to the Director of Programs. bers and the Board of Directors. The can- This issue of CAA News salutes our affili- News of interest to the CAA membership didates for election to the board will be ated societies and includes a number of as a whole may be submitted by affiliated announced at www.collegeart.org, and news items and announcements of interest societies for possible publication in CAA ballots will be mailed at the end of the to CAA members, currently affiliated News under the “Affiliated Society News” year. We urge all members to attend this groups, and those organizations that wish section. Let the CAA community know important session. Come, listen to those to join. In the colored insert you will also about the new and exciting things your who will represent you, and make your find the annual “Directory of Affiliated organization is doing—activities, awards, voice heard! Societies,” describing each society and publications, conferences, and exhibition providing contact information for all forty- announcements are all accepted. six affiliates. NEW AFFILIATED SOCIETY TO Annual Conference. To the extent SPONSOR SPECIAL SESSION CAA welcomes as affiliated societies possible, CAA will provide each affiliated groups of art professionals and other society with facilities for one business One of CAA’s newest affiliated societies, organizations whose goals are generally meeting and one special session lasting up the International Sculpture Center (ISC), consonant with those of CAA, with a view 1 1 to 1 ⁄2 hours each during those time slots will sponsor a special 1 ⁄2–hour session, toward facilitating intercommunication and not reserved for CAA program sessions. In entitled “Successful Strategies for mutual enrichment. It is required that a addition, each year every affiliated society Providing Recognition and Participation substantial number of the members of such 1 will be permitted to propose one 2 ⁄2 hour for Art Faculty, Students, and Institutions,” groups will already be members of CAA. program session, which will be given spe- at the 2003 Annual Conference in New To be recognized by CAA as an affili- cial consideration by the Annual York. This multimedia presentation will ated society, a group must be national in Conference Committee in its deliberations. focus on effective and innovative ways a scope and must present evidence that: Note: The program session must address a

12 CAA NEWS SEPTEMBER 2002 specific issue of concern to the affiliated Change and Meaning (Hindmarsh, society and cannot be an open session. AFFILIATED Australia: Crawford House Publishing, Listserv. The affiliated societies list- 2001). The book is based on papers pre- serv is a forum for the groups to post SOCIETY NEWS sented at the PAA special session honoring announcements, press releases, and other Philip Dark in Chicago in 1999. The vol- information, as well as to enhance commu- ACUADS COSPONSORS ume is edited by Anita Herle, Nick nication among the groups or with CAA BIENNALE OF ELECTRONIC Stanley, Karen Stevenson, and Robert staff. We encourage all affiliated societies ARTS Welsch. For more information about the to participate actively. The Australian Council of University Art book, please visit www.chp.com.au/ Liaison. Liaison between affiliated and Design Schools (ACUADS) cospon- pacific_art.html. societies and CAA is maintained by the sored the Biennale of Electronic Arts Perth PAA’s Seventh International Director of Programs and the officers of (BEAP), which explored the impact of Symposium will be held in Christchurch, the affiliated societies. The executive offi- new digital technologies on the visual arts. New Zealand, June 23–26, 2003. Local cer of an affiliated society or his or her Through two exhibitions and five associat- museums and galleries will focus on Maori representative may be invited to a CAA ed seminars and conferences, BEAP exam- and Pacific arts. There will be a program Board meeting to act as a resource person ined the explosion of activities at the inter- of Pacific music, dance, and theater to when, in the opinion of the President of section of art, science, and technology. On complete the experience. Session topics CAA, issues arise in which his or her August 1–10, 2002, the ACUADS-spon- will include contemporary art, collecting, expertise is needed. sored seminar focused on the ongoing revamping/updating museum exhibitions, For further information or an applica- need for dialogue and contextualization to textiles, performance, literature, and oral tion form, visit www.collegeart.org/caa/ represent the current state of play in the traditions. For full details, please write to aboutcaa/affsocieties.html or call or write field. Based at Curtin University of [email protected] or Emmanuel Lemakis, Director of Programs, Technology in Perth, Western Australia, [email protected]. at 212/691-1051, ext. 210; elemakis@ the event offered a rare opportunity for collegeart.org; or Stephanie Davies, artists and teachers to explore the current HNA ANNOUNCES ONLINE Conference Coordinator, at 212/691-1051, and future impact of the digital revolution. NEWSLETTER ext. 242; [email protected]. Two of the Historians of Netherlandish ARLIS ANNOUNCES ONLINE Art’s (HNA) publications, HNA News and BOOK REVIEWS HNA Review of Books, are now online at The Art Libraries Society of North www.hnanews.org. Also available are the America (ARLIS/NA) is happy to state-of-the-art papers (in full), abstracts of announce that the book-review section of session papers, and workshop descriptions its publication, Art Documentation, is now of the HNA conference, which took place available on the Web. The current issue, March 13–16, 2002, in Antwerp, Belgium. edited by Joan R. Stahl of the Smithsonian American Art Museum in Washington, QCA COSPONSORS THOMAS DC, as well as back issues since 1996, are EAKINS PANEL at www.arlisna.org/publications.html. The Queer Caucus for Art (QCA) cospon- sored a symposium, entitled “The PAA BOOK PUBLISHED Forbidden Eakins: The Sexual Politics of Pacific Arts Association (PAA) announces Thomas Eakins and His Circle,” at the the publication of Pacific Art: Persistence, Stony Brook Manhattan Center in New

CAA NEWS SEPTEMBER 2002 13 York on June 24, 2002. The panel discus- for works they donate to an appropriate for a Networked Cultural Heritage. The sion, organized and moderated by nonprofit institution. Although art collec- CAA brief was one of several filed in sup- Jonathan Katz, a QCA member and former tors can deduct the fair market value of port of the petitioners. cochair, was held to counterbalance the works they donate to a museum or library, The issue presented by the Eldred case lack of attention paid to recent research on under current law artists can only deduct is whether the Sonny Bono Copyright sexuality and gender by the traveling the cost of the materials they used to cre- Term Extension Act (CTEA) of 1998 is Eakins exhibition at New York’s ate the works. constitutional. The CTEA extended the Metropolitan Museum of Art. Participants Should the full Senate approve the term of copyright to the life of the author included Jennifer Doyle, University of CARE Act, it will then go to a conference plus seventy years. Prior to 1998, works California, Riverside; Martin Berger, State committee to work out the differences moved into the public domain fifty years University of New York, Buffalo; Deborah between the Senate bill and its companion after the death of the author. The CAA Bright, Rhode Island School of Design; bill in the House: the Faith-Based brief argues that it was a violation of the James Smalls, University of Maryland, Initiatives Bill (H.R. 7). Since the artists’ First Amendment for Congress to extend Baltimore County; Michael Moon, Johns bill is not in the House bill, it will be up to the copyright term retrospectively, which Hopkins University; Jonathan Weinberg, the House Ways and Means Committee to prolongs the term for works that were cre- J. Paul Getty Museum; and Michael Hatt, determine if it will accept the artists’ bill ated in the 1920s and about to fall into the University of Nottingham. as part of the final package. public domain. Updates on the Artists Fair Value The CAA brief seeks to strike a bal- Market Deductions Bill will be available ance between the legitimate rights of on the advocacy page of CAA’s website. artists and authors and the needs of schol- ars, creators, and others who depend criti- ADVOCACY UPDATE HOUSE JUDICIARY cally on works being in the public domain COMMITTEE VOTES ON in a reasonable period of time. HOUSE PASSES AMENDMENT TEACH ACT The complete brief may be read online TO INCREASE FISCAL YEAR at the CAA website: www.collegeart.org/ On July 17, 2002, the House Judiciary 2003 FUNDING FOR NEA AND caa/advocacy/amicusbrief.html. Robert Committee unanimously approved the NEH Baron, chair of CAA’s Committee on Technology Harmonization and Education Intellectual Property, also maintains a On July 17, 2002, the U.S. House of Act (TEACH Act). If enacted, this legisla- website that provides additional links and Representatives approved an amendment tion will make it easier for accredited non- information on the Eldred case: to increase funding by $10 million for the profit educational institutions to use copy- www.studiolo.org/IP/CTEA/CTEA.htm. National Endowment for the Arts (NEA) righted material for instruction without and $5 million for the National securing a copyright holder’s specific per- Endowment for the Humanities (NEH) mission. The TEACH Act will allow dis- ART BULLETIN DISSERTATION over President Bush’s fiscal year 2003 tance-education providers to show portions LISTING PROCEDURE budget request. The amendment directs the of movies, plays, and dramatic works, and ANNOUNCED $10 million increase for the NEA to the transmit nondramatic literary and musical Current dissertation topics are listed annu- agency’s “Challenge America” program, works digitally. ally in the June issue of The Art Bulletin an initiative designed to extend the reach An identical bill passed the Senate in and online at www.collegeart.org/caa/ of arts programs to underserved communi- June 2001. President Bush reportedly sup- publications/AB/dissertations/index.html. ties. No specifications were made for the ports the legislation and will sign it into CAA requests that a representative from additional NEH funding. law when it is presented to him. each Ph.D.-granting institution send a list- If these increases survive a vote in the ing of the dissertation titles of that school’s Senate and receive the president’s signa- Ph.D. students to dissertations@ ture, the NEA will begin the fiscal year in collegeart.org. Reminders and full instruc- October with $127 million (a $12.1 mil- tions will be sent to Ph.D. department lion increase from fiscal year 2002), and CAA NEWS heads later this fall. For more information, the NEH will have $131.9 million (a $7 please write to the email address listed million increase from last year). CAA FILES SUPREME COURT above. Deadline: December 1, 2002. AMICUS CURIAE BRIEF SENATE FINANCE COMMITTEE On May 20, 2002, the College Art ART JOURNAL REQUESTS APPROVES CARE ACT Association filed a friend-of-the-court SUBMISSIONS In mid-June, the Senate Finance brief (known as an amicus curiae brief) in What would you do with six pages in Art Committee voted to send the CARE Act the U.S. Supreme Court in the case of Journal? The Art Journal Editorial Board (S. 1924) to the Senate floor with the Eldred v. Ashcroft. Signing onto the CAA invites writers and artists to submit arti- Artists Fair Value Market Deductions Bill brief were the Visual Resources Associa- cles, interviews, conversations, and other attached. This bill would restore to artists, tion, the National Humanities Alliance, the texts, as well as proposals for forums and writers, composers, and scholars the ability Consortium of College and University artist projects. Founded in 1941, Art to take a fair-market-value tax deduction Media Centers, and the National Initiative Journal is a quarterly devoted to twenti-

14 CAA NEWS SEPTEMBER 2002 eth- and twenty-first-century art. One of COMMITTEE ON CULTURAL the most vital, intellectually compelling, DIVERSITY STARTS NEW and visually engaging periodicals in the DIRECTORY field, it publishes contributions by art his- torians, artists, curators, and critics—and As reported in the May issue of CAA has quickly become one of the places to be News, the Committee on Cultural seen and read. Art Journal is committed to Diversity has launched a new project, the providing a serious forum for scholarship development and publication of the and exploration in the visual arts and seeks Cultural Diversity Directory. The directory to broaden the kinds of writing and artist will list the areas of interest and the con- projects it publishes. Step into the spot- tact information for artists and scholars light; send in your submissions now! who are concerned with cultures, ethnici- Please mail all submissions to Patricia C. ties, or other groups whose art and schol- Phillips, Executive Editor, Art Journal, c/o arship is underrepresented in mainstream State University of New York, New Paltz, studies of art. The purpose of the directory Art Dept., FAB 225, New Paltz, NY is to offer institutions and individuals 12561; do not send materials to the CAA access to artists and experts in a variety of office. Please consult www.collegeart.org/ fields, and to give the artists and scholars caa/publications/AJ/AJgdlnscontrib. themselves an enhanced opportunity for html for submission guidelines. For networking. For further information and to queries, please write to artjournal@ be included in the Cultural Diversity collegeart.org. Directory, visit www.collegeart.org.

HAVE YOU

VISITEDwww.collegeart.org LATELY?

CAA NEWS SEPTEMBER 2002 15 William Hudders. Tatistcheff Gallery, New York, November 7–30, 2002. BOOKS Painting.

Carol Jacobsen. Denise Bibro Fine Arts, PUBLISHED New York, NY, June 13–July 13, 2002. Sentenced. Video installation and photog- BY CAA raphy.

John King. Rosenberg + Kaufman Fine MEMBERS Art, New York, June 5–July 6, 2002. New Mark Antliff and Patricia Leighten. Work. Drawing and painting. Cubism and Culture (New York: Thames & Hudson, 2001), trans. as Cubisme et Culture Lorna Ritz. The Huntington House (Paris: Thames & Hudson, 2002). Museum, Windsor, CT, June 13–July 28, 2002. Luminous Space: Paintings & Mark A. Cheetham. Kant, Art, and Art Writings by Lorna Ritz. History: Moments of Discipline (New York: Cambridge University Press, 2001). Gordon Sasaki. Moe’s Meat Market Gallery, New York, October 4–27, 2002. David Clarke. Modern Chinese Art (New Resonance. Painting and installation. York: Oxford University Press, 2000); Hong Kong Art: Culture and Decolonization (: Reaktion John Morrell, Under the Aquaduct, 2001, oil on canvas, 36" x 48" Judy Starr. Citibank, New York, June 1–29, 2002. My Story: A Collection of Books, 2001; Hong Kong: Hong Kong Shadowboxes, Collages, and Watercolors. University Press, 2001; and Durham, NC: Duke University Press, 2002). Mille Gulbeck. Artemisia Gallery, Alison Weld. Molloy College Art SOLO Chicago, September 5–28, 2002. Bone Frances Colpitt. Abstract Art in the Late Garden. Painting; Xavier University, Gallery, Rockville Centre, NY, September 12–October 21, 2002. Alison Weld: Twentieth Century (New York: Cincinnati, OH, September 20–October Cambridge University Press, 2002). EXHIBITIONS 18, 2002. Painting. Recent Works.

Lili White. Art Lab Gallery, Staten Martha Mel Stumberg Edmunds. Piety BY ARTIST Stacy Leeman. 853 Gallery, Columbus, and Politics: Imaging Divine Kingship in OH, May 15–June 7, 2002. Painting. Island, NY, May 4–31, 2002. Recent Work. Painting. Louis XIV’s Chapel at Versailles MEMBERS (Newark: University of Delaware Press, Matthew Zupnick. Merwin Gallery, 2002). Ames School of Art, Illinois Wesleyan Carleen Zimbalatti. Church & Maple University, Bloomington, IL, November Gallery, Burlington, VT, June 5–29, 2002. Only artists who are CAA members are Keith L. Eggener. Lus Barragán’s 4–December 6, 2002. Recent Sculpture. included in this listing. Group shows are not SOUTH Gardens of El Pedregal (New York: listed. When submitting information, include Princeton Architectural Press, 2001). NORTHEAST name, membership number, venue, city, dates Michael Aurbach. Melvin Gallery, of exhibition, title of show, and medium (or Florida Southern College, Lakeland, FL, Trevor Fairbrother. John Singer website address of online exhibitions). Alexandra Broches. , September 12–October 3, 2002. Sargent: The Sensualist (New Haven: Omission of membership number from your Wakefield, RI, June 1–July 6, 2002. Yale University Press, 2000). submission will prevent your listing from Markings of Loss, Traces of Presence. Sculpture. being published. Black-and-white photo- Inkjet prints. Roberto Bocci. George Mason Creighton Gilbert. The Saints’ Three graphs are welcome but will be used only if Reasons for Paintings in Churches space allows. Photographs cannot be University Art Galleries, Fairfax, VA, Deborah Garwood. Aramona Studio, (Ithaca, NY: The Clandestine Press, returned. Please be advised that listings and August 20–September 27, 2002. Parallel New York, February 1–March 16, 2002. 2001). images also may be reproduced on the CAA Photography. Visions. Photography and multimedia website. Please mail to Solo Member installation. Irma Jaffe. Shining Eyes, Cruel Fortune: Exhibitions, CAA News, 275 7th Ave., New Victoria Gitman. Fischbach Gallery, York, NY 10001; [email protected]. Eric Day Chamberlain. Fine Arts The Lives and Loves of Italian New York, September 10–October 12, Renaissance Women Poets (New York: 2002. On Display. Painting. Gallery, Houston Community College- Northwest, Houston, TX, June 17–August Fordham University Press, 2002). 9, 2002. Taos & Beyond. Painting and Tony Gray. Debs & Co., New York, June Deborah J. Johnson and Wendy Oliver. ABROAD prints. 20–July 28, 2002. The New Black is Women Making Art: Women in the Visual, Black. Literary, and Performing Arts since 1960 Laurie Toby Edison. ArtCenter, John A. Hancock. Weems Gallery, (New York: Peter Lang, Inc., 2001). Japan, October 1–13, 2002: Women of Lisa Hochtritt. Philip Alan Gallery, New Meredith College, Raleigh, NC, June Japan. Photography. York, July 11–July 28, 2002. Heroes & 16–July 16, 2002. Paper Explorations. Drawing, watercolor, and collage. Anthony Lee. Picturing Chinatown: Art Hairdos. and Orientalism in MID-ATLANTIC (Berkeley: University of California Press, Duane Paxson. Huntsville Museum of 2001). John Morrell. Mattawoman Creek Art Art, Huntsville, AL, May 19–August 4, Center, Marbury, MD, September 2002. Encounters. Jonathan Nelson and Franca Falletti, 27–October 27, 2002. Under the Trees: eds. Venus and Love: Michelangelo and Drawings & Paintings by John Morrell. WEST the New Ideal of Beauty (Florence: Galleria dell’Accademia, 2002). Jennifer Schmidt. Delaware Center for Alice Dubiel. Auburn Arts Commission the Contemporary Arts, Wilmington, DE, Gallery, Auburn, WA, May 17–July 3, Bennard Perlman, ed. American Artists, July 12–October 20, 2002. Suddenly. 2002. Salmon Resistance/Resilience. Authors, and Collectors: The Walter Pach Installation. Letters, 1906–1958 (Albany: State WEB EXHIBITIONS University of New York Press, 2002). MIDWEST Stephanie Bernheim. www.artretran. Frances K. Pohl. Framing America: A Chris Berti. Robert Kidd Gallery, com (Art Resources Transfer, Inc., New Lorna Ritz, A Step Out Into the Far Away, Social History of American Art (New Birmingham, MI, June 14–July 13, 2002. York), April 1–June 30, 2002. The 2001, oil on canvas, 60" x 66" York: Thames and Hudson, 2002). Chris Berti: New Sculpture. Susbiers Series.

16 CAA NEWS SEPTEMBER 2002 Jules Prown and Kenneth Haltman, grandmother she adopted some choice Aldrovandi’s Statue di Roma and, with Lin’s Vietnam Veterans Memorial, among eds. American Artifacts: Essays in French interjections (“Tiens!”), and, sure- Ruth Rubinstein, a book based on her other monuments in Washington, DC. He Material Culture (East Lansing: Michigan ly, the mischievous gleam in her eye. Her years of work on the Census: was also a strong supporter of academic State University Press, 2001). love of learning was a headlong chase Renaissance Arists and Antique research, helping to establish the Center from the very beginning. Her mother tied Sculpture: A Handbook of Sources of Advanced Study in the Visual Arts Bruce Robertson and Robert Dance. the 3-year-old Phyllis to the clothesline to (Oxford: Oxford University Press, 1986). (CASVA). In addition, through his efforts, Ruth Harriet Louise and Hollywood keep her from running away to “schoo”; By 1981, however, her greatest enthusi- the NGA was a generous donor to CAA Glamour Photography (Berkeley: the dauntless toddler had already taught asm had turned to the history of food, an for many years. University of California Press, 2002). herself to read. Soon enough, however, enthusiasm shared in an unending bounty Phyllis and school came together, never of historically accurate banquets that Ellen Callmann, historian of Renais- David Rosand, Myths of Venice: The again to part ways. delighted, surprised, and sometimes (as sance art and long-time CAA member, Figuration of a State (Chapel Hill: At Wellesley College in Wellesley, with the live goldfish in aspic) horrified died on July 12, 2002. She was 75. University of North Carolina Press, MA, she majored in art and minored in her guests. The first volume of Art, Callmann received her doctorate 2001); Drawing Acts: Studies in Graphic Greek, then moved on in 1941 to the Culture, and Cuisine: Ancient and from the Institute of Fine Arts, New York Expression and Representation (New Institute of Fine Arts at New York Medieval Gastronomy was published by University, and was a noted authority on York: Cambridge University Press, 2002). University (NYU) to study with Karl the University of Chicago Press in 1999; Italian Renaissance cassone painting and Lehmann-Hartleben (as he was then still the second volume, beginning with the 15th-century secular art. Professor Terry Smith, The Nineteenth Century: called). On her first day of class, she met Renaissance and ending with John Cage’s Emerita at Muhlenberg College in Landscape, Colony and Nation; her future husband, medievalist Harry macrobiotic breakfasts, was still unfin- Allentown, PA, Callmann also taught at Transformations in Australian Art, vol. 1; Bober, whom she married in 1943. In ished at the time of her death. Finch College and the Bard Graduate The Twentieth Century: Modernism and 1946, as a newly minted Ph.D., Bober Bober served as president of CAA Center for Studies in the Decorative Arts, Aboriginality, vol. 2 (Sydney: Craftsman traveled to Europe for the first time with from 1988 to 1990; she was also presi- both in New York. She authored House, 2002); Impossible Presence: Harry: to France, Belgium, and finally, in dent of the Renaissance Society of Apollonio di Giovanni (Oxford: Oxford Surface and Screen in the Photogenic Era January 1947, to London and the Warburg America in 1983. Her many honors University Press, 1974) and organized (Sydney and Chicago: Power Publications Institute of the University of London. included a Guggenheim Fellowship in and wrote the catalogue for the exhibition and the University of Chicago Press, There, on the suggestion of Fritz Saxl, 1979, election to the Dames d’Escoffier Beyond Nobility: Art for the Private 2001); with Paul Patton and Jacques during what she later described as “the in 1995, election to the American Citizen in the Early Renaissance, held in Derrida, Deconstruction Engaged: The worst winter in British memory, back Philosophical Society in 1999, and elec- 1980 at the Allentown Art Museum in Sydney Seminars (Sydney: Power under rationing and with chilblains,” tion as Foreign Member of the Allentown, PA. She published several Publications, 2001). Bober first began to compile the work Accademia dei Lincei in 1995. She leaves times in The Art Bulletin and in other with which she is most closely associated, two sons, Jonathan and David, her long- periodicals important to Renaissance Kenneth Wayne, Modigliani and the the Census of Classical Works of Art time companion, Ted Barnett, and a host studies, including Antichità Viva, Apollo, Artists of Montparnasse (New York: Known to the Renaissance. It was a proj- of friends and students for whom her Bollettino d’arte, and The Burlington Harry N. Abrams, 2002; Milan: ect for which her archaeological training, sheer delight in life was the chief joy of Magazine. Callmann contributed essays Leonardo, 2002). trained eye, and phenomenal memory knowing her. to several anthologies, including a suited her uniquely, and by 1949, the —Ingrid D. Rowland, Andrew W. Mellon festschrift for Eve Borsook in 1999. Her Warburg Institute officially adopted the Professor in the Humanities, American most recent published essay, “Painting project. Academy in Rome Masaccio’s Florence,” appears in The For Aby Warburg’s world of Cambridge Companion to Masaccio, nymphs, emblems, gestures, and eloquent J. Carter Brown, the former director of edited by Diane Cole Ahl (New York: PEOPLE IN THE passion, Bober probably had as profound the National Gallery of Art (NGA) in Cambridge University Press, 2002). an empathy as any of the scholars who Washington, DC, died on June 17. He —Katherine Haskins, Yale University have been associated with that remark- was 67. NEWS able institution. Like Warburg, she Brown came to the NGA as assis- Henri Dorra, a leading scholar of the instinctively understood the power of tant director in 1961, and became director Symbolist movement, died on June 14, myth and gesture to communicate pro- in 1969. He helped to make the NGA, a 2002. IN MEMORIAM found human truths; hence she deplored popular cultural institution with shows Dorra was born in Alexandria, the arid studies she called “motive-hunt- such as Treasures of Tutankhamen (1976) Egypt, and lived in France and England, When Phyllis Pray Bober died in her ing” and demanded instead that any and Treasure Houses of Britain (1985). where he earned a bachelor’s degree in home on May 30, 2002, at the age of 81, scholarly analysis always probe the deep- During his engineering from the University of it was with the majestic grace that had er meanings of art and expression. She tenure, the London. He came to the U.S. in 1947 and characterized her whole life. Few scholars provided her own example of that more gallery received an M.S. in engineering and an have taken such evident joy in learning; rewarding method in her first book, emerged as M.A. in art history. Dorra earned his few have worn such deep erudition so Drawings after the Antique by Amico one of the Ph.D. in art lightly or Aspertini (Studies of the Warburg nation’s history at shared it Institute, 1957), which in turn inspired an leading art Harvard with such entire series of sketchbook publications in destinations, University in infectious the series. increasing its Cambridge, passion. Like On her return to the U.S., her aca- profile as MA, in every demic career followed her husband’s J. Carter Brown well as its 1954. While woman movements between Massachusetts collections: at Harvard, scholar of (where she taught at Wellesley) and New It acquired he presented her genera- York (at NYU), until the end of the mar- more than 20,000 works during Brown’s two exhibi- tion, she riage in 1973 prompted her to accept an term, including much of its 20th-century Henri Dorra tions at the Phyllis Pray Bober made her offer to become dean of the Graduate collection. Fogg way outside School of Arts and Sciences at Bryn Under Brown’s leadership, the Museum of a conven- Mawr College in Pennsylvania; she NGA’s East Building opened in 1978, Art and was awarded the prestigious tional cursus honorum, but did so with a retired as Leslie Clark Professor of the doubling the exhibition space. Architect I. Bowdoin Prize for an essay on Greek kind of endless wonderment at the Humanities in 1991. At NYU, she weath- M. Pei’s best-known American work vases. He was also appointed Student strange turns a life can take. Her primary ered the campus turmoil of the 1960s and became a spectacle in its own right. The Fellow at the Metropolitan Museum of interests moved over the years from clas- 1970s with compassion, political engage- building consists of 2 connected triangles Art in New York. sical archaeology to Renaissance art his- ment, and considerable physical courage; with a soaring, multilevel, open-tiered, In his museum career, Dorra was, tory to the history of food, but she never these same years marked her first forays glass-roofed atrium, for which Brown successively, assistant director of the entirely abandoned any subject altogether, into the history of cooking, sparked ini- commissioned major works by Joan Miró, Corcoran Gallery of Art in Washington, storing each one in her formidable memo- tially by a course on the ancient Roman Alexander Calder, and others. DC, and the Philadelphia Museum of Art; ry in photographic detail. cookbook of Apicius but quickly extend- A sophisticated leader and a tire- executive vice president of the Bober ascribed the fiery aspects of ed to every culture and every age. During less, successful advocate of the arts to Indianapolis Herron Museum of Art and her character to her French-Canadian her tenure at Bryn Mawr, she produced an donors and to Congress, Brown was School of Art in Indiana; and head of the ancestry, and from her French-Canadian annotated, illustrated edition of Ulisse instrumental in the building of Maya University of California, , Art

CAA NEWS SEPTEMBER 2002 17 Galleries. In 1965 he joined the faculty of Henri revealed an astounding patience He will be sorely missed by many of us of Art in Africa and Marilyn Stokstad’s the University of California, Santa with the significance of critical writings; and most affectingly by my wife, Yvonne, Art History. Barbara, as a professor of art history. it was also here that he continually locat- and by me.” Gottlieb was a dedicated supporter A dedicated researcher, he wrote ed writings and interpretive statements —Gabriel P. Weisberg, Professor of Art of the arts. He served for many years on several volumes, including Seurat (1959), that cast the works of Paul Gauguin, the History, University of Minnesota the board of trustees of the Museum of a catalogue raisonné and stylistic study; Nazarenes, and other Symbolist artists in Modern Art, American Academy of Poets, The American Muse (1959), a book of a new light. It was here, as well, that Paul Gottlieb, for 20 years the publisher Aperture Foundation (where he had just essays on American art and literature; Art Henri passed the torch to those of us who and editor-in-chief of the leading art-book been named executive director), New in Perspective (1973), a textbook; and listened to him explore the ways in which press Harry N. Abrams, Inc., died on June York Studio School of Drawing, Painting, Symbolist Art Theories (1994), a summa- critical texts anchor new arguments, and 5, 2002, at age 67. and Sculpture, and American Friends of tion of his findings on the link between reveal the ways in which artists thought Gottlieb was a force in Abrams’s the State Hermitage Museum. Symbolist art and literary aesthetics, a or spoke about their own works, often in rise to prominence in the field of art project for which he earned a Guggen- a language that was as significant as the books and did much to make the compa- Elizabeth Mongan, an expert in fine-art heim fellowship in 1978–79. Dorra’s life- actual creative works themselves. Few ny a popular as well as a scholarly branch prints and drawings who helped to create long work, Exotica, Erotica, and the were thinking about texts in this way; he of trade publishing. Working closely with a major collection at the National Gallery Great Dilemmas of Man: The Symbolism was a pioneer whose influence was museum publication offices, he helped to of Art in Washington, DC, died on June 7, of Paul Gauguin, is forthcoming from the deeply affecting. develop the museum catalogue into the 2002. She was 92. University of California Press. “Dorra was a thinker, a deep and form familiar today: a beautiful book From 1937 to 1963, Mongan Dorra organized several exhibitions passionate writer who was always finding with high-quality color illustrations and worked with the private print collection and published articles on 19th- and 20th- new ways to bring Symbolist literature substantial text. of Lessing J. Rosenwald, heir to the century art. He was also a member of the and art toward a deeper and stronger level Under Gottlieb’s guidance, Abrams Sears, Roebuck fortune. The collection, board of trustees at the Santa Barbara of meaning. His Symbolist Art Theories collaborated closely with the Metropol- which grew to include color prints from Museum of Art in California for more and most assuredly his book on Gauguin, itan Museum of Art, Museum of Modern late 19th- and 20th-century France and than 20 years. which he completed just before his death, Art, Solomon R. Guggenheim Museum, 20th-century Germany, eventually moved Dorra’s longtime friend and col- will continue to influence the ways we Whitney Museum of American Art, Tate to the National Gallery of Art. Mongan league, Gabriel P. Weisberg, writes: “I understand art and literature over the Gallery, National Gallery of Art, and followed the Rosenwald collection, con- first met Henri Dorra in 1973, when we course of time. But few realize the time many other museums. He also developed sidered one of the country’s largest and were working on aspects of Japonisme, a that it took to ferret out texts that were a special relationship with the State finest collections of historic art prints, to movement with which Henri was inti- significant, and to put subtly into words Hermitage Museum in St. Petersburg, the gallery. mately connected; from that moment what earlier writers were gropingly trying Russia. A graduate of Bryn Mawr College onward we remained close friends. My to express. In the final analysis, Dorra During his tenure, Abrams expand- in Bryn Mawr, PA, Mongan participated wife and I were always eager to return to was also an artist, a poetic spokesman for ed its program of art-history textbook in print exhibitions, including The First Paris during the summers, where we the Symbolist era, and a sensitive inter- publishing, producing many of the semi- Century of Printmaking, 1400 to 1500, a would reconnect with Henri and his fami- preter of what artists had to say. I will nal surveys in the field, including fresh show at the Art Institute of Chicago in ly, and where we always found him assid- always be deeply grateful for his friend- editions of such classics as H. W. 1941. She wrote exhibition catalogues on uously working on texts and images at ship, his wisdom, and the ways in which Janson’s History of Art and H. H. Paul Klee, Jean-Honoré Fragonard, the Cabinet des Estampes at the he could turn a phrase so that hidden Arnason’s History of Modern Art and Berthe Morisot, Honoré Daumier, and Bibliothèque Nationale. It was here that truths appeared with elegance and clarity. important new volumes such as A History Paul Gauguin.

18 CAA NEWS SEPTEMBER 2002 Mongan retired from the National The Dept. of Art at the University of Mary Kennedy McCabe has been select- expanding the use of digital images and Gallery in 1963 and taught art history at Rhode Island announces the appointment ed executive director of the Mid-America Web media in art-history classes. Smith College in Northampton, MA, of Ron Hutt as assistant professor of art Arts Alliance in Kansas City, MO. from 1969 to 1975. in digital media and the promotion of Laura Katzman, associate professor of Sheri Wills to associate professor of art art and director of museum studies at Margaret Bentley Sevcenko, editor of in filmmaking/video and film studies. Randolph-Macon Woman’s College in publications for the Aga Khan Program Lynchburg, VA, has been granted a for Islamic Architecture at Harvard MUSEUMS Senior Fulbright Scholar Award. She will University and the Massachusetts GRANTS, be a visiting professor of American stud- Institute of Technology, both in Carmen Bambach has been promoted to ies at the University of Hamburg, Cambridge, MA, died on February 9, curator in the department of drawings and Germany, for the academic year 2002–3. 2002. She was 71. prints at the Metropolitan Museum of Art AWARDS, & Sevcenko graduated with highest in New York. Anthony Lee, associate professor of art honors from the University of California, HONORS history at Mount Holyoke College in Berkeley, in 1950, and received an M.A. Michael Blakeslee has been chosen South Hadley, MA, as been awarded the in medieval history from Johns Hopkins assistant director of the Smithsonian 2002 Charles C. Eldredge Prize for University in Baltimore, MD, in 1953. American Art Museum in Washington, Only grants, awards, or honors received by Distinguished Scholarship in American Sevcenko was research assistant for DC. individual members are listed. Submit name, Art by the Smithsonian American Art Ernst H. Kantorowicz at the Institute for membership number, institutional affiliation, Museum in Washington, DC, for his book Advanced Study in 1955–56; administra- William B. title of the grant, award, or honor, and use Picturing Chinatown: Art and tive secretary for the National Woodrow Bodine, Jr., or purpose of grant to Christopher Howard Orientalism in San Francisco (Berkeley: Wilson Fellowship Program in 1956–57; has been at [email protected]. University of California Press, 2001). and secretary to the first chairman of the appointed National Endowment for the Humanities, executive Sharon Allicotti, lecturer in drawing and Virginia Miller, associate professor of art Barnaby Keeney, in 1967–68. director of painting at the Art Institute of Southern history at the University of Illinois, In Cambridge, Sevcenko was secre- the Frick Art California in Laguna Beach, has been Chicago, received a 2002–3 fellowship tary of the Fine Arts Dept. from 1968 to and awarded an artist-residency grant by the from Dumbarton Oaks in Washington, 1974 and manuscripts editor of the jour- Historical Helene Wurlitzer Foundation for studio DC, to work on a book on Chichen Itza, Center in space and living quarters at the founda- nal Daedalus from 1974 to 1977. She William B. Bodine, Jr. Mexico. joined the Aga Khan Program in 1979 as Pittsburgh, tion’s colony in Taos, NM, March–May publications editor and was responsible PA. 2003. Albert Sperath, director of university for the journal Muqarnas and various museums at the University of Mississippi other program publications. She was also Kathleen Hutton has been named cura- Edna Andrade has earned a grant from in Oxford, has been given an Artist an editorial consultant to the tor of education at Reynolda House, the Florsheim Art Fund, which assists Fellowship from the Mississippi Arts International Journal of Middle East Museum of American Art, in Winston- mature American artists of merit with the Commission to continue his work in Studies. A much sought-after editor of Salem, NC. exhibition and cataloguing of their work. sculpture. scholarly texts, Sevcenko took special pleasure in helping young writers. Jamie W. Johnson has been selected Michael Aurbach, professor of art at Sue Taylor, assistant professor of art his- Throughout her life, she enjoyed the curator of education at the National Vanderbilt University, has received a pro- tory at Portland State University in respect and love of faculty, colleagues, Academy of Design Museum. fessional development grant from the Portland, OR, has received a publication and students. school to assist with his duties as the new grant from the Society for the Bonnie G. Kelm, formerly director of the president of the College Art Association. Preservation of American Modernists for Muscarelle Museum of Art and associate an article on Jackson Pollock’s 1942 ACADEME professor of art and art history at the John Bankston is among the recipients work Stenographic Figure. James Cuno, professor of history of art College of William and Mary in of the San Francisco Museum of Modern and architecture at Williamsburg, VA, has been appointed Art’s 2002 SECA Art Award, which hon- The Georgia O’Keeffe Museum Research and director of the Harvard University Art director of the University Art Museum at ors local artists of exceptional promise. Center in Santa Fe, NM, has awarded Museums in Cambridge, MA, has been the University of California, Santa 2002 scholarships to Bett Kristine appointed the new director of the Barbara. Monica D. Church, an independent artist Schumacher and Ann Prentice Wagner. Courtauld Institute of Art in London. from Poughkeepsie, NY, has been award- Paul Longanbach has been chosen ed a 2002–3 Individual Artists’ Fellow- The Baltimore, MD–based Mid-Atlantic Bertha Steinhardt Gutman has been Lundar Education Chair of the ship in painting from the Dutchess Arts Foundation has awarded grants to selected assistant professor of art histo- Smithsonian American Art Museum in County Arts Council. the following CAA members: Ava Blitz, ry/art at Delaware County Community Washington, DC. Gary Cardot, and David McShane. College in Media, PA. Julie F. Codell, professor of art history at With the grant, Blitz will work with Robert B. Menschel has been named Arizona State University in Tempe has youths from the Fraim branch of the Boys Beauvais Lyons of the University of president of the board of trustees at the received a Senior Scholar Fellowship and Girls Clubs of Delaware to create Tennessee in Knoxville had his appoint- Museum of Modern Art in New York, from the American Institute of Indian sculpture using the center’s natural land- ment as Ellen McÇlung Berry Professor replacing Agnes Gund, who will now Studies to travel to India and examine scape; Cardot will be resident at the of Art renewed for an additional 3-year chair the museum’s International Council. Indian art exhibited under the Raj, ca. Center for Exploratory and Perceptual Art term. 1875–1911. in Buffalo, NY, where he will investigate Michelle-Lee White, formerly editor at the recent histories of Rust Belt cities; Michele D’Arcy Marincola, currently Art Journal, has been appointed curatorial Karen Gunderson has won the Lorenzo and McShane will create a neighborhood conservator at the Cloisters, Metropolitan assistant at the International Center for Magnifico award for second prize in mural with the residents of Coatesville, Museum of Art, New York, has been cho- Photography in New York. painting at the 2001 Biennale PA. sen the Sherman Fairchild Chairman of Internazionale dell’Arte Contemporanea the Conservation Center and professor of ORGANIZATIONS in Florence, Italy. The Pew Charitable Trusts in conservation at the Institute of Fine Arts, Philadelphia has awarded its 2002 Pew New York University. Robert Frankel, formerly executive Dusty Herbig is the winner of ISQ302, Fellowships in the Arts to the following director of the Santa Barbara Museum of an online juried exhibition at www. CAA members: Candy Depew, Lonnie Fred Osborne has been named president Art in California, has been named direc- imaginestation.net, for his work Sight Graham, and Mark Shetabi. of the Lyme Academy, College of Fine tor of museums and visual arts for the ‘er in. Arts in Old Lyme, CT. National Endowment for the Arts. The Yale Center for British Art at Andrew E. Hershberger, assistant pro- Harvard University in Cambridge, MA, Terry Smith has been appointed Andrew Geoffrey Galt Harpham, professor of fessor of contemporary art history at has awarded 2002–3 visiting fellowships W. Mellon Professor of Contemporary Art English literature at Tulane University, Bowling Green State University in to the following CAA members: Chloe History and Theory in the Dept. of the has been appointed director of the Bowling Green, OH, has been awarded a Chard, Jonathan Ribner, and Shearer History of Art and Architecture at the National Humanities Center in Research 2002–3 Office of the Provost Content West. University of Pittsburgh in Pennsylvania. Triangle Park, NC. Development Grant for continuing and

CAA NEWS SEPTEMBER2002 19 with the exhibition Icons or Portraits? Botanical Gardens in San Marino, CA, 2000 will take place at Oxford Brookes INSTITUTIONAL Images of Jesus and Mary from the October 25–26, 2002, in conjunction with University, Oxford, U.K., December Collection of Michael Hall, will take the major exhibition, George Romney 13–15, 2002. Speakers from the history place November 2, 2002. This sympo- 1734–1802: British Art’s Forgotten of medicine, architectural history, geogra- NEWS sium will investigate the ways in which Genius. The conference will provide a phy, sociology, and psychology fields will images of Jesus and Mary have changed forum for reassessing the meaning and explore this growing subject. Themes will through the centuries to reflect religious role of portraiture in 18th-century British include the design, siting, and landscap- The Getty Conservation Institute in and sociopolitical developments, stylistic culture. The speakers will consist of a ing of asylums and other psychiatric insti- Los Angeles, in association with evolutions, and ethnic and aesthetic pref- diverse group of curators and art histori- tutions; how space is used, experienced, London’s International Institute for erences. We invite papers that highlight ans from North America and Great and appropriated by patients/users and Conservation of Historic and Artistic these changes in the context of function, Britain. Papers will examine portraiture in psychiatric professionals; the influence of Works, has published online all 36 vol- reception, prototype and copy, icon and a wide range of media, including prints, psychiatric thought on domestic space umes of Art and Archaeology Technical portrait. We welcome both theoretical drawings, miniatures, painting, and sculp- and other noninstitutional spaces; and the Abstracts and its predecessor, IIC inquiries and test-case studies of notable ture, and will address portraiture’s place representation of psychiatric institutions Abstracts, as a free service. The volumes works that define historical evolution in various historical and artistic contexts. in the wider culture. For more informa- are now available at http://aata.getty.du/ and/or emblematic change. Abstracts for The $25 registration fee is waived for tion, please contact Jonathan Andrews at NPS. papers should be submitted to Ena Heller, graduate students. For more information, +44-186-548-4702; jandrews@ Director, The Gallery at the American call 626/405-2194; cpowell@ brookes.ac.uk; or Leslie Topp at +44- The Harry Ransom Humanities Bible Society, 1865 Broadway, New huntington.org. 186-548-3573; [email protected]; Research Center of the University of York, NY 10023; 212/408-1586. www.brookes.ac.uk/schools/humanities/ Texas at Austin has begun making a digi- Deadline: October 1, 2002. Care of Contemporary Art: Who medicine.html#conf. tal image of its copy of the Gutenberg Decides? is a symposium to be held Bible, which will be available in its Crimes of Passion: Art and Law, a November 1–2, 2002, at the Frist Center Living for Eternity: Monasticism in entirety on the center’s website at symposium to be held March 29, 2003, at for the Visual Arts in Nashville, TN. The Egypt is a symposium to take place www.hrc.utexas.edu. Loyola University in Chicago, is spon- event will bring together professionals in March 6–9, 2003, at the Andersen sored by the Martin D’Arcy Museum of conservation, law, art, and museum stud- Library, University of Minnesota in The University of California, Berkeley Art and the Loyola University Law ies to address issues in contemporary art. Minneapolis in conjunction with the same Art Museum and Pacific Film Archive School. The program will analyze the The symposium is organized by the exhibition at the library. The program is has entered into a partnership with New interface between the worlds of art and Southeastern Regional Conservation cosponsored by the the Dept. of Classical York’s Solomon R. Guggenheim Museum law. Papers that explore legal issues, con- Association and the Midwest Regional and Near Eastern Studies at the to develop standards for preserving and troversies, and polemics in the art world, Conservation Guild. Attendance for the University of Minnesota, the documenting digital art, as well as other past and present, are invited. Contributors symposium is open to individuals from Archaeological Institute of America, the impermanent art forms such as perform- may wish to consider the following top- all fields, including collectors, but seating Egyptian American Society of Minnesota, ance, installation, and conceptual art. ics: famous thefts and forgeries, wartime is limited. Registration fee is $50, with and the Minneapolis Institute of Arts. For looting, censorship, repatriation, clandes- discounts for qualifying students. To more information, please visit tine excavations, vandalism, shipwreck, receive more information or registration http://egypt.cla.umn.edu. illicit art trade, controversial exhibitions, materials, please contact Cynthia Stow at cultural property, and religious art in pub- 615/269-3868; [email protected]. lic space. Contributors should send a 1–2 CONFERENCES page abstract and c.v. to Conference/ The 12th Annual Print Fair will take D’Arcy Museum of Art, Loyola place November 7–10, 2002, at the 7th University, 6525 Sheridan Rd., Chicago, Regiment Armory in New York. RESOURCES & & SYMPOSIA IL 60626; fax: 773/508-2993; Collectors, dealers, curators, and scholars [email protected]. Deadline: November will meet to exchange ideas about fine 1, 2002. prints at a variety of lectures, symposia, OPPORTUNITIES For the most up-to-date and expanded list of and special events. Ticket prices vary. For conferences and symposia, please consult more information, please contact the www.collegeart.org. TO ATTEND International Fine Print Dealers For the most up-to-date and expanded list of The Tenth National Museum Association, 15 Gramercy Park South, resources and opportunities, please consult CALLS FOR PAPERS Publishing Seminar will take place Ste. 7A, New York, NY 10003; 212/674- www.collegeart.org. Beyond Black and White: Asian September 26–28, 2002, in Chicago. 6095; fax: 212/674-6783; ifpda@ American Identities in Art, Film, and Registration fee is $425. For more infor- printdealers.com; AWARDS Literature will take place at the mation and to register, contact Stephanie www.printdealers.com. Medlock at 773/702-1682; fax 773/702- NICHE Magazine, the trade publication American Culture Association meetings for retailers of American craft, seeks 6814; [email protected]. Sculpture in Architecture: 1850– in New Orleans, LA, April 16–19, 2003. entries for its 2003 Student Awards, Present will take place November 8–9, The organizers seek papers that interro- which honor outstanding student craft 9/11: Reconstructions is a multidiscipli- 2002, at the Courtauld Institute of Art in gate the ways in which Asian American artists. Any undergraduate- or graduate- nary conference taking place October London. The conference will bring artists, filmmakers, and writers have con- student craft artist residing in the U.S. or 4–5, 2002, at the Center for 21st Century together research and ideas on the com- structed identity in their work; 15-minute Canada is eligible; work must have been Studies, University of Wisconsin, plex, often problematic relationship presentations should engage individual, produced or introduced after August 31, Milwaukee. The conference, which takes between sculpture and architecture. familial, generational, or group identity. 2001. Entry fee is $10 for up to 2 slides place in the context of a year of research Questioning the mediation of the sculp- Texts and images from a broad range of per category. For more information, sponsored by the center on the broad sub- tural object through context and setting, theoretical perspectives are welcome. please contact 2003 NICHE Student ject of “war,” will focus on 3 central speakers will explore the role of architec- Submissions from artists who employ the Awards, 3000 Chestnut Ave., Ste. 300, aspects of the post-9/11 situation: the ture in constructing and shaping the concept of identity are encouraged, as are Baltimore, MD 21211. Deadline: October ethics of international conflict; the media “sculptural encounter.” For more informa- those from scholars in a wide variety of 15, 2002. disciplines. Please submit a 250–500 and cultural representations of 9/11; and tion and to register, please contact word abstract, c.v., and a self-addressed, the ensuing conflict; and memory and Alexandra Gerstein, Courtault Institute of stamped postcard to Dena Gilby, Endicott commemoration as pervasive elements of Art, Somerset House, Strand, London CALLS FOR ENTRIES the urban landscape, national myth, and College, Art and Design Division, 376 WC2R 0RN; alexandra.gerstein@ Target Gallery in Alexandria, VA, seeks public discourse. For more information, Hale St., Beverly, MA 01915; 978/232- courtauld.ac.uk; or Martina Droth, entries in all media for its juried exhibi- please contact Daniel J. Sherman at 2171; [email protected]. Deadline: History of Art Dept., University of tion Jazz: Visual Improvisations. 414/229-4141; [email protected]; September 30, 2002. Reading, Blandford Lodge, P.O. Box 217, Application fee is $25 for slides of 3 www.uwm.edu/Dept/21st. Reading RG6 6AH, m.s.droth@ works. For more information, send an Multiple Faces of Jesus and Mary, reading.ac.uk. S.A.S.E. to Target Gallery, 105 N. Union Facing the 18th Century: New organized by the Gallery at the American St., Alexandria, VA 22314; 703/838-4645; Approaches to British Portraiture is a Bible Society and the Istituto Italiano di Space, Psyche, and Psychiatry: Mental [email protected]. 2-day conference to be held at the Cultura in New York and in conjunction Health/Illness and the Construction Deadline: October 14, 2002. Huntington Library, Art Collections, and and Experience of Space, ca. 1600–

20 CAA NEWS SEPTEMBER 2002 The Appalachian Center for Crafts 2003 seasons. Submissions in all media will appoint 1 postdoctoral fellow for the The Mid-Atlantic Arts Foundation is seeks entries for solo or group shows in 3 are accepted. Proposals may include academic year 2003–4. The newly accepting submissions for “Artists and exhibition spaces during its 2004–6 slides, prints, color copies, or CDs, with a appointed fellow must have received the Communities,” a program that offers sup- schedule. Works in all media are accept- résumé and cover letter. The gallery Ph.D. between January 1, 1997 and July port to partnerships between visiting ed. The center will provide 1-way ship- offers the option of 1-, 2-, or 3-week 1, 2003. The stipend will be $38,000. For artists and nonprofit organizations ping up to $300. Send 20 slides with shows. Artists proposing a solo show an application, contact the Director, engaged in community-based creative descriptions, résumé, artist’s statement, must submit 10–20 images; for group Center for Comparative Literature and projects. The program supports residen- and an S.A.S.E. to Gail Looper, Gallery shows, include 3–5 images per artist. For Society, Mail Code 5755, Columbia cies in New Jersey or Pennsylvania. For Manager, Appalachian Center for Crafts, more information, call 212/982-0882; University, 2960 Broadway, New York, more information on the program and 1560 Craft Center Dr., Smithville, TN www.e3gallery.com. NY 10027. Deadline: October 15, 2002. complete eligibility requirements, please 37166; 615/597-6801; fax: 615/597-6803; write to Artists and Communities, Mid- [email protected]. Deadline: October First Street Gallery seeks professional The Alexander von Humboldt Atlantic Arts Foundation, 201 N. Charles 15, 2002. artists for membership in an artist-run Foundation announces the TransCoop St., Ste. 401, Baltimore, MD 21201; Chelsea gallery exhibiting representation- program, which provides funding for col- 410/539-6656, ext. 114. Deadline: The Illinois Institute of Art is accepting al works by painters, sculptors, and print- laborative research between German, November 18, 2002. submissions from U.S. artists for makers. To apply, submit 10–20 slides American, and/or Canadian scholars in Contemporary Art Influenced by African with résumé, exhibition catalogues, the humanities, law, and economics. Hagley-Winterthur Fellowships in Arts Culture, an exhibition to be held February reviews or other pertinent materials, and (Applications from the natural sciences and Sciences is a cooperative program of 4–28, 2003. Application fee is $25 for an S.A.S.E. for the return of materials. may be considered if the research topic short-term research fellowships for schol- 1–3 slides. For prospectus, send an Alternatively, 4-6 original works and sup- has a plausible link to the humanities and ars interested in the historical and cultural S.A.S.E. to Chuck Gniech, Gallery Curator, porting materials may be brought to the social sciences.) Scholars from universi- relationships between economic life and The Illinois Institute of Art, 350 N. gallery at 6 P.M. on review dates. Send ties and research institutions in Germany, the arts. Stipends to support research at Orleans St., Chicago, IL 60654. application materials to First Street the U.S., and Canada may apply. The pro- the Hagley Museum and Library and the Deadline: October 15, 2002. Gallery, 526 W. 26th St., Ste. 915, New gram offers support of up to €45,000 for Winterthur Museum, Garden, and Library, York, NY 10001; 646/336-8053; a period of up to 3 years. Applications both in Wilmington, DE, are for a mini- The 29th Bradley National Print and www.firststreetgallery.net. must be submitted jointly by at least 1 mum of 1 month and a maximum of 6 Drawing Exhibition seeks prints and German and 1 U.S. and/or Canadian months at no more than $1,400 per drawings in all media produced in The Washington National Cathedral in scholar and must be signed by at least 2 month. For more information on this and 2000–2 for a juried exhibition. Artists are Washington, DC, seeks photographic partners, all of whom must have complet- other fellowships offered by the Center encouraged to submit work incorporating entries for its spring 2003 exhibition, ed postdoctoral research. Each TransCoop for the History of Business, Technology, experimental techniques. Entry fee is $25 Seeing the Light: Reflections of the grant must be matched by funds from an and Society and the Hagley Museum and for up to 3 slides. For more information Spiritual. Photographers should capture American and/or Canadian source. For an Library, write to P.O. Box 3630, and an entry form, please contact the the atmosphere of the cathedral gardens, application, please call or write Christine Wilmington, DE 19807-0630; crl@ Gallery Director, 29th Bradley National grounds, and buildings; work should con- May, Selection Dept., Alexander von udel.edu; 302/658-2400; fax: 302/655- Print and Drawing Exhibition, Bradley vey a sense of the spiritual and respond to Humboldt Foundation, Jean-Paul-Strasse 3188; www.hagley.lib.de.us/center.html. University, Heuser Art Center, 1400 these 3 themes: peace and contemplation, 12, D-53173 Bonn (Bad Godesberg), Deadline: December 1, 2002. Bradley Ave., Peoria, IL 61625; 309/677- inspiration and joy, and simplicity and Germany; [email protected]; 2989. Deadline: October 25, 2002. grandeur. For information and prospectus, www.humboldt-foundation.de. The Huntington Library, Art please call 202/537-2223; tours@ Deadline: October 31, 2002. Collections, and Botanical Gardens in Tubac Center of the Arts seeks entries cathedral.org; www.cathedral.org. San Marino, CA, welcomes applications from U.S. residents for Arizona Aqueous, The American Academy in Rome for fellowships to support research in the an annual juried watermedia exhibition. invites applications for the Rome Prize history of British and American Art. One or more water-based pigments must CATALOGUES competition. The academy offers up to 30 Awards will also be considered in areas constitute the major portion of the sub- RAISONNÉS residential fellowships for periods rang- of continental European art in which the mitted work, which must be created on a ing from 6 months to 2 years. Each fel- Huntington has strong holdings. Hilary B. Rand seeks information on the paper product. A $15 entry fee is required low resides at the Academy’s campus in Proposals are judged in terms of the value New York Abstract Expressionist for up to 4 entries. For complete entry Rome and receives room and board, a of the project, the ability of the scholar, Terrance Kitchen for a catalogue raison- requirements and an entry form, contact study or studio, and a stipend. Stipends in and the degree to which the special né. Please write to Hilary B. Rand, P.O. Tubac Center of the Arts, P.O. Box 1911, the arts are $10,000 for 6-month fellow- strengths of the art collections and library Box 42, West Nyack, NY 10994. Tubac, AZ 85646; 520/398-2371. ships and $20,000 for 11-month pro- holdings will be used. Awards from pre- Deadline: November 1, 2002. grams; 11-month stipends in the humani- doctoral as well as postdoctoral candi- GRANTS AND ties are $15,000 for predoctoral awards dates will be considered. Grantees are The 16th Parkside National Small and $20,000 for postdoctoral awards. For expected to be in continuous residence Print Exhibition, taking place January FELLOWSHIPS further information, contact the American throughout their tenure. For more infor- 19–February 20, 2003, requests entries in The Columbia Society of Fellows in the Academy in Rome, 7 E. 60th St., New mation on the various awards offered, any original print medium, including Humanities, with grants from the York, NY 10022, Attn: Programs; please write to Committee on monoprints. The maximum height, width, Andrew W. Mellon Foundation and the 212/751-7200; fax: 212/751-7220; Fellowships, The Huntington Library, and depth for the works is 18 inches. For William R. Kenan Trust, will appoint a [email protected]; www.aarome.org. 1151 Oxford Rd., San Marino, CA 91108; prospectus, send an S.A.S.E. to Doug number of postdoctoral fellows in the Deadline: November 1, 2002. [email protected]. Applications DeVinny, Parkside National Small Print humanities for the academic year 2003–4. are accepted each year between October Exhibition, Art Dept., University of Fellows newly appointed for 2002–4 The Study Centre of the Canadian 1 and December 15. Wisconsin, Parkside, Kenosha, WI 53144; must have received the Ph.D. between Centre for Architecture (CCA) 262/595-2581; [email protected]. January 1, 1997, and July 1, 2003. One- announces its 2003–4 Visiting Scholars The American Antiquarian Society Deadline: November 8, 2002. half of the $40,000 is for independent Program. Each year, the center welcomes (AAS), in order to encourage imaginative research; the other half will be for teach- 7–15 advanced scholars from the and productive research in its unparal- Bruce Gallery is accepting exhibition ing in the general-education undergradu- Americas, Europe, and other regions of leled library collections of American his- proposals from visual artists for inclusion ate program. An additional $3,000 is the world to pursue individual research tory and culture through 1876, will award in small group shows. The gallery pays available to support research. For an for a period of 3–8 months. Scholars are to qualified scholars a number of short- for shipping, insurance, and modest cata- application, please contact the Director, provided a stipend, private office, and and long-term visiting research fellow- logue and mailer. Please send 8 slides, Society of Fellows in the Humanities, administrative and research support. ships in several categories during the year résumé, artist statement (optional), other Heyman Center, Mail Code 5700, Applicants must hold a Ph.D. or demon- June 1, 2003–May 31, 2004. For a com- support material (optional), and an S.A.S.E. Columbia University, 2960 Broadway, strate a proven record of scholarly accom- plete list of available fellowship pro- to Gallery Director, Bruce Gallery, Art New York, NY 10027; plishments. Candidates should submit a grams, write to John B. Hench, Vice Dept., Edinboro University of www.columbia.edu/cu/societyoffellows. research proposal that considers the man- President for Academic and Public Pennsylvania, Edinboro, PA 16444. Deadline: October 15, 2002. date of the center and the scope of CCA’s Programs, Room A, AAS, 185 Salisbury Deadline: November 30, 2002. library and collections. For more informa- St., Worcester, MA 01609-1634; 508/755- The Columbia University Center for tion, please contact 514/939-7000; 5221; [email protected]. E3 Gallery is accepting exhibition pro- Comparative Literature and Society, studyctr@c ca.qc.ca; www.cca.qc.ca/ posals for the autumn 2002 and winter with a grant from the Ford Foundation, studium. Deadline: November 1, 2002.

CAA NEWS SEPTEMBER 2002 21 The Harry Ransom Humanities Cooperstown, a creative community with for travel abroad are also available for Research Center is the principal rare many artists. 3.25 hours GWB. students whose projects involve first-hand Deadline for mentors to apply for the books and manuscripts collection of the Beautifully restored century-old farm- examination of paintings in major Career Development Workshop at the University of Texas at Austin and is noted house; 3 beds, 1 1/2 baths. Large, immac- European Collections. Conservation fel- 2003 CAA Annual Conference in New for its collections of 20th-century British, ulate, post-and-beam dairy barn with two lows may work with paintings; paper York American, and French literary materials, bi-level studios, elaborate lighting sys- (including photographs); objects (includ- with holdings in photography, music, tem, and eleven-foot ceilings. 48 sur- ing sculpture, metalwork, glass, ceramics, Deadline for nominations for membership film, and the performing arts. veyed acres; fields, woods, streams, furniture, and archaeological objects); in CAA’s Professional Interests, Practices, Approximately 30 fellowships are award- rolling landscape, incredible views, gor- textiles; musical instruments and cos- and Standards Committees and Awards ed annually by the center for onsite geous private setting. Included in the sale tumes. It is desirable that applicants for Committees research projects. For more information, price are several antique furnishings, all the conservation fellowship program please contact the Harry Ransom appliances, including washer and dryer, should have reached an advanced level of November 7, 2002 Humanities Research Center, Attn: and other extras. $340,000.00. Purchase experience or training. Deadline for submissions to the January Research Fellowships, University of this property now; close and take posses- The application deadline for art his- 2003 issue of CAA News Texas, P.O. Box 7219, Austin, TX 78713- sion in May. Call Steve at 607/638-5040; tory is November 1, 2002. The applica- 7219; fax: 512-471-9646; fax: 607/638-9809. Email paintgui@ tion deadline for conservation fellowships November 8, 2002 www.hrc.utexas.edu. catskill.net for more information, and I’ll is January 3, 2003. Deadline for applications to the Artists’ send you a brochure with details and For application procedures and fur- Portfolio Review and Career Develop- many photos. I hate to leave this place, ther information, contact Marcie Karp, ment Workshops for the 2003 CAA ONLINE but upcoming marriage and job opportu- Manager of Academic Programs, The Annual Conference in New York nity requires relocation. Metropolitan Museum of Art, 1000 Fifth The VAN EyCK Foundation, based in Avenue, New York, New York 10028- December 1, 2002 Leiden, the Netherlands, has launched an 0198; telephone: 212/650-2763, fax: Deadline for Ph.D.-granting institutions online art-objects database for use by art OPPORTUNITIES 212/396-5168; email: education.grants@ to send in dissertation titles of their historians. The database presently metmuseum.org; www.metmuseum.org. school’s Ph.D. students includes 70,000 objects: 45,000 con- Jentel Artist Residency Program is tributed by the Netherlands Institute for offering one-month residencies in a rural Modern Art and the Mediterranean: December 2, 2002 Art History (RKD) in the Hague and ranch setting that include accommoda- Spaces, Bodies and Identities (Art 2003 CAA Annual Conference session 25,000 by the Courtauld Institute of Art's tions, workspace, and $400 stipend to Gallery of Ontario, , December 6- chairs receive final drafts of speakers’ Witt Library in London. With the partici- artists and writers. For application, down- 8, 2002). The conference examines mod- papers pation of other organizations, which the load website www.jentelarts.org or send ern art’s “Mediterranean” as invented cul- foundation is actively seeking, the data- request with self-addressed label and $.60 tural space, between North and South, December 13, 2002 base is expected to include more than postage to Admissions Committee, Jentel West and East. Drawing on recent geo- Deadline for Early Bird registration for 200,000 objects by 2004. VAN EyCK Artist Residency Program, 130 Lower graphical, historical, and cultural studies, the 2003 CAA Annual Conference in stands for Visual Arts Network for the Piney Creek Rd., Banner, WY 82832. speakers examine European and non- New York Exchange of Cultural Knowledge. For May 15–July 13, 2003 summer season European visual representations in terms more information, please write to deadline: January 2, 2003. January of modernity and cultural identity. December 20, 2002 ; . 15–May 13, 2004 season deadline: [email protected] www.vaneyck.org Information at www.ago.net or Deadline for paying 2003 calendar year September 1, 2003. http://qsilver.queensu.ca/arth/ membership dues to guarantee receipt of whatsnew.html. the January 2003 issue of CAA News and Master of Arts in Curatorial Studies. the February 2003 issue of CAA Careers The Center for Curatorial Studies at Bard College offers an innovative, interdisci- December 27, 2002 CLASSIFIEDS plinary graduate program in the curating Deadline for submissions to the February and criticism of contemporary art. The 2003 issue of CAA Careers two-year program has two tracks, both leading to an M.A. degree in curatorial DATEBOOK Do you want to guarantee that your event or January 1, 2003 listing will be published by CAA News? We studies. Students admitted to the track in Deadline to apply for projectionist and accept classified ads of a professional or curatorial practice prepare exhibitions and September 13, 2002 room-monitor positions at the 2003 CAA semiprofessional nature. Rates are catalogue essays for their final M.A. proj- Annual Conference in New York $1.50/word for members ($15 minimum) and ects; students admitted to the track in crit- Deadline for session proposals for the icism, visual arts, and exhibition present a 2004 CAA Annual Conference in Seattle $2.50/word for nonmembers ($25 minimum). January 10, 2003 Classified ads must be paid in advance of body of critical writing about recent art or Deadline for submissions to the March publication. CAA News also accepts boxed September 17, 2002 a scholarly study of the history, practices, 2003 issue of CAA News display advertising. Contact Christopher or institutions of exhibition. For informa- Deadline for submissions to the Howard at [email protected] or tion please see our website at November issue of CAA News 212/691-1051, ext. 220, for details. January 17, 2003 www.bard.edu/ccs. The Center for Deadline for Advance registration for the Curatorial Studies, Bard College, October 1, 2002 Deadline for fall submissions for the 2003 CAA Annual Conference in New Annandale-on-Hudson, NY 12504; York FOR RENT 845/758-7598; [email protected]. Millard Meiss Publication Grant New York. Friendly hotel alternatives: January 31, 2003 Metropolitan Museum of Art October 18, 2002 private apartments, B&Bs, artists’ lofts. Deadline for applications to the CAA 2003–2004 Fellowships. The Deadline for submissions to Crossings: www.CitySonnet.com; 212/614-3034. Artistic and Curatorial Practice at the Professional Development Fellowship Metropolitan Museum of Art offers annu- Program al fellowships in art history and conserva- 2003 CAA Annual Conference in New NYC, Manhattan B&B. Affordable, tion to qualified graduate students at the York comfortable, convenient. Private February 19–22, 2003 predoctoral level, as well as to postdoc- room/bath. All amenities, continental 91st CAA Annual Conference in New toral researchers. Fellowship applications October 25, 2002 breakfast. Brochure: 212/222-4357. York for short-term research for senior muse- Deadline for submissions to the um curators and conservators are also December issue of CAA Careers Umbria. Rustic farmhouse with basic March 15, 2003 considered. The fellowship period is usu- amenities. Near Gubbio. Sleeps 6+, Deadline for spring applications for the ally for one year. Projects should relate to November 1, 2002 Beautiful landscape. September–May. Millard Meiss Publication Grant the museum’s collections. The fields of Deadline for critics and curators to apply Contact 518/279-9290; nogna4@ research for art history candidates include for the Artists’ Portfolio Review at the aol.com. 2003 CAA Annual Conference in New February 18–21, 2004 Asian Art; Art of Africa, Oceania, and the 92nd CAA Annual Conference in Seattle Americas; antiquities; arms and armor, York FOR SALE costumes; drawings, paintings, photo- Deadline for exhibition proposals for the February 16–19, 2005 New York State. Artist’s country mini- graphs, prints, sculpture, textiles, and 2004 CAA Annual Conference in Seattle 93rd CAA Annual Conference in Atlanta estate. NW Catskill foothills, just outside Western Art. Some art-history fellowships

22 CAA NEWS SEPTEMBER 2002 FROM THE EXECUTIVE WAS IT WORTH THE artists at a time were able to issues, especially issues of val- DIRECTOR EFFORT? stay at the campus for two to ues” (304–5). four weeks, beginning in early In many scientific circles, CONTINUED FROM PAGE 2 CONTINUED FROM FRONT PAGE October, while they regained it seems to be accepted that writing projects; among other The forthcoming report equilibrium. The program one cannot analyze complicat- things, she is a consultant for will have four main foci: ended May 10, 2002, to allow ed systems by solely reductive artists’ projects at • The intersection of family the Art Institute to resume its approaches. Instead, a more Philadelphia’s Rosenbach and career during graduate usual run of public programs holistic method is required to Museum and Library. Author study and career development and residencies. In the end, the explore composite systems that of Unexpected Journeys: The for both men and women. residencies gave assistance and do not reach equilibrium, but Art and Life of Remedios Varo, The study reports on the way provided an opportunity to according to physicists Per Bak Kaplan lectures internationally family influences career work in a nurturing, creative and Kan Chan, “instead evolve and is a professor of art histo- decisions at crucial points, ambience to 126 artists from from one metastable state to ry, teaching courses on mod- such one’s first job after lower Manhattan. the next.” How then might this ernism, postmodernism, art and Ph.D. completion, job In addition to the Santa Fe complexity theory shed some social activism, and feminism changes thereafter, and Art Institute, the city boasts light on the disastrous events at Moore College of Art and current job satisfaction. another, similarly named of September 11 and the ensu- Design in Philadelphia. She is • The perceived value of an art- organization, the Santa Fe ing generosity? also a graduate faculty advisor history doctoral education in Institute, which is concerned People in the arts often at the Union Institute and the lives of the respondents with the science of complexity. intuitively grasp the fact that University’s Vermont College and for society in general, as The Institute comprises an complex systems are some- in Montpelier. well as on the particularities exceptional group of scientists times captured more readily by With her guidance, Art of the art-history disciplinary who apply diverse, interdisci- models than by mathematical Journal has become a signifi- culture, as reported by the plinary perspectives to funda- equations. A model of catastro- cant publication for both histo- respondents. mental but complex problems phe could consist of conical rians of contemporary art and • The preparation and search that cannot be resolved with piles of sand with well-defined practicing artists and critics, for employment and on the traditional methods (for exam- slopes. If winds (or people) with pages devoted to inter- factors influencing successful ple, weather prediction and deposit additional sand grains views with artists, curators, and job searches. stock-market movement). Their on the piles, an avalanche will theorists; portfolios of work by • An array of valuable rec- studies show that apparently eventually result that can established and emerging ommendations provided by complex structures can emerge reduce the height of the pile artists (sometimes specially the respondents, as well as from systems characterized by and thereby regain the pile’s commissioned for the journal); the researchers’ recommenda- simple rules and chance. stability. The sand piles there- creative texts by artists work- tions to art-history faculty, Scientists at the Institute fore tend to self-organize in a ing in the medium of language; humanities deans, present and apply their observations and way that maintains the critical and other innovations. A partic- future art-history students, simulations beyond the physi- state of balance. One might ular interest of these years has humanities-funding agencies, cal world to social systems, metaphorically relate the addi- been performance, film, video, and the general graduate-edu- catastrophes, and situations of tion of critical grains of sand to and digital art. cation community. extreme conflict that may the triggering of turbulent, As Art Journal introduces The study will be released engender either competition or political events. Many of us a new Executive Editor this at the end of this year. For cooperation. As the Institute’s can identify with Karp’s winter, Patricia C. Phillips of more information, please visit founder, Murray Gell-Mann, impulse to “stabilize the sand- the State University of New http://phdarth. berkeley.edu. states in his book The Quark piles” that are critically accu- York, New Paltz, watch for and the Jaguar: Adventures in mulating around us. more innovations in our cut- the Simple and the Complex As the one-year anniver- ting-edge quarterly of art and ONE RESPONSE TO (New York: W. H. Freeman, sary of the attack passes, it is ideas. Meanwhile, CAA 1994), “Cultural change itself important also to remember the SEPTEMBER 11 is the only hope for dealing empathy, political reflection, extends its warm appreciation CONTINUED FROM FRONT PAGE and thanks to Kaplan for her with the consequences of a and cooperation, as exempli- gigantic human population fied by Karp and the Santa Fe remarkable hard work, dedica- the Art Institute is located, and armed with powerful technolo- Art Institute, that September 11 tion, and creativity over the disseminated information gies. Foresight demands the spawned within the arts com- past six years. through email and phone calls ability to identify…the choices munity. —Susan Ball, CAA Executive to New York arts organizations, offered by the branching alter- —Ellen K. Levy, artist and Director with ads in New York papers, native histories of the future, CAA Board member and by word of mouth—with a and the wisdom to select sim- simple request for applications plifications and approximations from those affected. As a that do not sacrifice the repre- result, about a dozen New York sentation of critical qualitative

CAA NEWS SEPTEMBER 2002 23 PHOTO CREDIT: JOHN KOPP

NEWS

OCTOBER 2002

College Art Association 275 Seventh Avenue New York, NY 10001

Michael Aurbach, President Andrea S. Norris, Vice President, Committees Thomas F. Reese, Vice President for External Affairs Ellen K. Levy, Vice President for Annual Conference Catherine Asher, Vice President for Publications Joyce Hill Stoner, Secretary John Hyland, Jr., Treasurer Jeffrey P. Cunard, Counsel Susan Ball, Executive Director

Ellen T. Baird Virginia M. Mecklenburg Kaucyila Brooke Valerie Mercer Josely Carvalho Nicholas Mirzoeff Irina D. Costache Ferris Olin Nicola Courtright Gregory G. Sholette Diane Edison Edward Sullivan Vanalyne Green Tran T. Kim-Trang Michael Ann Holly Mimi Hall Yiengpruksawan Dennis Ichiyama ies and research in the history of eighteenth-century Arts Council of the African Studies AFFILIATED culture in its broadest sense. ASECS holds an annual Association conference; publishes a quarterly news circular, a quar- ACASA, founded 1982. Membership: 800+. Annual SOCIETY terly journal, an annual volume of essays, and a bian- dues: $50 regular; $20 student, unemployed, and nual teaching pamphlet; cosponsors joint fellowships retired; $75 institutional. Membership runs January with major research libraries; provides travel research 1–December 31. Purpose: To promote scholarship, DIRECTORY fellowships; and offers a number of awards to recog- communication, and collaboration among scholars, nize outstanding scholarship in the field. Executive artists, museum specialists, and others interested in This directory is published annually on the basis of Director: Byron R. Wells, ASECS, P.O. Box 7867, African and African diaspora arts. ACASA’s business information provided by CAA’s affiliated societies. The Wake Forest University, Winston-Salem, NC 27109; meeting is held at the ASA annual conference; ACASA societies listed below have met specific standards for 336/727-4694; fax: 336/727-4697; [email protected]; holds a triannual conference in varying locations; ad purpose, structure, range of activities, and membership http://asecs.press.jhu.edu. hoc meetings are held at the CAA Annual Conference. enrollment required for formal affiliation. Members receive the ACASA newsletter three times a American Society for Hispanic Art Historical year. Secretary-Treasurer: Rebecca L. Green, 1010 Fine American Council for Southern Asian Art Studies Arts, Bowling Green, OH 43403; 419/372-8514; ACSAA, founded 1966. Membership: 265. Annual ASHAHS, founded 1975. Membership: 150. Annual [email protected]; www2.h-net.msu.edu/ dues: $35 regular; $10 student and unemployed; $40 dues: $15 individual; $25 institutional; $7.50 ~artsweb/welcome/acasa.html. institutional; $50 contributing; $100 sustaining. student/retired. Purpose: To promote the study of the Purpose: To promote the understanding of the arts of visual cultures of Spain, Portugal, and their territories Association for Latin American Art all the countries of Southern Asia, including India, through meetings, a newsletter, and scholarly means. ALAA, founded 1979. Membership: 225. Annual dues: Pakistan, Nepal, Bangladesh, and Sri Lanka, as well as ASHAHS presents an annual Eleanor Tufts Award for $20 general; $10 student, retired, and non-U.S. address; Southeast Asia. ACSAA publishes a biannual newslet- an outstanding English-language publication and an $50 institutional; $100 individual sustaining; $500 ter and frequent bibliographies and holds a major sym- annual photography grant to a graduate student writing institutional sustaining. Purpose: ALAA is an interna- posium every 2 years. Secretary: Joan Cummins, a dissertation on an aspect of Spanish or Portuguese tional scholarly and professional organization that Museum of Fine Arts, 465 Huntington Ave., , art. General Secretary: Susan Verdi Webster, Dept. of encourages the discussion, teaching, research, and MA 02115-5523; [email protected]. Art History, LOR 302, University of St. Thomas, 2115 exhibition of Latin American art. Annual dues entitle Summit Ave., St. Paul, MN 55105; members to newsletters and member directory. American Institute for Conservation of [email protected]. President: Joanne Pillsbury (University of Maryland Historic and Artistic Works and Dumbarton Oaks), Pre-Columbian Studies, AIC, founded 1972. Membership: 3,200. Annual dues: Art Libraries Society of North America Dumbarton Oaks, 1703 32nd St. NW, Washington, DC $115 individual; $55 student and retiree; $185 institu- ARLIS/NA, founded 1972. Membership: 1,050. Annual 20007; [email protected]. Membership: Jennifer tional (plus one-time filing fee of $10 for each catego- dues: $50–135 individual (based on income); $40 stu- Ahlfeldt, Dept. of Art History and Archaeology, 826 ry). Purpose: To advance the practice and promote the dent; $100 institutional; $135 business affiliate. Schermerhorn Hall, Columbia University, New York, importance of preservation of cultural property through Purpose: To foster excellence in art librarianship and NY 10027; [email protected]; www.arts.arizona. publications, research, and the exchange of knowledge, visual-resources curatorship for the advancement of edu/alaa. as well as by establishing and upholding professional visual arts. ARLIS/NA provides an established forum standards. AIC holds an annual conference and pub- for professional development and sources for up-to- Association for Textual Scholarship in Art lishes a bimonthly newsletter, a scholarly journal, an date information on trends and issues in the field. It History annual membership directory, and other publications. holds an annual conference, sponsors awards for excel- ATSAH, founded 1991. Membership: 70. Annual fee: Contact: Jay Krueger, Senior Conservator of Modern lence in art-related activities, and publishes Art $20. Purpose: To promote the study and publication of Paintings, National Gallery of Art, Washington, DC Documentation twice yearly, ARLIS/NA Update art-historical primary sources and to facilitate commu- 20565. Executive Director: Elizabeth F. “Penny” Jones, bimonthly, the Annual Handbook and List of Members, nication among scholars working with art literature. 1717 K St. NW, Ste. 200, Washington, DC 20006; and one occasional paper series. Executive Director: ATSAH publishes a biannual newsletter with informa- 202/452-9545; fax: 202/452-9328; [email protected]; Elizabeth Clarke; Association Administrator: Vicky tion as well as critical reviews about ongoing scholar- http://aic.stanford.edu. Roper, 329 March Rd., Ste. 232, Box 11, Kanata, ON ship, publications, and conferences. It also organizes K2K 2E1, Canada, 800/817-0621; [email protected]. conference sessions at the Society of Textual American Print Alliance CAA Liaison: Linda Duychak, Kohler Art Library, Scholarship meeting at the City University of New Founded 1992. Membership: 22 councils, representing University of Wisconsin, Madison, 800 University York, International Congress of Medieval Studies in more than 5,000 artists. Annual council dues: $100. Ave., Rm. 160B, Madison, WI 53706; 608/263-2258; Kalamazoo, MI, Renaissance Society of America, Subscriptions: $35 regular; $30 council members; $15 [email protected]; www.arlisna.org. Southeastern College Art Conference, and the CAA student; $50 institutional. Purpose: To advance and Annual Conference. President: Liana de Girolami promote print, paper, and book arts by publishing criti- Art Museum Image Consortium Cheney, 112 Charles St., Beacon Hill, Boston, MA cal literature, organizing exhibitions, collecting AMICO, founded 1997. Membership: 32 institutions. 02114; 978/934-3495; fax: 617/557-2962; resource information, and encouraging professional Annual dues: $2,500–5,000, based on institutional [email protected]; www.uml.edu/dept/ practices. The alliance publishes the journal annual budget. Purpose: To enable educational use of history/arthistory/atsah. Contemporary Impressions twice a year, with one com- museum multimedia. Membership is open to institu- missioned print for subscribers; publishes the Guide to tions worldwide with collections of art. Members make Association of Art Editors Print Workshops; sponsors traveling exhibitions; pro- annual contributions of digital images, text, and other AAE, founded 1994. Membership: 65. Annual dues: vides competition information, technical articles, online associated multimedia for works in their collections. $20. Purpose: To advance and set standards for the pro- exhibitions and gallery, directory of print study rooms, This data is compiled and disseminated by AMICO fession of art editor; to provide a forum for the and much more on the website. The American Print Distributors as an online licensed database known as exchange of information among art editors and others Alliance September 11 Memorial Portfolio of hundreds the AMICO LibraryTM. Subscribers include colleges, involved in art-related publications; to provide authors of original prints and other works on paper will travel universities, K–12 schools, museums, and public with information about editing and publication proce- for several years before being donated to a museum. libraries. AMICO members govern the consortium and dures; to exchange information available about editing Director: Carol Pulin, 302 Larkspur Turn, Peachtree participate in committees centered on editorial, techni- positions, both freelance and institutional. AAE meets City, GA 30269; [email protected]; cal, rights, and user issues. AMICO holds an annual annually at the CAA Annual Conference and sponsors www.printalliance.org. members’ meeting and various committee gatherings a session on publishing. Directory of members includes throughout the year. Executive Director: Jennifer Trant, areas of expertise. President: Phil Freshman, 3912 American Society for Eighteenth-Century 2008 Murray Ave., Ste. D, Pittsburgh, PA 15217; Natchez Ave. S., St. Louis Park, MN 55416; Studies 412/422-8533; [email protected]. www.artedit.org. ASECS, founded 1969. Membership: 2,600. Annual dues: $50–75 individual; $30 student; $50 retired; $150 institutional. Purpose: To encourage and advance stud- Association of Art Historians ans of 19th-century art of all nations through activities Coalition of Women in the Arts Organization AAH, founded 1974. Membership: 1,100+. Annual such as a newsletter and research colloquia. AHNCA CWAO, founded 1977. Membership: 52. No annual dues: $92–125 individual (depending on subscription); organizes 2 sessions and holds its business meetings at dues. Purpose: A national lobby arts society dedicated $37 student/unemployed; $237 corporate; $42 institu- the CAA Annual Conference. It publishes an annual to the achievement of equality for all women in the tional (Bulletin only). Purpose: AAH represents the directory of members. Its peer-reviewed journal is pub- arts. CWAO organizes grassroots lobbying with state interests of art and design historians in all aspects of lished at www.19thc-artworldwide.org. President: legislatures, presentations, and lectures at the CAA the discipline, including art, design, architecture, film, Petra ten-Doesschate Chu. Vice President: Gabriel P. Annual Conference. It publishes CWAO NEWS on its media, photography, cultural studies, and conservation. Weisberg. Secretary: Sura Levine. Treasurer: Peter B. website. President: Kyra Belán, P.O. Box 6735, Members are active in museums and galleries, publish- Trippi. Newsletter Editor: Cheryl K. Snay. Membership Hollywood, CA 33081; [email protected]. ing, teaching, research, and environmental work. Coordinator: June Hargrove. Program Coordinator: Among the benefits offered to members are an annual Patricia Mainardi. Business office: AHNCA, Dept. of Community College Professors of Art and conference, a journal (Art History), a quarterly maga- Art History and Archaeology, University of Maryland, Art History zine (The Art Book), a newsletter (Bulletin) published 1211-B Art/Sociology Bldg., College Park, MD 20742- CCPAAH, founded 1995. Membership: 25. Annual three times a year, and symposia on a great variety of 1335. dues: $20. Purpose: To provide a forum for communi- subjects and periods. There are also professional-inter- ty-college professors to exchange ideas, formulate cur- est groups with their own program of activities: These Association of Research Institutes in Art ricula, further define the community college’s role in include universities and colleges, art galleries and History the education of art professionals, and develop sessions museums, schools, and student organizations. ARIAH, incorporated 1988. Membership: 19 (full); 1 for the CAA Annual Conference that are of specific Membership is open to art and design historians and to (affiliate). Purpose: To promote scholarship by insti- interest in the community-college environment. CAA all those interested in the advancement or the study of tutes of advanced research in art history and related has expressed a desire to develop outreach to commu- art history. Special subscription rates are available for disciplines; to exchange administrative, scholarly, and nity colleges, faculty, and students alike, and CCPAAH students and the unemployed. Contact: Claire Davies, research information; and to encourage cooperation in is working to be the conduit through which this can Administrator, AAH, 70 Cowcross St, London, EC1M the development and funding of joint programs. Chair become a coordinated effort. CCPAAH undertakes 6EJ, England; +44 (0) 20 7490 3211; and Treasurer: Michael Ann Holly, Sterling and exhibition development, exchange of student and facul- [email protected]; www.aah.org.uk. Francine Clark Art Institute, 225 South St., ty works of art, curriculum development, facilities sur- Williamstown, MA 01267; 413/458-2303, ext. 325; veys, and publishes a newsletter. Its annual meeting is Association of College and University fax: 413/458-1873. Vice Chair: Roslyn Walker, held in conjunction with the CAA Annual Conference. Museums and Galleries National Museum of African Art, 950 Independence Contact: Thomas Morrissey, Community College of ACUMG, founded 1980. Membership: 425. Annual Ave. SW, Washington, DC 20560; 202/357-4600, ext. Rhode Island, Lincoln, RI 02865. Correspondence: dues: $25 individual; $10 student; $50 institution; $75 203; fax: 202/357-4629. Secretary: Georgia Barnhill, Alan Petersen, Coconino Community College, Fine corporate. Purpose: To address issues relevant and American Antiquarian Society, 185 Salisbury St., Arts, N. 4th St., Flagstaff, AZ 86004; 520/527-1222, unique to museums and galleries that are part of a col- Worcester, MA 01609; 508/755-5221; fax: 508/754- ext. 322; [email protected]. lege or university parent institution. ACUMG holds an 9069 annual issue-oriented, 1-day conference in conjunction Design Forum: History, Criticism, and with the annual meeting of the AAM. It also publishes Australian Council of University Art & Theory News and Issues, a newsletter containing information Design Schools DF, founded 1983. Membership: 130. No annual dues. on best practices, museology, and scholarship relevant ACUADS, founded in Australia in 1981 as the Purpose: To nurture and encourage the study of design to the academic museum, and offers members a forum National Conference of Heads of Art and Design history, criticism, and theory. DF holds an annual meet- to share information through published articles. Schools (NCHADS). Name changed to ACUADS in ing in conjunction with the CAA Annual Conference President: Lisa Tremper Hanover, Director, Philip and 1994 to reflect the location of art and design schools in and distributes information about exhibitions, publica- Muriel Berman Museum of Art at Ursinus College, 601 the National Unified System of Australian Universities. tions, conferences, and employment opportunities via E. Main St., Collegeville, PA 19426; lhanover@ursi- Membership: 30 heads of art and design schools. its electronic mailing list. The DF newsletter, Object nus.edu. Membership Dues: Joseph Mella, ACUMG Annual dues: AUS $700. Purpose: ACUADS addresses Lessons, founded 1990, is published occasionally. Treasurer, Vanderbilt University Fine Arts Gallery, issues affecting the education and training of profes- Contact: Carma Gorman, Southern Illinois University, Vanderbilt University, VU Station B, 35-1801, sional artists, crafts practitioners, and designers, and is School of Art and Design, Mail Code 4301, Nashville, TN 3723; 615/343-1704; concerned with the status of the visual-arts industry in Carbondale, IL 62901-4301; [email protected]; [email protected]; www.acumg.org. the wider economic, social, and cultural development http://mypage.siu.edu/cgorman/designforum.htm. of Australia. It is the peak art body that represents the Association of Historians of American Art concerns and interests of the tertiary art sector to gov- Foundations in Art: Theory and Education AHAA, founded 1979. Membership: 488. Annual dues: ernment and policy-making bodies. The Executive is an FATE, founded 1977. Membership: 400–600. Annual $10. Purpose: To promote scholarship in the history of elected body that meets several times a year. The dues: $45 for 2 years or $25 per interim year; $100 American art. AHAA provides a forum for presenting ACUADS annual conference and AGM is held each institutional. Purpose: A national organization to pro- and advancing new approaches to the subject, for year in September and October. Members and interest- mote excellence in the development and teaching of examining problems that confront the field, and for ed parties receive an electronic monthly newsletter. college-level foundation courses in both studio art and identifying scholarly needs and opportunities to its Chair: Ted Snell, Head, School of Art, Curtin art history, FATE aims to foster discussion, analysis, members. AHAA is particularly interested in strength- University of Technology, GPO Box U1987, Perth, strategies, goals, and understanding in the visual-arts ening ties among museum curators, museum educators, Western Australia 6845; [email protected]; core curriculum. FATE’s newsletter, journal (FATE in and college professors. It holds an annual meeting, Secretary: Jody Fitzhardinge, Review), and regional/national conferences provide a hosts sessions at the CAA Annual Conference, publish- [email protected]. platform for exchange and publication. Contact: es a semiannual newsletter, and cosponsors symposia. Barbara Nesin at [email protected]. President: Future plans include launching a website in order to Catalogue Raisonné Scholars Association Reid Wood, Art Dept., Lorain County Community facilitate syllabi exchange and more frequent updating CRSA, founded 1993. Membership: 80. No annual College, 1005 N. Abbe Rd., Elyria, OH 40035; of information. Cochairs: Andrew Walker, Senior dues. Purpose: A forum for discussing the catalogue 440/365-5222, ext. 7102; [email protected]. Curator, Missouri Historical Society, P.O. Box 11940, raisonné; sessions at the CAA Annual Conference Membership: Lynn Tomaszewski, ltomaszewski@ St. Louis, MO 63112-0400; [email protected]; address authenticity, opinion, research, and other schol- worldnet.att.net; www.foundationsinart.org. Diana Linden, 272 N. Carnegie Ave., #246, Claremont, arly issues; funding, legal, publishing, technological, CA 91711; [email protected]. and similar practical concerns are also considered. Historians of British Art CRSA sponsors a listserv for news and member discus- HBA, founded 1992. Membership: 260. Annual dues: Association of Historians of Nineteenth- sions and publishes a newsletter. President: Nancy $5 student; $10 professional; $100 institutional. Century Art Mowll Mathews, Williams College Museum of Art, 15 Purpose: To foster communication and to promote the AHNCA, founded 1994. Membership: 500+. Annual Lawrence Hall Dr., Ste. 2, Williamstown, MA 02167. study and sharing of ideas among those engaged in any dues: $20; $15 students; $200 benefactors; $100 type of scholarship or other professional endeavor patrons; $50 supporting; $30 sustaining. Purpose: To related to British art of every area and period. HBA has foster communication and collaboration among histori- affiliate sessions at the CAA Annual Conference, in

addition to a separate HBA business meeting and site $100 patron; $200 benefactor; $100 institutional. University of Dayton, 300 College Park, Dayton, OH visits to examine works of British art when possible. Purpose: To foster communication and collaboration 45469-1690; [email protected]. HBA Newsletter is published biannually, and a directo- among historians of Northern European art from about ry of members is available. Prizes include 3 awards for 1350 to 1750. HNA holds an annual meeting and pro- Japan Art History Forum books or multiauthored publications on British art and gram in conjunction with the CAA Annual Conference; JAHF, founded 1997. Membership: 200. Annual dues: a travel award to a graduate student presenting a paper publishes 2 newsletters per year, including the HNA $10 individual; $100 supporting. Purpose: To promote at the CAA Annual Conference. President: Anne Review of Books and a Directory of Members (soon to the study and understanding of Japanese art history and Helmreich, Texas Christian University, be online); and holds scholarly conferences every 3–5 material culture by coordinating structured and infor- [email protected]. years. President: Alison Ketering. Secretary/Newsletter mal opportunities for interchange and dialogue among Editor: Kristin Lohse Belkin, 23 S. Adelaide Ave., members at special exhibitions and symposia of Historians of Eighteenth-Century Art and Highland Park, NJ 08904; ph/fax: 732/937-8394; Japanese art and at other scholarly conferences in Architecture [email protected]. Treasurer: Marjorie E. Wieseman, North America, and by encouraging research and dis- HECAA, founded 1991. Membership: 100. Annual Cincinnati Art Museum, 953 Eden Park Dr., Cincinnati, semination of research through discussions on our dues: $10 professional; $5 student. Purpose: To pro- OH 45202. email network. The JAHF email listserv functions as an mote knowledge of all aspects of visual culture through active forum for substantive art-historical discussions, the encouragement of research and publication among International Association of Art Critics recent research, bibliographical material, and for organ- members. We encourage graduate-student training in AICA/US, American affiliate founded in early 1950s. izing panels for professional meetings. President: Frank the visual culture of the long 18th century. HECAA Membership: 300. Annual dues: $55. Purpose: To pro- Chance; [email protected]. holds sessions at conferences and publishes a newslet- mote critical work in the field and to help ensure its ter. It is also an Affiliated Society of the American methodological basis, to create permanent links among National Art Education Association Society for Eighteenth-Century Studies. President: members through international meetings and exchange, NAEA, founded 1947. Membership: 40,000. Annual Melissa Hyde, School of Art and Art History, P.O. Box and to contribute to the international understanding of dues: $50. Purpose: To advance art education through 115801, 302 FAC, University of Florida, Gainesville, different cultures. AICA/US aims to protect and further professional development, advancement of knowledge, FL 32603; 325/392-0201, ext. 245. Membership and art criticism as a profession in the U.S. and to act on and leadership. NAEA conducts research, holds semi- Newsletter Editor: Anne Schroder, 2507 Foxwood Dr., behalf of the physical preservation and moral defense nars and conventions, and publishes journals, newslet- Chapel Hill, NC 27514; ph/fax: 919/932-6186; of works of art. Frequent membership meetings are ters, and books. Members receive a monthly publica- [email protected]. organized in different parts of the country and abroad, tion, quarterly journal, and discount on all other publi- as well as lectures and symposia open to members and cations. Executive Director: Thomas A. Hatfield. Historians of German and Central European nonmembers. AICA/US also publishes a newsletter. Membership: NAEA, Membership Dept., 1916 Art and Architecture Membership is by application and invitation only. Association Dr., Reston, VA 20191-1590; 703/860- HGCEA, founded 1997. Membership: 115. Annual President 2000–2: Amei Wallach, 1600 Park Ave., 8000; fax: 703/860-2960; [email protected]. dues: $25 individual; $15 student. Purpose: To foster Mattituck, NY 11952; [email protected]. the study of visual and material culture in Northern and National Association of Artists’ Central Europe and to further communication among International Association of Word and Organizations scholars working on the art and architecture of the Image Studies NAAO, founded 1982. Membership: 290 organizations, region through the publication of an annual newsletter IAWIS, founded 1987. Membership: 200. Annual dues: 320 individuals. Annual dues: variable (from $60 to (with directory of members) and through annual con- 65–80 euros for 3 years. Purpose: To be an internation- $500 yearly) depending on budget. Purpose: NAAO is ferences and meetings. President: Steven Mansbach, al forum for different disciplines and approaches bear- an artist-centered, membership-driven service organiza- University of Maryland, Dept. of Art History, 1211B, ing on the interaction of the verbal and visual. IAWIS tion that fosters communication and interaction among Art and Sociology Bldg., College Park, MD 20742; seeks to foster the study of word and image relations in artists and artists’ organizations at the local, regional, 301/405-1494; fax: 301/314-9652; a general cultural context and in the arts in the broadest and national level. It is dedicated to mobilizing this [email protected]. Secretary: Maria Makela, sense. IAWIS has a triennial international conference broad community by focusing a national dialogue, pro- 579 Liberty St., San Francisco, CA 94114; 415/826- and publishes a newsletter twice yearly. Contact: viding valuable networking opportunities within the 0754; [email protected]. Treasurer: Rose-Carol Michele Hannoosh, Saint Catharine’s College, field, promoting the value of artist-driven initiatives to Washton Long, Ph.D. Program in Art History, Graduate Cambridge CB2 1RL, England; the broader public, and serving as a national voice for Center of the City University of New York, 365 Fifth [email protected]. artists’ organizations in forums that debate issues of Ave., New York, NY 10016; 212/817-8042; rcwlong@ cultural policy. As the only national service organiza- aol.com. Newsletter editor: Peter Chametzky, School International Center of Medieval Art tion serving the community of artists’ organizations, of Art and Design, Southern Illinois University, 1201 ICMA, founded 1956. Membership: 1,400. Annual NAAO enacts programs that promote organizational W. Sycamore St., Carbondale, IL 62901; 618/453- dues: $45 active (within the US); $50 (all other coun- stability, communication within the field, increased vis- 8632; fax: 618/453-7710; [email protected]. tries); $18 students; $65 institutional; $70 joint; $35 ibility, and cultural pluralism, and has played a leading independent scholar/retiree; $1,000 benefactor; $500 role in issues related to freedom of expression and the Historians of Islamic Art supporting; $250 patron; $125 contributing. Purpose: First Amendment. Contact: NAAO c/o Space One HIA, founded 1983. Membership: 225. Annual dues: To promote the study of medieval art and civilization. Eleven, 2409 Second Ave. N., Birmingham, AL 35203- $25 regular; $15 student. Purpose: To promote high ICAM publishes a newsletter and the journal Gesta and 3809; 205/328-0553; fax 205/254-6176; standards of scholarship and instruction in the history sponsors sessions at international conferences, the [email protected]; www.naao.net. of Islamic art, to facilitate communication among its Distinguished and Visiting Scholar Lecture Series, and members through meetings and the HIA newsletter and an annual Electronics Prize. Contact: Susan Karp, The National Conference of Artists directory, and to promote scholarly cooperation among Cloisters, Fort Tryon Park, New York, NY 10040; NCA, founded: 1958. Membership: 500. Annual dues: persons and organizations concerned with the study of ph/fax: 212/928-1146; [email protected]. $35 general; $10 student; $100 institutional; $50 chap- Islamic art. HIA holds periodic majlis, or meetings, of ter; $500 life. Purpose: NCA works to preserve, pro- its members, often in conjunction with meetings of Italian Art Society mote, and develop the creative forces and expressions CAA or MESA (Middle East Studies Association). IAS, founded 1986. Membership: 225+. Annual dues: of African American artists and other artists of African President: Nuha Khoury, Dept. of the History of Art $15 (within the US); $20 (in Canada and overseas); heritage. Through its research in the arts, annual con- and Architecture, University of California, Santa $10 student; Includes Bibliography of Members’ vention, regional meetings, and correspondence, NCA Barbara, Santa Barbara, CA 93106; 805/893-7584; Publications and Newsletter. Purpose: To foster com- seeks to bring artists together to discuss mutual con- [email protected]. Secretary/Treasurer: munication among disciplines and scholarship devoted cerns, exchange ideas, and promote cultural exchange Heghnar Watenpaugh, Dept. of Art and Art History, to the study of Italian art and civilization of all histori- and interchange of works of local, national, and inter- Rice University, MS 21, 6100 Main St., Houston, TX cal periods. IAS sponsors sessions at the International national origin. Members receive a quarterly newsletter 77005; 713/527-8101; [email protected]. Congress on Medieval Studies and the CAA Annual and are invited to attend the annual convention. Conference. President: David Wilkins, University of President: Napoleon Jones-Henderson, NCA, 12 Historians of Netherlandish Art Pittsburgh; [email protected]. Vice-President: Debra Morley St., Roxbury, MA 02119. HNA, founded 1983. Membership: Approximately 650. Pincus, National Gallery of Art; [email protected]. Annual dues: $25 student; $45 regular; $65 supporting; Secretary-Treasurer: Roger Crum, Visual Arts Dept., National Council of Art Administrators James Saslow, Queens College and Graduate Center, W. Thomas, Administrator, P.O. Box 508, Chapel Hill, NCAA, founded 1972. Membership: 200. Annual dues: City University of New York, [email protected]. NC 27514-0508; 919/933-1777; $50. Purpose: To provide a forum for the exchange of atsecac@.net; www.furman.edu/secac. ideas, the identification of problems, and the generation Radical Art Caucus of shared solutions to the issues that confront visual-art RAC, founded 2001. Membership: 40+. Annual dues: Visual Culture Caucus professionals in higher education today. NCAA sup- $20 faculty and employed; $5 students and underem- VCC, founded 2000. Membership: 100. Annual dues: ports a yearly conference hosted by an educational ployed. Purpose: RAC has as its primary mission the $10 tenured; $5 untenured; $1 student/adjunct faculty. institution to encourage dialogue and networking. promotion of art and art-historical scholarship that Purpose: To promote and advance the discussion of Members receive a newsletter and directory. President: addresses historical and contemporary problems of visual culture in both critical and artistic practice and Judith Thorpe, University of Connecticut, judith. oppression and possibilities for resistance. RAC brings interdisciplinary contact with those working to similar [email protected]; Administrative Coordinator: together scholars and artists who ground their work in ends in other visual media. VCC maintains a listserv Robert Shay, University of Kentucky, Lexington, KY the material knowledge of cultural conditions and prac- for discussion and sharing information that can be 40506-0022; [email protected]. tices related to critiquing the fundamental issues of joined by signing up for the visual_culture list at unequal distribution of resources, social hierarchies, www.yahoogroups.com. Contact: Nicholas Mirzoeff, Pacific Arts Association and unjust political authority that affect disenfranchised Art Dept., State University of New York, Stony Brook, PAA, founded 1974. Membership: 390 (130 institution- populations in all periods of history. Furthermore, RAC NY 11794-5400; [email protected]; al, 260 individuals). Annual dues: $40 individual and seeks to provide an intellectual and professional envi- Laurie-Beth Clark, Art Dept., University of Wisconsin, institutional; $30 visual and performing artists, stu- ronment for the discussion of labor and social justice Madison, WI 53706; [email protected]. dents, and retirees. Purpose: PAA is an international issues specifically related to contemporary practices of organization devoted to the study of all the arts of art and art history. RAC members will debate and Visual Resources Association Oceania. Its aims are to make members more aware of advocate for a more critical institutional practice in VRA, founded 1982. Membership: 600. Annual dues: the state of all arts in all parts of Oceania; to encourage order to promote radical democratic principles within $25 individual, if annual salary range is less than understanding among nations of the region and greater and outside the academy. Executive Officers: Stephen $20,000; $45 ($21,000–29,000); $65 cooperation among the institutions and individuals Eisenman, Northwestern University; Janet Koenig, ($30,000–39,000); $75 ($40,000–49,000); $95 (more involved in and associated with the arts of Oceania; to School of the Art Institute of Chicago; Andrew than $50,000); $85 individual, if outside North promote high standards of research, interpretation, and Hemingway, University College London. Treasurer: America; $95 institutional; $25 student; $25 retired; reporting on this art; to stimulate more interest in the Barbara McCloskey, University of Pittsburgh. $100–299 contribution; $300+ patron; Subscriptions: teaching of courses on Oceanic art, especially, but not Secretary and. Membership: Paul Jaskot, Dept. of Art $100 for VRA Bulletin subscription only; $20 for VRA only, at the tertiary educational level; to encourage high and Art History, DePaul University, 1150 W. Fullerton, listserv subscription only. Purpose: To advance knowl- standards of conservation in and preservation of the Chicago, IL 60614; [email protected]. edge, research, and education in the field of visual material culture of Oceanic arts. International sympo- information resources. VRA advocates and promotes a siums are also organized. Publications include Pacific Renaissance Society of America spirit of cooperation among its members and with relat- Arts, published annually, and The Pacific Arts RSA, founded 1954. Membership: 3,700. Annual dues: ed professional organizations. Membership includes Association Newsletter, printed twice each year. $60 regular; $30 student; $45 retiree; $70 dual; $90 information specialists; digital-image specialists; art, Membership: Hilary Scothorn, Treasurer, P.O. Box institutional; $100 patron; $2,500 life. Membership architecture, film, and video librarians; museum cura- 6061-120, Sherman Oaks, CA 91413; paatreasur- runs January 1–December 31. Purpose: RSA is an tors; slide, photograph, microfilm, and digital [email protected]. Vice President, North America: Carol international, interdisciplinary organization dedicated archivists; architectural firms; galleries; publishers; S. Ivory, Fine Arts Center, P.O. Box 647450, to the promotion and encouragement of the study of the image-system vendors; rights and reproductions offi- Washington State University, Pullman, WA 99164- Renaissance period. RSA holds an annual conference, cials; photographers; art historians; artists; and scien- 7450; 509/335-7043; fax: 509/335-7742; usually in the early spring, publishes Renaissance tists. VRA offeres an email listserv, a quarterly bulletin [email protected].; www.pacificarts.org. Quarterly and a newsletter, Renaissance News and (VRA Bulletin), an annual sourcebook and directory, Notes, 3 times a year. Membership includes password regional chapters, continuing education opportunities, Private Art Dealers Association to ITER (Electronic Bibliographic Database). Contact: an annual conference, and a website. President: Ann PADA, founded 1990. Membership: 55. Annual dues: RSA, Graduate Center, City University of New York, Baird Whiteside, Harvard Design School, 48 Quincy $650. Purpose: To represent a select group of dealers 365 Fifth Ave., Rm. 5400, New York, NY 10016-4309; St., Cambridge, MA 02138; 617/495-5674; fax: who work from nonpublic spaces and who are special- 212/817-2130; fax: 212/817-1544; [email protected]; 617/496-5929; [email protected]. Vice ists in specific areas of the fine arts. Election to mem- www.rsa.org. President: Mark Pompelia, Dept. of Art and Art bership is by invitation and is based on a dealer’s expe- History, Rice University, P.O. Box 1892, MS 21, rience, scholarship, ethics, and contributions to the arts Society of Historians of East European and Houston, TX 77251-1892; 713/348-4836, fax: 713/348- community. PADA supports scholarship through public Russian Art and Architecture 4039; [email protected]. lectures, symposia, and grants. It is also a member of SHERA, founded 1995. Membership: 135. Annual Confédération Internationale des Négotiants en dues: $18; $12 students and other limited income. Women’s Caucus for Art Oeuvres d’Art (CINOA). A directory of PADA dealer Purpose: SHERA is an international network for schol- WCA, founded 1972. Membership: 2,000. Annual members is published biannually. President: Timothy ars working in the field of Russian and East European dues: $30 regular; $50 professional member; $75 insti- Baum, PADA, P.O. Box 872, Lenox Hill Station, New visual culture. SHERA publishes a triannual newsletter tutional; $100 supporting; $25 subsidized (student/lim- York, NY 10021; 212/572-0772; fax: 212/572-8398; that includes bibliographic citations of new research in ited income). Purpose: WCA is a national organization [email protected]; www.pada.net. the field, notices of conferences and exhibitions, and unique in its multidisciplinary, multicultural member- state-of-research essays. SHERA panels are held at the ship of artists, art historians, students and educators, Queer Caucus for Art: The Lesbian, Gay, CAA Annual Conference. Contact: Pamela Kachurin, gallery and museum professionals, critics and publish- Bisexual, and Transgender Caucus for Art, 137 Coolidge St., Brookline, MA 02446; ers, art administrators, and others involved in the visual Artists, and Historians [email protected]. arts. It serves to win parity in the valuation of creative QCA, founded 1989. Membership: 300. Annual dues: and scholarly work by women, to create new opportu- $25 employed; $5 low income and students. Purpose: Southeastern College Art Conference nities for women to document, produce, and exhibit To nurture and encourage the study of lesbian, gay, SECAC, founded 1942. Membership: 576 individual works, and to assemble for the exchange of ideas. bisexual, and transgender history, theory, criticism, and members; 38 student members; 122 institutional mem- WCA offers a national network of 33 local chapters, studio practice in the arts and to foster, through its vari- bers. Annual dues: $35 individual; $10 student; $45 exhibitions, publications, a monthly email bulletin, a ous activities, better communication and understanding contributing; $100 institutional. Purpose: To promote triannual newsletter, and regional and national confer- among its members, academic communities, lesbian, art in higher education by facilitating cooperation ences hosted by local chapters, which provide an occa- gay, bisexual, and transgender communities, and the among teachers and administrators in universities, col- sion to teach, learn, present work, and celebrate schol- public at large. Activities include a newsletter and con- leges and junior colleges, professional art schools, and arly and creative achievements by women. National ference panels. Co-chairs: Maura Reilly, Dept. of Art museums in the 12-state Southeastern region. SECAC Administrator: National WCA, P.O. Box 1498, Canal and Art History, Tufts University, 11 Talbot Ave., holds an annual conference; publishes a journal, the Street Station, New York, NY 10013; Medford, MA 02155; [email protected]; and SECAC Review, and 3 newsletters annually; and [email protected]; www.nationalwca.com. awards an Artists Fellowship each year. Contact: Anne