March 2007 Caa News

Home , Alison Saar, Benny Andrews, Muriel Castanis, Will Barnet

NEWSLETTER OF THE COLLEGE ART ASSOCIATION VOLUME 32 NUMBER 2 MARCH 2007 CAA NEWS

2007 CAA Annual Awards for Distinction MARCH 2007 CAA NEWS 2

CONTENTS

FEATURES 3 2007 Awards for Distinction

FEATURES 10 caa.reviews Redesigned 11 Interview with Glaire Anderson 13 The Bookshelf

NEW IN THE NEWS 14 Join a CAA Award Jury 14 CAA Seeks Award Nominations 15 New Committee Members 16 2008 Call for Participation

CURRENTS 17 Advocacy Update Nicola Courtright 18 Career Development 19 Annual Conference Update CAA AWARDS FOR DISTINCTION 19 CAA News Nicola Courtright is professor of fine arts at Amherst College and 22 Affiliated Society News president of the CAA Board of Directors.

END NOTES For me, one of the greatest pleasures of being CAA’s president 24 Solo Exhibitions by Artist Members is handing out the annual awards at Convocation. Most of us 25 Books Published by CAA Members make art or publish scholarship and criticism or teach from 25 Exhibitions Curated by CAA Members morning until night for years because it’s our life’s challenge, our bête noire, our compulsion, our passion, and, of course, our 25 People in the News job. In truth, we usually aren’t rewarded with much more than 27 Grants, Awards, and Honors a sense of satisfaction (if we’re lucky) before the next project 27 Institutional News demands our attention. So it is wonderful and moving to hear 28 Obituaries the tributes that our honorees receive from the hard-working 33 Opportunities juries and to hear the stories our colleagues tell about why 34 Classifieds they do what they do. Their awards and thanks are naturally 35 Datebook all about their marvelous achievements, and we do marvel at 35 Photo Credits them and envy them, but they are also familiar tales to us. The honorees’ labors and accomplishments inevitably seem to recall our own experiences and ambitions, so much that at this occasion, more than at any other, I am struck by how we are all and always engaged in a communal act to understand and celebrate art.

Cover: Betye Saar, Black Crows in the White Section Only, 1972, mixed-media assemblage in a wood box, 22 x 18 x 1¾ in., signed and dated (artwork © Betye Saar; photograph provided by Michael Rosenfeld Gallery, LLC, New York, NY). Saar is the recipient of the 2007 Distinguished Body of Work Award. For details, see page 7.

CAA NEWS VOLUME 32, NUMBER 2 MARCH 2007 3 CAA NEWS MARCH 2007 FEATURES

2007 Awards for Distinction

Peter Selz By honoring outstanding member achievements through its annual Awards for Distinction, CAA reaffirms its mission to ological survey while also arranging his material thematically encourage the highest standards of scholarship, practice, con- under four broad chapter titles: “Against War and Violence,” noisseurship, and teaching in the arts. With these awards, “Countercultural Trends,” “On Racism, Discrimination, and which were presented last month by Board President Nicola Identity Politics,” and “Toward a Sustainable Earth.” He dis- Courtright at Convocation during the 95th Annual Conference cusses a tremendous variety of socially engaged art, includ- in New York, CAA honors individual artists, art historians, ing painting, sculpture, photography, video, murals, printmak- authors, conservators, curators, and critics whose accomplish- ing, posters, and performance. Stunning for its breadth and ments transcend their individual disciplines and contribute to inclusiveness, the book is also elegantly written, weaving the profession as a whole and to the world at large. together biography, politics, and analysis in a compelling While reading the following award citations, keep in mind and seamless whole, provocative in its content yet presented that CAA members can help decide award recipients each year with objectivity. The reader is guided through a multifaceted by nominating colleagues and professionals or by serving on an and meticulously constructed picture of contemporary art, award jury (see pages 14–15 for more information). With your combining convincing art-historical scholarship with lucid art nominations and service, CAA can continue its mission and cel- criticism, historical analysis, current theory, artists’ voices, ebrate the dynamic individuals in our field. and diverse perspectives. While admitting his “progressive” political persuasion, the author treats the art and the history CHARLES RUFUS MOREY BOOK AWARD in a judicious, evenhanded manner. Art of Engagement is an inspiring example of historical and Peter Selz’s politically courageous book, Art of Engagement: critical writing that is inclusive, engaged, and exciting. The Visual Politics in California and Beyond (Berkeley: University author provides a distinguished model for an integrated and of California Press, in association with San Jose Art Museum, compelling art history—cogent, committed, timely, accessible. 2006), is the most recent work in an important body of art- Art of Engagement is a landmark achievement and will long historical and critical writing by a distin- remain a valuable survey of the intersections of the art and guished scholar. This latest book reflects politics of a tumultuous era. Above all, it crowns Selz’s lifelong Selz’s lifetime of knowledge, experience, commitment to the importance of understanding the relation- and profound personal engagement with ship between art and the context in which it is made. his subjects. During his early years, he witnessed both the subjugation of culture Jury: William E. Wallace, Washington University in St. Louis, chair; Carol to ideology and the vilification of modern Mattusch, George Mason University; D. Fairchild Ruggles, University of art as “degenerate” in Nazi Germany. Illinois, Urbana-Champaign; Susan Platt, independent scholar, Seattle From his work on German Expressionism in the mid-1950s to the present book, Selz has placed art in a social and political ALFRED H. BARR, JR., AWARD context. He has never accepted the limitations of formalism or stylistic “isms” as the only means of analyzing art. The Alfred H. Barr, Jr., Award for 2007 goes to American Art of Engagement spans more than sixty years, from Paintings in the Brooklyn Museum: Artists Born by 1876 (New the 1940s to the present, and considers social and politi- York: Brooklyn Museum, in association with D. Giles, 2006), cal changes well beyond the boundaries of California. The by Teresa A. Carbone with Barbara Dayer Gallati and Linda book presents a complex yet remarkably clear and inclusive S. Ferber. Destined to become a classic reference work, this survey of the work of more than three hundred artists. In beautifully produced two-volume set represents a permanent an impressive feat of organization, Selz provides a chron- record of a portion of the Brooklyn Museum’s rich holdings in > MARCH 2007 CAA NEWS 4 FEATURES

American art. The result of twenty years’ labor carried out by a team of three curators, American Paintings in the Brooklyn Museum includes a detailed history of the

museum and its American art collection Study model showing the view at about 115 feet (35 meters) from the Arch of Constantine (model by as well as a catalogue comprising 340 art- Elizabeth Marlowe) ists and nearly seven hundred paintings. The catalogue’s exhaustively researched cated analysis of the placement of the Arch of Constantine in Teresa A. Carbone biographical entries are broadly conceived the complex and contested space of the Colosseum Valley. The and of general interest to scholars and students, while the author offers vivid reconstructive drawings that allow the read- painting entries effectively balance social and cultural history, er to imagine the experience of approaching the monument in the fourth century. Through these models, Marlowe successful- art history, knowledge about related works, and technical ly argues that the arch was constructed in a manner that estab- observations. lished an especially close visual and spatial At a time when museums are increasingly putting resourc- relationship between it and the Colossus of es into splashy blockbuster exhibitions, American Paintings in Sol. This, in turn, provides the author with the Brooklyn Museum serves as a powerful a pivot-point for shifting our understand- reminder of the centrality of the permanent ing of the monument’s relief carving and collection to the museum’s mission and of inscriptions. An inscription on the arch the need for rigorous and necessarily time- that states that Constantine commissioned consuming research to deepen public and Elizabeth Marlowe the arch on the basis of the “inspiration of scholarly understanding of its collections. the divinity” has often been interpreted historically as an affir- Our congratulations go to Carbone, Gallati, mation of Constantine’s conversion to Christianity. In light of and Ferber, and to the Brooklyn Museum the evidence of the arch’s unique connection to the Colossus, and D. Giles Limited, for their exemplary contribution to art- however, Marlowe argues convincingly that while the author of historical scholarship. the inscription might have “striven for ambiguity in the descrip-

Jury: Alan Wallach, College of William and Mary, chair; Elizabeth tion of Constantine’s divine support … in every other aspect of Childs, Washington University in St. Louis; Beth Holman, Center for the monument, from its sculptural imagery to its setting, the Medieval Studies, Fordham University; Susan Huntington, Ohio favored deity is unambiguously Sol.” Marlowe’s impressive State University powers of observation lead her to construct nuanced argu- ments on the basis of a rich variety of visual evidence. Among ARTHUR KINGSLEY PORTER PRIZE her other memorable contributions, Marlowe finds meaning in the early photographic record of the Constantinian monument, The Arthur Kingsley Porter Prize is awarded to an outstand- revealing its siting with respect to the Meta Sudans and the ing article published in The Art Bulletin by a scholar who is surrounding topography before the tragic destruction of many under the age of thirty-five or within ten years of receiving the key remains in 1936, thereby expertly lifting the curtain on one doctorate at the time the article was accepted for publication. more act of barbarism of the Fascist era. Since its establishment in 1957, authors of fifty articles have been honored with this award, and many of these essays are Jury: Jonathan M. Reynolds, University of Southern California, chair; now considered classics of art-historical writing. The latest in Carmen C. Bambach, Metropolitan Museum of Art; Petra ten-Doesschate this distinguished series of Porter Prize winners is Elizabeth Chu, Seton Hall University Marlowe’s “Framing the Sun: The Arch of Constantine and the Roman Cityscape,” which appeared in the June 2006 issue of ART JOURNAL AWARD the journal. This impeccably researched and lucidly written article One of four essays in Art Journal’s Fall 2006 issue exploring takes on the daunting task of reassessing a canonical monu- “Forty Years of Video Art,” Sean Cubitt’s “Grayscale Video ment. Marlowe’s special contribution is a subtle and sophisti- and the Shift to Color” is a fascinating discussion of the work FEATURES > (New York: (New York: (Ann Arbor, MI: (Ann Arbor, Postmodern Currents: be an artist today.” Another states, “She is be an artist today.” impression on the world of art and an by former army of students. Testimonials students consistently highlight her sense teaching by example, and her of humanity, ability to share “her wealth of knowledge and life experiences without arrogance or judgment.” One student notes that she taught him “that there is no ‘right’ way to , 2000, five computers, router, and overhead data projection connected to connected to and overhead data projection , 2000, five computers, router, Digital Currents: Art in the Electronic Age TURNS TABLE Colleagues point out that Lovejoy’s influence has gone Colleagues point out that Lovejoy’s Her work is in the collections of the Whitney Museum of Margot Lovejoy a ceaseless learner whose art and published works are as provocative as they are probing. She has broken new ground and made resonate works that have expanded our understanding of print media to include interactive media, book works, per- web-based art.” formance, installation, and most recently, well beyond the classroom. Her book Art and Artists in the Age of Electronic Media UMI Research Press, 1989; 2nd ed. 1997) is a standard in the field, and Routledge, 2004) is recognized as a textbook. She fosters student growth through interdisciplinary curricula and an atmo- sphere “of openness and inquiry.” American Art, the J. Paul Getty Museum, and the Museum of Modern Art. She has received a John Simon Guggenheim College, State University of New York. Her efforts as an educa- College, State University of New York. and mentor have made an immense activist, artist, writer, tor, DISTINGUISHED TEACHING OF ART AWARD DISTINGUISHED TEACHING OF ART model than Margot It would be hard to imagine a better role professor emerita of artand design at Purchase Lovejoy, Jury: Charles Reeve, Ontario College of Art and Design, chair; Charles Jury: Charles Reeve, Ontario College of Art and Lord, University of Hagen, University of Connecticut, Storrs; Catherine California, Irvine gives week after week to art of all sorts, and his ability to consider art terms that are acces- and its role in society in alike. sible to specialists and general audiences Margot Lovejoy, Margot Lovejoy, 48 x 36 in. This work is the generative website www.myturningpoint.com, the internet, installation aspect of photograph provided Margot Lovejoy; (artwork © Jon Legere, and Marek Walczak produced with Hal Eagar, by the artist) , a collec- , he has contributed to , he has contributed to Seeing Out Loud , appeared in 2003. But the , appeared in 2003. But the Voice Voice Cubitt’s essay breathes new life into Cubitt’s moment. It considers striking new mate- draws us into an understanding of the draws us into an understanding medium and its moment, too often rele- gated to a kind of “white noise” that lurks behind the volubility of the conceptualist and performance practices associated with the period. the evolving historical picture of that significance to a wider public. Saltz has significance to a wider public. Saltz has twice been a finalist for the Pulitzer Prize ing for the almost every major art publication and has and exhibi- lecturer, served as a curator, tion juror for a wide variety of venues. In all his activities Saltz has been a strong and articulate advocate for contemporary art and artists. wit and intelligence With and excitement he has conveyed art’s

, has passionately chronicled the New York , has passionately chronicled the New York MARCH 2007 MARCH

Village Voice Village Sean Cubitt Jerry Saltz (photograph by Jerry Saltz (photograph by Ravi Sawhney) rial and raises compelling formal and theoretical questions in rial and raises compelling formal and theoretical approachable writing. The vitality of the piece reflects lively, location at the intersection of media studies, new- the author’s his text Indeed, media criticism, and contemporary art history. disciplinary divides of encourages us to think that some of the and interactive recent years can be spanned by an intelligent interdisciplinary approach. art scene, providing weekly reviews of exhibitions and art- world events in entertaining, insightful articles. Beyond writ- For more than two decades, Jerry Saltz, senior art critic at the in Criticism, most recently in 2006. Jury: Darby English, University of Chicago, chair; Nicholas Mirzoeff, New Jury: Darby English, University of Chicago, chair; Fullerton University; Joanna Roche, California State University, York FOR AWARD FRANK JEWETT MATHER ART CRITICISM and milieu of the 1970s British video artist David Hall. Cubitt’s British video artistand milieu of the 1970s David Hall. Cubitt’s historical specificity and expansive in its reading is rich in its a medium without an essence,” he writes. was insights. “Video of video seemed too simple, too “It was as if the machinery like of lying, or only capable of lying badly, direct, to be capable a part,a child trying to act was and like the child, monochrome deep knowledge of his subject Cubitt’s very self-conscious.” CAA NEWS CAA tion of his columns for the essence of his achievement lies in the generous attention he essence of his achievement lies in the generous attention he 5 MARCH 2007 CAA NEWS 6 FEATURES

Fellowship, and her work was included in the 2002 Whitney College, Harvard University, the Massachusetts Institute of Biennial. The old saying about “those who can’t, teach” cer- Technology, the University of California, Irvine, the University tainly does not apply to Lovejoy. of Pennsylvania, and the University of Texas at Austin. To one of her students, “what makes Wanda Corn one of the most Jury: Michael Aurbach, Vanderbilt University, chair; Muriel Magenta, popular teachers at Stanford is more than her knowledge alone, Arizona State University; Yong Soon Min, University of California, Irvine; and it’s even more than her outstanding lectures; it’s her ability Lester Van Winkle, Virginia Commonwealth University to transform her knowledge into dialogue with and among students.” To create and sustain community through her teaching DISTINGUISHED TEACHING OF ART HISTORY AWARD is Corn’s abiding gift. Alan Wallach has been Ralph H. Wark Professor of CAA is pleased to honor two esteemed specialists in American Art and Art History and American Studies at the College art, Wanda M. Corn and Alan Wallach, with the 2007 Distin- of William and Mary since 1989. His career has focused guished Teaching of Art History Award. The coincidence of equally on undergraduate and graduate their nominations provides an opportunity for CAA to celebrate education, beginning with his appoint- the breadth and depth of teaching in this still-young field. As ments at Rutgers University in 1967–70 Corn observed in her oft-cited survey of the state of American and 1971–73; Kean College (now Kean art history (The Art Bulletin, June 1988), she and Wallach University) of New Jersey in 1974–88; and belong to only the second generation of academically trained the University of Michigan in 1989. Like Americanists. Each has played a pivotal role in inspiring the Corn, Wallach brings the classroom clearly next generations. and unswervingly into his scholarship. Wanda Corn is Robert and Ruth Halperin Professor of Art An early advocate of the New Art History History at Stanford University, where she arrived in 1980 (after Alan Wallach (photograph by Phyllis Rosenzweig) and critical museum studies, he is the an early curatorial career) as the university’s first appointment coauthor, with Carol Duncan, of the groundbreaking essays in American art. Her major study, The Great American Thing: “The Museum of Modern Art as Late Capitalist Ritual: An Modern Art and National Identity, 1915–35, Iconographic Analysis” (Marxist Perspectives, 1978) and “The published by the University of California Universal Survey Museum” (Art History, 1980), and the author Press in 1999, explores the workings of of the much discussed, assigned, and anthologized “Making cultural nationalism within trans-Atlantic a Picture of the View from Mount Holyoke” (1990). This last modernism. Awarded the 2000 Charles C. essay is exemplary both for its revisionist treatment of a Eldredge Prize for Distinguished Scholarship canonical work (Thomas Cole’s Oxbow) and, like all his schol- in American Art, the book was one of the arship, as a paradigm-setting statement of methodology. most anticipated publications in the field Wallach’s teaching is eloquent and passionate, rigorous Wanda M. Corn (photograph and has provided a model for the teaching by Brigitte Carnochan) and critical. His students have hailed from varied backgrounds and scholarship of others. Even her brief and, as scholars, populate academic and curatorial programs essays, such as the catalogue for the M. H. de Young Memorial in English, art history, American studies, museum studies, and Museum’s exhibition, The Color of Mood: American Tonalism, visual culture. Described by all as an exceptionally generous 1880–1910 (1972), remain canonical pieces decades after they teacher, Wallach has served as mentor or outside advisor to were produced. many students at institutions where there was no Americanist. Much of Corn’s career has been devoted to community In the classroom his approach says, “Let me show you some- building, including the transformation of Stanford into a center thing fascinating,” and his material and manner fulfill that for the study and teaching of American art and material culture. promise. A teacher of high and exacting standards, Wallach A dynamic lecturer, she has mentored numerous undergraduate inspired one former student to observe, “Part of his pedagogical and graduate students who have gone on to successful careers charm is that he does not suffer fools, but remains patient with as professors and curators. Her former students, working on the naïve. He admonishes the former and gently coaxes the lat- topics as varied as Abstract Expressionism, colonial portraiture, ter; in my case, both were necessary and appreciated.” In strik- Native American textiles, and performance art, hold tenured ing this balance, Wallach extends, insists on, and assures the and tenure-track positions at, among other institutions, Barnard opportunity for learning. 7 CAA NEWS MARCH 2007 FEATURES

of Art, the Norton Museum of Art, the Pennsylvania Academy of Fine Arts, and the Crocker Museum of Art, where it remains on view through April 29. Extending the Frozen Moment pays homage not only to Saar’s work, but also to the circumference of her legacy as one of the most influential figures in the history of African American art. One such legacy is her family: she is mother of two artist daughters of renown. An exhibition with them, called Family Legacies: The Art of Betye, Lezley, and Alison Saar, has been Betye Saar, Colored, 2002, mixed-media assemblage with hand mirror, 141⁄2 x 30 x 11⁄2 in., signed. University touring the United States since 2005; its final stop is the Palmer of Michigan Museum of Art. Museum purchase made possible through the generosity of Dr. James and Vivian Curtis and the W. Hawkins Ferry Fund (artwork © Betye Saar; photograph provided by Michael Rosenfeld Museum of Art at Pennsylvania State University, on display Gallery, LLC, New York, NY) through April 22. Corn and Wallach have revolutionized the teaching of Saar’s distinguished career has been marked by impor- American art and museum studies as they have opened these tant and provocative one-person exhibitions, including a fall fields to new areas of inquiry through dazzling blends of social 2006 show at Michael Rosenfeld Gallery, called Betye Saar: history, anthropology, and formal visual analysis. Their contri- Migrations/Transformations, that explores race and gender in butions in the classroom and through scholarship are every- American society. Her inclusion in myriad group exhibitions is testament to the high regard and popularity of this artist. thing our profession values in the best of welcoming, advanced, In the last two years alone, these include: Los Angeles–Paris: probing, and influential pedagogy. 1955–1985 at the Centre Georges Pompidou, and exhibition

Jury: Roger Crum, University of Dayton, chair; Eva Hoffman, Tufts and projects at the Wadsworth Atheneum Museum of Art, University; Rebecca Corrie, Bates College; Barbara Jaffee, Northern the New-York Historical Society, the Whitechapel Art Gallery, Illinois University and the Boston University Art Gallery. Her work can be found in the collections of the Metropolitan Museum of Art, the Los DISTINGUISHED BODY OF WORK AWARD Angeles County Museum of Art, the Detroit Institute of Arts, the Walker Art Center, the Hirshhorn Museum and Sculpture For more than forty years, Betye Saar has created potent Garden, the High Museum of Art, and the Whitney Museum of visions deeply imprinted by the African American experience. American Art. Best known for her assemblages and mixed-media construc- The jury confers this award on Saar with pleasure and great tions, Saar generates her iconography from a grid of historical respect for her distinguished achievements and the impact of memory and resistance to racial stereotypes. Self-described as her work on the American and international art community. “born of depression era parents,” she credits her early education and the lessons of Jury: Patricia Failing, University of Washington, chair; Margo Machida, childhood for providing her with the foun- University of Connecticut, Storrs; Richard Kalina, Fordham University; Kevin Consey, Berkeley Art Museum/Pacific Film Archive, University of dations for her life as an artist. She calls California herself a narrative artist who tells stories and has been described by a critic as a DISTINGUISHED ARTIST AWARD FOR LIFETIME “visual griot.” ACHIEVEMENT From 2005 to 2007, her work was celebrated in a national touring exhibition, Tracye Saar-Cavanaugh, Betye The distinguished American painter, printmaker, and teacher Saar holding a portrait of Betye Saar: Extending the Frozen Moment, herself as an infant, 2006 Will Barnet has been an important influence on the art world which focuses on the photographic frag- for close to eight decades. During his long career he has cre- ment as a defining feature of her oeuvre. Saar explains, “I am ated art that ranges from classical figuration to abstraction; he intrigued with combining the remnant of memories, fragments has worked in many styles—often outside the expectations of of relics and ordinary objects, with the components of technol- the mainstream art world—while always remaining creatively ogy. It’s a way of delving into the past and reaching into the independent. Through more than seventy years and countless future simultaneously. The art itself becomes the bridge.” The movements in art, Barnet has maintained a recognized pres- exhibition has appeared at the University of Michigan Museum > MARCH 2007 CAA NEWS 8 FEATURES

ence as an artist, a remarkable accomplishment. Barnet’s work has been widely exhibited both nationally and internationally, beginning with his first one-person show in 1938 at the Hudson Walker Gallery in New York. His solo exhibitions in museums and galleries continue into the twenty- first century: a show of new work is on view until May 27 at the Montclair Art Museum in New Jersey. His presence in public collections is impressive. A partial list of collections includes the Metropolitan Museum of Art; the Museum of Modern Art; the Philadelphia Museum of Art; the National Gallery of Art; the Los Angeles County Museum of Art; the Albright-Knox Art Gallery; and the Whitney Museum of American Art. The Ford Foundation, Will Barnet (photograph by the National Academy of Design, the Anne Sager) Royal Society of Arts in London, and the

American Academy and Institute of Arts and Letters have rec- Will Barnet, Fourth of July, 1954, oil on canvas (artwork © Will Barnet; photograph provided by the artist) ognized his work with awards and fellowships. Barnet’s art career has been remarkable, but no less Kondoleon are recipients of this award for their meticulous, illu- remarkable is the indelible mark he has made as a teacher. minating research and the publication of The Arts of Antioch: He has taught at the Art Students League, Cooper Union, Art Historical and Scientific Approaches to Roman Mosaics and the Pennsylvania Academy of the Fine Arts, Yale and Cornell a Catalogue of the Worcester Art Museum Antioch Collection Universities, and numerous other universities and colleges. His (Worcester, MA: Worcester Art Museum, 2005). students have gone on to become extremely successful artists Occasioned by the Worcester Art Museum’s 2000 exhi- and influential educators. His inspiring work as a teacher will bition Antioch: The Lost Ancient City, The Arts of Antioch be sustained for years to come through the accomplishments of complements and expands on the exhibition catalogue and former students. presents findings from more than a decade of innovative col- The continued exhibition of Barnet’s work, the promi- laborative research and study, bringing together expertise nent presence of his former students in the art world, and his from the art-historical, scientific, and conservation communi- acknowledged importance as a teacher and creator are strong ties. Combining a thorough review of the archeological record evidence of his impact on American art. It is with pleasure and with analysis, art-historical research, and an exploration of gratitude that the jury awards the 2007 Distinguished Artist ancient glass-making technology and tesserae production, Award for Lifetime Achievement to Barnet. this volume reconstructs the unique historical context of this important site and illuminates relationships obscured because Jury: Leo Morrissey, Winston-Salem State University, chair; Robert Berlind, Purchase College, State University of New York; Ann Temkin, fragments of the mosaic are held in many different collections. Museum of Modern Art Opportunities to bring classical art and archaeology to a wider audience are rare, and this intelligently conceived and beauti- CAA/HERITAGE PRESERVATION AWARD FOR fully designed and produced volume sets a new standard for DISTINCTION IN SCHOLARSHIP AND CONSERVATION collaborative scholarly work that conveys a wealth of information in a clear, accessible manner. The CAA/Heritage Preservation Award for Distinction in Lawrence Becker is Sherman Fairchild Conservator in Scholarship and Conservation recognizes an outstanding Charge of Objects Conservation at the Metropolitan Museum contribution by one or more persons who, individually or of Art in New York. Prior to holding that position, he worked at jointly, have enhanced the understanding of art through the the Worcester Art Museum, the Virginia Museum of Fine Arts, application of knowledge and experience in conservation, art the Metropolitan Museum of Art, and the British Museum. He history, and art. This year, Lawrence Becker and Christine has been a visiting lecturer and adjunct associate professor of 9 CAA NEWS MARCH 2007 FEATURES

conservation at the Institute of Fine Arts, still in print) and his Asia House exhibition of Southern Sung New York University, and an adjunct lec- painting (1961) to his participation in later exhibitions and the turer at Virginia Commonwealth University. compilation of An Index of Early Chinese He has extensive experience at archaeolog- Painters and Paintings: T’ang, Sung, Yüan ical excavations in Egypt and Ireland and (1980). Like most scholars in his field, he has been the recipient of several research has had to span the full range of Chinese and travel grants. He has lectured and cultural history—witness his participation published widely on technical aspects of in the anthology Three Thousand Years of Lawrence Becker ancient materials. Chinese Painting (1997; ed. by Richard M. Christine Kondoleon is George and Barnhart)—but he was also a pioneer in Marie Behrakis Senior Curator of Greek and Roman Art at the opening a dialogue with the art and the James Cahill Museum of Fine Arts, Boston. She has held teaching posi- scholars of the People’s Republic of China tions at Tufts University, Williams College, as early as a 1983 exhibition on contemporary Chinese painting. and Harvard University, served as an A mark of his distinction has been the numerous invita- adjunct curator of Greek and Roman art tions he has received to present major lecture series, including at the Worcester Art Museum, and was the Charles Eliot Norton Lectures and the Edwin O. Reischauer a codirector of a National Endowment for Lectures at Harvard University and the Franklin D. Murphy the Humanities seminar at the American Lectures at the University of Kansas. Testing his innovative Academy in Rome. Kondoleon has an exten- ideas in these public fora, Cahill has produced some of his most sive list of publications to her credit, includ- provocative and daring interpretations of Chinese art: The

Christine Kondoleon ing books, articles, and exhibition cata- Compelling Image: Nature and Style in Seventeenth-Century logues, and has lectured at universities and Chinese Painting (1982), Three Alternate Histories of Chinese major museums throughout the United States. She also served Painting (1988), and The Lyric Journey: Poetic Painting in China on the CAA Board of Directors from 1996 to 2000. and Japan (1996). He is perhaps best remembered by students in his field for his magisterial three-volume survey of major artists Jury: Jay Krueger, National Gallery of Art, chair; Lisa Schrenk, Norwich from the Yüan to Ming dynasties: Hills beyond a River: Chinese University; Rebecca Rushfield, independent conservator; Harry Cooper, Painting of the Yüan Dynasty, 1279–1368 (1976), Parting at the Fogg Art Museum, Harvard University Shore: Chinese Painting of the Early and Middle Ming Dynasty, 1368–1580 (1978), and Distant Mountains: Chinese Painting of DISTINGUISHED LIFETIME ACHIEVEMENT AWARD the Late Ming Dynasty, 1570–1644 (1982)—handsome and last- FOR WRITING ON ART ing volumes whose very names are redolent of Chinese painting subjects and whose sensitive readings of individual artists James Cahill is the 2007 recipient of the Distinguished Lifetime and pictures set new standards for informed clarity. His gemlike Achievement Award for Writing on Art. Cahill, a longtime book, The Painter’s Practice: How Artists Lived and Worked in professor at the University of California, Berkeley (now emeri- Traditional China (1994), now offers standard reading on a topic tus), is the acknowledged leader of his discipline: the history only dimly addressed by earlier scholars. of painting in China. Though scholarship on this vast subject The CAA Distinguished Lifetime Achievement Award for has a long and distinguished past, Cahill has spent his career Writing on Art should be given to someone whose leadership remaking the study of Chinese painting for new generations of goes beyond his or her own field to speak to the discipline as students. He is widely praised for his sensitive incorporation a whole. Cahill exemplifies this productive dialogue across of innovative methodologies from European art history, many periods and geographical regions. All art historians have ben- derived from distinguished colleagues at Berkeley, which he efited and continue to benefit from his insights into Chinese sensitively modifies and translates for use in their appropriate art and from his sensitivity to the general problems of study- context for China. ing artists, artworks, and cultural questions. The combination of a curator’s eye and an academic’s

methodological range has continued to inform Cahill’s scholar- Jury: John Beldon Scott, University of Iowa, chair; Larry Silver, University ship from his earliest Skira volume, Chinese Painting (1960; of Pennsylvania; Suzanne Preston Blier, Harvard University MARCH 2007 CAA NEWS 10 FEATURES

digital-only journals made available through JSTOR. JSTOR, caa.reviews which provides access to the entire digitized back run of The Art Bulletin and Art Journal to participating institutions, will Redesigned offer caa.reviews with a one-year “moving wall.” (A moving wall designates the number of years between the current year of publication available in JSTOR and the date of the most Betty Leigh Hutcheson is CAA manager of publications. recent issue.) Thus, reviews from 1998 to 2005 will be available once the JSTOR archive is ready; reviews from 2006 will caa.reviews, CAA’s online reviews publication for books and be available January 1, 2008. All reviews, of course, are exhibitions, has relaunched with a new design and features. immediately available to CAA members on the caa.reviews In addition, the journal, founded in the fall of 1998 with a website. grant from the Andrew W. Mellon Foundation, will become caa.reviews will migrate to JSTOR through Portico, a non- one of the first born-digital journals to be archived in JSTOR. profit electronic-archive service and a JSTOR affiliate. Portico Since the journal’s inception, nearly one thousand reviews is also responsible for preserving the journal’s content through have been published. A section of exhibition reviews was future digital conversions—making sure that coding and other added in 2005, and the first textbook reviews appeared in digital details are kept up to date. 2006. This year, caa.reviews will publish its first conference Another key component for digital preservation is the review. addition of a digital object identifier (DOI) number assigned to The journal’s new website is different in look and func- each review. This number is a standardized, permanent iden- tionality: the design has been updated; the three most recent tifier used to cite online content, regardless of URL or host reviews are posted in rotation on the homepage; and menu server. DOIs, like ISBN numbers, are distributed by registra- headings have been streamlined. The homepage also con- tion agencies. CAA will obtain its DOI registration numbers tains links to information about how to cite journal texts and through CrossRef, a nonprofit organization established by obtain permission to republish reviews. Further, caa.reviews scholarly publishers. CrossRef provides citation linking, allow- now offers a thorough list of art-book publishers with links to ing users to navigate electronic journals across publishers, their websites; guidelines for reviewers; and contacts for the moving from a citation in one article to its source. Through editorial board and field editors. Lastly, the journal has a new this system, readers can click an active link to get to the full keyword search function for all reviews and essays, and an text of a cited article, either as an authenticated subscriber to improved administrative interface for our many caa.reviews the referenced journal or by paying a fee online. field editors. By joining CrossRef and placing caa.reviews with JSTOR, The “Books Received” list, posted regularly on the CAA ensures the permanent digital identification of published caa.reviews website and published quarterly in The Art content, adheres to scholarly conventions for digital citation, Bulletin, changes to “Recent Books in the Arts.” Once fully and increases the journal’s exposure. implemented, it will include a much larger number of new caa.reviews continues to expand its volume and content to book titles and will sort them by the same CAA subject cat- fulfill its mission to provide continuous publication of intellec- egories used for our dissertations and job listings. Before tual and artistic material and to address issues of contemporary this innovation, only books sent by publishers to the CAA art-historical and critical practice. Please visit the new website office and catalogued into a database were included in this at www.caareviews.org. list, which remained unsorted. Through features built into the website, bibliographic information obtained from publishers will enable us to provide a more comprehensive list for reviews editors and members. CAA still accepts review books from publishers, and in-house cataloguing continues to take place. Other new changes at caa.reviews will ensure its archival permanence. This year, the journal will be among the first 11 CAA NEWS MARCH 2007 FEATURES

Interview with Glaire Anderson

Stacy Miller is CAA director of research and career development.

Glaire Andersen, a historian of Islamic art and a former CAA Glaire Anderson fellow, was recently appointed assistant professor in the Department of Art at the University of North Carolina (UNC) in How did you start a new field of study, Islamic art, at the Chapel Hill. Her position is a new one that was created to bring school, and how does it relate to the department and the an Islamicist to UNC, complementing the strong medieval and university? South Asian art historians in the department as well as helping Coming in as an Islamicist, I had wonderful resources in to fulfill the university’s larger goal to strengthen its Middle place already. In addition to my departmental colleagues Eastern and Islamic cultures programs. who are interested in Islamic art, UNC has strong faculty and In this interview, which was conducted by e-mail in late interdisciplinary programs in Islamic and medieval studies. In 2006, Anderson talks about her role in the department, the many ways, these communities had already laid the groundwork challenges of establishing a new area of study at her school, and for me—they’ve been building library and visual resources to her current research projects. support the study of Islamic art for some time. My specialty complements my department’s strengths Can you describe your new position at the University of in medieval European and non-Western art. More broadly, my North Carolina? specialization in early and medieval Islamic art fits well with I am an assistant professor of art history in UNC’s Department of UNC’s programs in Islamic civilization and medieval studies. Art. My primary responsibilities are to create and teach courses in Islamic art history, to research and publish, and to perform Do you see any new developments and trends in the field of art administrative service for the university. Since mine is a new history? How will your program evolve accordingly? tenure-track position in the department, I am creating a group The increasing visibility of non-Western topics within the of new courses in my specialty. In addition to an introductory broader field of art history is one exciting trend; the recognition survey of Islamic art, I also teach undergraduate courses on of early and medieval Islamic art’s importance to the study early and medieval Islamic art, architecture (with a focus on the of the larger medieval period is another. Both trends are Mediterranean), and urbanism. reflected in my department. I feel incredibly fortunate to have My department petitioned the university to create a new specialists in crusader, late antique, South Asian, African, and position for me. I had no idea when I began my job search that Latin American art as colleagues. I’ve noticed that we share this sort of thing might be possible, so I should explain how interests in historiography and theoretical issues that can make it came about. My job search initially consisted of my reading for interesting connections among our fields. As someone who the list of advertisements in my field and applying for the ones came to Islamic art having previously focused on early modern I thought I might fit. When I finished my first year on the job Europe, I’m thrilled to see the level of interest and interchange market without a position, I changed my approach. I spent some between Islamicists and art historians working in other areas. time seriously thinking about what I’d like my professional life I would like to continue exploring notions of interchange in my to be, reflecting on issues that I hadn’t considered in my initial own work, and I hope my research on Islamic villa cultures in the rush to find a job. For example, would I prefer teaching in a large Mediterranean is one way of doing so. research university or a small liberal-arts college? What balance of research, teaching, and life outside academia would suit me What are the challenges of your new position? best? Only then was I able to think about what I wanted from a One of the most challenging and exciting aspects was the career in art history, and to identify an institution where I’d like opportunity to create an entirely new group of courses in Islamic to begin a career. art. It didn’t sink in immediately that shaping my courses was up FEATURES Revisiting al-Andalus You arecurrently atworkonaneditedbook, inmedievalIberia,forexample. art Orientalism andvisualculture,thehistoriographyofIslamic seminar topicsincluderepresentationsofIslamicarchitecture, developed orclassesItookasadoctoralstudent.Upcoming the palacesclassandmyothercourses. Africanmaterial intoboth necessary toincorporatemoreNorth thetraveland research I’m writingagrantproposaltosupport my researchinterestsdevelop.Forexample,atthemoment is acoursethatI’llcontinuetoofferandreviseinthefutureas This in thebroadercontextofcasestudymydissertation. Cultures”becauseIwasinterested Palaces, Gardens,andCourt asacasestudy.Córdoba (thefocusofmydissertation) urbanism intheIslamicateMediterranean,usingcityof Mediterranean, Iinventedaclassthatfocusedonmedieval in Islamicurbanismandthehistoriographyofmedieval Monument—and askedtocreateacourse.Frommyinterest intheMediterranean/Cityas the basicsubject—MedievalArt intheAgeofCaliphate.” course, “Art teaching myusualsurveycourse.Thisbecamefirstnew wasformedinsteadof on thetimeperiodinwhichIslamicart FormyfirstsemesteratUNC,Idecidedtofocus to Islamicart. ofteachinganintroduction a frustratingbutunavoidablepart that skimmingthroughathousandyearsandhalftheglobewas orinstitutionalneeds.Forexample,I’dfound to departmental experimented abitbasedonmyadjunctexperience,oraccording I chosethesubjectmatteraccordingtomyresearchinterestsand How didyoucreatethesenewclasses? atUNC. my newofferingsinIslamicart term! Buttheydidgivemetwogoodcoursesonwhichtobuild seminar course.However, Ididn’tteacheitheroftheminmyfirst I’d alreadycreatedandtaughtanintroductorysurveya through whatIwantedtoteach,andhow. interests intoteaching,Ireallyenjoyedtheprocessofthinking thinkingabouthowIcouldbegintobringmyresearch started things,whetherornotIwasinterestedinthem.Once certain to me.AtfirstIwaspreoccupiedwiththeideathathadteach Andalus: Perspectives on the Art and Material Culture of of Culture Material and Art the on Perspectives Andalus: Islamic Iberia and Beyond and Iberia Islamic Topics forgraduateseminars areinspiredbyinterestsI As anadjunct,Ihadalsocreatedaseminaron“Islamic My secondnewcoursewasacompromise.Igiven My adjunctteachingexperiencewasagreathelp,because is an interdisciplinary volume of articles isaninterdisciplinaryvolumeof articles . Tell ussomethingaboutit. Revisiting al- Revisiting and outsidemydepartment. university haveshownmeasI work withcommitteesbothinside andthe begin torepaythecommitment thatmydepartment I’m lookingforwardtolearningfrommystudents.I’dlike teaching shapesthewayIthinkaboutmyresearch.Likewise, professor, Iwassurprisedtodiscovertheextentwhich that haveinterestedmesinceIfinishedmyPhD.Asanadjunct look forwardtoworkingonmybookanddevelopingprojects as Ifindthebestwaytobalancemynewresponsibilities. years. NowIseetherealexcitementandchallengebeginning tution andplanningthecoursesI’llbeteachingfornextfew Most ofmyfirstsemesterwasspentsettlingintoanewinsti- do youseecomingforyourworkanddepartment? Now thatyou’vecompletedalmostayearatUNC,whatissues villa intheMediterranean. medieval, andanIslamic,casestudytothebroaderhistoryof my broaderinterestinnotionsofinterchangebecauseitaddsa social, urban,andlandscapephenomenon.Thistopicrelatesto century UmayyadCórdoba.Init,Iinvestigatetheestatesasa and focusesonsuburbanestate( Islamic Iberia. of tenth-centurysuburbanvillasinCórdoba,thecapitalearly researchanddiscussesthearchitecture from mydissertation Mycontributiontothevolumecame Spain, haveparticipated. the Metropolitancatalogue,aswellsomeofourcolleaguesin identity. We’re veryhappythatmanyscholarsinvolvedwith and historiographicalattemptstoconstructanAndalusicultural Iberian PeninsulatotheNewWorld, andmodernarchitectural we’ve includedessaysthatexamineculturaltransferfromthe architecture andtheprocessesofurbanisminmedievalIberia, ordomestic connections betweenAndalusiliteratureandart, thatexplore the Metropolitancatalogue.Inadditiontoarticles in theUnitedStatesandBritainhasdevelopedwakeof and archaeologytoillustratehowthestudyofIslamicIberia architecturalandurbanhistory,of internationalscholarsart, scholarship inourfield.MariamandIbroughttogetheragroup Art ofIslamicSpain exhibition the MetropolitanMuseumofArt in London.ThetitlealludestoJerrilynDodds’s cataloguefor attheVictoria Museum Owen, acuratorofIslamicart andAlbert that Icoeditedwithagoodfriendandcolleague,MariamRosser- My current book project also derives from my dissertation My currentbookprojectalsoderivesfrommydissertation (1992),amilestoneintheAngloAmerican

munya ) patronageintenth- al-Andalus: The MARCH 2007 CAA NEWS 12 FEATURES The Essential The Essential , of Art and the Concept Beauty: Aesthetics Arthur C. Danto Chicago: Open Court Publishing, 2003 Arthur C. Danto is the only significant The Abuse of . Curator of the Gombrich . Curator of the Gombrich philosopher today who has anything interesting to say about modern and contemporary art his practices. In this book he turns attention to the resurrection of “beauty” as a potentially important aesthetic concept after its banishment by what he calls Having “The Intractable Avant-Garde.” argued that there is a conceptual divide between “art” and “the aesthetic” in which either can function well without the is now interested in the redis- he other, covery of the aesthetic by contemporary artists and theorists. At first he felt “some- what sheepish in writing about beauty” but then “the spontaneous appearance of those moving improvised shrines after the terror- everywhere in New York ist attack of September 11th, 2001, was evidence for me that the need for beauty in the extreme moments of life is deeply ingrained in the human framework.” Danto establishes a strong connection between the feeling for the aesthetic and explore the texture of lived experience. To this requires an enhanced notion of lived experience beyond the routine experience of daily life. Gombrich on Art and Psychology Gombrich on Art and Modern Italy Theory of Early Philip Sohm Style in the Art New York: Cambridge University Press, 2001 There was an Art History as Cultural History: Warburg’s Projects History: Warburg’s Art History as Cultural jective membrane to recall and invite hal- lucinatory experiences. explosion of art criticism in the Italian seicento in which writers attempted to articulate and evaluate painters’ individual styles. In a detailed and enlighten- Philip Sohm demonstrates the ing way, various problems they faced with the linguistic tropes at their disposal. There are gems galore: like Boschini “who tells us what paintings taste like (spices, spongy bread, marzipan, and pasta), what they sound like (mostly concerts), and what they feel like when he runs his fingers across the surface.” The heart of the matter is that, in the face of novelty, aesthetic characteristics the artwork’s are unstable: each new work creates that had been new old works. Works regarded as “natural” became “styl- ized,” “soft” became “hard,” “elegant” became “artificial.” The critics realized this, and at least one was reduced to voluble silence. The book offers a wonderful display of linguistic fireworks. , and The Mind invites a member to reflect on three books, articles, or other textual projects that currently influence his or projects that currently influence his or on three books, articles, or other textual invites a member to reflect Cave The Mind in the London: Thames and Hudson, 2002 According to the semioti- Viennese all cian Karl Bühler, David Lewis- Williams

is emeritus professor of aesthetics and art theory at Nottingham Trent University in Nottingham, England. He University in Nottingham, England. He of aesthetics and artis emeritus professor Trent theory at Nottingham CAA News invites reflection on what Framing Formalism: Riegl’s Work Riegl’s Framing Formalism: , MARCH 2007 MARCH

signs have an appellative function in addition to their representational and expressive functions: they call to us. How did Upper Paleolithic cave imagery create demands for a perceptual response, and what should we look for when we look at it? Drawing on the resources of his own anthropological fieldwork, the findings of brain science, and archaeol- arrives at a David Lewis-Williams ogy, fascinating, compelling analysis of the ways in which cave imagery functioned. It has the peculiar merit of accounting for all the perceptual “noise” that inhabits cave walls—the strange scratching and marking that occupy the same visual field. Cave artists would have come societies, and their from hunter-gatherer pictures are consistent with the kinds of images described by shamans recall- ing their states of bodily deprivation: entopic images of entry into the earth and encounters with its beasts. in the Cave cave artists considered themselves to be doing: creating a portal to the spirit world in which the rock surface became a pro- is interested in aesthetics, philosophy, and art historiography. His books include and art historiography. philosophy, is interested in aesthetics, Gombrich art School of historians. Gombrich and the Vienna he is writing a book on the work of Ernst Archive at www.gombrich.co.uk,

her art, work, or scholarship. Richard Woodfield The Bookshelf For this column, CAA NEWS CAA 13 NEW IN THE NEWS Art HistoryJury, RogerCrumoftheUniversity the countryworkinginavarietyoffields.” ty—of gettingtoknowcolleaguesfromacross vided anunparalleledoccasionforcollegiali- edge ofthispublishedresearch,butalsopro- service hasnotonlybroadenedmyknowl- overview ofrecentmuseumscholarship.Jury because, amongotherthings,itprovidesan demanding, butithasalsobeenrewarding Award. Hesays,“Theworkcan attimesbe 2004–6) onthejuryforAlfredH.Barr, Jr., and Mary, hasservedtwice(1996–98and American studiesattheCollegeofWilliam the worldatlarge. contribute totheprofessionasawholeand transcend theirindividualdisciplinesand critics, andteacherswhoseaccomplishments honor artists,arthistorians,authors,curators, begin inMay2007.CAA’s elevenawards 2007–11) onCAA’s awardsjuries.Terms tions forindividualstoservethree-yearterms CAA invitesnominationsandself-nomina- Award Jury Join aCAA A memberoftheDistinguishedTeaching of Alan Wallach, aprofessorofarthistoryand lr’ websiteat Clark’s informationandregistrationformscanbefoundonthe More Celeste Olalquiaga,Walid Ra’ad,Alex Potts,andMarquardSmith. Joanne Morra,SinaNajafi,AlexanderNemerov, LindaNochlin, Michael AnnHolly, ChrissieIsles,AkiraLippit,W.J.T. Mitchell, Speakers includeMiekeBal,SergeGuilbaut,MarcGotlieb, and theunderstandingofarttoday? how doweit,andwhatplacedoesithaveinart-making for allthoseworkingwithvisualart.Whatisresearch,whyand The 2007ClarkConferenceexploresafundamentalquestion APRIL 27AND28,2007 Obsession, Archive,Encounter What isResearchintheVisual Arts? CLARK CONFERENCE2007 www.clarkart.edu/research_and_academic c/o SusanDeSeyn,ManagerofPrograms, materials to:Vice PresidentforCommittees, (no morethantwopages).Pleasesendall tions andexperienceanabbreviatedCV words) outliningtheindividual’s qualifica- include abriefstatement(nomorethan150 service. for committeesappointjurymembers members. CAA’s presidentandvice priate tothejury’s workandbe currentCAA fessional organization.” and mysenseofconnectiontoCAAasapro- better, howandwhatIdoasanarthistorian member ofthisprocesshaschanged,forthe recognizing ourfieldsofstudy. Simplybeinga CAA anditsdedicatedstaffinadvancing engagement withvariousimportantrolesof ity workoffellowarthistorians,andagreater valued participationinrecognizingthequal- wider awarenessofourprofession,asense award. Thisjuryworkhasreallygivenmea in ourdisciplinewhoarenomineesforthe of thegoodandinspiredworkcolleagues low jurorsfromotherinstitutions,andtolearn to confer—indeed,makefriends—withfel- of Daytonwrites,“Ihavefounditrewarding Nominations andself-nominationsshould Candidates mustpossessexpertiseappro- awards. the nextarticleorvisitwww.collegeart.org/ for Writing onArt. Distinguished LifetimeAchievementAward Award; CAA/HeritagePreservationAward; Distinguished Teaching ofArtHistory Frank JewettMatherAward forArtCriticism; Kingsley PorterPrize; Book Award; AlfredH.Barr, Jr., Award; Arthur filled laterthisspring:CharlesRufusMorey ments. sions mustbesentasMicrosoftWord attach- [email protected]; alle-mailsubmis- NY 10001.Materialsmayalsobesentto CAA, 275SeventhAve., 18thFloor, NewYork, write toSusanDeSeyn, CAAmanagerofpro- are considered.Formoreinformation, please 2007. Nomorethantenlettersper candidate between September1,2006,and August 31, books publishedorworksexhibited orstaged exhibition awardsshouldbeforauthors of pages). Nominationsforbookawardsand one copyofthenominee’s CV(limit:two attributes ofthecandidates. with aclearerpictureofthequalitiesand multiple lettersofnominationprovidejuries different perspectivesandanecdotesfrom coworkers ofthenomineetowriteletters.The leagues, students,peers,collaborators,and/or We alsourgeyoutocontactfivetencol- tion, thesepeople)deservestoberecognized. why youthinkthisperson(or, in acollabora- or studiesandthepursuitofyourcareer; work orpublicationhasaffectedyourpractice nominee; howthenomineeand/orhisorher state whoyouare;howknow(of)the when makingtheirselections.Intheletter, your personallettersofrecommendation Award forDistinction.Awards juriesconsider history bynominatinghimorherforaCAA nary contributionstothefieldsofartand Recognize someonewhohasmadeextraordi- Nominations Award CAA Seeks For moreinformationoneachaward,see The followingeightjuryvacancieswillbe All nominationcampaignsshouldinclude Deadline: April1,2007 Art Journal MARCH 2007 . Award; CAA NEWS 14 NEW IN THE NEWS Reitmeyer, McDougal Littell/Houghton Reitmeyer, Education Committee: Kermit Bailey, North Education Committee: Kermit Bailey, Committee on Intellectual Property: David Committee on Intellectual in the Arts: Tracy Committee on Women Committee on Diversity Practices: Julia Committee on Diversity Fitzpatrick, Neuberger Museum of Art, Purchase College, State University of New Montoya, University of Houston; Delilah York; Liz Roth, Oklahoma State University; Jorge Gallery, Paul Robeson Daniel Veneciano, Rutgers University. Carolina State University; Larissa Bailiff, Green, Knowledge Culture (appointed chair); Green, Knowledge Culture Beth Practices, and Standards (PIPS) committees Standards (PIPS) committees Practices, and as 2007. Those marked beginning February newly committee members chair are previous appointed to that position. Rhode Island School of Design; Bryan-Wilson, of Michigan, Jacqueline Francis, University Spelman College Ann Arbor; Barbara Nesin, Olszewski, (appointed chair); Christopher Chitra Ramanathan, Jackson State University; Syracuse Romita Ray, Indianapolis Art Center; University. Mifflin; Virginia Rutledge, Cravath, Swaine & Mifflin; Virginia Moore. cel- for Distinction in Scholarship and for Distinction in Scholarship The CAA/Heritage Preservation The CAA/Heritage Preservation The Distinguished Lifetime Achieve- career of an artist who has demonstrated artist who has demonstrated career of an work to his or her particular commitment had an a long career and has throughout internationally on impact nationally and the field. Award contribu- Conservation honors outstanding who, individual tions by one or more persons have enhanced understanding of or jointly, of knowledge art through the application art history, and experience in conservation, and art. on Art for Writing ment Award ebrates the career of an author of note, and art biogra- includes art criticism, art history, and/or art theory. phy, New Committee Members The following individuals have been appoint- Professional Interests, ed to serve on CAA’s

is is for muse- . is presented Deadline: July 31, Deadline: July celebrates the

Art Journal Award by a scholar of any nation- is presented to an individual is given to a living artist of MARCH 2007 MARCH

for all others. is presented to an individual who Art Journal The Art Bulletin The Alfred H. Barr, Jr. Award Jr. The Alfred H. Barr, The Arthur Kingsley Porter Prize The Frank Jewett Mather Award for The Distinguished Artist Award The Artist Award for a Distinguished The Artist Award The Distinguished Teaching of Art The Distinguished Teaching of Art The Distinguished Teaching The honors an especially distinguished book in honors an especially distinguished in the English the history of art, published give the jury the full opportu- language. (To please fairly, nity to evaluate each submission by July 31.) send your nomination to the author um scholarship is presented or authors of an especially distinguished catalogue in the history of art, published in the English language under the auspices of give the or collection. (To a museum, library, jury the full opportunity to evaluate each sub- please send your nomination by mission fairly, July 31.) Annual Awards for Distinction Book Award The Charles Rufus Morey grams, at [email protected] or consult grams, at [email protected] www.collegeart.org/awards. 2007, for the Morey and Barr Awards; August August Morey and Barr Awards; 2007, for the 31, 2007 CAA NEWS CAA Lifetime Achievement national or international stature for exceptional work through exhibitions, presentations, or performances. Body of Work who has been actively engaged in teaching art history for most of his or her career. to the author of the most distinguished con- conversation, tribution (article, interview, or any other text or visual portfolio, review, project) published in awarded to an author of art journalism that has appeared in whole or in part in North American publications. Award has been actively engaged in teaching art for most of his or her career. History Award ality who is under the age of thirty-five or who has received the doctorate no more than ten years before the acceptance of the article for publication. awarded for a distinguished article published awarded for a distinguished article published in 15 NEW IN THE NEWS Folk ArtMuseum;NicoledeArmendi, Committee: MariaAnnConelli,American Keuren, SouthernMethodistUniversity. Thorpe, UniversityofConnecticut;PhilipVan Wagle, UniversityofOregon. Esslinger, Mt.SanAntonioCollege;Kate Wallach, CollegeofWilliam andMary. Art; JonSeydl,J.PaulGettyMuseum;Alan chair); DorothyKosinski,DallasMuseumof ciation ofArtMuseumCurators(appointed University. Giverny; GregThomas,HongKong Veerle Thielemans,Muséed’ArtAmericain chair); JenniferMilam,UniversityofSydney; Andersson, BucknellUniversity(appointed Cornell University. Art EducationAssociation;BuzzSpector, (appointed chair);MelodyMilbrandt,National Fields, CaliforniaStateUniversity, Northridge Museum ofModernArt,NewYork; Samantha Student andEmergingProfessionals Services toArtistsCommittee:Judith Professional PracticesCommittee:Sandra Museum Committee:SallyBlock,Asso- International Committee:Christiane CONTRIBUTE! CAMPAIGN ANNUAL CAA Annual Conference Advocacy Why ContributetoCAA? + Art Journal Art each year. appointments thattakeeffectinFebruaryof review nominationsinDecemberandmake president andviceforcommittees September issuesof mittees appearsannuallyintheJulyand Participation more than120sessions,the February 20–23,2008,inDallas,Texas. Listing The nextCAAAnnualConferencetakesplace Participation 2008 Callfor Interests, Practices,andStandards nominations toserveonCAA’s www.collegeart.org/committees. Acallfor and recentactivities,pleasevisit University ofNewYork. Katherine Manthorne,GraduateCenter, City ed chair);DanielLarkin,FordhamUniversity; Virginia CommonwealthUniversity(appoint- + For acompletelistofcommitteemembers CareerServices www.collegeart.org/donate + arrivedinthemailboxesof The Art Bulletin TheArt CAA News 2008 Callfor Professional . CAA’s com- + JobOpportunities proposals forpapers:May11,2007 forward toyourcontributions. be heldattheAdam’s MarkHotel.We look sions, theCareerFair, andothereventswill and artcenters.Convocation,programses- and postconferencetripstonearbymuseums ums andgalleriesinDallasFortWorth, of ARTspace programming,eventsatmuse- ence attendeescanlookforwardtofourdays sional andeducationalpractices,2008confer- studio art,contemporaryissues,andprofes- in thewide-rangingpanelsonarthistory, feature. sions, arecentlyaddedAnnualConference proposals anddescribestheOpenFormsses- cation alsoincludesacallforPosterSession to submitaproposalforpaper. Thispubli- please followtheinstructionsinbooklet and sessionchairsinviteyourparticipation: of nextyear’s panelsandpresentations.CAA .org/2008. Thispublicationdescribesmany available onlineathttp://conference.collegeart all CAAmembersearlierthismonth;itisalso In additiontoattendingandparticipating + caa.reviews

MARCH 2007 Deadline for . CAA NEWS +

16 CURRENTS The US Senate confirmed six new mem- The role of publishing in determining ten- The role of publishing twenty rec- The task-force report contains The report also calls attention to the need read the MLA report, please visit To NEA Updates the National Endowment for In December, the Arts (NEA) announced that it will award $19.4 million for 848 grants during fiscal year 2007. This will include more than $18 million in funding for Access to Artistic Excellence grants, supporting 798 projects in disciplines including the visual arts, museums, and media arts, as well as in literature, theater, and opera. bers to serve on the National Council on the Arts, which advises the NEA. Nominated by Bush, Ben Donenberg, President George W. Chico Hamilton, Joan Israelite, Charlotte Bret Lott, and Frank Price will Power Kessler, help to make up the committee that consists of fourteen private citizens and six ex offi- cio members of Congress. The council will advise NEA Chairman Dana Gioia on grant applications, funding program guidelines, data suggested that PhDs in MLA fields have fields have that PhDs in MLA data suggested tenure, as chance of receiving a 35 percent who apply of PhD recipients only 40 percent are hired; 20 perfor tenure-track positions departments before cent of those leave their tenure. they are considered for important, and ure has become increasingly the emphasis falls the task force found that other forms of publi- on the monograph over demands these publishing cation. However, junior scholars’ have not adversely affected tenure rates. ommendations, emphasizing departmental transparency in the tenure process, broadening the conception of scholarship to rely less heavily on the “tyranny of the monograph,” and to include new media such as articles and monographs in electronic format. to support academic presses, providing scholars with the means to publish. Many directors and editors at university presses were enthusiastic about these recommendations, as they addressed their concerns regarding their often overemphasized role as judges of scholarship. www.mla.org/tenure_promotion. Many of the task force’s findings are based findings are based Many of the task force’s This decision maintains the institution’s This decision maintains the institution’s The museum is expected to keep a broad MLA on Evaluating Scholarship for Report and Promotion Tenure On December 7, 2006, the Modern Force (MLA) Task Language Association’s and on Evaluating Scholarship for Tenure Promotion released its long-awaited report. established in 2004 in Force was The Task response to concerns over the growing diffi- culty of gaining tenure, and over the increasing emphasis on monograph publication in the tenure process. on a 2005 survey of 1,330 language and literature departments at 734 American institu- received a response which tions. This survey, rate of 51 percent of departments and 67 percent of institutions, suggested that tenure rates in the final stages of tenure had not decreased, with a denial rate of 10 percent. the when examined more closely, However, Museum Ends Reproduction Fees Museum Ends Reproduction Museum in London, and Albert The Victoria that, beginning this England, has announced it will no longer charge reproduction year, in scholarly publica- fees for its images used able to download tions. Publishers will be collection of more images from the museum’s than 25,000 works directly from its website, www.vam.ac.uk. historic emphasis on the educative role of the museum. Director Mark Jones stated, “High charges have acted as a barrier to spread- ing knowledge and we want to play a part in removing this.” The images will be definition of “scholarly.” available to students and teachers, as well as to publishers, for use in their research and coursework. The museum will continue to charge commercial publications, but their termination of fees for reproduction may encourage other institutions to follow suit. Washington University had engaged in unfair in unfair University had engaged Washington had and ruled that the school labor practice of time to argue the validity had sufficient pro- labor-board the election in the early decision issued by ceedings. The two-page for the District of the US Court of Appeals view. Columbia echoed this

MARCH 2007 MARCH

In January 2006, NLRB found that George In January 2006, NLRB found that George In October 2004, adjunct professors at the In October 2004, adjunct professors at the Currently, the NEA is funded at $124.4 mil- Currently, please letter, read Senator Coleman’s To school voted in favor of unionization in an school voted in favor of unionization in an election certified by NLRB. The university refused to recognize or negotiate with the union on the grounds that thirty disenfran- chised part-time instructors should have been permitted to vote. The decision had passed with the slim margin of 341 to 331. Adjunct Professors Union Upheld in Court Adjunct Professors On November 27, 2006, a federal appeals court upheld a January 2006 ruling from the National Labor Relations Board (NLRB) regarding the unionization of part-time pro- University in fessors at George Washington DC. Washington, Senators Support NEH NEA and (R-MN) Senator Norm Coleman In September, memo, asking circulated a “Dear Colleague” a letter in sup- his fellow senators to cosign for the National port of increased funding Endowment for the Arts (NEA) and for the National Endowment for the Humanities (NEH). Senator Coleman urged the chairman and the ranking member of the Senate Interior Appropriations Subcommittee to consider funding increases of $5 to $10 million for each agency during fiscal year 2007. As of November 13, 2006, forty-three sena- including nine tors had signed this letter, Republicans. lion, and the NEH receives $141 million—figures significantly lower than their mid-1990s highs of about $167 million and $177 million, The House of Representatives respectively. approved a budget of $129.4 million for the NEA in June 2006. see www.americanartsalliance.org/img/an2/ nonstandard_files/americanartsalliance/ nea-funding-dear-colleague91906.pdf. For more information on CAA’s advocacy advocacy CAA’s For more information on or efforts, visit www.collegeart.org/advocacy write to [email protected]. Update Advocacy Advocacy CAA NEWS CAA 17 CURRENTS newappeal.htm. please visitwww.britac.ac.uk/institutes/iraq/ For moreinformationortomakeadonation, books andothermaterialstoIraqimuseums. museum employees,andforsendingneeded for traveltoandfromIraqacademics to traininBritain,forfellowshipsprovide £500,000 forscholarshipsIraqistudents ums, anduniversities.BSAIhopestoraise expand programsforIraqischolars,muse- (BSAI) hasmadeanappealtoraisefunds The BritishSchoolofArchaeologyinIraq Iraq Appeal British SchoolofArchaeologyin March 27,2007. nation’s culturalcommunity.” public, humanitiesscholarship,andthe technologies forthebenefitofAmerican humanities projectsusingthelatestdigital applications forinnovative,collaborative able onwww.neh.gov. Thisprogram“seeks NEH DigitalPartnership”arenowavail- gram, “AdvancingKnowledge:TheIMLS/ Endowment fortheHumanitiesgrantpro- and LibraryServicestheNational Applications fortheInstituteofMuseum Grants NEH andIMLSAdvancingKnowledge rent projects,visitwww.arts.gov. and nationalinitiatives. To learnmoreabouttheNEAanditscur- VISUAL ARTS IN THE BE VISIBLE Advertise in exhibitions, products,andservices. visibility foryourinstitution’s degreeprograms, vast visual-artscommunity. You’ll increase CAA publicationsprovidedirectaccess toa executives News artists reach abroad,informed,discerningaudienceof , andtheAnnualConference + art dealers art + The ArtBulletin curators + For moreinformationcall art historians art + 212-691-1051 ext. 216 ext. 212-691-1051 critics , Art Journal Deadline: + Program + educators museum , CAA and security enjoyedbytenuredfaculty. academic freedom,asthesescholarslackthe fessors mayhavetroublingconsequencesfor The increasingrelianceoncontingentpro- leges anduniversitiesintheUnitedStates. ulty madeup65percentofallfacultyatcol- 2003 data,whichfoundthatcontingentfac- report ontheUSDepartmentofEducation’s graduate-student teachers.AAUPbasedits full-time faculty, postdoctoralfellows,and include part-timefaculty, non-tenure-track tions ofhighereducation.Contingentfaculty faculty areincreasinginnumberatinstitu- Professors (AAUP)reportedthatcontingent the AmericanAssociationofUniversity In areportissuedDecember11,2006, AAUP Report onNontenuredFaculty cess todemocracy.” play aconstructiveroleinthetransitionpro- stable country,” hewrote,theinstitution“can archives toIraq’s future.“IfIraq becomesa per week.Hestressedtheimportanceof two groupsthatwilleachworkthreedays December 11.Eskanderdividedhisstaffinto improve, thelibraryreopenedweekof ing. Althoughthesituationdidnotmarkedly office, abombexplodedinnearbybuild- December 3.However, onhisarrivalinthe Eskander hadhopedtoreopenthelibraryon and manuscriptmaterialdatingbackto1535. eral times.Theinstitutioncontainsarchive lence escalatedandhasbeenhitdirectlysev- experienced increasingsafetyrisksasvio- between SunniandShiitemilitias,ithas and damaged.Locatednearareasofconflict in March2003,thelibraryhasbeenlooted violence. SincetheUS-ledinvasionofIraq on November21,2006,duetoincreasing decided totemporarilyclosetheinstitution the NationalLibraryandArchiveinIraq, Saad BashirEskander, director-general of andArchiveClosings Iraq NationalLibrary with researchers, alumni,campusplanners, Getty Foundation.Thisdatabase, designed Support comesfromtwogrants the Architecture Project,www.cic.edu/hcap. of itsnewwebsitefortheHistoric Campus Independent Collegesannounced thelaunch On November16,2006,theCouncilof Historic CampusArchitectureProject place atwww.caconline.org laterthisspring. ter, theChicagoArtists’Coalition.Sign-uptakes Art andDesignDepartment,thePortfolioCen- partnership withColumbiaCollegeChicago’s ture andlandscapesfromacrossthenation. information andimagesofcampusarchitec- and prospectivestudentsinmind,contains placement. beyond galleryrepresentationandacademic career choicesandemploymentopportunities associate, andaddressesquestionsabout by MelissaPotter, CAAcareerdevelopment personal identity. Thepanelismoderated landscape ofpoweranditsrelationshipto project, Trappings, exploresthecomplicated to civicactionanddialogue.Theirongoing Ludwig andReneePiechocki,dedicated a collaborativeteamoftwoartists,Tiffany local Chicagoartist.Two GirlsWorking is comprised ofTwo GirlsWorking anda on FridayandSaturday, April13–14,2007. Spirit,” heldattheChicagoArtists’Coalition entitled “Do-it-Yourself: TheEntrepreneurial this workshopaspartofatwo-dayconference the springinChicago,Illinois.CAApresents Tennessee, CAAoffersasecondprogramin career-development program in Nashville, National EndowmentfortheArts–funded Following thefallpresentationofCAA’s Workshop Chicago Professional-Development associate, [email protected]. Melissa Potter, CAAcareerdevelopment www.collegeart.org/careers orwriteto development activities,pleasevisit For moreinformationonCAA’s career- Development Career closely with universities and art organizations closely withuniversities andartorganizations across theUnitedStatesin2007–8. Byworking Foundation, takeplaceatvariouslocations Workshops, fundedbytheEmily HallTremaine CAA’s NationalProfessionalDevelopment Tremaine Foundation Workshops The Fridayprogramfeaturesapanel “Do-it-Yourself” isofferedbyCAAthrougha MARCH 2007 CAA NEWS 18 19 CAA NEWS MARCH 2007

across the country, CAA staff and workshop legal issues in the arts. Direct Dialogue ue’s appropriate officer or authority; a space leaders can create workshops that address each presentations are open to the public. An RSVP of no less than three thousand square feet is region’s artistic needs and encourage ongoing for the panel is required; to reserve a seat, highly recommended local career-development programming. please call 215-546-7775, ext. 11, or e-mail • A detailed exhibition budget for expenses In Alabama, professors at the University [email protected]. and income, showing other anticipated of Alabama in Tuscaloosa and Birmingham For further information on CAA’s upcoming sources of funding or in-kind support are working with CAA staff and a local career-development workshops, please contact Please send your proposal by e-mail to cooperative arts center to bring workshops to Melissa Potter at 212-691-1051, ext. 249; [email protected]. Written inquiries students and emerging and midcareer artists [email protected]. may be addressed to: Emmanuel Lemakis, in Birmingham. The Detroit Artists Market, Director of Programs, Re: Exhibitions celebrating its seventy-fifth anniversary this Committee, CAA, 275 Seventh Ave., 18th year, has enthusiastically agreed to host a Annual Floor, New York, NY 10001. Deadline: CAA Professional Development Workshop. Conference September 1, 2007. Originally founded to provide a source of income for artists under the age of thirty, today Update the Detroit Artists Market is rooted in the CAA News history of Detroit art and culture and continues to be an effective community organization For more information about the CAA Annual For more information on CAA activities, visit promoting contemporary art. Professors at Conference, please visit www.collegeart.org/ www.collegeart.org. Wayne State University in Detroit have also conference or write to Susan DeSeyn, CAA man- offered their support and guidance for the ager of programs, at [email protected]. CURRENTS Nominations for 2008–12 Board Detroit program. The University of Oregon Want to help shape the future of CAA? Tell us will make CAA’s professional-development Curatorial Proposals for 2009 Conference whom you would like to see on the CAA Board programs available in both Eugene and CAA invites curators to submit proposals for of Directors. Nominations and self-nomina- Portland. Additional workshops are offered in an exhibition whose opening will coincide tions are sought for individuals interested in New England and the Midwest in 2007. with the Annual Conference in Los Angeles, serving on CAA’s Board for the 2008–12 term. For more information about these workshops, California, taking place February 25–28, 2009. The Board is responsible for all financial and please write to Melissa Potter, CAA career devel- There are no limitations on the theme or policy matters related to the organization. It opment associate, at [email protected]. media of work to be included in the exhibition, promotes excellence in scholarship and teach- except that it must be a group show of con- ing in the history and criticism of the visual Philadelphia Panel temporary art comprising about fifteen artists. arts, and it encourages creativity and technical CAA is participating in a panel, called CAA’s Exhibitions Committee reviews and skill in the teaching and practice of art. CAA’s “Perspectives on the New York Art Market,” judges proposals based on merit. CAA pro- Board is also charged with representing the offered by the Center for Emerging Visual vides support for the exhibition with a grant membership on issues affecting the visual arts Artists (CFEVA) in Philadelphia, Pennsylvania. of up to $10,000. An additional grant of $5,000 and humanities. The program takes place March 15, 2007, at is available for an exhibition catalogue to be Nominations should include the following 5:30 PM and is held at CFEVA, 237 South 18th printed in sufficient numbers for distribution information: the nominee’s name, affiliation, Street, Suite 3A. to all Annual Conference attendees. Preference address, e-mail address, and phone number, CAA’s Melissa Potter will sit on this panel is given to those proposals that include both as well as the name, affiliation, and e-mail with Waqas Wajahat, a specialist in postwar an open call and some CAA members among address of the nominator, if different from the and contemporary art who helps collectors to the exhibiting artists. nominee. You may use the form on the next develop comprehensive art collections and Proposals must be submitted by e-mail and page. Please forward nominations and self- who partners with diverse exhibition spaces should include the following information: nominations to: CAA Assistant to the Director, to bring vital exposure to established and • Name(s) of curator(s) or organizer(s), CAA, 275 Seventh Ave., 18th Floor, New York, emerging artists. Wajahat has spent more affiliation(s), and CV(s) NY 10001; [email protected]. Deadline: than a decade working in for- and nonprofit • A brief statement of no more than 250 words April 6, 2007. art institutions and is a founding board describing the exhibition’s theme and member and trustee of d.u.m.b.o. Art Center. explaining any special or timely significance This panel is part of CFEVA’s Direct Dialogue • Identification of the designated venue, New caa.reviews Field Editors caa.reviews welcomes several new field edi- series, which presents professionals speaking including a brief description of the exhibition tors for books and exhibitions to the journal. on topics such as writing grant proposals, space, its staffing and security features, and For books on twentieth-century art, Pamela negotiating with galleries, and dealing with the approval for this exhibition by the ven- Lee of Stanford University succeeds Emily CURRENTS for twomembers-at-largetoserveontheCAA CAA invitesnominationsandself-nominations Members CAA SeeksPublications Committee recently completedtheirterms. warmly thankallfieldeditorswhohave Southwest. Snay oftheBlantonMuseumArtcovers tion reviewsontheWest Coast,andCheryl Berkeley ArtMuseum,commissionsexhibi- tor emeritusoftheUniversityCalifornia’s books inAfricanart. ceeds MonicaBlackmunVisonà inassigning University ofCalifornia,SantaBarbara,suc- rary art.SylvesterOkwunoduOgbechieofthe Virginia asfieldeditorforbooksincontempo- lows HowardSingermanoftheUniversity Nixon oftheCourtauldInstituteArtfol- urbanism from1800tothepresent.Mignon University assignsbooksinarchitectureand New York. RobertWojtowicz ofOldDominion Braun ofHunterCollege,CityUniversity CAA andthe For exhibitions,JacquelynnBaas,direc- Phone: ______Fax:______E-mail:______Person submittingthisnomination: ______Phone: ______Fax:______E-mail:______Address: ______Affiliation: Title: Name: ______NOMINATION FORCAA BOARDOFDIRECTORS2008 ______caa.reviews ______EditorialBoard NewYork, NY10001 275SeventhAvenue, 18thFloor CollegeArtAssociation AssistanttotheDirector Mail to:CAANominatingCommittee meetings inaccordancewithitstravelpolicy, ing expensesforthespringandfallNewYork CAA reimbursesmembersfortravelandlodg- and onceattheCAAAnnualConference. juries, andotherCAAcommittees. membership, editorialboards,book-grant for publications,servesasliaisontotheBoard, Conference; and,withtheCAAvicepresident sponsors apracticumsessionattheAnnual caa.reviews boards of lications projects;supervisestheeditorial staff andtheCAABoardofDirectorsonpub- advises theCAAPublicationsDepartment tive bodythatmeetsthreetimesayear. It to apply. museum publishingareespeciallyencouraged interest andexperienceinbook,journal,or based artsprofessionalsandartistswithan priate tothecommittee’s work.Museum- July 1,2007–June30,2010. Publications Committeeforathree-yearterm, The committeemeetstwiceinNewYork The PublicationsCommitteeisaconsulta- Candidates mustpossessexpertiseappro- DEADLINE: APRIL6,2007 The ArtBulletin , aswellthreebook-grantjuries; , Art Journal , and Fax to:212-627-2381 further information. of publications,[email protected] may alsocontactEveSinaiko,CAAdirector be sentasMicrosoftWord attachments). You @collegeart.org (alle-mailsubmissionsmust Materials mayalsobesubmittedtoagershuny Seventh Ave., 18thFloor, NewYork, NY10001. tions, c/oAlexandraGershuny, CAA,275 tact informationto:Vice PresidentforPublica- publications. in consultationwiththevicepresidentfor Appointments aremadebytheCAApresident a name;self-nominationsarealsowelcome. inee’s willingnesstoservebeforesubmitting years. Nominatorsshouldascertaintheirnom- of aCAAeditorialboardwithinthepastfive be individualswhohaveservedasmembers mittees oreditorialboards.Applicantsmaynot and shouldnotbeservingonotherCAAcom- compensation. tees volunteertheirservicestoCAAwithout Annual Conference.Membersofallcommit- but memberspaytheseexpensestoattendthe Please sendaletterofinterest,CV, andcon- Candidates mustbecurrentCAAmembers Deadline: May30,2007. MARCH 2007 CAA NEWS 20 21 CAA NEWS MARCHJANUARY 2007 2007

caa.reviews Seeks Editor-in-Chief published quarterly by CAA, is the leading may not publish their own work in the journal The caa.reviews Editorial Board invites nomi- publication of art history in English. during the term of service. Nominators should nations and self-nominations for the position of The ideal candidate has published substan- ascertain their nominee’s willingness to serve editor-in-chief for a three-year nonrenewable tially in the field and may be an academic, before submitting a name; self-nominations term, July 1, 2008–June 30, 2011. This term is museum-based, or independent scholar; insti- are also welcome. Please send a letter of inter- preceded by six months as editor designate, tutional affiliation is not required. Specialists est, CV, and contact information to: Chair, January 1–June 30, 2008, and followed imme- in Latin American, African, and early modern The Art Bulletin Editorial Board, CAA, 275 diately by one year of service on the editorial European art are especially invited to apply for Seventh Ave., 18th Floor, New York, NY 10001. board as past editor. caa.reviews is an online this term. Deadline: April 13, 2007. journal devoted to the peer review of new The editorial board advises the editor-in- books, museum exhibitions, and projects rel- chief and assists him or her to seek authors, Art Journal Seeks Editorial-Board Member evant to the fields of art history, visual studies, articles, and other content for the journal; CAA invites nominations and self-nominations and the arts. guides its editorial program and may propose for one individual to serve on the Art Journal Working with the editorial board, the edi- new initiatives for it; performs peer reviews editorial board for a four-year term, July 1, tor-in-chief is responsible for the content and and recommends peer reviewers; and may 2007–June 30, 2011. Art Journal, published character of the journal. He or she supervises support fundraising efforts on the journal’s quarterly by CAA, is devoted to twentieth- and the journal’s council of field editors, assisting it behalf. Members also assist the editor-in-chief twenty-first-century art and visual culture. to identify and solicit reviews, reviewers, arti- to keep abreast of trends and issues in the field Candidates are individuals with a broad cles, and other content for the journal; devel- by attending and reporting on sessions at the knowledge of modern and contemporary art; ops projects; makes final decisions regarding CAA Annual Conference and other academic institutional affiliation is not required. Artists content; and may support fundraising efforts conferences, symposia, and events in their and scholars with a commitment to pedagogi- CURRENTS on the journal’s behalf. fields. cal issues or criticism are especially urged to The editor-in-chief attends three annual The editorial board meets twice in New apply. meetings of the caa.reviews Editorial Board York and once at the CAA Annual Conference. The editorial board advises the editor-in- (twice in New York and once at the Annual CAA reimburses members for travel and lodg- chief and assists him or her to seek authors, Conference) and submits an annual report to ing expenses for the spring and fall New York articles, artist’s projects, and other content for CAA’s Publications Committee. He or she also meetings in accordance with its travel policy, the journal; guides its editorial program and works closely with the CAA staff and receives but members pay these expenses to attend the may propose new initiatives for it; performs an annual honorarium of $2,000. Annual Conference. peer reviews and recommends peer review- Candidates must be current CAA members Candidates must be current CAA members ers; and may support fundraising efforts on who have published at least one book and and should not be serving on the editorial the journal’s behalf. Members also assist the should not be serving on the editorial board of board of a competitive journal or on another editor-in-chief to keep abreast of trends and a competitive journal or on another CAA edito- CAA editorial board or committee. Members issues in the field by attending and reporting rial board or committee. Nominators should on sessions at the CAA Annual Conference ascertain their nominee’s willingness to serve and other academic conferences, symposia, before submitting a name; self-nominations are Enrich Your Knowledge of Jewish Art and events in their fields. also welcome. A CV, statement by the nominee The editorial board meets twice in New of interest in the position, and at least one letter If you are a museum professional who would like to York and once at the CAA Annual Conference. learn more about Judaica, join us for the of recommendation must accompany each Henry Luce Foundation Institute in Jewish Art. CAA reimburses members for travel and lodg- nomination. Please mail to: Director of The Institute includes classes and visits to museums and ing expenses for the spring and fall New York private collections, under the direction of Dr. Vivian B. Mann. Publications, caa.reviews Editor-in-Chief meetings in accordance with its travel policy, Search, CAA, 275 Seventh Ave., 18th Floor, June 4-8, 2007* but members pay these expenses to attend the New York, NY 10001. Finalist candidates are The Jewish Theological Seminary Annual Conference. 3080 Broadway, New York City interviewed in October. Deadline: June 15, Candidates must be current CAA members 2007. and should not be serving on the editorial board of a competitive journal or on another The Art Bulletin Seeks Editorial-Board CAA editorial board or committee. Members *Plus a four day seminar: October 8-11, 2007 Members may not publish their own work in the jour- CAA invites nominations and self-nomina- For more information, contact Aliza Strauss at nal during the term of service. Nominators (212) 280-6098 or [email protected]. tions for three individuals to serve on the Art should ascertain their nominee’s willingness to Double Marriage Cup by Tamar de Vries Winter. Silver and enamel. Photo credit: Bulletin Editorial Board for a four-year term, Richard Goodbody, Inc. Courtesy of The Jewish Museum (2002-2003), under the serve before submitting a name; self-nomina- auspices of The Jewish Theological Seminary. July 1, 2007–June 30, 2011. The Art Bulletin, tions are also welcome. Please send a letter CURRENTS 2007–June 30,2011. Editorial Boardforafour-year term,July1, for oneindividualtoserveonthe CAA invitesnominationsandself-nomi nations caa.reviews Deadline: April13,2007. Seventh Ave., 18thFloor, NewYork, NY10001. Chair, of interest,CV, andcontactinformationto: fields. conferences, symposia,andeventsintheir CAA AnnualConferenceandotheracademic by attendingandreportingonsessionsatthe to keepabreastoftrendsandissuesinthefield behalf. Membersalsoassisttheeditor-in-chief support fundraisingeffortsonthejournal’s may proposenewinitiativesforit;and for thejournal;guidesitseditorialprogramand to solicitreviewers,articles,andothercontent identify booksandexhibitionsforreview chief andfieldeditorsassiststhemto least onebook. Candidates shouldbepublishedauthorsofat reviews; institutionalaffiliationisnotrequired. experience ineditingbookand/orexhibition art professionalswithstatureinthefieldand art critics,educators,curators,orother and thearts. evant tothefieldsofarthistory, visualstudies, books, museumexhibitions,andprojectsrel- journal devotedtothepeerreviewofnew

The editorialboardadvisestheeditor-in- Candidates maybeartists,arthistorians, 95th Annual Conference 95th AnnualConference generous support ofthe generous support College ArtAssociation Art Journal acknowledges the SeeksEditorial-BoardMember EditorialBoard,CAA,275 caa.reviews by

isanonline caa.reviews

York, NY10001. Jury, CAA,275SeventhAve., 18thFloor, New information to:MillardMeissPublication Fund fications forappointment,CV, andcontact of interestexplaininginandquali- tions arealsowelcome.Pleasesendaletter serve beforesubmittinganame;self-nomina- should ascertaintheirnominee’s willingnessto CAA editorialboardorcommittee.Nominators board ofacompetitivejournaloronanother and shouldnotbeservingontheeditorial about thejury, seewww.collegeart.org/meiss. with itstravelpolicy. Formore information travel andlodgingexpensesinaccordance CAA reimbursescommitteemembersfor York inthespringandfalltoselectaward ees. applications twiceayearandmeetsinNew subjects. Itreviewsmanuscriptsandgrant manuscripts inthehistoryofartandrelated dize thepublicationofbook-lengthscholarly opening. art areespeciallywelcomeforthecurrent ists inIslamic,medieval,ortwentieth-century 1, 2007–June30,2011.Applicationsbyspecial- Publication FundJuryforafour-year term,July for oneindividualtoserveontheMillardMeiss CAA seeksnominationsandself-nominations Member Millard MeissPublication Fund SeeksJury Deadline: April13,2007. Seventh Ave., 18thFloor, NewYork, NY10001. Chair, of interest,CV, andcontactinformationto: tions arealsowelcome.Pleasesendaletter serve beforesubmittinganame;self-nomina- should ascertaintheirnominee’s willingnessto CAA editorialboardorcommittee.Nominators board ofacompetitivejournaloronanother and shouldnotbeservingontheeditorial Annual Conference. but memberspaytheseexpensestoattendthe meetings inaccordancewithitstravelpolicy, ing expensesforthespringandfallNewYork CAA reimbursesmembersfortravelandlodg- York andonceattheCAAAnnualConference. Candidates mustbecurrentCAAmembers The Meissjuryawardsgrantsthatsubsi- Candidates mustbecurrentCAAmembers The editorialboardmeetstwiceinNew caa.reviews Deadline: April13,2007 EditorialBoard,CAA,275 . future. sue agraduatedegreeinarthistorythenear to K–12educationalreform.Shehopespur- of graduate, Laurelalsoservedaseditor-in-chief Silver attheCourtofTsars exhibition, She primarilyassistedwiththesummer2006 Department attheYale CenterforBritishArt. ship toworkinthePaintingsandSculpture Scholar ofBritishArt,receivingafellow- at Yale, shewasnamedaDuncanRobinson of artfromYale UniversityinMay2006.While the Arts CAA’s ect coordinator, managingtheproductionof 2007, shebeganworkasthedirectoriesproj- as theassistanttodirector. InJanuary University, StateUniversityofNewYork. Watson SchoolofEngineering atBinghamton puter science–informationsciencefromthe cooperation. GoodmanreceivedhisBSincom- through understanding,appreciation,and Japan andtheUnitedStatesclosertogether information technologyinJanuary2007.Prior Michael GoodmanbecameCAA’s directorof Staff Changes adjunct facultymember attheCaliforniaState of itsinauguraltravelgrant:Stacy Schultz, (AHSC) ispleasedtoannouncethe recipient The ArtHistoriansofSouthernCalifornia HistoriansofSouthernCalifornia Art programs, [email protected]. write toEmmanuelLemakis,CAAdirectorof eties, visitwww.collegeart.org/affiliated or For moreinformationonCAA’s affiliatedsoci- News Affiliated Society Our Education

Laurel PetersonjoinedCAAinOctober2006 Directories ofGraduateProgramsin . ShereceivedherBAinthehistory Britannia andMuscovy:English , astudentmagazinedevoted brings thepeopleof tion inNewYork that nonpolitical organiza- Society, anonprofit, tion servicesatJapan the directorofinforma- almost nineyearsas to CAA,heworkedfor MARCH 2007 . Asanunder- CAA NEWS 22 23 CAA NEWS MARCH 2007

University, Northridge. This $250 grant is sup- Mutual Understanding in support of their sym- Society of Architectural Historians ported by contributions from AHSC members posium, “Meanings of Modernity in Central The Society of Architectural Historians (SAH) and is awarded annually to an adjunct faculty, Europe,” to be held in New York in November holds its sixtieth annual meeting April 11–15, student, part-time museum professional, 2007. The two-day conference is organized 2007, in Pittsburgh, Pennsylvania. Scholars independent art historian or artist, or member in conjunction with the exhibitions Foto: will deliver over 125 papers on the history of of this society who presents a paper at the Modernity in Central Europe, 1918–1945 at architecture, landscape design, urban plan- CAA Annual Conference. Schultz presented the Solomon R. Guggenheim Museum and ning, and other disciplines related to the a paper, “Southern California Feminists and From the Baltic to the Balkans: Modernism designed environment. In addition, more than Body Image: A Performative Response,” for in Europe, 1910–1935 at the New York Public thirty local tours, including two to Frank Lloyd the AHSC session, “Feminist Art in Southern Library. Wright’s Fallingwater, examine the riches of California,” at the New York conference last Papers from a previous HGCEA confer- Pittsburgh’s historic architecture, engineering, month. ence on Max Beckmann, held at the Graduate and planning achievements. For details, visit For more information about the AHSC Center, City University of New York, in www.sah.org or call 312-573-1365. travel grant or about membership, please September 2003, will be published this year e-mail Irina D. Costache, AHSC president at by Peter Lang as an anthology. Of Truths Society for Photographic Education [email protected]. Impossible to Put into Words: Max Beckmann The Society for Photographic Education (SPE) Contextualized is edited by Maria Makela and is now accepting proposals from all photog- Association for Latin American Art Rose-Carol Washton Long. raphers, writers, educators, curators, histo- The seventh annual Association for Latin HGCEA celebrated its first decade with rians, and professionals from other fields for American Art (ALAA) Book Award was a special session at the 2007 CAA Annual its forty-fifth national conference, “Agents of given to Virginia M. Fields and Dorie Reents- Conference and a reception at the Galerie Change: Art and Advocacy,” to be held March CURRENTS Budet for Lords of St. Etienne. 13–16, 2008, in Denver, Colorado. Proposals Creation: Origins of are requested that explore the ways artists Sacred Maya Kingship Japan Art History Forum respond to the local and global challenges that (London: Scala, in The Japan Art History Forum (JAHF) is are reshaping politics, cultures, economies, association with the pleased to announce Melissa McCormick and the planet, and that acknowledge the fol- Los Angeles County of Harvard University as the newly elected lowing questions: As educators, artists, and Museum of Art, 2005). treasurer, and Chelsea Foxwell of Columbia scholars, what has been the historical impact In this fascinating University as the returning graduate-student of our advocacy? What role will we play in and lavishly illustrated volume, the authors representative. shaping the future? Topics may include: image chart the development of sacred Maya king- The JAHF website, www2.ku.edu/~jahf, making, history, contemporary theory and ship from its tenth-century BCE origins is expanding. Most new sections appear on criticism, multidisciplinary approaches, new along the Gulf Coast of Mexico through its the password-protected member side. These technologies, effects of media and culture, codified manifestation in the Early Classic sections include: a current member list, educational issues, funding, and presentations Period (550 CE). Equally intriguing is the bibliographies (a new feature is the annual of work in photography, film, video, perfor- groundbreaking exploration of connections bibliography of publications in Western lan- mance, and installation. A downloadable 2008 between the ancient forms of royal authority guages on Japanese art history), course syllabi, proposal form is available on the SPE website, and contemporary Maya religious and social practical professional and travel advice, photo www.spenational.org. Deadline: June 1, 2007. practice. This award, sponsored by the Arvey acquisition sources, online reference materi- Foundation, is given annually to an outstand- als, archives of discussions from our e-mail Southeastern College Art Conference ing work of scholarship in any field of Latin list, JAHF annual activities, and official docu- The Southeastern College Art Conference American art. Nominations for books to be ments. The visitor side includes information (SECAC) seeks proposals for papers from art considered in the 2007 competition should on joining JAHF, upcoming exhibitions, public and architectural historians, studio artists, be forwarded to Virginia Fields at lectures, and panels at scholarly meetings. visual-resources and museum professionals, [email protected]. JAHF’s annual business meeting takes art educators, and graphic artists for its annual place March 23, 2007, 7:00–9:00 PM, conference, to be held October 17–20, 2007, in Historians of German and Central European at the Boston Marriott Copley Place in Charleston, West Virginia. Marshall University Art and Architecture Massachusetts. The meeting includes a round- and West Virginia University host the event. The Historians of German and Central table discussion entitled “Teaching Japanese Check www.secollegeart.org for available ses- European Art and Architecture (HGCEA) Art: New Challenges in the Twenty-First sions. For more details, contact Don Van Horn, has received nonprofit status. HGCEA has Century.” conference coordinator, at vanhorn@marshall also been awarded a grant from the Trust for .edu. Deadline: May 1, 2007. END NOTES Photography andDigital Painting PA, 2–30,2007. January Capitol EastWing Rotunda, Harrisburg, Christine Goldbeck Luca Buvoli Les Barta Mid-Atlantic [email protected]. CAA topublishyourimage.E-mail as astatementgrantingpermissionto date, medium,anddimensions,aswell work intheexhibition;includetitle, You mayalsosenddigitalimagesofthe 2006), titleofshow, andmedium(s). dates ofexhibition(noearlierthan member number, venue,cityandstate, not published.Pleasesendyourname, included inthislisting;groupshowsare whoareCAAOnly artists membersare Members by Artist Exhibitions Solo Tom Matthews, Dopodomani) TomorrowAfter (UnBellissimo 25, 2007. Philadelphia, PA, 20–March January UniversityofPennsylvania,Art, Photoconstructions. VA, 1–15,2007. February University ofVirginia,Charlottesville, . UPC Artspace Gallery,. UPCArtspace A Very BeautifulDay Surplus XXXIV . Institute of Contemporary . InstituteofContemporary . Installation. . Pennsylvania State , 2006,usedschoolchairs,8x352ft.(artwork©Tom Matthews) Elemental: . The BalloonGarden City, NJ, May16–September9,2007. Sculptures byCreightonMichael SQUIGGLElinear: Paintings and 27–March10,2007. MD, January TowsonArts, University, Towson, Structures Recent Paintings aboutCreaturesand Norman, OK,October2–20,2006. UniversityofOklahoma, of Art, Photography. 5–February 2,2007. 5–February Philadelphia,PA, of theArts, January Lili White Creighton Michael Carolyn H. Manosevitz Nate Larson Karen Kunc Karen Kunc Chad Colby Midwest media. Healing: APersonal Journey September 17–October31,2006. Muhlenberg College,Allentown, PA, Understanding, Jewish-Christian 2007. Kansas City, MO, March2–April28, 2–May 26,2007. Omaha,NE,March Art, Contemporary Printmaking. Lyrical Legacy: The Prints of . JerseyCityMuseum, . . LightwellGallery, School . Leedy-Voulkos Center, Art . BemisCenterfor . Gallery 1401,University . Gallery . Centerforthe Sensory Source Sensory . Video. Burden ofProof . Institutefor . Mixed . . . media andpainting. 2006. New York, October17–November 4, Les Barta, Ellen K.Levy Susana Viola Jacobson Arlene Baker Northeast and collage. 2007. Utica, NY, 26–March2, January Munson Williams Proctor Institute, Arts 2007. NewYork,Art, 15–March10, February books. Karen Kunc Public Secrets Transparent Spaces Likeness Frank Religion . Printmaking andartist’s . Noho Gallery inChelsea, . NohoGallery . MichaelSteinbergFine . Painting, printmaking, , 2005,computerphotoconstruction, 16x20in.(artwork©LesBarta) . Mixedmedia. . Pratt at . Mixed

Installation, sculpture,andpainting. Small Wonders York, 1–March 3, 2007. February Sculpture. CT, March15–April15,2007. Council,Greenwich, Greenwich Arts Mixed media. 17,2007. February St. Petersburg, 12– Arts, FL,January 2006. TX, October6–November11, Marfa, Tom Matthews South Athena Tacha Debra Ramsey Juri Morioka Susan Manspeizer Cheryl Coon Cheryl West Rose MariePrins 27, 2007. 5–February San Mateo, CA,January Opening toPerception New York, 3–28, 2007. February Painting. Compositions inFour Dimensions York, 1–March 22,2007. February Marfa Moment Marfa Minute Observations . ARTshare 25Gallery, . MergeGallery, New . Kouros Gallery, New MARCH 2007 . Franklin 54Gallery, . Marfa Studio of Arts, StudioofArts, . Marfa . Sculpture. . C.EmersonFine . BendheimGallery, LOST andfound . Sculpture. . Mixedmedia. CAA NEWS Recent . . . 24 25 CAA NEWS JANUARYMARCH 2007 2007

Books Frederick A. Horowitz and Brenda Dalí (Cleveland: Jordi Falgàs, William H. Robinson, Danilowitz. Josef Albers: To Open Eyes; Cleveland Jared Goss, and Magdalena Published by The Bauhaus, Black Mountain College, Museum of Dabrowski. Barcelona and Modern- and Yale (London: Phaidon, 2006). Art, in asso- ity: Picasso, Gaudí, Miró, Dalí. Metro- CAA Members ciation with politan Museum of Art, New York, Sheri R. Klein. Art and Laughter Yale University March 7–June 3, 2007; Cleveland Only authors who are CAA members (London: I. B. Tauris, 2006). Press, 2006). Museum of Art, Cleveland, OH, are included in this listing. Please October 15, 2006–January 7, 2007. send your name, member number, Matthew Exhibitions book title, publisher’s name and Landrus. The Linda Stratford. A Romance with the location, and the year published Treasures of Curated by Landscape: Realism to Impressionism. (no earlier than 2006) to caanews Leonardo da University of Kentucky Art Museum, @collegeart.org. Vinci (London CAA Members Lexington, KY, September 10–December and New York: 10, 2006. Samantha Carlton Books and HarperCollins, 2006). Curators who are individual members Baskind. can send their name, member number, Nadine Wasserman and Rachel Encyclopedia Allison Levy. Re-membering Masculinity venue name, city and state, dates of Seligman. Armed. Mandeville Gallery, of Jewish in Early Modern Florence: Widowed exhibition (no earlier than 2006), and Union College, Schenectady, NY, American Artists Bodies, Mourning, and Portraiture title of show to [email protected]; October 26, 2006–February 4, 2007. (Westport, CT: (Burlington, VT: Ashgate, 2006). attach the exhibition’s press release Greenwood to the e-mail (required). You may also People in the Press, 2007). Julie L. McGee. David C. Driskell: Artist send digital images of installation views and Scholar (Petaluma, CA: Pomegra- or of individual works; include the News Barbara A. Beall-Fofana. nate Communications, 2006). artist’s name and the work’s title, date, Understanding the Art Museum medium, and dimensions. Please send your name and listing to (Upper Saddle River, NJ: Prentice Kellen Kee McIntyre and Richard [email protected]. Hall, 2007). E. Phillips, eds. Woman and Art in Kevin Avery. Treasures from Olana: Early Modern Latin America (Leiden: Landscapes by Frederic Edwin Academe Alexandra Brill, 2006). Church. Princeton University Art Thomas Bonfante- Museum, Princeton, NJ, January Crow, director Warren. The Richard Minsky. 27–June 10, 2007. of the Getty Pitti Palace American Research Collection Decorated Benigna Chilla and Luisa Barrios. Institute in (Westport, Publishers’ Oscillating Impulses: Contemporary Los Angeles, CT: Hugh Bindings, Mexican Prints. Sidney Mishkin

CA, has been END NOTES Lauter Levin 1872–1929 Gallery, Baruch College, City name Rosalie Solow Professor of Associates, 2006). (Stockport, NY: University of New York, New York, Modern Art at the Institute of Fine Richard Minsky, February 9–March 9, 2007. Arts at New York University. Alexandra Bonfante-Warren. The 2006). Uffizi Gallery Museum (Westport, CT: Hugh Lauter Levin Associates, Isabella Nardi. 2006). The Theory of Citrasutras in Mary Ann Indian Painting: Caws. Glorious A Critical Re- Evaluation of Eccentrics: Their Uses Modernist and Interpre- Women Painting tations (New and Writing (New York: Routledge, in association with York: Palgrave the Royal Asiatic Society, 2006). Macmillan, 2006). Frank G. Popper. From Technological to Virtual Art (Cambridge, MA: MIT Cordula Grewe, ed. Die Schau Press, 2006) des Fremden: usstellungskonzepte zwischen Kunst, Kommerz, und William H. Robinson, Jordi Falgàs, Wissenschaft (Stuttgart: Franz Frederic Edwin Church, The Catskill Creek, 1845, oil on beveled pine panel, 213⁄4 x 171⁄4 x 3 in. (framed), Olana, and Carmen Belen Lord. Barcelona Steiner, 2006). Hudson, NY, OL. 1980.1873.a (artwork in the public domain; photograph provided by the Princeton University and Modernity: Picasso, Gaudí, Miró, Art Museum) MARCH 2007 CAA NEWS 26

Russell ed associate professor of conservation at the Walker Valerie Cassel Oliver has been pro- Ferguson, chief science at the Conservation Center of Art Center in moted from associate curator to cura- curator and the Institute of Fine Arts at New York Minneapolis, tor at the Contemporary Arts Museum deputy director University. MN. He replaces Houston in Texas . for exhibitions Douglas Fogle, at the Hammer Debra Higgs Strickland has been who joined Marc Pachter, director of the Museum in Los Angeles, CA, has appointed deputy director of the the Carnegie National Portrait Gallery, Smithsonian become chair of the Art Department Glasgow Centre of Medieval and Museum of Art in Pittsburgh, PA. Institution, in Washington, DC, has at the University of California, Los Renaissance Studies at the University announced his resignation, effective Angeles, replacing the acting chair of Glasgow in Scotland. Brian J. Ferriso has been named October 2007. James Welling. Ferguson will remain Marilyn H. and Dr. Robert B. an adjunct curator at the museum. Thelma K. Thomas, associate profes- Pamplin, Jr. Director of the Portland Christian Rattemeyer, formerly cura- sor and associate dean of graduate Art Museum in Portland, OR. tor of Artists Space in New York, has Clemente Marconi, formerly associate studies in the Horace H. Rackham joined the Museum of Modern Art in professor of art history at Columbia School of Graduate Studies at the Garry Garrels, senior curator at the New York as associate curator in the University in New York, has been University of Michigan in Ann Arbor Hammer Museum in Los Angeles, Department of Drawings. named James R. McCredie Professor and associate curator at the Kelsey CA, has been promoted to chief cura- in the History of Greek Art and Museum of Archaeology, has been tor and deputy director for exhibitions Bennett Simpson, formerly associate Archaeology at the Institute of Fine appointed associate professor of at the museum. curator at the Institute of Contemporary Arts at New York University. early Christian and Byzantine art at Art, Boston, has been named associate the Institute of Fine Arts at New Steven High, formerly director and curator at the Museum of Contemporary Milbert Mariano York University. CEO of the Nevada Museum of Art Art, Los Angeles. has been in Reno, has been appointed direc- appointed Jeffrey Weiss, head and curator of mod- tor of the Telfair Museum of Art in Ali Subotnick, an independent cura- chair of the ern and contemporary art at the National Savannah, GA. tor who ran the Wrong Gallery with Department of Gallery of Art in Washington, DC, has Maurizio Cattelan and Massimiliano Visual Arts at been appointed the first Kirk Varnedoe Philipp Kaiser, formerly curator for Gioni, has been named adjunct cura- Pacific Union College in Napa Valley, Visiting Professor at the Institute of Fine modern and contemporary art at the tor at the Hammer Museum in Los CA. Arts at New York University. Museum für Gegenwartskunst Basel in Angeles. Switzerland, has joined the Museum Christopher McNulty has been pro- Museums and Galleries of Contemporary Art, Los Angeles, as Elizabeth Thomas, formerly associ- moted from assistant to associate curator. He succeeds Connie Butler, ate curator of contemporary art professor of art at Auburn University Andaleeb Badiee Banta has been who became Robert Lehman Chief at the Carnegie Museum of Art in in Auburn, AL. appointed Moore Curatorial Fellow Curator of Drawings at the Museum of Pittsburgh, PA, has been appointed in the Department of Drawings and Modern Art in New York. curator of the MATRIX Program for Ilenia Colón Mendoza has been Prints at the Morgan Library and Contemporary Art at the University appointed assistant professor of art Museum in New York. Toby Kamps, of California’s Berkeley Art Museum/ history in the Herron School of Art formerly senior Pacific Film Archive. and Design at Indiana University– Barbara curator at the Purdue University in Indianapolis. Bloemink, for- Contemporary Organizations END NOTES merly curatorial Arts Center in Leighton Pierce, an experimental film director at the Cincinnati, has Mary L. Chute has been reappointed and video artist and director of the Cooper-Hewitt, been appointed deputy director for library services at Film and Video Production Program National Design to senior curator at the Contemporary the Institute of Museum and Library at the University of Iowa in Iowa City, Museum in Arts Museum Houston in Texas. Services, a federal organization based has been named Victor E. Ferrall, Jr., New York, has in Washington, DC. Artist in Residence at Beloit College been appointed deputy director of cura- Roxana Marcoci has been appointed in Beloit, WI, for the spring term. He torial affairs at the Museum of Arts and curator in the Department of Joseph Grima has been appointed will work with faculty and students Design in New York. Photography at the Museum of director of the Storefront for Art and in the Department of Art and Art Modern Art in New York. Architecture in New York. History on an exhibition of his work, Dan Bomfort, senior restorer of a public presentation, and a student paintings at the National Gallery in Paola Morsiani Rick Hernandez, executive director of workshop. London, has been hired as associate has been pro- the Texas Commission on the Arts for director for collections at the J. Paul moted to senior 30 years, has announced his resigna- Hannelore Roemich, formerly science Getty Museum in Los Angeles, CA. curator at the tion from the agency, effective August officer for the European Cooperation Contemporary 31, 2007. in Scientific Technical Research at Peter Eleey, curator and producer Arts Museum the European Science Foundation in for Creative Time in New York, has Houston in Nato Thompson, a curator at Mass Brussels, Belgium, has been appoint- been appointed visual arts curator Texas. MoCA in North Adams, MA, has been END NOTES

Sam . in New in New in Davenport, , associate profes- William Pope.L William and tion to support the museum’s Grant IA, has been awarded a $120,000 IA, has been awarded a $120,000 grant from the Henry Founda- Luce Mexico has received a $1.5 million grant to establish the Eugene V. in Art History. Thaw Professorship ents of the inaugural USA Fellowships. USA Fellowships. ents of the inaugural who have received an CAA members grant are unrestricted $50,000 Durant Art Museum The Figge Institutional Institutional News institutional members are Only CAA send included in this listing. Please and your name, member number, news item to [email protected]. The College of Santa Fe Khristaan D. Villela sor of art and director of the college’s Art is the first History Program, recipient of the professorship. ; the film’s (roughly , 2006, Delrin, aluminum, electronics, and ink, 12 x 6 x 6 in. (artwork © , 2006, Delrin, aluminum, electronics, and ink, 12 x 6 x 6 in. (artwork © , an Istanbul- Thumbprinter Little Apocalypse Küçük Kiyamet has been awarded a 6-week has been awarded Heritage and Nationalizing Discourses:Heritage and Art/istsSouth African as Mediators.” United States Artists, a new arts organization dedicated to providing direct support to living American artists in all disciplines, has announced the recipi- Lorna Ritz artist at the Helene Wurlitzer residency in Taos. of New Mexico Foundation She was also a cultural ambassador Africa, through South to Cape Town, of Augusta the International Program Savage Gallery at the University of Massachusetts, Amherst. Jeffrey Baykal Rollins Barry Freedland) Barry Freedland, Barry Freedland, based artist who teaches at Bosphorus of paint- has created a series University, ings that feature prominently in the film Turkish translated as official English title has not yet been confirmed). The film is directed by Durul (the Taylan Taylan and Yagmur Taylan Brothers) and written by Dogu Yücel. , professor in the Department of Visual and Performing Arts at Purdue Phoebe M. Farris . of the University of the University , assistant professor of Bowdoin College has been selected as the SECAC Review in Bowdoin, ME, has received a in Bowdoin, Humanities Foundation Rockefeller at the Smithsonian Fellowship and Center for Folklife Institution’s January to MayCultural Heritage. From 2007, she will theorize cultural heritage and the arts for her project, “Cultural of South Florida in Tampa has been has been of South Florida in Tampa awarded a 2007–8 fellowship from the National Endowment for the Humanities to complete her book project, “Mediterranean Encounters: and Representation, Travel, Expansionism, 1780–1850.” Leslie Fry first artist in residence at Boca Ciega in Seminole, FL. She Millennium Park will create 6 new sculptures along the boardwalk trail. Loop West Julie L. McGee Barry Freedland University, has been awarded the University, Cooperation Committee for Institutional for Fund (CIC) American Indian Studies award This 1-year Innovative Projects. Stuhr of Ohio and Patricia allows Farris State University to develop and teach a graduate-level interdisciplinary course, “Contemporary Native American Art and Culture,” at the Smithsonian National Museum of Institution’s the American Indian during summer 2007. The grant provides funding for research, educational supplies, and the development of teaching resources. Elisabeth Fraser of art at New College in Sarasota, FL, has won the 2006 Southeastern College Art Conference (SECAC) Artist’s He will receive a solo exhi- Fellowship. bition this October at the 2007 SECAC and will WV, conference in Charleston, be interviewed in an upcoming issue of been awarded a Fulbright Scholar Scholar a Fulbright been awarded for the 2006–7 Grant to Poland academic year. ,

, Peter Eleey Peter

director of the director of the Art Institute of Chicago in Illinois from 1980 to 2003, has been named associate professor at Duke University in Durham, NC, has received a 2007–8 fellow- James N. Wood Stanley Abe has been award- , associate profes- , an independent , an independent , a London-based inde- , a London-based MARCH 2007 MARCH

president of the Getty Trust in Los in Los president of the Getty Trust Angeles, CA. ship from the National Endowment for the Humanities for his project, “Moving Buddha: Making Chinese Buddhist Sculpture into Art.” pendent curator, writer, and artist and writer, pendent curator, in late Time before coming to Creative 2006 as curator and producer. Blane De St. Croix Cristina de Gennaro Only CAA members are included in Only CAA this listing. Please send your name, to and information member number, [email protected]. Grants, Awards, Grants, Awards, and Honors Neville Wakefield Mark Beasley named the successor to named the successor curator, critic, and editor based in critic, and editor based in curator, has been appointed cura- New York, Art Frieze at the Projects tor of Frieze in London. Fair ed an artist residency fellowship at in Mojacar, Valparaíso the Fundación during JanuarySpain, 2007 to con- She tinue work on a new installation. also received an artist residency fellowship at the Constance Saltonstall for the ArtsFoundation in Ithaca, NY, in July 2006. sor in the Department of Visual Art and Art History at Florida Atlantic FL, has University in Boca Raton, as curator and producer for Creative producer for Creative as curator and Thompson joins in New York. Time CAA NEWS CAA 27 MARCH 2007 CAA NEWS 28

Wood archives project for the next 3 Obituaries War, he used the GI Bill to attend the onstrated this, beginning in 1970, years. The grant enables the Figge to School of the Art Institute of Chicago. when he announced an ambitious properly conserve Wood’s personal No longer constrained by the racial series of new works, a 6-year proj- Benny Andrews died November 10, possessions, handwritten letters, laws of the South, he entered an art ect entitled the Bicentennial Series, 2006, in Brooklyn, NY. He was 76. photographs, and gallery announce- museum and saw original master- devoted to depicting the complex ments from the 1920s to 1942, and Growing up in rural, segregated works for the fi rst time, an experience history of African Americans for the material collected by the artist’s sister Georgia during the Depression and that brought tears to his eyes. American Bicentennial. through 1975. war years, Andrews and his brother, After graduating in 1958, he After exhibiting that project, he the writer Raymond Andrews, learned moved to New York, where he main- returned to the studio and to his The Georgia Museum of Art, on mainstream American values by tained a studio for the rest of his life. position as a member of the Queens the campus of the University of studying the popular culture of that Despite limited connections to the College art faculty (an academic posi- Georgia in Athens, has won 2 awards era, including movies, radio, news- city’s art world, by 1962 he began tion he held for almost 3 decades), from the Southeastern College Art papers, comics, and magazines. Conference (SECAC). The exhibition Despite the racism and poverty he Coming Home: American Paintings, endured in these years, he developed 1930–1950 was awarded the a deep faith in the spirit and promise 2006 SECAC Award for Outstanding of America, a belief he maintained Exhibition and Catalogue of Historical throughout his life. In the 1990s, Materials. The exhibition was orga- when I asked him how he had nized by the Georgia Museum of Art decided that the primary subject of and the Mobile Museum of Art. In his art would be America, he replied: addition, the “It was always America. Even when book Reading I was a child. Our lives were about Vasari (London: America. We were inundated in being Philip Wilson, American. We grew up with the in association American Dream. That is why I wore with the Georgia saddle oxfords and tried to look like Museum of Pat Boone…. We grew up that way. I Art, 2005) was know America.” awarded the 2006 SECAC Award for One of 10 children, Andrews Benny Andrews, Harlem USA (Migrant Series), 2004, oil and collage on canvas, 54 x 72 in. (artwork © Benny Andrews; photograph provided by ACA Galleries, New York) Excellence in Scholarly Research and was born November 13, 1930, in Publication. Reading Vasari was edit- Plainview, GA, a light-skinned, blue- to exhibit regularly at Bella Fishko’s moving away from the political ed by Anne Barriault, Andrew Ladis, eyed, blond-haired baby. James Orr Forum Gallery. However, over a mat- activities of the previous years. He Norman Land, and Jeryldene Wood. (“Mr. Jim”), his paternal grandfather, ter of principle, he left that gallery in created a new series, Women I Have was the son of a prominent white 1965. By the late 1960s, infl uenced Known, including a portrait of Nene The High Museum of Art in Atlanta, plantation owner. His paternal grand- by the Civil Rights Movement and Humphrey, an artist he fi rst met at GA, has received $12,500 from the mother was Jessie Rose Lee Wildcat troubled by the social, racial, and the McDowell Colony and who would Terra Foundation for American Art to Tennessee. And, like her, his mater- gender inequities he discovered in later become his wife. From 1982 to help support a spring 2007 panel nal grandparents, John and Allison the art world, Andrews entered a 1984, he served as director of the discussion of Samuel F. B. Morse’s Perryman, were mixed race, with period of social and cultural activism, Visual Arts Program for the NEA, a END NOTES END NOTES painting Gallery of the Louvre black and Indian blood. His father, which was refl ected in his art. After position that brought him increased (owned by the Terra) as part of an George Andrews, was a self-taught he cofounded the Black Emergency national stature. exhibition called Kings as Collectors, artist, the “Dot Man,” who never lived Cultural Coalition in 1969 and Returning to his studio, Andrews on view at the museum through more than 10 miles from Plainview participated in marches outside the entered the most productive stage of September 2007. and never left Georgia. In contrast, Metropolitan and Whitney Museums, his career, as evident in a series of his mother, Viola Perryman Andrews, demonstrating against the exclusion evolving projects: the Completing the The Sterling and Francine Clark loved travel and was an advocate for of women and artists of color from Circle Series, the Portrait Series, the Art Institute in Williamstown, MA, education who encouraged her chil- those institutions, he was often clas- America Series, the Southland Series, has been awarded $50,000 by the dren to write and to draw daily. sifi ed as a “protest artist.” the World Series, the Cruelty and Terra Foundation for American Art The fi rst member of his family to Throughout his life, Andrews Sorrow Series, the Revival Series, the to support the 2008 exhibition Like graduate from high school, Andrews remained an independent fi gure who Music Series, the Langston Hughes Breath on Glass: Painting Softly from attended Fort Valley State College was never limited by classifi cations Series, the Musical Interlude Series, James McNeill Whistler to Arthur (1948–1950), supported by a schol- assigned by others, whether in the the Critic Series, the Human Spirit B. Davies. The Clark also received arship. He was not allowed to attend segregated South or in the New York Series, and, fi nally, the Migrant Series. $54,100 for operating support from the University of Georgia, nor to art world, which he found to be an He also placed a new emphasis on the Massachusetts Cultural Council. enroll in Lamar Dodd’s well-known equally stratifi ed environment. He had the history and culture of his extended The grant completes a 3-year funding art classes there, due to the color of been well tempered in his indepen- family, expanding on his own earlier cycle totaling $138,250 in support of his skin. In 1954, after serving as dence, self-confi dence, and sense of work and building on the research that the institute’s education programs. a military policeman in the Korean purpose from an early age. He dem- his brother Raymond had initiated. END NOTES

> , 1975, , 1975, , one of the Portrait of S. Lane Faison, Jr. of S. Portrait Liberal-arts students in their early An odd thing happened, though. Glenda Green, © Glenda Green) oil on canvas, 15 x 13 in. (artwork Jr. S. Lane Faison, nation’s most infl uential teachers of most infl nation’s College profes- a Williams art history, sor for 40 years, and a former CAA president, died November 11, 2006, He MA. at his home in Williamstown, was 3 weeks shy of his 99th birthday. quickly discovered years at Williams that a triumvirate of professors was teaching art Whitney history (Faison, and Pierson) Stoddard, and William word of mouth boasted that there ner teachers at the college. were no fi informa- were compelling: Lectures tive, humorous, and engaging. Slides had to be memorized, which guaranteed that each student carried away from their courses some information, useful on the rare occasions when museums were visited. were Stoddard, and Pierson Faison, so good that legions of Williams students, and others besides, found themselves in the habit of enjoy- ing frequent trips to museums, and that the desire to learn more about Much has been art came eagerly. celebrated about those students of who made art their careers Faison and became distinguished directors of museums and art institutions. Some III, Powell of these are: Earl “Rusty” director of the National Gallery of Krens, former director of the Art; Tom director of Guggenheim; Glenn Lowry, the Museum of Modern Art; the late chief curator MoMA’s Kirk Varnedoe, of painting and sculpture; Michael Angeles director of the Los Govan, County Museum of Art; James Wood, former director of the Art Institute , , Flatbush Floogies , a Swiss-born , a Swiss-born To the People of of the People To The Environment , a series of Minimalist , a series of Minimalist Born in Winterthur, de Crignis de Crignis Born in Winterthur, Castanis’s works can be found Castanis’s works can be found abstract painter who lived and abstract painter who lived and died December worked in New York, 23, 2006, at the age of 58. School + Farbe studied at the Form for Art and Media Design in Zurich Artsand the Academy of Fine in He began his Hamburg, Germany. artistic career as a performance and video artist, exhibiting in a group entitled show, at the Venice in the Swiss Pavilion Biennale in 1976. The artist began painting after a visit to New York in the late 1970s, where he saw Blinky Palermo’s New York abstract paintings, at the Dia Center for the Arts. De Crignis began creating seemingly monochrome paintings built up from thin layers of different colors. The resulting blue or gray works possessed shimmering quali- ties that some compared to James light installations. Galerie Turrell’s rst showed these in Zurich fi Palette the works in 1980. In New York, Auchincloss artist debuted at Pamela Gallery in 1995; later exhibitions in the city took place at Stark Gallery Blum Gallery in in 1997 and Peter 2001 and 2004. His work is found in a number of collections, including the University Art Gallery, the Yale Art the Fogg Albright-Knox Art Gallery, Zürich. Museum, and the Kunsthaus over mannequins; the underlying the underlying over mannequins; leaving a hol- forms were removed, form with drap- low shell of human ery like ancient Greek that looked Castanis received art-world statuary. solo exhibi- acclaim in 1980, when a of Art in New tion at OK Harris Works sold out. York Arts,in the Detroit Institute of the Norton Museum of Art, the library at the IBM Mount Holyoke College, and Her Corporation Atrium in Atlanta. and work adorns a Philip Johnson 580 John Burgee–designed building, California Street, in San Francisco. her In New York, a series of cast-bronze reliefs from 1992, are embedded in the walls of the Flatbush Avenue–Brooklyn College subway station. Rudolf de Crignis Rudolf Migrants , 1989, cloth, epoxy, and and , 1989, cloth, epoxy, , a New York–based , a New York–based Gloria will be featured in a major exhi- will be featured in a major A self-taught artist who lived in The evolution of the project was The evolution J. Richard Gruber, Director, Ogden Ogden Director, J. Richard Gruber, sculptor who created numerous public artworks, died November 22, 2006, in Manhattan at the age of 80. Greenwich Village for many years, Castanis began her career in art in 1964 after 10 years as a full-time After in col- working wife and mother. lage and assemblage, she turned to when she sculpture a few years later, developed her signature technique of draping layers of epoxy-soaked cloth Muriel Castanis, 98 in. tall (artwork © Muriel bronze powder, Castanis; photograph provided by OK Harris) Muriel Castanis Series and documentary publication, bition, lm being organized by the Ogden fi Museum of Southern Art, University for of New Orleans, scheduled birthday2008. In 2005, as his 75th approached, I asked the artist, while through lm crew we traveled with a fi Georgia and North Carolina on the why he continued to of Tears, Trail work in such an unrelenting manner. he replied, “and “My life is a journey,” It is, and always my art is a journey. a journey of discoveryhas been, for me, an adventure in many ways. The a creative response ection, art is a refl to that extended journey.” — Museum of Southern Art, University of New Orleans devoted to the mass migration that mass migration that devoted to the wake of Hurricane emerged in the Katrina. was diag- suspended when Andrews led to his nosed with the cancer that death. As he intended, the

Migrant Migrant Baby Sweets

, inspired by his , inspired by his The Grapes of The Grapes of Appalachee Red MARCH 2007 MARCH

(1980), and Rosiebelle Lee Wildcat Lee Wildcat Rosiebelle by John Steinbeck. by John Steinbeck. to be an ambitious, multiyear to be an ambitious, multiyear Migrant Series During the late 1970s and 1980s, 1970s and 1980s, During the late Andrews envisioned his In 2001, after living and working Raymond Andrews explored the explored the Andrews Raymond history family and of the Andrews ction GA, by fusing fi Morgan County, ction in his Muskhogean and nonfi by County novels, all illustrated including Benny, (1978), Tennessee Wrath project serving as a grand summation of the themes and issues that had Each of dominated his life and career. the 3 major components was planned ect one aspect of his own to refl mixed heritage—he was of African Scotch Irish, and Cherokee American, descent—and was to be related to a major migration in American history, beginning with the Dust Bowl migration to California (2004), continu- of Tears ing with the Cherokee Trail migration (2005), and concluding with the Great Migration of African Americans to the North. In 2006, after repeated visits to New Orleans and the Gulf Coast, he decided to add a concluding chapter to the series, (1983). In 1984, Benny and Nene and Nene (1983). In 1984, Benny by his worked from designs created Christopher Andrews, an archi- son, a studio tect trained at RISD, to build Benny outside Athens, GA, where with was able to work more closely After complet- his Georgia family. his he encouraged ing the studio, father to expand his art production to include painted canvases and art- 1984 until 1996, ist boards. From when George Andrews died, Benny worked to advance the recognition of his father’s art. in Manhattan for more than 40 years, Benny and Nene renovated and moved into a new studio and residen- his There tial structure in Brooklyn. lled with new projects, includ- studio fi ing a series of illustrated children’s books and an artist’s book and print project created for the Limited Edition the primary focus in However, Press. the studio during his last years was the reading of writers such as Flannery and Langston Hughes and O’Connor his rediscovery of Series CAA NEWS CAA 29 END NOTES CAA andelsewhere, andthatthere wereunderrepresentedbothat artists tation. “Ibelievedthatthepracticing responded quicklyandwithnohesi- the mostabout.Onthispointhe the issuefacingCAAthathecared was president,wasn’t I?” He smiledandsaid:“Well, whynot?I Committee meetingsinWilliamstown. president, hebeganholdingExecutive in therecordthat,whenhebecame years ago, Itoldhimhadnoticed versation IhadwithFaison several total budgetwas$32,000.Inacon- ship thatyearpassed2,000,andthe for3years.Themember- and served 26,1952, of DirectorsonJanuary Faison becamepresidentoftheBoard was activeuntilhisdeath. experienced asourlivesunfolded.He dents andrelishedlearningwhatwe colleague. Faison caredabouthisstu- always astudent—andeventually Faison (orofhistwocolleagues), tions andmuseums. tion backintotheirrespectivecollec- collec- art to placeworksinHitler’s eled toAustriaandGermany, working 1976. In1945and1950hetrav- from1948to College MuseumofArt He wasalsodirectoroftheWilliams from1940to1969. Department History to 1976,chairingtheArt He taughtatWilliams from1936 an MFA fromPrinceton University. Universityand an MAatHarvard ing underKarlWeston, andearned Williams Collegein1929,study- opened forusbyhim. worldwas our own, becausetheart collectionsof museums, evenstarted have trekkedtogalleriesandart infected withourownenthusiasm, myriads ofotherswhomwehave Thousands ofus,notcountingthe one ofthenation’s greatteachers. changed bylearningfromFaison, but whoseliveshavebeenforever who didnothaveacareerinart Island SchoolofDesign. Mandel, presidentoftheRhode andRoger the DallasMuseumofArt; Getty Trust); JohnLane,directorof of Chicago(andpresentheadthe I askedhimwhatheconsidered A CAAmembersince1931, It istruethatonceastudentof Faison himselfgraduatedfrom And therearetherestofus, tions andmuseums. be foundinnumerousprivatecollec- grant fromtheNEA.Herworkscan Grants 5timesandin1988wona State ofFlorida’sIndividualArtist awards. Federighi alsoreceivedthe 10 otheruniversity-relatedresearch for ScholarlyActivityin2003and she receivedtheProvost’s Award Fellowships. Other honorsfollowed: andSciences’Cooper College ofArts and oneofthefi rst recipientsofthe eventually becameafullprofessor was headoftheceramicsarea.She the UniversityofMiamiin1974and at History andArt ofArt Department University in1974.Shejoinedthe 1972 andearnedanMFA fromAlfred in from theClevelandInstituteofArt Aspen, CO. Shereceived herBFA Centerin at AndersonRanch Arts and aregularguestartist-in-residence national renown, abelovedteacher, cancer. a long andvaliantfiafter ght with 1974, diedNovember17,2006, atthe UniversityofMiamisince art Christine Federighi Board ofDirectors Dewey &Co., andTreasurer, CAA — what youcan.” ed. Heonlysmiledandsaid,“You do atacriticaltime,”Isuggest- of artists extremely busypromotingthecause just ‘peopleofthemind.’” to call‘peopleoftheeye’instead objects. Ifeltweneededwhatlike are inlovewithwordsratherthan historianswho the wholegangofart felt,” Lanesaid,“thattheenemyis Ihavealways to thecreativeartist. should promoteandbereceptive institutions andassociationslikeCAA why Ifeltsostronglythateducational could notdoitmyself. Ithinkthat’s evenifI nated bythecreationofart, replied, “No. ButIhavebeenfasci- or sculptyourself?”To whichhe the membership.” historians bothontheBoardandin andart should beabalanceofartists Nancy EllenForgione tant professor of art history atJohns history tant professorofart John Hyland,Jr., McFarland Federighi wasaceramicistof “I wouldsaythatyouwere I followedup:“Didyoueverpaint , aprofessorof , avisitingassis- as a cataloguer in the library atthe as acataloguerinthelibrary andserved University ofMaryland Forgione earnedanMLSfromthe Institute CollegeofArt. Goucher College,andtheMaryland ing Loyola UniversityofMaryland, tions intheBaltimorearea,includ- taught atanumberofotherinstitu- ofWalking.”Art Previously, shehad and History and anotheron“The IdeaofHome” Hopkins: oneon“The Masters ofLiberalStudiesprogramat also taughtinnovativeclassesinthe She as well assurveys. art century teaching courseson19th-and20th- was apopularteacheratHopkins, for MichaelFried atHopkins.She Intimism, Theater, andDecoration” “Edouard Vuillard inthe1890s: Forgione wrotea1993dissertation, den illness.Shewas54. asud- 2006, inBaltimore,MD,after Hopkins University, diedDecember3, Before completingherPhD, art, A specialistin19th-century Roy Newell Lake Forest College — wrote reviewsforthe Paris” inDecember2005.Shealso Walking inLate-Nineteenth-Century of LifeinMotion: TheArt “Everyday Paris” inSeptember1999and Silhouette inLateNineteenth-Century Shadowand ShadowOnly’: “ ‘The in lished 2articles cultural milieuofParis, shepub- Vuillard withinthetheatricaland whichexamined dissertation, plinary Vuillard. Inadditiontoherinterdisci- ture, beginningbutnotendingwith Frenchon late-19th-century cul- the UniversityofWitwatersrand. Africa, whereshejoinedthefacultyat she livedinJohannesburg,South 1976 to1981.From 1993to1996, from InstituteCollegeofArt Maryland painter andafoundingmemberof Ann M.Roberts, Professor ofArt, Her scholarlyinterestsfocused , ageometricabstract MARCH 2007 The Art Bulletin The Art Baltimore Sun CAA NEWS : . 30 END NOTES

> at at at the at the (1988). (1988). at the Grand Palais in in at the Grand Palais The Dog in Art from Citizens and Kings: Portraits in in Citizens and Kings: Portraits On rereading his work, I am am On rereading his work, I modesty of Rosenblum’s Part One cannot write about Rosenblum One cannot write about Rosenblum He did all this with great good humor good humor He did all this with great air of and a modest, unassuming were naïveté, as though he really that Candide, surprised to discover his ideas often rendered colleagues and critics apoplectic. always struck by the open-ended He was quality of his conclusions. never doctrinaire and always left the door open to the ideas of others. For younger generations of scholars, he established an art history where there are no longer any taboos or conclusions that cannot be challenged. his greatest legacy is this Perhaps ability to put aside received wisdom and review and rethink everything. As a result, much of the enormous breadth and depth of art-historical revisionism as it exists today can be traced back to his original work. was revealed by the fact that, at his an up-to- even have death, he didn’t Although he received honors date CV. and awards—among them honor- ary degrees from Oxford University (where he delivered the Slade in 1972) and an appoint- Lectures government as ment by the French Chevalier de la Légion d’Honneur—he never seemed as interested in them as in whatever project he was working on at the moment. It is somehow appropriate that, at his death, his 2 current exhibitions were at the 2 poles of his intellectual interests: Privés Portraits Publics, Portraits 1770–1830 ( Paris 1760–1830 the Age of Revolution for hot-button issues, he even cham- for hot-button organizing an exhibi- pioned kitsch, of Norman Rockwell tion of the work (2001–2) and at the Guggenheim publishing to Post-Modernism Rococo and Academy in London), the Royal Dogs in Art from the Best in Show: to the Present Renaissance Arts,Museum of Fine Houston. without mentioning his pets. When I rst met him, his idea of the perfect ﬁ pet was an enormous iguana that he would offer to visitors with the assur- ance that “he is really quite affection- ate.” Later he discovered bulldogs and

(1975) (1975) Modern Modern (2000) (2000) 19th Century French Painting French survey text (1984), coauthored (1961), where he investigated (1961), where he investigated If museum installations of modern modern If museum installations of His interests were by no means Cubism and Twentieth Century Cubism and Twentieth the Henry Ittleson, Jr. Professor of of Professor the Henry Jr. Ittleson, Art;Modern European in a later in 1996, he became “transformation” and Nan Swid Curator of the Stephen Century Art at the Solomon Twentieth Guggenheim Museum. R. art, and in particular nineteenth- century art, than look different today this was they did in his own youth, largely the result of Rosenblum’s work. His exhibition Revolution 1774–1830: The Age of inclu- (1974–75) provided a more sive survey of the art of that period than the standard David-to-Delacroix lineage championed by his own men- His Friedlaender. Walter tor, and the Northern Romantic Painting to Rothko Friedrich Tradition: canon bypassed the Francocentric of modernism to trace an alto- gether different genealogy of northern European painting. His exhibition 1900: Art at the Crossroads included a cross-section of the art being produced throughout the world at that time, just as his Art Janson, W. colleague H. with his IFA attempted to shake up the standard modernist reading of the period by including many artists whose work was then unfamiliar or dismissed as academic. His writings often introduced areas of research and pro- posed interpretations of art that other scholars went on to explore for a lifetime: Scandinavian art, 19th-century kitsch. Salon artists, Futurism, limited only to the works of early but extended to modernism, however, the 20th and even the 21st century. He produced groundbreaking work in Art that movement’s international rami- and the cations, and in “Picasso fi of Cubism” (1973), Typography rst to suggest that where he was the fi we should actually read the collage material used by Cubist artists as indicative of the range of meanings of their works. He published numerous essays, books, and catalogues on contemporary artists, including Stella, Gilbert and George, Warhol, his unerring instinct With and Koons. Portrait of Robert of Robert Portrait died December 6, died December 6, (1967), which quickly (1967), which quickly , 1993, gelatin-silver contact print, One of the most infl uential art One of the most infl he received A native New Yorker, Guggenheim Museum, the National Museum, the National Guggenheim Gallery of Art, the North and Carolina Museum of Art. Timothy Greenfield-Sanders, Timothy Rosenblum Greenfield-Sanders; 11 x 14 in. (artwork © Timothy photograph provided by the artist) Robert Rosenblum Robert historians of the modern period, historians of the modern period, produced publications Rosenblum and exhibitions spanning 4 centu- ries. He provided a leading voice in revising the modernist canon and in broadening the scope of art history far beyond its previous borders. a BA from Queens College, City and an University of New York, and com- University, MA from Yale pleted his doctoral studies at New University’s Institute of Fine York His dissertationArts “The (IFA). International Style of 1800: A (1956) Study in Linear Abstraction” book, rst formed the core of his fi in Late Eighteenth- Transformations Century Art 2006, at the age of 79 at his home his home 2006, at the age of 79 at in Greenwich Village after long a struggle with cancer. become a standard text and is still in print after 40 years. In that book, he nitions challenged the canonical defi of Neoclassicism and demonstrated both the extraordinary fecundity of the art of the period and its long-term criterion uence. This became the infl that guided his research, writing, and exhibitions, a kind of intellectual contrarianism that challenged canonical attitudes. He taught at Princeton before returning to NYU in 1966, he became where, a decade later,

in 1965 at the in 1965 at the , a pioneering Op , a pioneering Op MARCH 2007 MARCH

Pearson’s work can be found work can be found Pearson’s Pearson drew from his experience drew from his experience Pearson NC, Pearson Born in Kinston, hit on his signa- In 1959, Pearson A slow, methodical artist who A slow, Though admired by critics and in man y museums, including the in man y museums, including the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Museum of Modern Art, but the intui- tive rhythms and poetic elegances of his work is often at odds with the calculated, hard-edged quality typical of Op art. creating topographical maps of Japan creating topographical maps of Japan in WWII as a member of the Army Air Corps to make linear abstractions in ink or oil on canvas, as well as in 3D works. earned a BA at University of North Carolina, Chapel Hill, in 1935 and University School from Yale an MFA in of Drama, studying set design, 1938. In 1953, after a long stay he enrolled in the Artin Japan, where in New York, Students League Barnet. he studied under Will ture style in which topographic lines became nonobjective abstractions. He was included in the landmark show Eye The Responsive artist, died December 3, 2006, in Manhattan at the age of 92. Henry Pearson fi nished only about 100 paintings, nished only about 100 paintings, fi bold colors Newell was known for his his paint- and shapes. He worked up taking sometimes ings constantly, nish them. A self-taught decades to fi artist born from Eastern European nity with immigrants, he felt an affi early modern artists, especially Nabis Cézanne, Malevich, and the Ryder was painters; Albert Pinkham uence. also a major infl peers, including the de Koonings, whom he befriended in the early 1940s, Newell never received commercial or widespread critical acclaim. Disinterested in self-promo- Newell oftention, refused to sell work; a painting in the Guggenheim is only one of a few works in major museums. the Eighth Street Artists’the Eighth Street Club in New 22, 2006, in died November York, was 92. He Manhattan. CAA NEWS CAA 31 END NOTES tions most gifted persuaders,was tions mostgifted sources, Smyth,oneofhisgenera- convincing conversationswithfunding Throughthoughtfuland them forward. pered inwaysthatcontinuetomove augmented andenhanced,pros- ters forlearningandresearchwere 1973 to1985,theserespectedcen- Studies inFlorence,VillaITatti, from CenterforRenaissance Harvard’s 1951 to1973anddirectorof (IFA), NewYork University, from director oftheInstituteFine Arts Cresskill, NJ,was91. in Englewood,NJ.Theresidentof leader, diedDecember22,2006, historian andadministrative art Craig HughSmyth Center, CityUniversityofNewYork — colleagues, andfriends. legion ofpresentandformerstudents, can untilyoucan’t doitanymore.” choice doIhave?You dowhatyou al schedule.Hisresponsewas“What still keptupanexhaustingprofession- to himthatIwasimpressedhe that eventuallytookhim,Imentioned was alreadyquiteillwiththecancer lived onlyinthepresent.Whenhe tume orinHollywoodposes. incos- photography collection, often their householdandtheRosenblum Archie, Winnie thegirl-bulldogjoined children, TheodoreandSophie.After JaneKaplowitz,andtheir the artist home, wherehelivedwithhiswife, mantelpiece ofhisGreenwichVillage life-size photographoncegracedthe recent photosofArchie,whosemega- from thenonwasneverwithoutafew Accepting applications until filled filled until applications Accepting CaliforniaUniversity State Patricia Mainardi,Graduate [email protected] 909.537.5808 909.537.5808 [email protected] Under theleadershipofSmyth, He willsorelybemissedbya A trueexistentialman, Rosenblum Two Faculty Positions application guidelines contact: For position Fordescriptions position and Graphic Design Sant Khalsa, Art Chair Sant Khalsa, Art Chair Starting SeptemberStarting 2007 San Bernardino Department of ArtDepartment Glass Art Glass , arenowned works of art tothemuseums and works ofart and returningsequesteredorstolen structure forreceiving,identifying, began planningtheorganizational new assignmentinMunich,Smyth Munich. Onalongjeepdrivetohis CollectingPointthe CentralArt in as offi cer-in-charge anddirectorof Europe hadended,hewasdetailed thewarin than amonthafter InJune1945,less Navy Reserve. estate inAshville,NC. ing atBiltmoreHouse,theVanderbilt tosafekeep- ofArt National Gallery that accompaniedworksfromthe Smyth wasamongstaffmembers June. last celebrated their65thanniversary Smithsonian’s NationalZoo. They abovethe settle intoanapartment onJune24,1941,and Linforth Barbara allowed himtomarry a newpostattheNationalGallery historian. Afreshdegreeand an art received hisinitialappointmentas his Princeton MFA ofthatyear, he tion where,in1941,subsequentto brought himbacktotheinstitu- ofArt, NationalGallery Visual Arts, Center forAdvancedStudyinthe Samuel H. KressProfessor atthe intentions andaccomplishments. laboration, mullingoverMichelangelo’s more than40yearsofintermittentcol- IV. Questionsraised atthattimeledto Barocci frescoesintheCasinoofPius St. Peter’s whileonourwaytoseethe stopped tolookatthesouthfl ank of was afellow. Itwasbychancethatwe historianinresidenceandI was art American AcademyinRome, whenhe which hisinstitutionsmightprovide. latent abilitiesawaitingnourishment, able recordsthosestrengthsand in applicantswithoddorunremark- seemed tohavetheabilityperceive cared littleforreceivedwisdom.He forceofdiscernment.He a powerful than judgmental,andpossessedof attentive listener, moreconsiderate vidual, generouswithhistime,an resources. for studyandsecuretheconcomitant able tobothdevelopopportunities In 1942SmythjoinedtheUS theoutbreakofWWII, after Shortly In 1987–88,Smyth’syearas He andIfi rst metin1959atthe Smyth wasanendearingindi- the CollectingPoint inMunichafter entitled version oftheThirdGersonLecture, 1988, Smythpublishedanexpanded on MichelangeloandSt.Peter’s. In included ourcollaborativestudies for severallaterpublicationsthat (1971) establishedafoundation as Draughtsman:AnIntroduction Karl Lehmann Imperiale” in at theVillaGiuliaand SunkenCourts his essayon“The book on pages oftextand57notes. in thesameyear, bytheIFA with30 Congress in 1963,vol.IIofthe of thepaperappearedtwice—once Mannerism.” Anexpandedversion session on“Recent Conceptsof “Mannerism andManiera”ina on ofArt Congress intheHistory a paperatthe20thInternational “Bronzino Studies,”in1955. tance ofhisPrinceton dissertation, Mannerism andpredatedtheaccep- expression ofhislifelonginterestin Bulletin appeared 2yearslaterin EarliestWorksof “The ofBronzino,” second paper, ascholarlyexamination the newZentralinstitutinMunich.A Journal College Art His fi rst contributionaccepted bythe published Smyth’searliestwriting. historiansand recognizing youngart chair.director’s 3 years,Smythwassittinginthe him afacultyappointment.Inshort Cook, directoroftheIFA, offering he receivedaphonecallfromWalter took himtoFlorence.Whilethere, Fulbright Research Fellow, which his Frick appointmentasaSenior 1949–50 hespentthelastyearof the Frick CollectioninNewYork. In appointed toastafflectureshipat Zentralinstitut fürKunstgeschichte. facility,art-history thenowfamous lecting pointintoanewGerman completed forconversionofthecol- 1946, muchoftheplanningwas Munichin By thetimeSmythleft institutions towhichtheybelonged. The article in The article In September1961Smythread CAA didwhatitdoessowellin From 1946to1950,Smythwas . Thiswouldbethefi rst public Repatriation from ofArt Mannerism andManiera , withoutnotesandagain, Essays in Memory of Essays inMemory (1964),and The Art Bulletin The Art (1947)discussed Acts ofthe The Art The Art Bronzino , the ,

CASVA, ofArt NationalGallery — institution’s potential. present apersuasivevisionofan the unquestionedskillandforceto modest demeanor, Smythcarried voiceand leadership. Underasoft forinstitutional great andnaturalgift rank intheworldofscholarswashis but whatelevatedhimtothetop as hispublishedworksdemonstrate, WWII. programduring and ArchivesService ties oftheMonuments,Fine Arts, the origins,development,andactivi- World War II represented for the artist’s entire represented forthe artist’s Pop ofWayne Thiebaud,whomhe was alsointerestedintheCalifornia Graham andJosephCornell.He and Kline,aswellthatofJohn such asdeKooning, Gorky, Newman, work oftheAbstractExpressionists daughters operatedfordecades. Gallery, in1960,whichheandhis opened hisownspace,AllanStone and rent ownerofOKHarrisGallery) (andcur-of theLeo CastelliGallery He befriendedIvanKarp,director offering freelegaladvicetoartists. while workingasaWall Street lawyer, New York worldinthelate1950s art Boston University. Hejoinedthe Purchase, NY. Hewas74. December 15,2006,athishomein York dealerandcollector, art died Allan Stone Herfield; photographprovidedbytheartist) x 9in.CollectionofAllanStone(artwork©Phyllis Phyllis Herfield, Henry A.Millon,Henry DeanEmeritus, Smyth was an astute art historian, Smyth wasanastuteart Stone collectedandexhibitedthe Stone receivedalawdegreefrom , aprominentNew Allan Stone (1986), thatprobed MARCH 2007 , 1990,oilonpanel,12 CAA NEWS 32 END NOTES . is accepting is accepting sponsors a national juried show, held July 31– national juried show, is John August 18, 2007. The juror an internationally known paint- Walker, The exhibition is open to all artists er. prospectus, working in 2D media. For 530 send an SASE to: Bowery Gallery, NY 10001. 25th St., New York, W. Deadline: April 15, 2007 Exhibition Opportunities The Bowery Gallery of San Diego The Port influence of illustrations in Protestant in Protestant influence of illustrations on domestic decora- conduct books for the There will also be facilities tion. on related topics. display of posters be made to Offers and inquiries should [email protected]. submissions for its Sculpture-on-Loan submissions for its Sculpture-on-Loan which serves to place 1 or Program, more significant sculptures at high- visibility areas in the tidelands of Sculptors of national San Diego Bay. and international standing, as well as artists with exceptional creativity, The budget are encouraged to apply. for this program ranges from $100 is 2,500 resumes and 14,000 members your job online and manage your account ads for jobs in colleges, universities, galleries, nationally and internationally. Post museums, art organizations, and foundations on Online Career Center. the College Art Association’s Place anytime, anywhere! Access www.collegeart.org/careers FIND QUALIFIED EMPLOYEES THROUGH THE CAA ONLINE CAREER CENTER British Printed Images to 1700 British Printed a project funded by the Arts and that Council Humanities Research online, by 2009 will make available in fully searchable form, more than 10,000 printed images from early details, see For modern Britain. July 13–14, On www.bpi1700.org.uk. 2007, the project holds a conference devoted to innovative research on printed images from early modern Britain. place at Birkbeck, University Taking it offers a full program of of London, papers dealing particularly with book covered include: Topics illustration. images of animals, Robert Hooke’s Micrographia, plates in the 1684 edi- of Martyrs, Book tion of Foxe’s and the embodied experience; showcase showcase embodied experience; research faculty and graduate-student exemplifyprojects that interdisciplinary arts and intermedia practice; and media on consider the impact of new modalities the research functions and of arts is free, practice. Registration to all. For and the conference is open visit www.ucira more information, .ucsb.edu/conference. ; is is , Dept. Soundings Frontiers: Frontiers: hosts its hosts its Deadline: is held May 18–19, is held May 18–19, . The 2nd Annual UCIRA State of the The 2nd Annual UCIRA State of the Arts Conference San Jose State University Collaboration and Competition Conferences and Symposia es are published in black and white. es are published and correspondence Submissions to: Editors, should be sent A Journal of Women Studies A Journal of Women of History, Arizona State University, Arizona State University, of History, AZ 85287- PO Box 874302, Tempe, -3876; fax: 4302; 480-965-4787 or or 480-965-0310; [email protected] [email protected]; http://unp.unl .edu/journalinfo/17.html. August 1, 2007 August 2007, at the Berkeley Art Museum/ Archive at the University Film Pacific This year’s of California, Berkeley. focus on new-media arts provides a broad umbrella under which to: explore the digital mediation of performance, space, sound, and other the 5th annual art-history symposium, presented April 14, 2007, at California State University, and open to the Free Sacramento. public, the event considers the culture-making dynamics of competition and collaboration from a wide range of geographical, temporal, and ideo- and logical perspectives. Presenters “post” on topics include: Jeff Kelley on Ueno Karen Fraser Allan Kaprow; Rihei; Steven Hikoma and Tomishige Doctors on architectural collaboration as boundary marking; Melissa Geiger on Robert Rauschenberg’s 13th annual symposium April 14, 2007, in the College of Engineering Auditorium, beginning at 9:30 AM. Graduate and advanced undergraduate students present papers on various aspects of art, architecture, and please more information, culture. For Midlock at contact Penelope [email protected]. Renate Prochno on Anthony Van on Anthony Van Prochno Renate and Rubens; Paul Dyck and Peter Sydney Smith on the 2004 Royce Biennale and the “Network of Uncollectible Artists.” more infor- For visit www.asn.csus.edu/art/ mation, events.html or contact Elaine O’Brien at [email protected].

Drain

Deadline: Deadline: is organizing an is organizing an . MARCH 2007 MARCH

is an attempt to stalk the many faces, is an attempt to stalk the many faces, We spaces, and institutions of cruelty. are interested in papers that explore focus- the metalanguage of cruelty, experience, and ing on the theory, are We visual mediation of cruelty. also interested in papers that explore the staging of cruelty from the artist’s viewpoint. Contact Olivier Chow at [email protected]. July 1, 2007 issue on the theme of cruelty. In cru- issue on the theme of cruelty. elty we can see the obscene throb- is an Cruelty bing pulse of the Real. constituted forms are knocked orgy: off their pedestals, signs perverted, bodies abused. Cruelty inaugurates a “pornology”: a logic of the obscene that aims at confronting language and knowledge with its own limits, with “nonlanguage” and “nonknowl- is like pornography, edge.” Cruelty, about death: a death caught within a symbolic exchange among the perpe- the victim, and the observer/ trator, witness. Cruelty lies beyond, or more accurately before, good and evil in a state of abject confusion and regres- sive attachment. This issue of has been pushing the boundaries of feminist scholarship since 1975, making it one of the oldest and most respected feminist journals in the US. are interested in creative work that We is either done by a woman artist and/or Only copies of original explores gender. art, black-and- as 5 x 7 or 8 x 10 in. white glossy photos or images as TIFF files scanned at 300 dpi, should be All imag- submitted for editorial review. Frontiers: A Journal of Women Studies A Journal of Women Frontiers: Drain Magazine Calls for Papers To read more listings or to submit To your own, visit www.collegeart.org/ opportunities. Opportunities career; the photorealism of Richard of Richard the photorealism career; sculpture of César and Estes; and the Chamberlain’s John Robert Mallory. and African, crushed-car sculptures tribal, and Outsider art found also their way into Stone’s collection. CAA NEWS CAA 33 END NOTES The CarlisleArtsLearningCenter Gallery The UniversityCenterRochester Art by H. C.Westermann Jumping OffofCliff: Work Inspired April 30,2007 to www.portofsandiego.org. complete detailsandregistration, go costs, andloanstipulations.For lation, loanfee,requisiteanchoring instal- sive andcoverstransportation, less than1year. Budgetisall-inclu- to $150,000foraloanperiodofno May 6,2007 [email protected]. 30th Ave. SE,Rochester, MN55904; University CenterRochester, 851 and SASEto:SimonHuelsbeck, in slidesorCD(Mac),imagelist, statement,20images résumé, artist Please submitawrittenproposal, available. Allmediaareconsidered. andasmallstipendare opportunities for the2007–8season. Lecture sion. 1–3 entries;a30percentcommis- feeis$40for including frame.Entry limit of12in. inanydirection, aged, althoughnotrequired.Artwork and video. Miniaturismisencour- working inanymediumexceptfilm center, 18andolder seeksUSartists andeducational a nonprofitgallery 2007 westermann.htm. www.robmillardmendez.com/ Dr., Evansville,IN47714; Millard-Mendez, 1721BayardPark entries. Pleasesendmaterialsto:Rob may besubmittedinadditiontothe6 fees.Detailslides there arenoentry mayenter1–6pieces; SASE. Artists be returnedifyouhaveprovidedan phone number. Materialswillonly Be suretomarkallmaterialswithyour JPEGs ondisc(noe-mailedimages). in theformofslides,photographs,and American maverick.Work isaccepted group showpayingtributetoatrue of yourstyle.Thefinalresultisa like toshoworworkrepresentative can beactualworkthatyouwould in theMidwest/Chicagoarea.Entries be senttoseveraldifferentmuseums ofaproposalpackagethatwill is part It that features2Dand3Dartworks. . Deadline: May26, 2007 isacceptingsubmissions . . Deadline: May1, isanexhibition Deadline: Deadline . , Administration The NationalAeronauticsandSpace New York’s AtlanticGallery Deadline: August 21,2007 .org/PACE orcall847-968-3381. Download prospectusatwww.LCFPD entries; $5foreachadditionalentry. year. feeis$20forupto3 Theentry galleries andculturalinstitutionsfor1 Chicago; itthentravelstovarious Museum,near Lake CountyDiscovery bition thatopensinfall2007atthe willbeincludedinanexhi- artworks winning sale.Thirty-six in anart iseligibletoparticipate submitted art entries receivecashprizes,andall no greaterthan3/8in. Thetop12 able, asis3Dworkwithadepth by photographicprocessisaccept- inany2Dmediumreproducible Art mustbe18orolder.size. Artists ing worksinthe4x6in. postcard entries fortravelingexhibitionfeatur- Curt Teich Postcard Archives certification oforiginality,certification anartist’s ence museums.Allentriesrequire at NASAfacilitiesandspace-sci- areplanned Exhibition opportunities honorable mentions,andcertificates. prizes, $1,000, aswellcategory a bestinshowprizeofatleast digital. Preliminary plansinclude 3 majorcategories:2D,3D,and the Moon. Entriesareacceptedin representations oflifeandworkon and moreareinvitedtosubmit computerarts, design, finearts, Students fromarchitecture,industrial petition forthe2007fallsemester. com- a collegelevel,all-mediaart Coordinator for Gallery; andanSASEto:JohnMorrell, media; acheckfor$10toAtlantic listwithtitles,sizes,and identifying slides oraCDcontaining5JPEGs;an feeis$10.Sendarésumé; 5 Entry work. toselectcertain attract artists 2008,exploresissuesthat January the show. Theexhibition, plannedfor toincludein a CAAmemberartist memberselects Each AtlanticGallery exhibition entitled foran works fromCAAmemberartists Deadline: September1,2007 DC 20057;www.atlanticgallery.org. Georgetown University, Washington, and Theater, 102Walsh Bldg., (NASA)announces

, Dept. of Art, Music, , Dept.ofArt, The Artist’s Choice The Artist’s seeks . seeks . . html. 45701; www.ohiou.edu/art/galleries. Seigfred Hall534,Athens,OH to: OUAG, DirectorofExhibitions, SASE forreturnofslidesandmail CD-ROMs areacceptable.Includean copies, photographs,videos,and ment, andexhibitionproposal.Color state- fee) withcurrentrésumé,artist eligible. Send10–20slides(noentry or groupexhibitions.Allmediaare ing proposalsforupcomingsoloand/ 1 UniversityStation, D1300, Austin, 2.122, UniversityofTexas atAustin, History, Bldg.and Art DotyFine Arts Henderson, Dept.ofArt Dalrymple (Frosty) Myers.Pleasecontact:Linda Grosvenor, Tony Magar, and Forrest di Suvero, Peter Forakis, Robert Leo Valledor; andsculptorsMark David Novros,EdwinRuda, and ers DeanFleming,Tamara Melcher, tion, 1962/63–67, includingpaint- members duringitsyearsofopera- details aboutworksbythegroup’s University ofTexas. Requested are atthe the BlantonMuseumofArt 2008 exhibitiontobestagedat Exchanges Residencies, Workshops, Ohio UniversityArtGallery Gallery group Gallery Information onthePark Place Scholarly Inquiries The MuseumofFine Arts Deadline: December1,2007 check http://artcontest.larc.nasa.gov. bility, prizes,resources,anddates, For moreinformationonrules,eligi- statement, andasignedreleaseform. tion. www.core.mfah.org formoreinforma- stipend andstudioorofficespace.Visit Residents receivea$9,000annual critics,andcurators. visiting artists, and meetregularlywithpreeminent Residents engageinintensivedialogue andcriticalwriters. ing visualartists residencies tohighlymotivated,emerg- theCoreProgramof Fine Arts, awards the teachingwingofHouston’s Museum 1982 withintheGlassellSchoolofArt, and criticalwriters.Establishedin artists offers 9-monthfellowshipsforvisual Deadline: April1,2007 Deadline: Ongoing issoughtforafall , Houston, . isaccept- . . @earthlink.net; tel.718-855-4120. @earthlink.net; 2600/month. Contact:luisasartori places, studioattic,Euro800/week, bedroom house,2bathrooms,fire- rate. www.poggiolotuscany.com. Weekly rentalormonthlysabbatical equipped, Wifi/SatTV, inspiringviews. vated farmhouse(sleep2/4/6).Fully- Two inreno- furnishedapartments Libraries Florence,Siena,Arezzo). $1,200 stipend.National Academy pants willbeselectedandawardeda across thecountry. Twelve partici- projects missions andinstallpublicart have goneontosecuremuralcom- suasive presentation. Past participants cation process,anddeliveredaper- project maquette,navigatedtheappli- developed aprojectbudget,created the workshop,studentswillhave and critiques.Attheconclusionof duringlectures,demonstrations, art sionals workinginthefieldofpublic commission. Studentsmeetprofes- mural how tocompeteforapublicart provides practicalinformationabout Edwin AustinAbbeyMuralWorkshop .utexas.edu. fax: 512-471-5539;dnehl@mail TX 78712-0337;512-232-2474; Alexis [email protected]. www.collegeart.org/news orwriteto To placeaclassifiedin Classifieds more information. to [email protected] for producer isD.A.Pennebaker. Write by hisdaughter. Thefilm’sexecutive of Georges’slifeandwork,directed filmportrait inclusion indocumentary issoughtforpossible of theartist US from1961to2002.Film footage schoolsacrossthe extensively atart The painterPaul Georges Advanced StudiesinPublic Art Edwin AustinAbbeyMuralWorkshop: Opportunities Venice Tuscany For Rent . Historiccenter, charming2 . (EasycommuteArchives/ MARCH 2007 CAA News lectured CAA NEWS . The , visit , visit 34 35 CAA NEWS MARCH 2007

Museum and School of Fine Art, 1083 April 13, 2007 September 1, 2007 Fifth Avenue, New York, NY 10128; Deadline for nominations and self- Deadline for curatorial proposals for Tel: 212-369-4880; www.nation- nominations for the Art Bulletin the CAA Annual Exhibition at the alacademy.org; e-mail: khartwyk@ Editorial Board. 2009 Annual Conference in Los nationalacademy.org. Application Angeles. deadline: May 1, 2007. Deadline for nominations and self- nominations for the Art Journal September 7, 2007 Encaustic Workshops in Santa Fe and Editorial Board. Deadline for 2008 Annual Ghost Ranch, NM. Paula Roland’s Conference session chairs to receive encaustic intensive and retreat: Deadline for nominations and self- final abstracts from speakers. Encaustic Monotype (No solvents used, nominations for the caa.reviews September 10, 2007 No press); M.M. Drawing; Painting; Editorial Board. Deadline for submissions to the Collage. Full details: http://www. November 2007 issue of CAA News. paularoland.com. Questions? Email Deadline for nominations and self- [email protected] or nominations for the Millard Meiss October 1, 2007 phone 505-989-3419. Publication Fund Jury. Deadline for fall submissions to the Millard Meiss Publication Fund. Fine Art Frames Online. Custom May 10, 2007 size maple frames at 40% off retail. Deadline for submissions to the July Deadline for submissions to the Includes mats, backing & plexiglass 2007 issue of CAA News. annual Wyeth Foundation for for exhibition ready frames. May 11, 2007 American Art Publication Grant. www.santafeframes.com. Deadline for submission of proposals for papers to session chairs for the November 10, 2007 Full tuition fellowships: MA in Art 2008 Annual Conference. Deadline for submissions to the History/Museum Studies at The City January 2008 issue of CAA News. Volume 32, Number 2 College, CUNY. Two years guaranteed May 30, 2007 (grade dependent). Housing subsidies Deadline for nominations and self- December 1, 2007 CAA News is published six available. Internship opportunities times per year by: nominations for the CAA Publications Deadline for 2008 Annual Conference College Art Association in all area museums. For informa- session chairs to receive final texts of Committee. 275 Seventh Ave., 18th Floor tion, Dr. Harriet F. Senie; Director of papers from speakers. New York, NY 10001 June 1, 2007 Museum Studies; The City College, www.collegeart.org. 160 Convent Avenue; New York, Deadline for 2007 Annual Conference February 20–23, 2008 NY 10031 or 212-650-7430 or session chairs to notify applicants of 96th CAA Annual Conference in Editor: Christopher Howard [email protected]. their acceptance or rejection of pro- Dallas. Designer: Steve Lafreniere posals for papers.

February 25–28, 2009 Material for inclusion END NOTES should be sent by e-mail to Deadline for CAA director of programs 97th CAA Annual Conference in Datebook Christopher Howard at Los Angeles. to receive session roster and audio- [email protected]. This section lists important dates visual request forms from session Photographs, slides, and digital images (strongly preferred) and deadlines for CAA programs and chairs. Photo credits may be submitted to the above publications. June 15, 2007 street and e-mail addresses for consideration; they cannot Deadline for nominations and self- The photograph of Barbara Bloemink March 10, 2007 be returned. Advertising and nominations for the position of on page 26 was taken by Ben Baker. submission guidelines can be Deadline for submissions to the May caa.reviews editor in chief. found at www.collegeart.org/news. 2007 issue of CAA News. The photograph of Russell Ferguson July 10, 2007 Copyright © 2007 College Art March 15, 2007 on page 26 was taken by James Deadline for submissions to the Association Deadline for spring submissions to Welling. September 2007 issue of CAA News. the Millard Meiss Publication Fund. Founded in 1911, the College Art The photograph of Toby Kamps on Association promotes excellence July 31, 2007 in scholarship and teaching Deadline for submissions to the page 26 was taken by Mark Gambrel. Deadline for nominations for the in the history and criticism of the annual CAA Publications Grant. 2008 Charles Rufus Morey Book visual arts and in creativity and The photograph of Paola Morsiani Award and the Alfred Barr, Jr. Award. technical skill in the teaching and April 6, 2007 on page 26 was provided by the practices of art. Deadline for nominations and self- August 31, 2007 Contemporary Arts Museum Houston. nominations for candidates to the Deadline for nominations for the The opinions expressed in articles by invited authors and nonstaff 2008–12 Board of Directors. 2008 Awards for Distinction. The photograph of James Wood on contributors are intended to foster page 27 is © 2005 J. Paul Getty Trust. dialogue in our fields and may not reflect CAA policy, guidelines, or recommendations. CAA NEWS MARCH 2007

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Board of Directors: Nicola Courtright, President Ellen K. Levy, Past President Paul Jaskot, Vice President for Publications Dale Kinney, Vice President for Annual Conference Dennis Y. Ichiyama, Vice President for Committees Virginia M. Mecklenburg, Vice President for External Affairs Christine Sundt, Secretary John Hyland, Jr., Treasurer Jeffrey P. Cunard, Counsel Linda Downs, Executive Director

Susan Grace Galassi Anne Collins Goodyear Thomas DaCosta Kaufmann Andrea Kirsh Katherine Manthorne Joan Marter Mary-Ann Milford-Lutzker Barbara Nesin W. Jackson Rushing III Duane Slick Buzz Spector William Tronzo