CAA News, Dedi- of Teaching Art Cated to Art Pedagogy

NEWS

Newsletter of the College Art Association Volume 30, Number 5 September 2005

Building the Literature of Art Pedagogy

Robert Bersson, professor emeritus of art and art history at Contents James Madison University in 2 From the Executive Director Harrisonburg, Virginia, and a member of the CAA Education 4 Postmodern Art and Learning Committee, introduces this spe- 6 Inspiring Pedagogy: The Art cial issue of CAA News, dedi- of Teaching Art cated to art pedagogy. 7 Problem-Based Learning in the Art-History Survey looked high. I looked low. I Course poured through books and 9 CAA Teaching Award Ijournals. I consulted the Winners Speak World Wide Web. The amount 10 Developing a Reflective of writing on art pedagogy is Teaching Practice astonishingly small. It might be From Edification to Engage- argued that most of it is con- 12 ment: Learning Design in tained within two volumes, the Museums first being the Fall 1995 Art Journal, published by our own 14 Pedagogy Sessions at the professional organization. In 2006 Conference that thematic issue, entitled 16 Annual Conference Update “Rethinking the Introductory 19 Copyright Clearance: A Art History Survey,” the guest Publisher’s Perspective editor Bradford R. Collins Academic Freedom and the writes: 22 Academic Bill of Rights “This issue of the Art Journal CAA Names 2005 Fellows Teaching art in seventeenth-century Holland: Jan Steen, The Drawing is the first of what is hoped will 25 Lesson, 1665, oil on panel, 19 3/8 x 16 1/4 in. J. Paul Getty Museum, Los be a number of issues dedicated 28 Advocacy Update Angeles, 83.PB.388. Artwork in the public domain. to the topic of pedagogy. This 29 CAA News program is part of a larger agen- da of the College Art Association’s Board of Directors and its executive director, Susan Ball, to 30 New caa.reviews Editor-in- redress the long-standing neglect of education at the expense of scholarship and production. The Chief Art Journal issue and the various sessions on education topics at our recent annual meetings con- 31 Join a CAA Committee stitute a concerted effort to make the questions surrounding the teaching of art and art history more Join a CAA Award Jury central to our profession.”1 Regrettably, the hoped-for subsequent “number of issues” on pedagogy in Art Journal turned out 32 Affiliated Society News to be just one, published four years later (Spring 1999) on the theme of “Rethinking Studio Art 33 Solo Exhibitions by Artist Education.” With no other collections of writings on college-level art teaching in existence, these Members two volumes stand alone as the cornerstone of a much-needed pedagogical literature. Containing a 36 Opportunities variety of valuable articles, the two issues are rightly prized by art and art-history instructors 37 Classifieds CONTINUED ON PAGE 3 “Historical Studies” and “Contemporary From the Executive Director Issues/Studio Art.” This has led to a new flowering of pedagogical topics each year. The strategic plan for 2005–2010 identi- CAA and Pedagogy fies workforce issues as a critical area on which we will focus our efforts in the next ith this Journal, known as College Art Journal, five years. To this end, we have estab- special devoted much of its content to pedagogi- lished a Department of Research and Wissue of cal issues. Likewise, sessions on teaching Career Development, led by Stacy Miller, CAA News on ped- issues were standard at the Annual that is responsible for our fellowship pro- agogy, we offer a Conference, as they are today. But by the gram, the Online Career Center, and the focused examina- time I joined CAA in 1986, the organiza- Career Fair at the Annual Conference. tion of an issue tion had moved away from the discussion This department will launch new and that the majority of of pedagogy and the exploration of the expanded programs to help members at all

Photo: Andrei Ralko CAA’s members theory and practice of teaching in the arts. stages of their careers, including roundta- Susan Ball have in common: Whatever the reasons, we were giving rel- bles, mentoring services, workshops, and education. About 75 percent of CAA’s atively little attention to pedagogy in our other resources for those who teach both 14,000+ individual members are involved, activities. art history and art practice. full- or part-time, in education—in col- At that time we were a smaller organiza- And this is only the beginning. Our leges, universities, art schools, community tion, and everyone wore many hats. I online journal caa.reviews is developing a colleges, secondary schools, and muse- served on the Art Journal Editorial Board new series of critical reviews of the cur- ums. Teaching is clearly identified as and as book-reviews editor—a role that rent crop of art-survey textbooks, both essential to CAA in our Mission Statement today cannot be filled by CAA staff, but general introductory texts and period sur- and organizational by-laws. only by CAA members, who join our edi- veys, as well as some that are used in art- The College Art Association was found- torial boards, committees, and juries appreciation courses. These will begin to ed in 1911 when college art teachers split through an open application process. I appear in the course of the coming year. off from the Western Drawing and Manual commissioned a series of critical reviews The Art Bulletin will soon review a new Training Association (later the National on the major art-history survey textbooks and provocative art survey text. Art Art Education Association), hence the from Bradford Collins (which appeared in Journal has just published a roundtable name that has endured for ninety-four several issues in 1989–90) and encouraged discussion on the art-history survey years. Since then, our umbrella has the Editorial Board to develop guest-edit- course, an essay on new-media art educa- expanded significantly, so much so that 25 ed issues on the education of artists and art tion, and a set of three dialogues between percent of CAA’s members do not identify historians. David Levi Strauss and Daniel Joseph themselves as educators—primarily the Over the years I have worked with the Martinez dedicated in part to an explo- scholars and artists who work in museums organizers of our conference sessions and ration of art and pedagogy. and galleries. panels (both staff and program chairs) to And now we offer you this special issue In our early years, our journals were a include a significant number of sessions of CAA News, the largest we have yet pub- primary area where CAA’s work on peda- on pedagogy. Joseph Ansell, studio-pro- lished. In essays, commentary, and anec- gogical issues was done. The first decade gram chair for the 1991 Annual Confer- dotes, authors drawn from CAA’s mem- of The Art Bulletin saw more articles pub- ence in Washington, D.C., organized sev- bership explore pedagogical issues in the lished on education and teaching issues eral education-focused panels and later arts, both broadly and narrowly construed. than on art-historical scholarship. On the chaired the CAA Education Committee, We are indebted to Anne Collins Goodyear fiftieth anniversary of the journal, in 1964, which has featured pedagogical issues reg- of the National Portrait Gallery and chair Millard Meiss wrote, “During the first ularly in its committee-sponsored confer- of the Education Committee, for spear- years … The Art Bulletin served as an ence sessions. heading this exciting collection of articles, indispensable house organ for the newest Since those days, CAA has expanded its and to our staff editor, Christopher branch of the humanities then beginning to work on pedagogy from publications and Howard, for getting this marathon issue grow, against heavy resistance, in our col- conference sessions to a panoply of activi- into print. To you, the readers, I say thank- leges and universities. Like a good cook- ties. Today, the Education Committee you for the inquiries, comments, and criti- book, it was full of recipes for courses, addresses a broad range of educational cisms that led to this issue. As always, we most of them novel, to be offered to issues, and its chairs and members hail rely on you to let us know how best we unsuspecting undergraduates.” But as from a wide array of academic programs can serve you—telling us not only what CAA changed, so did that publication. and museums. CAA’s 2000–2005 strategic you value in our current programs but also Meiss continued, “This important function plan devoted a great deal of attention to what more we can do. Please send your … was later assumed by Parnassus and the conference. As a result, we added comments to me at [email protected] then, beginning in 1941, at a much more “Education and Professional Practices” as and letters to the editor responding to arti- sophisticated and often theoretical level by a third category for session submissions; cles to [email protected]. … the Art Journal.”1 the other two categories were broadened —Susan Ball, CAA Executive Director For its first twenty years (1941–60), Art from “Art History” and “Studio Art” to 1. Millard Meiss, “The Art Bulletin at Fifty,” The Art Bulletin 46, no. 1 (March 1964): 1.

2 CAA NEWS SEPTEMBER 2005 Building the Literature of Art ing or presenting on pedagogy an activity this issue on pedagogy, CAA News will Pedagogy of reduced professional significance. focus on career development (November CONTINUED FROM PAGE 1 In spite of and because of these obsta- 2005) and teaching and practice in new cles, CAA, to its great credit, has been media (January 2006). concerned with excellence in teaching, but actively and increasingly committed to, in 3. CAA’s online reviews journal, they also demonstrate that more work Collins’s words, “a concerted effort to caa.reviews, is beginning “a major new needs to be done. make … the teaching of art and art history initiative: the assessment of survey books Relative to building a pedagogical litera- more central to our profession.” in art and art history, from general intro- ture, the two “Rethinking” Art Journal Collectively, we are on the right path to ductory textbooks to field-specific vol- issues were significant achievements, redressing “the long-standing neglect of umes.”2 Not only will this initiative help albeit isolated ones. A review of the jour- education” within our professional ranks. instructors in consideration of their pri- nal’s contents from 1995 to 2004 reveals Consider CAA’s labors in six major areas, mary teaching tools, it will also begin to only a handful of essays with a primary a comprehensive effort indeed. redress the devaluation of education in our emphasis on education. Three of these 1. The Spring 2005 Art Journal features field. Scholarly books have been reviewed focus on the impact of new technologies a substantial article on “New-Media Art in caa.reviews, Art Journal, and The Art and media, a noteworthy one being “Art Education and Its Discontents” by Trebor Bulletin for years, building a substantive Education and Cyber-Ideology: Beyond Scholz. And in Summer 2005, the journal critical literature. Textbooks, which combine Individualism and Technological published a stimulating roundtable discus- scholarship and educational approach Determinism” by Jonathan Harris (Fall sion on the art-history survey. (Writers (“applied pedagogy”), deserve the same 1997). take note! Art Journal welcomes scholarly serious attention, especially given their Why has education lagged so far behind and critical articles on pedagogy; for sub- impact on thousands of students and readers. scholarly and artistic production in our mission guidelines, see www.collegeart.org/ 4. The CAA Annual Conference encour- publications and conference offerings? The artjournal/guidelines.html.) ages sessions on pedagogy through its immediate answer is that many institu- 2. CAA News has become a forum for Educational and Professional Practices cat- tions—community colleges and smaller issues dealing with professional practice in egory, and by permitting individuals to state universities excepted—base tenure a variety of areas. Last year we saw the present in a practical session on profes- and promotion decisions primarily on publication of special issues on health and sional and educational issues in addition to artistic or scholarly accomplishment. In safety in artists’ studios, art schools, and presenting a paper on art-history research, terms of academic success and profession- art departments (July 2004) and on digital theory, or artistic production in another al identity, one is an artist or scholar first images (September 2004). In addition to CONTINUED ON PAGE 39 and an educator second. The second-class status of the “art educator” is compounded by longstanding modernist and academic values that elevate those activities perceived as pure, theoretical, autonomous, elite, and uncompromisingly individualis- tic above others seen as practical, applied, collaborative, and compromised by the nitty-gritty of daily life and commonplace humanity (in our case, the masses of students). In such a context, teaching is G:H:6G8= ;:AADLH=>E deemed a “minor” art at best, and publish- I]Z Lda[hdc^Vc·;>J ^h V bjhZjb i]Vi egdbdiZh i]Z ZmVb^cVi^dc d[ bdYZgc bViZg^Va XjaijgZ# I]Z higZc\i]h Volume 30, Number 5 d[ îh XdaaZXi^dc VgZ Cdgi] 6bZg^XVc VcY :jgdeZVc CAA News is published six times per year by the YZXdgVi^kZ Vgih! egdeV\VcYV! VcY ^cYjhig^Va VcY \gVe]^X College Art Association, 275 Seventh Avenue, 18th YZh^\c [gdb i]Z eZg^dY &--*·&.)*! Vh lZaa Vh V gVgZ Wdd`h Floor, New York, NY 10001; www.collegeart.org. a^WgVgn lî] *%!%%% îZbh# =daYZgh d[ bVhiZgh VcY YdXidgVa Editor-in-Chief Susan Ball YZ\gZZh! YdXidgVa XVcY^YViZh! VcY di]Zgh lî] V gZXdgY Editor Christopher Howard Designer Steve Lafreniere d[ egd[Zhh^dcVa VXXdbea^h]bZci VgZ Za^\^WaZ# 6lVgYh VgZ [dg i]gZZ id [^kZ lZZ`h# Material for inclusion should be sent via e-mail to Christopher Howard at [email protected]. Photographs and slides may be submitted to the above I]Z Veea^XVi^dc YZVYa^cZ ^h 9ZXZbWZg (&# ;dg ^c[dgbVi^dc street address for consideration; they cannot be returned. All advertising and submission guidelines VWdji i]Z egd\gVb dg i]Z Lda[hdc^Vc¼h XdaaZXi^dc! hZZ can be found at www.collegeart.org/news. lll#lda[hdc^Vc#[^j#ZYj$ZYjXVi^dc$gZhZVgX]$! dg XdciVXi/

Copyright © 2005 College Art Association ;Zaadlh]^e 8ddgY^cVidg Founded in 1911, the College Art Association pro- I=: LDA;HDC>6C·;>J motes excellence in scholarship and teaching in the history and criticism of the visual arts and in creativi- &%%& LVh]^c\idc 6kZ#! B^Vb^ 7ZVX]! ;A ((&(. ty and technical skill in the teaching and practices iZa/ (%*#*(*#'+&(! Z"bV^a/ gZhZVgX]5i]Zlda[#[^j#ZYj of art.

CAA NEWS SEPTEMBER 2005 3 for more than a quarter century, applied to and assess what students are learning and Postmodern Art and visual art and architecture, literary and be able to explain what they can learn. In Learning critical theory, and philosophy, politics, the current neoconservative political and and economics. At its broadest, the term educational-policy climate, and in post- indicates that humans around the globe modern artistic and intellectual contexts, This essay, by Mary Ann Stankiewicz, pro- have experienced a profound cultural shift art faculty need to refocus their attention fessor of art education at Pennsylvania since the mid- to late 1960s. Writers trying on student learning in visual culture. State University and past president of the to define postmodernism seem to contra- In postmodernism, art is no longer just National Art Education Association, is dict one another, in part because each an object, a relic of the artist’s process. An adapted from a paper prepared for the author examines somewhat different facets artwork is not merely an imitative re-pres- Korean Society for Education through Art of postmodernism. entation of something seen in the world, (KoSEA) Conference in Seoul, South For postmodern theorists, words are not nor simply an artist’s emotive expression, Korea, held May 19–20, 2005. Here she simply tools used to point to ideas or as much of Western aesthetics posited. reflects on the influence of postmodernism objects. Instead, words are elements in Rather, postmodern art reexamines mod- on education. discourses, sets of related statements that ernism through dematerialized art objects, define, describe, and inscribe power rela- ideas, and performances.2 The viewer’s ur need to make objects and tionships on constructed reality. The term response becomes equal in importance to images, and to respond to objects “learning” has become politically charged the maker’s intention, blurring the role of O and images made by others, forms in American education, used to refer to artist. The viewer must become a thinker, a thread running throughout human histo- ends desired by business interests and engaging in intellectual speculation that ry. The sociocultural contexts in which we other educational stakeholders, as well as ties art more closely to everyday life. make and respond to images, and the tools to an individual’s growth in abilities to Paradoxically, many conceptually based and technologies we use to make and dis- create meanings from disciplined dis- artworks retain status as commodities; seminate them, continue to change. After course and apply those understandings in thus, contemporary gallery art and today’s the cultural revolution of postmodernism, daily life. Policy watchers in higher educa- mass media are points on a continuum of artists and scholars have asked questions tion predict that, in less than a decade, visual culture rather than opposing forces, and looked critically at possible answers. reforms in accountability and assessment as mid-twentieth century notions of high Much of these examinations have taken of learning developed for K–12 education and low, culture versus kitsch, would have 1 place in higher education. will be applied to higher education. If we put it. Boundaries between the art world The term “postmodernism” has been want to lay a stronger foundation for the and mass media have increasingly blurred. used in popular and academic discourses importance of visual arts in American Learners can unpack meaning from mass- higher education, we need to demonstrate media images as well as (or sometimes

Call for Entries After n conjunction with the CAA’s I After the kiss, after the fall, after the revelation, what comes next? When the love Annual Conference in Boston, February 22 – 25, 2006 affair ends, war erupts, and dawn breaks after a long cold night - what is the immediate aftermath of those moments, how do the ripples roll out, can the dips in the Submission deadline October 1, 2005 waves be captured? Work in this exhibition will examine the aftermath of events that range from personal and intimate to cataclysmic and world changing.

After The moment after can be one of joyful cacophony or quiet despair; it can be quiet Mills Gallery contemplation or screaming from the rooftops. How it is interpreted is the choice Boston Center for the Arts of each artist. The theme could be evoked through abstraction, realism, interaction, February 3 – April 2, 2006 Juried by Laura Donaldson, and so on, but however it is translated, whether the inspiration is obvious or not, it Director of the Mills Gallery should resonate with the idea of after.

All media will be considered. Work made specifically for this exhibition is encour- CAA Reception– aged, but all submissions will be considered. This exhibition is open to both CAA Friday, February 24 members and non-members, and is generously supported by a grant from the CAA. boston The exhibition will be accompanied by a catalogue. center for the Submission forms and guidelines with all deadlines and specifications can be arts downloaded from the Boston Center for the Arts website at bcaonline.org beginning an urban June 1. This information may also be picked up at the Mills Gallery, or can be cultural village requested by calling 617-426-8835. Submission deadline October 1, 2005

4 CAA NEWS SEPTEMBER 2005 even more thoughtfully than) from muse- understanding. Thus, the preconceptions cataloguing system in which the expert um art. and misconceptions that learners bring organizes information. Although teaching Forty years ago, research on learning into a class must be uncovered and exam- such a system to novices is difficult in the theory seemed both overwhelmingly dense ined so that new knowledge is not grafted arts, strategies that seem most helpful and impossible to apply in teaching. On onto a twisted branch of false belief. include: encouraging learners to reflect on the one hand, a strong research tradition Learning is recognized as an active their learning (metacognition); teaching for focused on learning as something that hap- process over which the learner can exer- depth rather than breadth, and for under- pens slowly, when a relatively passive cise control. Learners must be encouraged standing rather than coverage; and encour- learner associated stimulus (e.g., slides of to reflect on their learning, engage in aging learners to make personally relevant artwork) with response (e.g., recognizing metacognition, set goals for learning, and connections to what they are learning. form, context, and other elements). On the participate in self-assessments. Postmodernism emerged within a con- other hand, a looser tradition, less well Some researchers in cognitive science text of social reform. Today, the counter- grounded in psychological research, have studied expert knowledge and learn- culture of the 1960s has in many cases focused on growth and change in the ing, comparing people with extensive become mainstream—the peace symbol organism, namely the emergence of novel expertise in a particular field to novices. becomes confused with the Mercedes- or unexpected responses. The learner was They have found that experts “always draw Benz logo. Meanwhile, neoconservatives regarded as active, and the world was per- on a richly structured information base.”4 dominate American politics and education ceived as an open system where transfor- Experts are able to see patterns, associa- reform. Even apparently value-neutral mations were more desirable than a main- tions, or disconnections among these facts; terms such as “learning” have become ele- tenance of the status quo. they have a depth of experience with the ments in a political discourse. While stu- Today, we find that research on learning subject that helps them rapidly identify dio art in higher education continues to has made tremendous advances. The new what is relevant or extraneous. This con- include traditional art media with premod- cognitive science permits and even ceptual framework structures the knowl- ern, preindustrial roots, students are more encourages researchers to ask questions edge base so that facts are not randomly easily engaged by contemporary artworks about internal mental states. One study piled in the mind, like loosely strung beads, and newer media. Much contemporary art claims, “Humans are viewed as goal- but instead are organized so that knowl- is conceptually based: art is often about directed agents who actively seek infor- edge can be retrieved when needed and ideas, and about questioning—rather than mation.” 3 Learning is now seen as a used appropriately. The goal is more than process of constructing knowledge and simply good memory; it involves a mental CONTINUED ON PAGE 40

CLARK SYMPOSIUM THE MEANING OF PHOTOGRAPHY

SATURDAY, NOVEMBER 19, 2005

Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

How can we write the histories of photography? How should art history and visual studies integrate the special technical and aesthetic challenges posed by the medium and respond to the intense interest it has provoked in the museum and the academy in recent years? This public symposium will bring together some of the most distinguished historians and critics of photography to tackle these questions and discuss the current state of the history and theory of photography.

The symposium is convened by Robin Kelsey and Blake Stimson. Speakers include Carol Armstrong, Geoffrey Batchen, Benjamin Buchloh, Jonathan Crary, Mary Ann Doane, and Sally Stein.

For information and registration forms, visit www.clarkart.edu

CAA NEWS SEPTEMBER 2005 5 Inspiring Pedagogy: art historians, but we are also inspiring and judge ideas connected to visual those who seek a myriad of careers in art imagery and its structures, past and pres- The Art of Teaching and technology as well as in the general ent. Through the transformative process of population, those at-large members of creative expression, art learners generate Art tomorrow’s art audience. artistic ideas that can be elaborated, All learners today, from preschool to refined, and shaped into meaningful visual graduate level, need thinking skills in visu- images and structures. In this article, Renee Sandell, professor Through art pedagogy—as well as and director of the master of arts in teach- al literacy in order to “to interpret and create visual information—to understand through our scholarly research and studio ing (MAT) degree in the Art Education work—we as teachers are engaged in cre- Program at George Mason University and images of all kinds and use them to communicate more effectively.”1 It is estimat- ative and critical processes. As we con- a member of the CAA Education struct knowledge and communicate the Committee, discusses four dimensions of ed that we receive more than 90 percent of our information visually,2 and students importance of art as a visual language, one professional art pedagogy to foster visual might even say that, as students transform literacy in all learners. require capabilities that enable them to encode visual concepts through creating themselves with the tools and materials we ow can art faculty promote art as well as to decode meaning by provide, they become our medium. We can engaged student learning in our responding to the images, ideas, and media be most effective in teaching art when we H postmodern visual culture? We that permeate our increasingly complex connect our art expertise with pedagogical teach in traditional classrooms and online, visual world. Those who teach art are strategies that artfully engage students in in community colleges, art schools, col- responsible for conveying art as a qualita- the full and complete stage of each learn- leges, universities, and museums. Our tive language that, like poetry, explores ing process. adult learners are postsecondary, under- how, in contrast to what, something is, Whether we teach studio art or art histo- graduate, returning, and graduate students. through making and responding to images. ry, in the academy or in museums using Thus, we are not only informing and trans- Through the informative process of critical actual works of art, we need to help learn- forming the next generation of artists and response, art learners perceive, interpret, ers more fully understand past and present visual images, objects, and events. Focus- ing on the form, theme, and context(s) of Quotes on Education unusual effort. The tough problem is not in an artwork, we can help learners to both identifying winners: it is in making winners create and discern layers of meaning in out of ordinary people. visual language, revealed in the following —K. Patricia Cross, teacher (1926– ) What sculpture is to a block of marble, edu- equation: Art = Form + Theme + Context.3 cation is to a human soul. As we explore form, or how the work “is,” —Joseph Addison, essayist, poet, and state- As far as I’m concerned, there is only one man (1672–1719) study and that is the way in which things we discern the artist’s many structural relate to one another. decisions embedded in the creative process Teaching is an instinctual art, mindful of —Wayne Thiebaud, artist and teacher, that leads to a final product. As we exam- potential, craving of realizations, a pausing, (1920– ) ine theme, or what the work is about, we seamless process. consider what the artist expresses through —A. Bartlett Giamatti, former president of If I can get them to think, get them to feel, a selected overarching concept or “Big Yale University and commissioner of Major get them to see, then I’ve done about all Idea”4 that reveals the artist’s expressive League Baseball (1938–1989) that I can as a teacher. viewpoint connecting art to life. As we —W. Eugene Smith, photographer (1918– investigate context(s), or when, where, 1978) Tell me and I’ll forget. Show me, and I may by/for whom, and why the art was created not remember. Involve me, and I’ll under- (and valued), we comprehend the authentic stand. When I was in art school, I thought art was —Chinese proverb something I would learn how to do, and then nature of the artwork by probing the con- I would just do it. At a certain point I real- ditions for and under which the art was You will have to experiment and try things ized that it wasn’t going to work like that. produced and cherished, considering the out for yourself and you will not be sure of Basically, I would have to start over every work under present conditions from our what you are doing. That’s all right, you are day and figure out what art was going to be. contemporary perspective, as well as those feeling your way into the thing. —Bruce Nauman, artist (1941– ) of foreign and older cultures. —Emily Carr, artist and writer (1871– With contextual information gleaned 1945) I entered the classroom with the conviction from a postmodern perspective, our stu- that it was crucial for me and every other dents can perceive the intention, purpose, student to be an active participant, not a Good teaching is more a giving of right and reception of an artwork. Our ability to questions than a giving of right answers. passive consumer [: a conception of] educa- interpret and evaluate art is enriched by —Josef Albers, artist and teacher, (1888– tion as the practice of freedom… education 1976) that connects the will to know with the will identifying personal, social, cultural, his- to become. Learning is a place where para- torical, artistic, educational, political, spiri- The task of the excellent teacher is to stim- dise can be created. tual, and other factors that influence the ulate “apparently ordinary” people to —bell hooks, writer and teacher (1952– ) creation and understanding of the work. As we distinguish how the form and theme

6 CAA NEWS SEPTEMBER 2005 work together within specific contexts, revealing the functions or purposes of an Problem-Based Learning in the Art-History artwork, we can also note its relevance Survey Course and significance for the creator within his or her culture or society, which can lead to greater understanding and appreciation by Molly M. Lindner, assistant professor of looking, listening, reading, studying, and the contemporary viewer. art in the Art Department at Kent State writing. In higher education, art faculty can University, Stark, in Canton, Ohio, offers Many of us still cling to the lecture, dis- effectively promote student learning an alternative to teaching the art-history cussion, and exam format for teaching art- through the choices we make with regard survey through Problem-Based Learning. history surveys, despite the disconnection to four dimensions of professional peda- this teaching method may have for many gogy: Part 1: Survey Courses and students in our classes. They can sit still and listen for seventy-five minutes, if that 1. Dispositions refers to professional Today’s Students expertise in one’s discipline and to per- is what we require them to do, but the classic art-history survey course was formance as a teacher and role model. Would that I could teach art history the designed for students who came to college This includes professional art training and way that my college professors taught me: with experiences and life expectations development, experience, value systems, seamless lectures, brilliant analyses, very different than those of today’s stu- knowledge, and skills—the bedrock of smooth transitions from one image to the dents. Our students are focused on getting solid education—as well as our teaching next through the diligence of little jockey- through liberal-education requirements— performance through body language, voice size men who perched on stools behind of which the art-history survey course is quality, management style, control, enthu- the gently whirring slide projectors. The often one—while others are overwhelmed siasm, use of praise, ability to engage all art historians were experts who talked by trying to fit studying into lives already students, and outreach to special students. about what they knew best. I hung on their filled with work and family responsibili- Further, educators should advocate for the every word. Everything was magical, and ties. A shocking percentage of students arts, not just in school but also in society. I was transported to far-away places to have not visited the nearest art museum, 2. Planning refers to the research and learn about beautiful objects and lofty large or small; many have not traveled preparation for developing instructional ideas that only made me want more. Well, beyond their home state. Only a few pos- plans that effectively provide art skills and that’s how I remember it. Lecture courses sess knowledge of a language other than knowledge that meet the specific needs of in graduate school perpetuated my favorite English, and their composition skills need students. These instructional plans include mode of learning by immersion in art: lesson construction about visual concepts, subject matter, media, style, product, ideas about art, artists, relationships among ideas from other subject areas, choice of SECAC/MACAA materials, techniques, art exemplars and their multiple meanings, studio problems, Nashville Conference and written papers. Most important, however, is the organization and sequencing of OCTOBER 25- 28, 2006 the learning process. 3. Instruction refers to lesson imple- Mid. America mentation in which we use communication secac College Art skills, problem-solving tasks, materials, southeastern college art conference Association and resources to engage students with art knowledge and experiences leading to pro- Call for Panel Proposals ficiency. This includes delivery of the les- Art/Architectural Historians, Artists, Critics, son; motivation and questioning strategies Visual Resource & Museum Professionals that lead students to critical thinking; use of quality visuals, demonstrations, and Artist Exhibition Opportunities directions; pacing and guiding students in elegantly solving problems; classroom Artist Fellowship Application management; outside class assignments; use of critiques; sharing of work; and link- MA / MFA / PhD Candidates Welcome ing art content to individual and collective learning processes in a meaningful way. Hotel / Travel Information 4. Assessment refers to examining the value of art teaching and learning. This www.furman.edu/secac includes formative and summative evaluation of instruction that may be embedded www.macaart.org into the planning sequence. Beyond CONTINUED ON PAGE 40

CAA NEWS SEPTEMBER 2005 7 direction and correction. greater depth rather than being blitzed by makes snap decisions: friend or foe, flee or My fellow academics and I jokingly call endless slide lists and facing requirements stay. Because the brain is chiefly an emo- the first year of college the “thirteenth to memorize facts that they quickly forget. tional organ, we must be aware of the grade,” but behind this quip lies our frus- Students express that they learn best when ways in which we activate students’ emo- tration with making up for the shortcom- working out a problem with their peers. tions and avoid triggering such feelings as ings in our students’ educations. So many In addition to the stress of handling fear because the amygdala monitors fear college freshmen seem to have learned to complex information in college, students and overrides the brain’s cognitive func- think about complex questions in only ele- do not want to make mistakes. Recent tions.2 mentary ways. For many, art is remote, scholarship on the biology of the human Is there a better way to utilize and direct irrelevant, and too abstract for them to brain provides insight into the ways that both the energy and enthusiasm of the tra- comprehend and value. When they ask students process complex information, ditional college-age student and the matu- “Will it will be on the test? and “Did you why they write simplistic answers on essay rity and dedication of the nontraditional cover anything important in class today?” exams when class discussions usually student? By applying recent scholarship on they reveal not only their anxieties about occur on a higher level.1 Their simplifica- the human brain and how emotion relates doing well but also that they do not per- tion of the course’s content happens to learning, I have experimented with a ceive learning as a lifelong, cumulative, because of frustration and fear. When stu- teaching approach called Problem-Based and organic process that delights and fasci- dents are overwhelmed by having to mem- Learning (PBL) to teach art-history survey nates them. orize too many works of art for an exam, courses. Far from being negative about art histo- they boil everything down to a level that In a PBL course, students learn by carry- ry, however, they are neutral, perhaps they can manage. We think that they are ing out research projects during the semes- because they do not know what to expect. lazy or are not trying, but fear and anxiety ter rather than by listening to lectures, tak- Some students become fascinated with our have taken over their cognitive functions ing exams, and writing a single research discipline and love the richness of the and blocked the transferal of information paper.3 The professor lectures very little (if visual material that they encounter in lec- to long-term memory. The amygdala—the at all) but instead designs “problems” that tures and textbooks. While they want to part of the brain that filters our all unnec- groups of students research and present know more about the history of art, they essary information—reduces detailed lec- orally and in writing. Most commonly in write in their course evaluations that they ture information to the simplest concepts PBL, students coauthor research papers prefer learning about fewer works of art in necessary to the part of the brain that and receive the same grade. Group partici- part object part sculpture

on view october 30, 2005–february 26, 2006

This groundbreaking exhibition traces a sensual, handmade genealogy of sculpture from WWII to the present. Artists range from Marcel Duchamp and Louise Bourgeois to Robert Gober and Josiah McElheny. symposium friday, november 18, 2005 saturday, november 19, 2005 a different kind of readymade part sculpture This session seeks to unpack the implications of rethinking the This panel looks at the wide range of sculptural practices deployed readymade (as handmade, bodily, and erotic) in speciﬁ c and the by artists in the exhibition, and the various narratives that emerge. oeuvre of Marcel Duchamp more generally. speakers: Stephen Melville, Molly Nesbit, Peggy Phelan speakers: David Joselit, David Deitcher, Rachel Haidu moderator: Michael Mercil moderator: Helen Molesworth gallery conversation part object Louise Neri and Josiah McElheny with David Weinberg This session explores the ways the exhibition uses psychoanalysis to think through object relations and the problem of sculpture. registration speakers: Rosalind Krauss, Briony Fer, Mignon Nixon The symposium is free and open to the public, but advance registration is strongly moderator: Lisa Florman encouraged. For more information and updates, contact [email protected] , 1965, Hauser & Wirth Collection, Switzerland, © The Estate of Eva Hesse, Hauser & Wirth Zürich London

Part Object Part Sculpture was organized by the Wexner Center for the Arts. Major support is provided by The Andy Warhol Foundation for the Visual Arts. Additional support is provided by the Altria Group Inc., Nimoy Foundation, The Judith Rothschild Foundation, Greater Columbus Arts Council, National Endowment for the Arts, Art Alliance for Contemporary Glass, and the Corporate Annual Fund of the Wexner Center Foundation. Accommodations are provided by The Blackwell Inn. Oomamaboomba , wexner center for the arts wexarts.org 614 292-3535 the ohio state university a Hesse Ev

8 CAA NEWS SEPTEMBER 2005 pation in and out of class is another major the neurons that help to move new infor- component of students’ grades. A PBL mation into short-term, working memory.6 CAA Teaching class rejects exams to assess students’ The neurons continue firing after students learning. Conversely, PBL emphasizes leave our classroom, and such activities as Award Winners group research. Thus, students become reading, thinking, and writing promote Speak responsible for their own learning, and the long-term memory. How many times dur- skills they obtain are transferable to any ing lectures have I wished that I could talk discipline. to students in depth about a question or CAA News invited former winners of PBL means relinquishing control over problem in art history? PBL lets me do the Distinguished Teaching of Art and what the students learn, especially the that when I sit at a table with a small Art History Awards to comment on ped- works of art that they know by the semes- group. Those deafening silences we so agogy, reflect on their practice, or share a teaching-related anecdote. Here’s ter’s end. This does not necessarily destroy often encounter at the lectern are a thing what some of our top professors have to the purpose of introducing potential of the past. say: majors to the discipline and teaching the Practically speaking, presentations, fundamental principles and methods of art papers, and group collaboration are the Cecelia F. Klein, University of history. Quite the opposite: using PBL to bases for grades. I divide the semester into California, Los Angeles teach introductory art-history courses can four units, preceded by an introduction to One of my most successful strategies for attract majors as effectively as the tradi- PBL; I also schedule time to practice attracting student interest in pre- Columbian art has been to start, on the tional two-slide lecture method while at small-group work and electronic commu- first day of class, by showing slides illus- the same time capturing the energies and nication, which most students need to be trating a variety of present-day uses of enthusiasm of today’s students and taught to use (two or three classes). Each pre-Columbian art. The slides range from respecting their wishes for an engaging unit is allotted at least three weeks and a blond-haired white man heavily tat- course. culminates in student-led presentations tooed with exoticized and sexualized As a mode of course design, PBL has and/or discussions of the ideas, concepts, pre-Columbian motifs to a Chicano mural depicting a chronologically impos- the potential to reshape art-history surveys and information that the students have sible mélange of famous buildings and and to accomplish the goals of introducto- learned. Small-group research in the sculptures from ancient Mexico that ry courses in new and creative ways. By library and oral presentations take place were painted on the wall of a building in recasting the “problems” of Problem- during class time, while postings of papers Koreatown in Los Angeles. The images Based Learning to topics and questions and online discussions take place on the tap into important factors such as ethnic pride and heritage, tourism, New Age (see part 2 of this essay), an art-history course website, which has a listserv for exoticism, commercial sensationalism, survey course becomes learning through each group. Students work best in an envi- and nationalist propaganda. Students are research. The occasional lecture—never ronment free from ridicule and embarrass- asked to speculate on who commis- completely abandoned—sets the stage for ment, and learning how to manage prob- sioned these contemporary artworks, the students’ research by providing an lems that can arise in small-group work is who was intended to see them, why these particular motifs and themes were overview of topics and problems to be the responsibility of both the students and chosen, the meaning of the works to encountered. But a PBL course also intro- the professor. As the professor, I guide, their viewers, and whose interests were duces students to research skills and fos- advise, consult, discuss, and give minilec- ultimately best served by them. The ters community through small-group col- tures, thereby carrying out my part in immediate goals of the exercise are to laboration—in effect, creating the same PBL, which ensures its success. demonstrate: 1) the continuing relevance kind of community that we participate in of pre-Columbian imagery for ordinary people and major institutions; 2) the vari- as scholars. Part 2: Structuring Art History I ety of ways in which these motifs and PBL requires the students to research themes have been adapted to contempo- problems (or topics) in small groups.4 Using Problem-Based Learning rary needs; and 3) the many ways in Letting students loose on open-ended which viewers today are likely to under- Using the familiar (to us) chronological research might sound like a nightmare. stand them. approach, Unit 1 of the course “Art Not only are students excited to see This approach does require support and History I” encompasses the Paleolithic the contemporary relevance of the sub- guidance to make students maximize their through the Bronze Age. Depending on ject of our course, but they also seem prior knowledge and their social skills to almost relieved to learn that people may how many different problems or topics interact in small groups. PBL hinges on understand and appreciate the past in a you design, two or more groups would group dynamics: students draw on their variety of ways. The first class concludes research the same problem. The topics for with a promise that we will see, in the own and each other’s strengths. Discus- Art History I reflect exam questions and meetings to follow, that postmodern sions include doubts about the appropriate- the themes in former lectures. The topics problems posed by different artists’ inten- ness of past research in relation to their tions, viewers’ expectations, and schol- are: 1) the role of technology, techniques, own findings; their peers provide comple- ars’ understandings are no less pressing and materials in producing art and archi- mentary information. Group interaction when we move back in time to the picto- tecture; 2) iconography and the nonverbal rial and written sources on Mexican art forces students to think harder and chal- language of art; 3) religion’s impact on art; dating to the decades immediately fol- lenge each other; as a result, they retain 4) the representation of the human figure lowing the Spanish Conquest. It is more knowledge.5 Interactions among stu- always my hope—so far, not in vain— dents and discussions during class activate CONTINUED ON PAGE 41 that this lesson ultimately enhances the

CAA NEWS SEPTEMBER 2005 9 Developing a Reflective Teaching Practice

In this article, Nancy Friese and Paul Sproll of the Rhode Island School of Design describe two programs at their school that help art and design graduate students to establish good teaching practices.

any MFA students, confronted with the task of teaching or co- M teaching a course and realizing that an academic job may well be a viable career choice upon graduation, candidly express concerns about their readiness to teach. A series of questions began to sur- face within the community of art schools and art departments: How can faculty assure good beginning teaching practices by graduate students? How can the way we prepare our graduates have a valuable impact beyond our campus? How can we as institutions of higher education contribute to the future best practices of colle- Marie Bashkirtseff, The Académie Julian, 1880, oil on canvas, Dnipropetrovsk State Art Museum, giate teaching of art and design? Ukraine. From its inception in 1868, the Académie Julian was a private art academy in Paris that became the world’s most renowned private art school and served as an alternative to the École des The Division of Graduate Studies and Beaux-Arts. Artwork in the public domain. the Department of Art and Design Education at the Rhode Island School of premise of the tutorial was surprisingly course portfolio. Design (RISD) have simultaneously tack- simple. Graduate-student instructors would We believe that the Individual Teaching led the issue of preparing graduate stu- meet with a professor of art and design Tutorial, as a companion to a graduate students for future collegiate teaching. In education to discuss the development of a dent’s teaching, not only offers an invalu- 1997, two avenues—Individual Teaching syllabus; the professor would observe the able lens for examining issues of content Tutorials and the College Teaching graduate students’ teaching and would set and practice but also provides to graduates Seminar—became more formally situated aside time with them to analyze what had a sense of their potential as artists, design- within RISD to provide graduate students occurred. Students would then compile ers, and educators. Concluding his reflec- with complementary opportunities to documentation of their teaching and write tive essay, a former furniture-design grad- examine issues surrounding studio peda- a reflective essay. The tutorial became a uate student stated, “The teaching experi- gogy in a postsecondary setting and to credit-bearing independent study. What ence encompasses wonderful moments of engage in reflective teaching practice. The was immediately remarkable about the connection and fluidity with an occasional demand for such opportunities became first tutorial, and what continues to be evi- counterbalance of internal reflection and more strongly felt as the number of gradu- dent in each one since, is the energy and healthy doses of consternation.” He ate students grew at RISD and as the cam- commitment that graduate students bring affirmed, “Either way, I’ll take teaching pus discussions about the effectiveness of to their teaching, their willingness to any day.” teaching by graduate students incrased. accept constructive criticism, and their interest in developing instructional prac- Collegiate Teaching Seminar Individual Teaching Tutorials tices to engage their undergraduate students more fully. The requirements for the RISD’s Collegiate Teaching Seminar The Individual Teaching Tutorial first tutorial have evolved and been refined developed from a partnership between emerged in fledgling form as a vision of during the past eight years. However, core RISD’s Division of Graduate Studies and the Department of Art and Design elements of this experience have Brown University’s Harriet W. Sheridan Education, resulting from a request by remained: the components of syllabus Center for Teaching and Learning. The RISD’s then head of the Sculpture design, the assessment and evaluation of director of the Sheridan Center and the Department on behalf of two sculpture student performance, the strategies for former RISD dean of graduate studies rec- grads who felt somewhat uneasy about conducting effective critiques, the devel- ognized the synergy that could happen being launched into the role of instructors opment of a personal statement of teaching through bringing graduate students in the for a six-week winter-session class. The philosophy, and the presentation of a

10 CAA NEWS SEPTEMBER 2005 creative fields of art and design together and reflect on the creative life entwined students’ ability to read Colonial sources with the Brown graduate community. With with an academic one. more critically. By the end of the term, the support of each school’s president, The Collegiate Teaching Seminar also the material covered in the rest of the provost, and deans, RISD and Brown explores the relationship of teaching to course combines with my initial intro- developed a graduate seminar that cus- graduate students’ development as artists duction to increase the students’ aware- tomizes the Sheridan Center’s lectures, and designers. RISD participants seem ness of some of the ways in which popular imagery manipulates—and often mis- workshops, and microteaching sessions for especially in tune to the fact that, far from represents—the pre-Columbian past in individual art and design students. RISD detracting from their development as order to serve the needs of different indi- graduate students work closely with artists, teaching has the potential to viduals and groups in the present. In Brown students from a wide array of aca- enhance creative growth. The seminar, like other words, this strategy helps not only demic disciplines and are exposed to the Individual Teaching Tutorial, puts a to enhance critical thinking but also to reflective teaching practices from scholars great deal of emphasis on the creation of a combat some of the most damaging mis- understandings and stereotypes about across a broader teaching and learning Teaching Portfolio as a product that pro- pre-Columbian peoples at work today. community. Sheridan Center lectures and vides the kind of documentary evidence so workshops broaden RISD graduate stu- necessary to an academic job search. And, Carol Krinsky, New York University dents’ perceptions of teaching and assist rather than producing a universally As art history is part of a liberal-arts edu- the development of a “reflective teaching designed and subsequently anonymous arti- cation, my Western surveys emphasize logical exposition, clear writing, and the practice that has four fundamental compo- fact, graduate students are encouraged to relationship between history and the visu- nents: an understanding that effective be creative when assembling their Teaching al arts. The history of art, as opposed to teaching requires careful planning; knowl- Portfolio’s contents and to bring her or his art appreciation, means learning dates, edge of one’s audience and the ability to imprint to the documents from which it is without which students can’t relate art his- accommodate different learning styles; a constructed. tory to other historical phenomena. Students must do all assignments; I don’t recognition of the importance of establish- just deduct credit for missing ones. I’m ing learning goals (and the means to deter- Concluding Thoughts tough, but if they’ve earned As and Bs, students know they’ve worked seriously, learned a lot, and mastered skills beyond The Individual Teaching Tutorial and the memorization. This was how Phyllis Collegiate Teaching Seminar are comple- Lehmann taught me, and there’s no rea- mentary pathways that provide RISD grad- son to lower her standards. uate students with a range of innovative, essential tools in preparation for college Ruth Weisberg, University of Southern and university teaching positions. More California Perhaps because I have fewer opportuni- than 180 RISD graduate students have now ties to teach studio classes as dean of the received the Sheridan Center Teaching School of Fine Arts at the University of Certificate and completed the RISD Southern California, I find myself really Collegiate Teaching Seminar. Many of missing the playful probing and at times these graduates have secured academic phatic interchange of studio teaching: “Hmmmm…. Well…. Yeah, but….” teaching appointments. It is our hope that If teaching drawing or painting is still Jean-Henri Cless, The Studio of David, ca. 1810, as a result of insights gained from their sometimes preverbal, it is, paradoxically, black chalk, 17 x 23 in. (45 x 59 cm), Musée reflective teaching practice, these new edu- also now more informed by reading on a Carnavalet, Paris. Artwork in the public domain. cators will breathe new life into the arena whole gamut of subjects—art history and of postsecondary teaching and learning. theory, of course, but also history, political science, and poetry. This background mine if such goals have been achieved); —Nancy Friese, professor of graduate and a willingness to be innovative.”1 can lead to stimulating discussions about studies, RISD, and Brown University and around the work, but there is no sub- Through such practice, RISD students Sheridan Center Faculty Fellow, stitute for one-on-one conversation. soon gain a greater appreciation of similar- [email protected]; and Paul Sproll, profes- In a figure-drawing class, for instance, ities and differences in the teaching of var- sor and head of the Department of Art and you may be looking along with a student ious disciplines. How, for example, does Design Education, RISD, [email protected] at the model, then at the drawing, and teaching a chemistry lab compare to teach- then back at the model. Both you and the ing an introduction to ceramics? How can student are on your mettle. You need to 1. See http://www.brown.edu/Administration/ lead the student in honing his or her per- thoughtful instruction and practice in one Sheridan_Center/programs/teach_cert.html. ceptions and skill. What is the purpose of discipline transfer to another? RISD stu- each mark? How does it both describe dents are particularly interested in explo- that which is observed and, at the same rations of new paradigms for effective cri- time, create an engaging and cohesive set tique; other areas of study may have novel of formal relationships? Whether that student will become an artist or pursue a insight into this. RISD faculty as well as myriad of other creative careers doesn’t regional artists and designers (as guest fac- matter so much in that moment. You are ulty) have added greater depth to the semi- teaching both tangible skills and the inef- nar as they share seasoned teaching habits

CAA NEWS SEPTEMBER 2005 11 One feature is active learning, which con- fable ingredients for making an aesthetic From Edification to experience. “Thinking like an artist” is a cerns the manner in which people engage value in itself. Engagement: Learning with a learning experience. Another feature is personal agency, which considers James Cahill, University of California, Designs in Museums the ways in which learners take charge of Berkeley their own learning experiences. Here are a We lecturers on works of visual art have a few words about each. great advantage over those who teach In this essay, Shari Tishman, lecturer in other subjects, an advantage that we the Arts in Education Program at Harvard should exploit. Someone lecturing on Active Learning music must talk about the piece, then Graduate School of Education and play a recording of it (or the reverse); a research associate at Harvard Project poetry professor reads the poem, then dis- Zero, explores how learning theory can be Active learning occurs when people stretch cusses it—they can’t really do both at applied to the museum. their minds to interact with the information once. We, by contrast, can set up a per- and experiences at hand. In art museums, fect triangular, simultaneous relationship: useums are designs for learning. visitors are learning actively when they do the work of art on the screen in a slide (or Whether intentionally or not, such things as: formulate their own ques- slides of different works for comparisons museums embody views about or sequences), us talking about them (and M tions about works of art, reflect on their wielding, perhaps, the stick or laser point- what’s worth learning, and the way that own ideas and impressions, make their er), and students looking and listening, artworks, objects, and historical material own discerning judgments, construct their absorbing through eyes and ears. Used are presented—from exhibitions to archi- own interpretations, and seek their own effectively, this simultaneous presentation tecture to wall texts—embody views about personal connections. These sorts of of image and exegesis can convey imme- how learning happens. This in itself is diate, penetrating understandings of the behaviors are called active learning works of art and the issues surrounding nothing new: museums have always been because they involve acting on available them, much more than a book can do. If designed with edification in mind. But his- information—including information from we fail to make the most of this unique torically, museum education departments one’s own thoughts, feelings, and impres- capacity, we are wasting it. have been the only place where visitor sions—in order to form new ideas. Of The same end can be achieved, more learning is explicitly considered—and course, not every moment of learning in a or less, with PowerPoint and other digital- image projection if they are used proper- often only after exhibitions have been fully museum is, or even should be, active. ly: large, readable images left on the designed—despite the fact that beliefs There are times when passive learning can screen long enough to be absorbed visual- about learning are present in all aspects of be wonderful, for instance, when a viewer ly, no distracting gimmickry, and no text, museum offerings and at all stages of exhi- stands in front of a painting and gloriously please. Words on the screen clash with bition design. lets it wash over him or her, immersed in a those the lecturer is speaking—students scurry to copy texts instead of looking and For the last decade or so, there has been flow of sensations. But in extended learn- listening, as they should be doing. a change afoot. As museums broaden their ing experiences, research shows that active Names, dates, and quotations can be sup- missions and search for new constituen- learning is important: people learn more plied in a printed handout. cies, learning is becoming a fresh and cen- deeply and retain knowledge longer when tral concern for institutions as a whole, they have opportunities to engage actively Jules Heller, Arizona State University from curators to designers to directors. While on a round-the-world trip in 1973, with the information and experiences at I accepted an invitation from the Across all departments, museums are hand, even if these opportunities are punc- University of Silpakorn in Bangkok, to increasingly seeing themselves as settings tuated with moments of passive receptivi- offer a demonstration in stone lithogra- of learning theory in action. ty. This is a general fact about cognition, phy. The venue was a sweltering base- Why mention learning theory? As a field as true in museums as it is in schools. ment filled with prolix graduate students, of study, learning theory draws from such about fifty of them. On my arrival in the studio, an imp- areas as cognitive science, education, and Personal Agency ish-looking Thai offered to be my assis- philosophy. Its goal is to help us under- tant, assuring me he was competent to stand how learning happens and how it can As theaters of active learning, museums do so. His English was fluent, flowery, happen better. As museums bring a focus are distinct from schools and other formal and fun loving. on learning to the fore, they become more I asked for volunteers to make marks educational settings in that they make their aware of, and thoughtful about, their on the freshly ground limestone using educational offerings quietly and without tusche, litho crayons, or rubbing ink. views—or theories—about how visitors demand. In museums, visitors are free to Some students employed lipsticks. I learn. Learning theory provides a lens for move about at their own pace and to set reserved the “right” to try and unify the examining how learning unfolds in all edu- disparate marks. So, I did. My assistant their own agendas. They are free to choose cational settings, formal and informal, and whether to read wall text or take audio graciously offered to “etch” the stone it can provide suggestions for how to with the gum and acid solution I had tours, free to follow a recommended trail previously mixed. Turning his back to design learning experiences effectively. through an exhibition or choose their own me, he went ahead with the process and What does learning theory have to say path. To be sure, freedom of choice in fanned the stone dry; I explained the about museums? One message is that museums is not unlimited, and nor should theory behind his actions to the others. museums are especially well suited to it be. There are plenty of rules to follow, Washing out the image as I had prac- design visitor experiences that emphasize ticed for years, I proceeded to roll up the plenty of guiding information about what two general features of effective learning. to look at and how to respond. But, by and

12 CAA NEWS SEPTEMBER 2005 Do interpretive supports such as audio stone with litho ink. The silence in the guides and wall texts provide genuine studio was deafening. The entire stone opportunities for inquiry? For example, do went jet black, and none of my “tricks” they occasionally provide hints and cues brought back the group “image.” that stop short of exhaustive information, I looked at my assistant. He turned so that visitors can make their own com- away. The students were all waiting. Trying to stay cool, I announced that we parisons and contrasts, make their own would restart the demonstration. I sus- observations and discernments, and form pected a practical joke or some sort of their own opinions? test was afoot. I believed I knew the ori- Does the museum provide guided oppor- gin of the problem: earlier on, I had tunities for visitors to take charge of their noticed a number of acadia trees growing nearby; I sent my assistant to get a own path of inquiry, for example, by sample of gum from one of the trees choosing the order or pace in which to while I reground the stone. look at things, perhaps creating their own Using the fresh gum and acid mixture route through an exhibition to explore on a new set of marks on the stone, I themes of personal interest? went through the entire process, pulled a number of prints, and accepted a round Are there prompts in the museum envi- of applause from the smiling students. My ronment that encourage visitors to con- assistant had substituted a bogus “etch” verse with each other? For instance, are of soured gum for the one I had mixed. conversational tips or suggestions provid- The group took the measure of all the ed that invite rich discussion? visiting professors in this manner. I guess In 2001, the Brooklyn Museum in New York rein- I passed the test. stalled its permanent collection of American art Are visitors exposed to models of active from colonial times to the present. Entitled learning that send a message encouraging Robert Herbert, Mount Holyoke College American Identities: A New Look, the installation active learning? For example, do wall texts I’ve been asked more than once to remi- displays not only the usual painting, sculpture, and reveal snippets of curatorial debate, show nisce about my teaching days, and I’ve work on paper, but also decorative arts, Native American objects, and documentary photography, examples of provocative question-asking, never been able to say yes. Doubtless it’s film, and video. The exhibition is constructed the- or tell stories of imaginative engagement? a psychological quirk, although I can matically rather than chronologically and features Are visitors encouraged to take stock of honestly say also that the teacher is not the one who gives good evidence. wall labels that describe individual works as well their own ideas and impressions and per- as statements from other artists and members of Rather, it’s the students who can com- the community and from period literature. haps even communicate them to others? ment meaningfully (or amusingly, or iron- Are there opportunities for visitors to share ically) on a given teacher’s pedagogy. their responses and explore the responses large, museums invite learning rather than of others, for instance, through comment Clif Olds, Bowdoin College require it, which is why they are often books or idea boards? Although I appear to have been a fairly called “free choice” or informal learning Are there opportunities for visitors to successful teacher, I honestly don’t know environments. This discretionary quality of why, and I wouldn’t presume to tell oth- explore works of art through multiple per- experience is a signature feature of learners how to teach. I do know, however, spectives, for example, by comparing the ing in museums. It is also a feature of that students will forgive you for almost perspectives of an anthropologist and an good learning more generally. Research anything except disorganization, so per- art historian, or an artist and a patron? demonstrates that when people have some haps I should repeat the only important Can visitors choose to access layers of thing I learned in my short career as a degree of personal agency—some range of information in keeping with their back- Boy Scout: be prepared! choice about the shape and direction of ground knowledge and depth of interest? As in so many of one’s endeavors, the their own learning activities—learning failures are far more interesting than the Are multiple sources of information made tends to be more meaningful and robust. triumphs, and so the following tale: I available—biographical, art historical, once “taught” a freshman who seemed to technical, sociological—so visitors can believe that his admission to Bowdoin Designs for Learning choose among or compare them? College was the only prerequisite for Are visitors encouraged to make person- graduation. He resisted all my attempts In art museums, active learning and per- al connections in a variety of ways? For to get him involved in the substance of sonal agency are natural partners. When example, are they invited to recollect prior the course (a freshman seminar on Michelangelo), and his papers could we’re in charge of our own learning, we knowledge and experiences? Are they often do find opportunities to engage our only be described as illiteracy in the asked to imagine themselves in relation- service of an intellectual void. Time and minds, especially in environments rich ship to an exhibition, for instance, as a again I called him into my office and with evocative objects and experiences. Of stakeholder or participant? Are they tried to convince him that his career at course, just because museums are well encouraged to consider connections—or Bowdoin was in jeopardy if he did not poised to encourage these features of good disconnections—between their own lives take at least some interest in his courses, learning doesn’t mean that they always do. and objects on display? and if he did not learn to write. On one such occasion he told me, “I didn’t come What can museums do to make the most Questions such as these can help reveal of their affordances? The following para- to Bowdoin to be a scholar and learn to whether active learning and personal write. I’m a swimmer, and I came to set graphs contain a few questions to keep in mind. CONTINUED ON PAGE 41

CAA NEWS SEPTEMBER 2005 13 bining the perspectives of museum educa- art and art history? What unique perspec- Pedagogy Sessions at tion, art history, and art education, we will tives do rural art students possess?; 4) col- the 2006 Conference examine the theory and practice of innova- lege support. Is it financially practical for a tive approaches to teaching by considering college to support an art program? Is there the use of museum collections in different pressure within the college to validate art Listed below are some of the pedagogy- contexts and examining the development positions? related sessions scheduled for the CAA of programs that intersect both gallery and Annual Conference in Boston. For com- classroom. At the Intersection of Town and Gown: plete conference details, please visit College/Community Partnerships in the www.collegeart.org/conference/2006.html Regular Conference Sessions Visual Arts in October. Chair: John Giordano, Massachusetts College Pedagogy for the Twenty-First Century: of Art, Center for Art and Community CAA Education Committee Transforming the Art-History Survey Partnerships Sessions and Art-Appreciation Courses When higher-education institutions interact Chairs: Robert Bersson, Emeritus, James with local communities today, a spirit of Formal Analysis: Program Assessment Madison University; and Kathleen Desmond, partnership and collaboration replaces out- and the Art/History Department or Central Missouri State University reach and short-term volunteerism as the School Our panel seeks to offer instructors an starting point for community-engagement Chairs: Kevin Concannon, University of Akron; arena in which to discuss pedagogical con- projects. Partnerships and collaborations and Martha Dunkelman, Canisius College cerns and experiences and explore teach- can serve to examine issues that are situat- Increasing pressures to deliver detailed and ing strategies and learning theories relative ed at the physical and emotional intersec- quantifiable program assessments place to the two major introductory courses: art tions of higher-education institutions and ever-changing demands on department appreciation and the art-history survey. local communities. This session explores chairs and faculty. We aim to include pre- Potential content areas or topics include, the wide spectrum of partnerships possible sentations that cover learning-centered but are not limited to: student-centered in the context of college-credit courses and assessment and other outcome-based education for active learning and critical cocurricular opportunities, including but processes, as well as more traditional thinking; feminist pedagogy; philosophical not limited to: civic dialogues, public art, approaches. The panel will provide practi- and psychological dimensions of instruc- and work with K–12 students. What, then, cal information for those persons planning tion; the politics of teaching; the teaching are the criteria for establishing and execut- or undergoing assessment, ideally generat- of visual culture and an ever-expanding ing mutually beneficial visual arts–based ing productive discussion among panelists field; the construction and deconstruction projects? What are the philosophical and audience members. Questions that of knowledge; modern versus postmodern underpinnings and current models of visu- may be addressed include: Do program- pedagogies. Examples of syllabi, student al arts–based and interdisciplinary collabo- assessment processes help identify learn- production, in-class methods, and teaching rations and partnerships? Participants are ing outcomes that reinforce the goals of materials are welcomed, and discussion encouraged to consider how sustained the larger school, college, or university? between panelists and audience members partnerships can build permanent, two-way Does a more thorough understanding of is encouraged. bridges between colleges and neighbor- overarching objectives facilitate more hoods. effective learning and curriculum design? Challenges and Opportunities: Teaching Does the process help identify ways in Art in Rural College Communities The Darkroom: Once the Standard, which learning in foundations courses can Chair: Scott Garrard, Dodge City Community Now the Exception be built upon in upper-level courses—or College Chairs: Marita Gootee, Mississippi State vice versa? Do assessment processes result This session will focus on issues faced by University; and Wendy Roussin, Mississippi in tangible economic benefits for depart- art departments in rural areas. Discussion State University ments? Are there demonstrable ways in topics may include, but are not limited to, This session will focus on the shift from which students benefit? the positives and challenges of: 1) location. the chemical to the digital darkroom in art What is the average enrollment, and does programs. This change has been driven by The Museum Connection: Bridging the this meet the required enrollment? What the rise of digital SLR cameras, chemical Divide between the Classroom and the budget strategies are used to receive or ship and ventilation concerns, space needs, and Gallery supplies? How does the lack of local the desire for digital relevance in fine-arts Chair: Anne Collins Goodyear, National resources affect student ideas and works curricula. Is the comparative loss of quali- Portrait Gallery, Smithsonian Institution produced? What techniques are employed ty in the digital “negative” offset by the This panel seeks to address the pedagogi- to attract workshop presenters and atten- lack of additional cost for film and pro- cal value of interchanges between the dees?; 2) community attitudes. What are cessing? Digital photography produces an museum and the academy. How does effective public-relations tools for building almost instantaneous result. Does the stu- learning work in different environments, community bonds? Are there high school dent reap a benefit from this, or is the and how can teachers maximize students’ art programs in the area? Are there art cen- slower approach of the chemical darkroom engagement with art objects and their his- ters or art projects?; 3) students. Do art stu- more conducive to a learning environ- tories by integrating these venues? Com- dents possess knowledge of contemporary ment? Should color and monochromatic imagery be taught separately? Does the

14 CAA NEWS SEPTEMBER 2005 introduction of the computer lab negate the new-media art and design programs, concept of a dedicated space for separate including curriculum, pedagogy, and con- records in the Bowdoin pool.” One had to admire his candor, if not his mind. I media areas? temporary theory and practice. began to doubt that I would ever get through to him when one day he rushed More Meaningful Learning Post-Studio Art School: The Impact of up to me on his way to class. “Professor Chair: Sarah Lowe, University of Tennessee Conceptual Art and Conceptual Artists Olds!” he said, “I have an important Students enrolled in an arts or design pro- on Art Education question about our seminar on Michel- gram know that their studio art and design Chair: Lucy Soutter, University of the Arts angelo.” Thinking that this was perhaps the turning point, the spark of a long- classes differ in structure from their other London, London College of Communication awaited enlightenment, the epiphany university classes. While there is some This session explores the changes that con- that would lead him into the ranks of text-based learning, a large part of an art ceptual artists brought to art education at Bowdoin scholars, I eagerly encouraged or design student’s education is formed the college level and beyond over the his question. “Could you tell me,” he through a series of trial-and-error experi- course of the 1970s, 1980s, and 1990s. asked, “the name of that cute blonde girl ments and studies, through long (and often How extensive were these changes, and that always sits at the far end of our sem- painful) discussions of this work, and by what was their impact on students’ experi- inar table? And would you by any critically examining the work of others. It ence and subsequent careers? Topics may chance know her phone number?” Successes and failures: one can only can be said that this object-making include the evolution of “post-studio” cri- hope that the former outnumber the lat- approach to learning is not only crucial for tique classes; the rejection of traditional ter. My young swimmer, incidentally, a students’ growth as an artist or designer, materials and techniques; the influence of lasted only one term at Bowdoin. I hon- but also that it often resonates more with conceptual art’s anticommercialism; or the estly don’t know if he ever set a record the learning styles of those who are attract- rise and/or fall of particular mediums. in the college pool. ed to these fields. Is it then possible to Talks might discuss the teaching career of apply this methodology to the discovery a particular artist (e.g., Eleanor Antin, Dale Kinney, Bryn Mawr College Students change. You change. Clichés and understanding of other collegiate sub- Michael Asher, John Baldessari, Iain are true: you have to reinvent yourself ject matter? Can the pedagogical approach Baxter, Mel Bochner, Mary Kelly) or the with every generation, especially for employed in an arts or design classroom role of an educational institution, either in undergraduates. As a freshly minted be combined with that of a humanities or North America or elsewhere. assistant professor, you are the latest science subject to create an atmosphere in word; almost anything you say is welcomed as a liberating change from the which learning becomes more meaningful Affiliated Society Sessions stodgy middle-aged professors whom for the students? This session asks partici- you, too, think of as weirdly anachronis- pants to present case studies in which an American Institute of Graphic Arts tic. If you are passionate about your subject and reasonably articulate and friend- art or design class has collaborated with a Shaking Our Foundations: humanities or science class to create an ly, students will love your classes and Reconsidering Foundation Studies in work hard in them. But before you know interdisciplinary atmosphere in which the Communication Design Education it, you are as old as their parents. There students explore, learn, engage, and ana- Chair: Brian Lucid, Massachusetts College of is a mutual suspicion. When my own lyze the subject matter through the process Art child was a teenager, I lost the ability to of art- and design-making. sustain the fiction that college students are adults. It’s easy to assume that they Art Historians Interested in Pedagogy and are as careless and resistant as the child Current Issues in New-Media Art and Teaching you live with, but hectoring is not a Design Teaching Art History Online good motivator. Better to focus on the Chair: Carlos Rosas, Pennsylvania State Chair: Kelly Donahue-Wallace, School of miracle that the students have gotten out of bed to come to class, and be grateful. University Visual Arts With the now commonplace emergence of Then, incredibly, you notice that you new-media art throughout academia, many could be their grandparent! You are now Foundations in Art: Theory and Education obviously anachronistic, and you need to institutions have taken vastly different FATE Open Session explain yourself. Students love it when approaches in curricular development Chair: Scott Betz, Winston-Salem State they find your name in the footnotes of using varying pedagogical models often University other people’s articles; it confirms their leading to programs that are as obscure in sense that you belong to a different uni- structure as their titles and the terms used verse and gives them an idea of what National Art Education Association that universe might be like. It’s time to to define them. By and large, these pro- Pedagogical Issues Forum: Learning in admit that you are an authority, not only grams seek to engage new-media art as a Studio, Criticism, and Design in your subject but also on other issues. critical practice (beyond hardware and Chair: Mary Ann Stankiewicz, Pennsylvania Students don’t mind if you reach out to offer advice. At this stage, I think, you software instruction and the hollow façade State University that often accompanies the use of the term should be teaching them more than art history—it’s your last chance. “technology”) and to create a dynamic Visual Resources Association space for experimentation and the blurring Going Digital: Tools and Resources for of boundaries. This session seeks to initi- Teaching ate scholarly dialogue on experimental Chair: Jeanne Keefe, Rensselaer Polytechnic methodologies and on issues central to Institute

CAA NEWS SEPTEMBER 2005 15 Annual Conference Update

For more information about the 2006 CAA Annual Conference in Boston, please visit www.collegeart.org/conference or write to Susan DeSeyn, CAA manager of programs, at [email protected].

Show Your Art at the Boston Conference

CAA invites artist members to exhibit their work in Arts Exchange, our annual open-portfolio session at the Annual Conference. Six-foot tables have been reserved for artists to show prints, paintings, drawings, photographs, work on bat- Photo: Emily J. Gomez tery-powered laptops, or anything else that Jennifer Anderson (right) displays her work during Arts Exchange at the 2005 Annual Conference in will fit on the table. The general public is Atlanta. able to attend this session free of charge; a cash bar will be available. All reservations DeSeyn at 212-691-1051, ext. 248, or Host a Student in Boston for tables are filled on a first-come, first- [email protected]. Send application served basis; please send your request to materials to: Manager of Programs, Accommodation at the CAA Annual Julie Green of Oregon State University, Graduate Student Conference Travel Conference can often stretch a student’s Corvallis, at [email protected], with the Grant, CAA, 275 Seventh Ave., 18th budget. To this end, CAA’s Student and subject heading “CAA Arts Exchange.” Floor, New York, NY 10001. Deadline: Emerging Professional Committee offers Indicate your CAA membership number October 14, 2005. a great solution: the Student Hosting in your e-mail and if you are showing a CAA International Conference Travel Program. This program brings together laptop-only presentation. Grant. CAA presents a $500 grant to CAA members living in the Boston area Participants are responsible for their artists or scholars from outside the United with student members looking for alterna- work; CAA is not liable for any losses or States as partial reimbursement of expens- tive accommodations. A willingness to damages. Sales of work are not permitted. es for travel to the 2006 Annual Confer- house more than one student or last-minute Confirmation reply e-mails will be sent. ence. To qualify for the grant, applicants requests for accommodation is especially Deadline: February 1, 2005. must be current CAA members. Candi- appreciated. If you are interested in host- dates should include a completed applica- ing a student member, please contact Conference Travel Grants tion form, a brief statement by the appli- Alexis Light, governance and advocacy cant stipulating that he or she has no exter- assistant, at [email protected]. CAA offers Annual Conference travel nal support for travel to the conference, and two letters of recommendation. For grants to graduate students in art history AHNCA Conference Sessions and studio art, and to international artists application forms and information, contact and scholars. Susan DeSeyn at 212-691-1051, ext. 248, The Association of Historians of CAA Graduate Student Conference or [email protected]. Send materials Nineteenth-Century Art (AHNCA) will Travel Grant. This $150 grant is awarded to: Manager of Programs, International sponsor two sessions at the 2006 CAA to advanced PhD and MFA graduate stu- Conference Travel Grant, CAA, 275 Annual Conference in Boston. “Expatriate dents as partial reimbursement of expenses Seventh Ave., 18th Floor, New York, NY Games: The Nineteenth-Century Artist for travel to the 2006 Annual Conference. 10001. Deadline: October 14, 2005. Abroad” will be chaired by Erica Hirshler, To qualify for the grant, students must be The grants are funded by donations from and the annual “New Directions in current CAA members. Candidates should the $5 contribution check-off on last year’s Nineteenth-Century Art History” session include a completed application form, a CAA membership form. CAA thanks those will be facilitated by David Ogawa. Both brief statement by the student stipulating members who made voluntary contribu- sessions will take place at the main confer- that he or she has no external support for tions to this fund; we hope that you will ence location, the John B. Hynes Veterans travel to the conference, and a letter of contribute again by checking the box on Convention Center. support from the student’s adviser or head your next membership form. of department. For application forms and additional information, contact Susan

16 CAA NEWS SEPTEMBER 2005 Design Studies Forum Sessions MA 01267; [email protected]. Deadline: October 31, 2005. 2006 Book and Trade Fair Design Studies Forum is sponsoring two Publishers, programs of advanced study, sessions at the 2006 CAA Annual Projectionists and Room professional associations, digital-re- Conference: “Amateur: The Challenge to Monitors Sought source providers for the visual arts, and Professional Design,” a full-length session manufacturers, distributors, and whole- chaired by Gerry Beegan, and “Design Applications are being accepted for projec- salers of art materials are invited to Studies and Design Culture,” a special ses- tionist positions at the 2006 Annual exhibit at the CAA Annual Conference sion chaired by Miodrag Mitrasinovic. Conference in Boston. Successful appli- in Boston. For more details, write to Information about these sessions is avail- cants will be paid $10 per hour and will Paul Skiff, assistant director for annual able at http://designstudiesforum.org. receive complimentary conference regis- conference, at [email protected]. tration. Projectionists are required to work 1 Meet the JSAH Editor in Boston a minimum of four 2 ⁄2-hour program ses- based on medium or discipline. Volunteer sions, from Wednesday, February 22, to curators and critics provide an important Current and prospective authors who are Saturday, February 25, and attend a train- service to early-career artists, enabling interested in the Journal of the Society of ing meeting Wednesday morning at 7:30 them to receive professional criticism of Architectural Historians (JSAH), the quar- AM. Projectionists must be able to operate their work. terly scholarly journal published by the a 35-mm slide projector; familiarity with Interested candidates must be current Society of Architectural Historians, are video and overhead projectors is preferred. CAA members, register for the conference, invited to sign up for fifteen-minute meet- Candidates must be U.S. citizens or per- and be willing to provide five successive ings with the JSAH editor at the 2006 CAA manent U.S. residents. Send a brief letter twenty-minute critiques in a two-hour peri- Annual Conference in Boston. Contact the of interest to: Manager of Programs, CAA, od. Please send your c.v. and a brief letter editor at [email protected] in 275 Seventh Ave., 18th Floor, New York, of interest to: Career Development advance to make an appointment. NY 10001. Deadline: January 2, 2006. Associate, Artists’ Portfolio Mentoring Room monitors are needed for two of Sessions, CAA, 275 Seventh Ave., 18th CAA’s mentoring programs, the Artists’ SAH Seeks Session Participants Floor, New York, NY 10001. Deadline: Portfolio Mentoring Sessions and the November 4, 2005. Career Development Mentoring Sessions, The Society for Architectural Historians as well as for several off-site conference (SAH) seeks proposals for papers for their sessions. Successful candidates will be Mentors Needed for Career 2006 session, entitled “Authorship and paid $10 per hour and will receive compli- Development Mentoring Collaboration in Architecture,” at CAA’s mentary conference registration. Room Sessions Boston conference. Buildings are far more monitors will work a minimum of four likely to result from creative collaboration hours, checking in participants and facili- CAA seeks mentors from all areas of art than paintings or sculpture. And yet while tating the work of the mentors. Candidates history, studio art, the museum profes- many of America’s most important archi- must be U.S. citizens or permanent U.S. sions, and other related fields to serve in tects have worked in partnership—from residents. Send a brief letter of interest to: CAA’s Career Devlopment Mentoring Adler & Sullivan to Venturi Scott Manager of Programs, CAA, 275 Seventh Sessions. Mentors give valuable advice Brown—architectural history has typically Ave., 18th Floor, New York, NY 10001. and guidance to young professionals who neglected the subject of collaboration. Deadline: January 2, 2006. are beginning their careers; they also pro- Instead of untangling the contributions of vide a significant professional service to multiple authors and assessing the differ- members. Many have described this expe- ent types of collaboration, the tendency is Curators and Critics Needed for Artists’ Portfolio Mentoring rience as extremely rewarding. This year, to make one partner the author while there will be an additional category for downgrading the others as business part- Sessions candidates interested in art and science. ners or technicians. While this is helpful Mentors spend twenty minutes with literary shorthand, it has the unfortunate CAA seeks curators and critics to partici- each candidate, reviewing cover letters, effect of obscuring the specific nature of pate in the tenth annual Artists’ Portfolio c.v.s, slides, and other pertinent material. the process by which a building comes Mentoring Sessions during the 2006 Given the anxiety associated with confer- about, aesthetically, technically, and intel- Annual Conference. This program pro- ence placement, mentors should be sensi- lectually. This session invites papers that vides an opportunity for artists to have tive to the needs of the candidates and able examine specific examples of architectural slides, VHS videos, digital images, or to provide constructive criticism. collaboration, either case studies of build- DVDs of their work critiqued by profes- Interested candidates must be current ings or of creative partnerships, or that sionals; member artists are paired with a CAA members, register for the conference, explore its critical reception in the scholar- critic or curator for twenty-minute appoint- and be prepared to give two consecutive ly literature. Please submit a proposal of ments. The individual sessions are sched- hours of their time on one of the two days no more than three hundred words to: uled on two days: Thursday, February 23, of the workshops: Thursday, February 23, Michael J. Lewis, Dept. of Art, Lawrence and Friday, February 24. Whenever possi- and Friday, February 24. Art historians and Hall, Williams College, Williamstown, ble, artists are matched with reviewers

CAA NEWS SEPTEMBER 2005 17 You may bring battery-powered laptops. Reviews are by appointment only and will be scheduled for Thursday, February 23, and Friday, February 24. All applicants must be current CAA members. To apply, download and complete the Artists’ Portfolio Mentoring Sessions application (in PDF format) at www.collegeart.org/mentoring. Participants will be chosen by a lottery of applications received by the deadline; all applicants will be notified by mail or e-mail in January. While CAA will make every effort to accommodate all applicants, participation is limited. Please send the completed application to: Career Development Associate, Artists’ Portfolio Mentoring Sessions, CAA, 275 Seventh Ave., 18th Floor, New York, NY 10001. Deadline: November 4,

Photo: Emily J. Gomez 2005. Richard Tichich (left) of East Carolina University mentors an artist during the 2005 Artists’ Portfolio Review (renamed the Artists’ Portfolio Mentoring Sessions) at the Atlanta conference. Career Development Mentoring Sessions Offered studio artists must be an associate profes- particular areas of concern within their sor or tenured; curators must have five lives and work. Past topics have included: Artists, art historians, and museum profes- years of experience and have current Keeping a Sense of Humor during the sionals at all stages of their careers may employment with a museum or university Interviewing Process; Not So Young: apply for a one-on-one consultation with gallery. Appointments after Thirty-Five; Coping veterans in their fields at the 2006 Annual These mentoring sessions are not intend- with the Danger of Individual or Conference. The Career Development ed as a screening process by institutions Institutional Burnout; From Teaching to Mentoring Sessions offer a unique oppor- seeking new hires. Applications will not be Administration; Health and Safety for tunity for participants to receive candid accepted from individuals whose depart- Artists; and Midcareer Issues for Art advice on how to conduct a thorough job ments are conducting a faculty search in Historians. search, present work, and prepare for inter- the field in which they are mentoring. Prospective mentors need not be career views. Mentoring sessions are by appoint- Mentors should not attend as candidates specialists but should have an interest in ment only and will take place on Thursday, for positions in the same field in which the emerging generation of artists and February 23, and Friday, February 24. workshop candidates may be applying. scholars. Candor, a sense of humor, the All applicants must be current CAA Please send your c.v. and a brief letter of ability to listen, and two hours of your members. To apply, download and com- interest to: Career Development Associate, time are required. Interested individuals plete the Career Development Mentoring Career Development Mentoring Sessions, must be current CAA members, register Sessions application (in PDF format) at CAA, 275 Seventh Ave., 18th Floor, New for the conference, and be available on www.collegeart.org/mentoring. Partici- York, NY 10001. Deadline: November 4, 2005. Thursday, February 23, from 12:30 to 2:00 pants will be chosen by a lottery of appli- PM. Please send your c.v. and a brief letter cations received by the deadline; all appli- Professional Development of interest to: Career Development cants will be notified by mail or e-mail in Associate, Professional Development Roundtable Mentors Sought January. While CAA will make every Roundtables, CAA, 275 Seventh Ave., effort to accommodate all applicants, 18th Floor, New York, NY 10001. CAA seeks mentors and discussion leaders workshop participation is limited. Please Deadline: November 4, 2005. to take part in the Professional Develop- send the completed application to: Career ment Roundtables at the 2006 Annual Development Associate, Career Develop- Conference. Mentors will lead informal Artists’ Portfolio Mentoring ment Mentoring Sessions, CAA, 275 discussions on topics relating to career Sessions Offered Seventh Ave., 18th Floor, New York, NY choices, professional life, and work strate- 10001. Deadline: November 4, 2005. gies, providing a significant professional The Artists’ Portfolio Mentoring Sessions service to members. The roundtables will offer artist members the opportunity to be geared toward two groups: emerging have slides, VHS videos, digital images, or professionals and midcareer professionals. DVDs of their work reviewed by curators Roundtable topics will reflect those fre- and critics in private twenty-minute con- quently mentioned by CAA members as sultations at the 2006 Annual Conference.

18 CAA NEWS SEPTEMBER 2005 Copyright Clearance: A Publisher’s Perspective

Susan Bielstein, executive editor for art, architecture, film, and classical studies at the University of Chicago Press, delivered this text on clearing copyright for images of artworks as a talk at the Courtauld Institute of Art in London on June 3, 2005. The views expressed in this article are those of the author and do not necessarily represent the views of CAA. CAA invites reader responses that further explore this issue or that offer alternative perspectives. We reserve the right to edit any texts accepted for publication. Send comments to [email protected].

Asking Permission: When Does It End?

“When does asking permission end?” The short answer is: It doesn’t. The public domain remains a contentious battlefield: Eugène Delacroix, The 28th of July: Liberty Leading the People, 1830, oil on canvas, 8'6" x 10'8" (2.6 x 3.25 m), Musée du Louvre, Paris. Artwork As everyone reading these pages knows, in the public domain. we live in a world of permissions, today more than ever, as the creative and com- sums invested in books that will likely sell a full-blown rights-and-permissions mercial possibilities of the Internet make fewer than 1,500 copies. An art historian I department headed, more often than not us increasingly preoccupied with access know who is writing a specialized study of these days, by a merchandising expert who and control. one of the collections at the British may earn more than the curators. At some In fact, the ritual of asking—and granti- Museum was invoiced £5,000—not dol- financially strapped museums this income ng or withholding—permission has lars—by the museum for reproduction stream is a lifeline; for others the income become so deeply embedded in our rights alone, not counting the cost of actu- may be only modest. But as sources of “cyberpsyche” as to put forth a neural al photographs. Of course, such high fees images proliferate, we increasingly find glow and, like a widening gyre, has creat- are not unique to the museum world. To that this activity is becoming less about the ed large-scale disturbances in what the publish a photo of the 9/11 disaster, a New provision of actual images and more about Stanford law professor Lawrence Lessig Yorker cartoon, or a dead shark by the the brisk trade in the abstract commodity calls the “ecosystem of creativity.” As artist Damien Hirst will very likely cost an of permission. another pundit put it, “Life in our licensed author or publisher even more (on a unit I’d like to tackle just one piece of this culture has begun to feel natural.”1 basis). Why so expensive? pie: the current crisis surrounding works in To ask permission to publish an image, The answer, put simply, is: nobody has the public domain, that cornucopia of or not? That is the question that torments any money anymore. Cultural and educa- intellectual material that is no longer pro- authors. Some editors will urge you to err tional funding has diminished in the U.S., tected by copyright. Between the recent on the side of caution, to seek every con- the U.K., and Europe, and we must all rely extensions of copyright terms and all the ceivable kind of permission for every little increasingly on our own schemes and “extralegal” trappings linked to claims to thing. But as anyone who has had to clear assets to generate the income needed to legal entitlement, the public domain has permissions knows, caution is not always keep programs running and the doors become so severely compromised that, as the safer course. By asking someone for open. At American museums, this takes a legal category, it is now seriously endan- permission to publish an image, you are many forms: from the mounting of exhibi- gered and could very well outpace the sil- granting them the right to say “no,” tions and the loan of important artworks to very minnow in its rush to extinction. although what rights owners are more like- a range of fundraising efforts, such as wine How, one might reasonably ask, could ly to say these days is: “Sure, but it’s tastings and adventure trips up the Nile. such an assertion be true? After all, the gonna cost you.” Another income-generating source public domain is huge. Technically, any- Every day we receive alarming reports involves licensing and reproducing images thing in the public domain is yours to pub- from the field: $8,000 spent in fees for a for publication. Depending on the size of lish, and, from the standpoint of copyright, narrowly conceived book about illuminat- the institution and the range of its collec- you don’t need anyone’s consent to do it. ed manuscripts, even more for studies situ- tion, this can vary from an assistant pro- Either the term of protection has expired ated in the twentieth century. Hideous cessing a handful of requests each week to or the work may never have been in copy-

CAA NEWS SEPTEMBER 2005 19 right in the first place. Still, the people and institutions who general erosion of the test of originality— All sorts of things are in the public make and license these lowly copies push or any test, for that matter, to ascertain domain: the oeuvre of Eugène Delacroix, for their ennoblement, and on the face of it what material qualifies for copyright.2 for example, because the French painter this seems harmless enough. In fact, it may As a book editor, I wonder: Does publica- has been dead for many more than seventy come across as petty to deny a hard-work- tion make intellectual property worth more or years and no longer has an active estate; ing art photographer protection for his or less? When it comes to art, at what point certainly the Mona Lisa, whose creator her effort. (Though often the photographer does mass duplication exhaust an image? lived five hundred years ago, long before works “for hire” for the institution, which Does it matter how an image is used? copyright was invented holds the copyright.) Consider how many times people view a A common principle used to hold that But what does it mean, in a larger sense, copy of the Mona Lisa immured in the fob once something was released into the pub- to claim one can copyright a copy? If the of a key chain or impressed upon a tea lic domain it could not be taken back. In copyright of a work in the public domain tray, and then purchase a ticket to the the past thirty years or so, however, sever- has lapsed, why should reproductions of Louvre. Those crowds huddled around al laws have restored copyrights in some that work qualify for protection? Leonardo’s masterpiece are as dense as formerly public-domain works. Premised At stake is the very definition of copyright. ever. All those copies circulating through on alleged injustices in earlier copyright Much of the current legal flurry over the our culture have not diminished the lady a bit. laws, such moves are very often prompted, public domain revolves around the making Make no mistake: Les Demoiselles in America at least, by efforts to appease of digital copies in cyberspace. As muse- d’Avignon is an enormous draw for the powerful content providers. ums and collectors trade film for binary Museum of Modern Art. Seeing it featured Not only can we no longer be assured bits, they are joining far more powerful in books—and thus constantly reinvigorat- that just because something enters the pub- allies in hammering out the rights that ed in cultural and intellectual life—keeps lic domain it won’t come back into copy- attend the digital—and not just the those admissions fees coming and the turn- right, but in consequence the whole mechanical—age. stiles clicking. Ditto Georges Seurat’s La Enlightenment idea of a public domain is Law related to the production and dis- Grande Jatte at the Art Institute of also becoming obsolete. And while nobody semination of intellectual property in this Chicago. Double ditto the Mona Lisa at owns the public domain per se, there is new environment is evolving rapidly, for the Louvre. nonetheless a struggle intensifying over today owners must consider what happens Of course, after hundreds of years, the who among us actually controls it. This when their property is made available to reputation of the Mona Lisa is well estab- disagreement is more than a pleasing ten- whole franchises of users, not just the sin- lished. But culture is a shared activity, and sion between two intelligent points of gular scholar or publisher. Electronic com- many other artworks—in fact, the vast view. Everywhere roadblocks are being merce offers all kinds of ways of doing majority—need to be put forward regular- erected, the domain walled off behind a business but, as we know, it has also creat- ly, over and over, through publication in barrier of secondary ownership and non- ed ingenious opportunities for theft, and print or online to reinforce their relevance creative entitlements. on a very grand scale. to culture. Reproductions thus make art In the art world, many institutions and So much so that in 1998 the U.S. worth more, not less. individuals who own public-domain Congress passed into law the Digital There is no question that the huge cost objects are working to change the basis of Millennium Copyright Act (DMCA). of acquiring illustrations and the permis- copyright protection altogether by assert- Owners of electronic content, including sion to publish them has become such an ing coverage for precise, photographic images, have developed software to pre- impediment to art publishing that it exerts copies of two-dimensional materials in vent it from being downloaded or copied, a profound drag on the field. Clearly their collections. I am not referring to new and the DMCA makes it illegal for anyone scholars—including those at museums, prints pulled from old plates or negatives, to circumvent that software or to “publish” which also develop publications—need such as etchings or fine-art photographs. software designed to do so. While the some relief from the onerous burden of Nor am I talking about photographs of DMCA was intended to prevent illegal cir- permissions. At the same time, the rights three-dimensional artworks like sculpture cumvention, it has also prompted a num- of individual creators must be protected. or installations. Those are a different matter. ber of content providers to try to lock Both are crucial to a cultural environment But with paintings, drawings, and the down objects in the public domain by that thrives on creative enterprise, but how like, institutions are claiming copyright to batching them together with copyrighted to reconcile the two? In particular, what the reproductions themselves and forcing materials and storing them in digital repos- can scholars—as a collective—do? others to assert that claim for them (usual- itories with strictly controlled access. First of all, in this consuming world, ly in a published caption or credits section) Further, though the DMCA is minted scholars need to remember that they, too, in exchange for permission to publish. In with the jargon of a new frontier, it seems are members of the creative class—and essence, they are claiming to copyright a curiously vacant of language to balance also that as users, as customers, they pos- copy. To do this is to ignore some recent the rights of content owners against a sess enormous power. There are today case law where courts have ruled that slav- “public need” or “common good”—trace countless purveyors of visual content, ish copies of two-dimensional artworks do evidence of a natural generosity that we much of it identical, so why should it be a not qualify for copyright protection would like to think endures in modern seller’s market? Since duplicate images because they do not exhibit a minimum communities. The newest laws and inter- have remained such hot commodities in amount of originality. national treaty discussions also reflect a what must be acknowledged as a saturated

20 CAA NEWS SEPTEMBER 2005 field of industry, we should look to other could type a list of needs into a website place an order before they tell you how markets that have been transformed by search engine and have vendors return a much it will cost. And some archives recent advances in technology: the book range of prices and options to them, assert restrictions on use of images regard- market, for example. Search engines like including formats and incentives for batch less of whether the works are in copyright Amazon.com and Alibris transformed the orders. As vendors start to compete for or in the public domain by means of warn- book market, especially the used-book business, there might be online specials ing notices that may or may not reflect market, from one dominated by antiquari- (“two images for the price of one if you appropriate intellectual-property laws. an booksellers to one easily exploited by order today!”), free shipping for orders Granted, it wouldn’t be easy to convince buyers, which drove the prices of all but over $100, and so on. big players like Bridgeman Art Library the rarest tomes down. Right now, it’s easy to browse various and Corbis to compete online for your Could something of the sort work for photo archives online. But it’s not so easy business, but small vendors seeking wider images? Especially for those in the public to figure out who might be offering the exposure and individuals who possess pho- domain? Authors hunting for illustrations best deal. Many archives want you to tos they have taken themselves or pur- chased without enforceable restrictions would at least get the project started. With time, this idea would gain momentum. 2006–2007 Clark Fellowships Obviously, this model cannot apply to copyrighted artworks, nor should it. Those The Sterling and Francine Clark Art Institute, a public art museum and still need to be cleared with artists or their center for research and higher education, offers fellowships for national and agents—but such a system would reduce international scholars, critics, and museum professionals who are engaged charges and help to put paid to the notori- in projects that enhance the understanding of the visual arts and their role ous “repro” fees that some institutions in culture. The program supports all genres of art historical scholarship about all places and periods, but especially those projects with a critical assess when you publish objects in their commitment to research in theory, history, and interpretation. collections. Repro fees are the fees you may be required to pay over and above the Clark Fellows are in residence for one to ten months and are provided with cost of the actual scans or photos of the offices in the Institute’s exceptional art history library, which includes an extensive visual resources collection. The Clark is within walking distance artworks; their effect is to claim a copy- of Williams College and its libraries and museum of art, and is a short rightlike right to restrict and control use, drive from the Massachusetts Museum of Contemporary Art (MASS MoCA). often asserted through clauses in the image Clark Conferences, Symposia, Workshops, and Colloquia, as well as fre- rental contract. Sometimes that claim is quent lectures, are a vital part of the Institute’s activities. The Clark also warranted, but other times it’s not. houses a graduate program in the history of art, which it co-sponsors with Williams College. What else can we do to turn the market for visual intellectual property around, Clark Fellows receive generous stipends, dependent on sabbatical and short of drafting a Supplicant’s Manifesto salary replacement needs, and reimbursement for travel expenses. They and nailing it to the front doors of image are housed in apartments in a scholars’ residence across the road from lenders? their offices in the Institute, located in a rural setting in the Berkshire Hills of western Massachusetts. Both Boston and New York City are about Point 1 is obvious: If you don’t need three hours away by car. illustrations to make your case, don’t use them. Be sure that every image that goes Applications are invited from scholars with a Ph.D. or equivalent professional into your book is essential to the argument. experience in universities, museums, and related institutions. For guidelines, an application form, as well as further information, please visit www.clarkart.edu Point 2: If you must use certain images, or contact Michael Ann Holly, Director of Research and Academic Program, never do anything that would encourage Sterling and Francine Clark Art Institute, Williamstown, Massachusetts 01267. property owners to increase their fees. Always negotiate. If you get a bill for Telephone: (413) 458 0460 E-mail: [email protected] £5,000 from a museum, offer £2,500. The application deadline for fellowships awarded for the 2006–2007 year is Point 3: Offer lenders the chance to November 15, 2005. invest in your project. Suggest a fee scheme scaled to profits. Silly? Yes. But it’s silliness with a point. Tell the lender you are prepared to set aside a significant chunk of your income from sales of the book to be shared by everyone who con- tributes to the project. Let’s say your book will be two hundred printed pages. If the Sterling and Francine lender’s image appears in a full page in Clark Art Institute color, she or he would be entitled to 225 South Street, Williamstown 1/200th of your royalties. For most books Massachusetts 01267 this would amount to the princely sum of

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CAA NEWS SEPTEMBER 2005 21 technique adopted from the liberal Gay tivism on most campuses thanks to a pre- Academic Freedom Rights movement. Indeed, both the ABoR ponderance of registered Democrats and a and the Academic Bill and the SAF website are filled with the paucity of Republicans on faculty (eight to language and tactics previously associated one on average). While the highly visible of Rights with political liberals. As Ellen Goodman, rightward migration of voters since the the Pulitzer Prize–winning columnist for 1980s might raise serious doubts about the Washington Post, quipped: Klein’s formula equating a prevalence of Gregory Sholette, an independent artist, The conversation about liberal bias on Democrats with a prevalence of liberalism, writer, and former CAA Board member, campus is chock full of words such as ideological conservatives nonetheless are represented CAA at a recent meeting of the diversity and pluralism. There is even using his work to demand what they con- American Association of University the hint that universities may need a sider “equal time.” Klein’s study and the Professors (AAUP) on the “Academic Bill touch of affirmative action for conserva- ABoR are just several means by which of Rights.” In this article, he provides a tive academics. What next? Quotas for conservatives hope to achieve greater rep- background of the issue and a report on Republican anthropologists?2 resentation within the academic establish- AAUP’s activities. Frequently cited by the SAF is the work ment. The Middle East Forum and its stu- rom Kansas City to Berkeley to of Daniel B. Klein, associate professor of dent group and website, Campus Watch, New York, political conservatives economics at Santa Clara University in were founded by the conservative historian are increasingly targeting pedagogi- California, who once described academia as and columnist Daniel Pipes in order to F 3 cal institutions with charges that they pro- “the bluest state.” Klein points out that his address what he sees as the “mixing of pol- mote a “left-wing bias” in the classroom. research proves widespread anticonserva- itics with scholarship, intolerance of alter- The latest critique comes in the form of a document known as the Academic Bill of Rights (ABoR), which calls for greater T h e G e t t y i n v i t e s a p p l i c a t i o n s f o r : diversity and freedom in the classroom but which opponents believe is a stealthily RESIDENTIAL GRANTS worded statute aimed at guaranteeing that AT THE GETTY a conservative Evangelical worldview The Getty provides support for Theme Year Scholars finds purchase within the ivory tower, working on projects related to the 2 0 0 6 — 07 t h e m e even if that means dragging professors and “Religion and Ritual.” Library R e s e a rch Grants offer administrators into court. Fifteen state leg- s h o r t-term support for work with the special collections of the Research Library at the Getty Research islatures have already considered adopting Institute. Grants for Conservation Guest Scholars fund the bill or one similar to it. For a variety re s e a rch in conservation and allied fields. of reasons, none has yet passed. However, 2006 a bill in the U.S. House of Representa- NONRESIDENTIAL GRANTS tives, the College Access and Opportunity The Getty provides support for projects throughout Act of 2005 (HR 609), which contains pas- the world that advance the understanding of art and its history through Collaborative Research Gra n t s , sages based on the ABoR, is now pending G et t y Postdoctoral Fellowships, and Curatorial Research before two house subcommittees. Mean- Fellowships. while, the neoconservative David Horowitz and his “watchdog” group, Students for Academic Freedom (SAF), Research are keen to see the ABoR become law, or failing that, see its ideas adopted directly by individual institutions as future aca- Getty Research Grants are open to scholars of demic policy. Grants all nationalities. For application forms and more One way SAF, Horowitz, and their sup- information visit www.getty.edu/grants, or write to: The Getty Foundation, 1 2 0 0 G e t t y C e n t e r porters hope to accomplish these goals is Drive, Suite 8 0 0 , Los Angeles, CA 9 0 0 4 9-1 6 8 5 , U.S. A ., by gathering evidence of liberal bias in the Phone: 3 1 0 4 4 0 . 7 3 74 , Fax: 3 1 0 4 4 0 . 7 7 0 3 , classroom and then making this informa- E-mail: [email protected]. tion public. The SAF website is loaded with resources and tools for accomplishing D e a d l i n e f o r a l l G e t t y this assignment, including one tutorial that R e s e a r c h G r a n t s : asks, “Is Your Professor Using the Classroom as a Platform for Political NOVEMBER 1, 2005

Agendas?” Directly underneath this provo- © 2005 J.Paul Getty Trust. Image: Robert Watts (American, 1923 - cation is a link that reads, “Learn How to 1988). Time Flux Kit (detail), 1966. 1 Mixed media. Research Library, Place an Ad in your College Newspaper.” The Getty Research Institute (890164) ©Estate of Robert Watts T he J. P a u l G e t t y Tr u s t Some readers will no doubt recognize that ® the “outing” of left-leaning professors is a

22 CAA NEWS SEPTEMBER 2005 For more information on Alison Bechdel’s work, see www.dykestowatchoutfor.com. native views, apologetics, and the abuse of scholarly discipline would be forced to intervene in academic controversies. power over students.”4 Campus Watch is provide alternate interpretive models for Only by making such judgments of primarily focused on those who teach about “balancing” assertions of scientific fact is quality can academic institutions sepa- the Middle East. Several years ago, in a contrary to the very foundation of disci- rate serious work from mere opinion, move that resembles McCarthy-era black- pline-based scholarship as exemplified by responsible scholarship from mere lists, shortly after the attacks of 9/11, peer-review research practices. Flower and polemic…. When carefully analyzed, Pipes’s website highlighted eight “dossiers” Smith emphasized that the ABoR is ulti- therefore, the Academic Bill of Rights of scholars who have raised criticism about mately not seeking to promote either undermines the very academic freedom U.S. foreign policy and/or that of Israel. diversity or academic neutrality, as stated it claims to support.9 Add to this the forced retirement of Bill in its language, but is instead seeking to During the discussion period that fol- Moyers from PBS, thanks to right-wing empower a conservative, even dogmatic lowed Flower and Smith’s detailed pro- pressure groups, and ongoing government interpretation of knowledge such as the logue, one participant pointed out that con- investigations into artists who are critical of teaching of creationism alongside that of servative attacks upon the academy have a U.S. political policy, and one cannot help Darwinian evolutionary theory. For exam- definite history and that the current wave but acknowledge the growing atmosphere ple, the philosophical position the ABoR of criticism is only the most recent of of suspicion and conflict in and around both maintains toward the advancement of these incidents. Another attendee dated a academia and the art world. knowledge reads as follows: steady rise in conservative-led criticism Sensing the time has finally arrived to Curricula and reading lists in the since 1984, when the book A Nation At discuss taking some form of collective humanities and social sciences should Risk was published by President Ronald action, the American Association of reflect the uncertainty and unsettled Reagan’s Department of Education.10 (Of University Professors (AAUP) recently character of all human knowledge in course, we might even push the date of brought together representatives from these areas by providing students with such academy bashing back to the 1950s, more than a dozen academic disciplines dissenting sources and viewpoints where or even further.) However, several of those and institutions to discuss the possibility appropriate.6 present also acknowledged that the current of a unified response to the ABoR. On AAUP replies that to adopt this outlook as assault is qualitatively different from the May 11, 2005, delegates from the Modern school policy would lead to a de facto: 1980s in so far as it is better funded, more Language Association, American … transfer [of] responsibility for the carefully coordinated, and ready to use all Association for the Advancement of evaluation of student competence to col- manner of devices in its quest, from e-mail, Science, National Association of State lege and university administrators or to blogs, and student pressure groups to gov- Universities and Land-Grant Colleges, the courts, apparently on the premise ernment legislation and the aforemen- American Physiological Society, American that faculty ought to be stripped of the tioned appropriation of the language of Astronomical Society, Phi Beta Kappa authority to make such evaluative judg- tolerance and diversity. Society, and several other national organi- ments.7 Several specific responses to the ABoR zations gathered at the AAUP offices in A second example is the ABoR’s demand were then proposed, briefly debated, and Washington, D.C., for a preliminary meet- for absolute intellectual neutrality: tabled. These included calling together a ing that was also an opportunity to share … academic institutions and profession- national summit that would publicly debate information. The AAUP director of public al societies should maintain a posture of the issues of academic freedom; the ques- policy and communications, Ruth Flower, organizational neutrality with respect to tion of inviting SAF and Horowitz immedi- and the AAUP director of government the substantive disagreements that ately arose. This was followed by a propos- relations, Mark Smith, commenced the divide researchers on questions within, al to craft a joint statement or “declaration meeting with a review of their organiza- or outside, their fields of inquiry.8 of academic independence,” coauthored tions point-by-point rebuttal to the pro- To which AAUP responds: and made public by the various learned posed ABoR legislation.5 The implications of this requirement are associations, against the politicization of Two central aspects of the AAUP coun- truly breathtaking. Academic institu- the academy. This bold idea soon cooled as terstatement are: 1) the proposed bill is tions, from faculty in departments to individual delegates related their personal redundant because mechanisms for guar- research institutes, perform their work experience attempting to achieve unanimity anteeing academic diversity already exist; precisely by making judgments of quali- on any given topic, even within a single and 2) the notion that each and every ty, which necessarily require them to discipline. An alternative proposal was

CAA NEWS SEPTEMBER 2005 23 raised. Why not simply pool all existing history. This prompted the notion of pro- idea of ideological diversity. You can, academic policies and white papers that ducing an ad campaign to underscore the after all, have ethnic and gender plural- support freedom on campus, including the social significance of serious scholarship, ism along with intellectual uniformity. work of AAUP, and create a clearinghouse perhaps using various testimonials from The Bush Cabinet is the case study of a of information and resources for faculty, respected public (and perhaps conservative) multicultural rainbow of political students, administrators, and sympathetic figures. However, another discussant coun- clones.10 legislatures to use? This would also relieve tered that publicizing these attacks on aca- The final upshot of the meeting was the the necessity of bringing about some new demia, or appearing defensive and reactive, establishment of a smaller working grand accord or set of principals. My may give the opposition greater credibility. group that would meet to review the expectations soon dropped another notch as Someone brought the conversation back to possible responses for dealing with the a third suggestion was put forth to initiate a focus on faculty by stressing that his ABoR and other threats to the academy. an internal conversation within academia to members have expressed a sense of indi- On July 18, the group’s report was for- discuss the newly perceived threat. Prior to vidual vulnerability regarding to the way warded to me. Its primary recommendation taking action, one delegate reasonably conservative students use intimidation tac- centers on the sharing of information, pointed out, “We need to sort out among tics on campus, to which another delegate resources, potential speakers, and incident ourselves what our position is first. We proposed creating an academic “rapid reports among the various disciplinary soci- need to recognize we are in a privileged response team” that could be mobilized to eties AAUP is in contact with. The report position vis-à-vis society.” help a faculty member in danger. also proposed accumulating a series of state- Another line of discussion stressed the Perhaps the most challenging aspect of ments from each society that is pro–peer importance of getting students involved this situation is not so much a defense of review and anti-ABoR, with the goal of with professors to counter the ABoR as the realm, but the necessity of improving eventually releasing these proclamations to well as to help defend the integrity of the transparency within academia. How to the public. Finally, AAUP will continue to academy. Someone then related that it is make such things as the tenure process and serve as the “clearing house” for this the public itself that holds higher education peer review truly fair and demystified in exchange whose overall objective, according in such low esteem today. Another delegate the tradition of democratic openness? to the report, is “to reclaim academic free- noted that the prominent conservative fig- Once again, Goodman’s response to con- dom” among ourselves—To remind our- ure and U.S. Secretary of State, servative calls for more campus diversity selves of the importance of the privileged Condoleezza Rice, was recently once asked seem dead on: status of academe, and the importance of that if she could go back and change her … as someone who has long argued that peer review” and “to tell the world that we own education, what would she study? people tend to hire those they feel com- take these freedoms and responsibilities Rice apparently replied she would study art fortable with, I get the idea. I also get the seriously and to demonstrate and explain the kinds of processes we use when looking into allegations of abuse.” A.W. Mellon Postdoctoral Fellowship Program, 2006–2009 —Gregory Sholette, [email protected]

Center for Advanced Study in the Visual Arts • National Gallery of Art, Washington 1. See www.studentsforacademicfreedom.org/ images/professor%20platform%20ad%20IN.pdf. The Center for Advanced Study in the Visual Arts The Mellon Postdoctoral Fellowship for 2. Ellen Goodman, “Those Poor College Con- at the National Gallery of Art announces a new 2006–2008 will support research in the history, servatives,” Washington Post, December 4, 2004, postdoctoral fellowship, supported by a grant from theory, and criticism of the visual arts in any area http://www.washingtonpost.com/ac2/wp-dyn/ the A.W. Mellon Foundation. This first award represented in the collections of the National A34009-2004Dec3. 2006 2008 will be for academic years – . The Gallery of Art, including painting, sculpture, archi- 3. Daniel B. Klein and Andrew Western, “Guest Mellon Postdoctoral Fellow will be in residence tecture, prints and drawings, film, photography, or Opinion: Forget Stanford’s cardinal red—paint it at the Center for Advanced Study in the Visual the decorative arts. The fellowship for 2007–2009 (almost) as blue as Berkeley,” Palo Alto Weekly, Arts. During the first year the fellow will carry out will support a somewhat wider range of fields. February 23, 2005; also found at http://www research and writing related to the publication Scholars are expected to reside in Washington and .studentsforacademicfreedom.org/archive/2005/ of a dissertation or appropriate articles or book(s). to participate fully in the activities of the Center February2005/GuestOpStandfordBlue022305.html. The fellow will also design and direct an intensive throughout the fellowship period. The Mellon 4. See http://www.campus-watch.org/. weeklong seminar for the seven predoctoral fellows Postdoctoral Fellowship is intended for those who at the Center, focusing on a topic related to the have held the Ph.D. for five years or less at the 5. For AAUP’s counterstatement, see http://www collections of the National Gallery of Art and time of application. Applicants for 2006–2008 .aaup.org/statements/SpchState/Statements/ with a special emphasis on methodological issues. must have received the degree between 1 September billofrights.htm. In the second academic year, while continuing 2000 and 30 September 2005. The fellowship 6. The ABoR is published at http://www research and writing in residence, the Mellon is awarded without regard to age or nationality .studentsforacademicfreedom.org/abor.html. Postdoctoral Fellow will be expected to teach one of applicants. Applications must be received by 7. http://www.aaup.org/statements/SpchState/ 1 2005 course (advanced undergraduate or graduate) by November . For information and application Statements/billofrights.htm. arrangement at a neighboring university. forms contact: 8. http://www.studentsforacademicfreedom.org/ abor.html. Center for Advanced Study in the Visual Arts • National Gallery of Art 2000b South Club Drive, Landover, Maryland 20785 9. http://www.aaup.org/statements/SpchState/ Statements/billofrights.htm. Telephone: (202) 842-6482 • Fax: (202) 789-3026 • Email: [email protected] Web address: www.nga.gov/resources/casva.htm 10. Goodman, “Those Poor College Conservatives.”

24 CAA NEWS SEPTEMBER 2005 now a doctoral candidate in art history at vance to young artists. CAA Names 2005 the University of Texas at Austin. Aldana has worked at several museums Fellows Ever since Aldana read John Berger’s and taught art-history courses at her school Ways of Seeing in her first survey class, and at Southwestern University in George- she has been interested in alternative town, Texas. Aldana has also received the AA proudly announces its 2005 approaches to art history. She thought that 2000–1 Foreign Language and Area fellowship recipients. We adminis- studying Latin American art would involve Studies fellowship for Portuguese/Latin Ctered four grants and two honorable an inherent criticism of the discipline but American Studies. mentions this year in our Professional became frustrated with the limitations of Development Fellowship Program (PDFP), much English-language scholarship, in Tammy Renée funded with the generous support of the particular the work in her specialization, Brackett has been National Endowment for the Arts (NEA) contemporary Brazilian art. During the awarded the CAA and the National Endowment for the past decade, she discovered that the work Professional Humanities (NEH). of the best-known Brazilian artists has Development CAA initiated the PDFP in 1993 to help been assimilated into international art cir- Fellowship for student artists and art historians bridge the cuits to the point of undermining or even Visual Artists, gap between their graduate studies and losing much of its original historical sig- funded by the professional careers. The program’s main nificance. For this reason, Aldana wants to NEA. She received purpose is to support outstanding students contribute to a deeper understanding of a BA in fine arts from socially and economically diverse Brazilian culture and artistic production by Tammy Renée Brackett from Alfred backgrounds who have been underrepre- researching less familiar artists for whom University in sented in their fields. By sustaining schol- the issue of historical and geographical Alfred, N.Y., where she graduated summa ars and artists at this critical juncture in context is unavoidable. cum laude and with honors in fine arts in their careers, CAA assists the rising gener- Aldana’s dissertation examines a group 2003. She is currently pursuing an MFA in ation to complete degrees in a timely fash- of artists called 3Nós3 (literally “three we electronic integrated art in the School of ion and to find first employment opportu- three” in Portuguese), who performed Art and Design at Alfred. nities easily. And by nurturing outstanding artistic actions that they referred to as Critiques of the impact of scientific artists and scholars at the beginning of “Urban Interventions” on the streets of “breakthroughs” on identity formation their careers, CAA aims to strengthen and São Paulo in the late 1970s and early inform Brackett’s work. Using new media diversify the profession as a whole. 1980s. Although these simple actions were and traditional artistic mediums, she Here is how the grants work: First, the often interpreted as pranks, the Urban explores the factors that contribute to the PDFP recipients receive awards of $5,000 Interventions evoked deeper meanings, invention of new identities and the over- toward the completion of their MFA or engaging with the city on historical, spa- lapping fluid structures behind them. PhD degrees in the 2005–6 academic year. tial, and social levels. At the same time, Through disciplines such as biotechnology In the following year, fellows seek post- they critiqued the role of artistic institu- and cartography, her art demonstrates the graduate employment at museums, art tions in São Paulo and their lack of rele- impossibility of finding any absolute struc- institutes, colleges, or universities; CAA subsidizes their professional salary with a $10,000 grant to the fellows’ hiring institutions, which must be matched two to one. Honorable mentions received $1,000 awards.

2005 CAA Fellows

Erin Aldana has received the CAA Professional Development Fellowship for Art Historians, funded by the NEH. She earned a BA in studio art and art history from Scripps Erin Aldana College in Clare- mont, California, and an MA in art history from the University of California, Riverside. She is Tammy Renée Brackett, video still from In formation, 2005, video and sound installation.

CAA NEWS SEPTEMBER 2005 25 role of queenship during the Ramesside period. Her dissertation builds on her earlier research concerning ancient Egyptian beliefs about the afterlife experience of royal women. McCarthy’s research has been supported by fellowships from the Institute of Fine Arts at New York University and from the Metropolitan Museum of Art in New York. During the 2002–3 academic year, she was a recipient of the Kress Fellowship in Egyptian Art and Architec- ture (administered by the American Research Center in Egypt), which funded her field research in Luxor, Egypt.

Lauren Woods has been awarded the CAA Professional Development Lauren Woods, still from outside of the …, 2005, 16-mm film and digital video hybrid, single-channel projection. Fellowship for Visual Artists, ture governing identity or pinpointing its Heather Lee McCarthy is a recipient of funded by the location. Brackett raises questions con- the CAA Professional Development NEA. She is com- cerning the manipulations of science and Fellowship for Art Historians, funded by pleting her MFA mass media as they define human episte- the NEH. She earned her BA in ancient Lauren Woods at the San mology on both an individual and collec- Near Eastern civilizations from the Francisco Art tive scale, and her work explores the blur- University of California, Los Angeles, in Institute in California. Wood’s hybrid ry ethics of a frenetic acceleration in 1991 and began her graduate studies at media projects use video and 16-mm film acquisition of scientific knowledge. New York University in 1996, where she as well as appropriated imagery to reflect Brackett’s recent work uses scientific received an MA in Near Eastern studies on, reenvision, and rewrite the history of data, such as the Map of the Human (with a concentration in museum studies) a postcolonial and global society. Her Genome, brainwave biofeedback, and in 1999. McCarthy earned a second mas- work, in the form of single-channel pro- infrared frequencies, as elements in her ter’s degree in the history of art and jections and large-scale multichannel musical compositions and surround-sound archaeology (focusing on Egyptology) at video installations, contemplate and installations. By using her own voice to the Institute of Fine Arts at New York question cultural and collective memory generate the frequencies of DNA, she University, where she is currently a PhD and examine sociopolitical discourses. combines the individual human with its candidate. Approaching the documentary as subjec- collective representation. These composi- McCarthy’s dissertation, “Queenship, tive, not objective, Woods creates “ethno- tions in turn create video imagery when Cosmography, and Regeneration: The fictive” (a term borrowed from Jean they are used by a computer program that Decorative Programs and Architecture of Rouch) documents of her navigation remaps the information into a video matrix. Ramesside Royal Women’s Tombs,” pro- through the world as an American woman Brackett has exhibited in Japan, Croatia, vides a comprehensive analysis of the dec- artist of the African diaspora. Committed Hungary, and the United States and was orative programs and architecture of fif- to her creative desires as an artist and to recently included in the Albright-Knox Art teen (mostly unpublished) ancient confronting her subjectivity, she is Gallery’s biennial exhibition, Beyond/In Egyptian queens’ tombs from the intrigued with cinema’s ability to manipu- Western New York. This fall she will be co- Ramesside period (1292–1075 BCE) in late emotion and attempts to create vis- developing and teaching an honors semi- order to explore three interrelated issues: ceral work that translates her personal nar course at Alfred University, “Mind the 1) the function of the tomb as a document perspective to communicate across ethnic, Gap: Art + Science,” with the biologist of the netherworld cosmography assigned cultural, and national divisions. Woods’s Jean A. Cardinale. She is also an active to royal women and the impact of status devotion to cinema as a public art form member of the Evolutionary Girls Club, a and gender upon the content of the decora- and method of communication has led her group of artists and activists who work tive programs, the architectural form, and to public art. Currently, she is exploring and exhibit globally; the artistic and man- layout of this “document”; 2) the way how traditional monument-making and aging director of the Loupe Arts Center in royal women were believed to experience public site-specific work can be translated Prattsburgh, New York; and a singer/song- regeneration and afterlife existence; and 3) into new contemporary models of memo- writer with her band, the Swindle Sisters. what these two issues communicate about rializing—substituting the traditional the status of queens and the ideological marble and granite for the newer medium of video.

26 CAA NEWS SEPTEMBER 2005 Studying in Spain and Puerto Rico, Institute of the American Folk Art Woods finished her undergraduate studies Museum in New York. in 2002 at the University of North Texas, receiving a BA in radio, television, and Adrienne Pao is film and a BA in Spanish with a minor in an MFA candidate sociology. For the past ten years, she has in photography at worked with youths, conducting work- San Jose State Uni- shops, serving in mentorship positions, and versity in Califor- working as a middle school teacher. Her nia. After graduat- work has been exhibited throughout the ing from the United States, including Washington D.C., University of Cali- San Francisco, Dallas, and San Juan, fornia, Los Ange- Puerto Rico. les, in 1997, she Adrienne Pao studied photogra- Honorable Mentions phy at Humboldt State University in Arcata before deciding From a highly competitive pool of appli- to pursue her graduate degree at San Jose. cants, CAA’s fellowship juries also chose She is currently an instructor at Modesto to award honorable mentions to the fol- Junior College and has taught at her own Adrienne Pao, View at Laie Point/He'e Kapa lowing individuals: school. (Squid Covering), 2005, lightjet print, 36 x 30 in. Pao is working on two photography- CAA thanks our jury members for 2005. Keith Jordan is based projects. “Hawaiian Cover-Ups” The visual-artist jury included: Joseph S. working on his examines the dual nature of the colonized Lewis III, dean, School of Art and Design, doctoral thesis in experience in Hawaii through her own Alfred University; Maxine Payne, assis- pre-Columbian art position as a part-Hawaiian person born tant professor, University of Central history, entitled and raised in California. She is also collab- Arkansas; Harris R. Wiltsher II, assistant “Stone Trees orating with Robin Lassser on “Dress professor, Florida A&M University, and Transplanted? Tents,” which are wearable sculptures that program administrator, Art in State Central Mexican are photographed in the landscape and that Buildings Program. Stelae and the playfully look at female representation in The art-historian jury comprised Rocío Question of Maya the twenty-first century. Both projects Aranda-Alvarado, former CAA fellow Keith Jordan ‘Influence,’ ” at the investigate notions of tourism in real and and curator, Jersey City Museum; Marilyn Graduate Center, simulated fantasy landscapes and involve a S. Kushner, department head and curator City University of New York. combination of performative and staged of prints and drawings, Brooklyn Museum; Jordan’s dissertation focuses on strategies and scenarios. C. Jill O’Bryan, independent scholar, Epiclassic (650–950 CE) and Early Pao has shown her work at the Morris artist, and documentarian and archivist for Postclassic (950–1150 CE) stelae in Central Graves Museum of Art in Eureka, Charles Ross’s earthwork, Star Axis, in Mexico, a monument form often regarded California, and at Wave Hill Glyndor New Mexico. as quintessentially Classic Maya. Parallels Gallery in the Bronx, New York. Pao CAA is grateful for the long-term sup- in form and iconography with specific received a 2005 Society for Photographic port of its funders. CAA also thanks the Maya counterparts led to past claims of Education scholarship award and will trav- numerous individual supporters who have Maya “influence” on the stelae of Tula and el to Argentina in 2006 for an exhibition of contributed to the funding of these fellow- Xochicalco. Jordan’s dissertation is a criti- the “Dress Tents” at the New Museum of ships. You too can support the fellowships cal assessment of these hypotheses and Arts in Neuquen, Patagonia. through the purchase of an original print suggests alternatives that incorporate over- from CAA’s editions program, which looked local antecedents as well as Maya Fellowship Program includes works by Sam Gilliam, Kerry contacts to explain the origins of the James Marshall, Kiki Smith, and Buzz Central Mexican monuments. In a more All recipients receive complimentary CAA Spector. All proceeds go to the PDFP and general sense, his research promises to cri- membership and a travel grant to attend truly make a difference. For more details tique what he sees as the “mechanistic” the 2006 Annual Conference, where they on our prints, contact CAA’s Manager of fashion in which “influence” is all too will be paired with mentors who will help Development at 212-691-1051, ext. 252. often discussed in art history. them to make the most of the conference’s To receive the 2006 fellowship guide- Since 2002, Jordan has taught under- resources and provide advice as they pur- lines and application, visit www.col- graduate classes in African, Native sue their professional goals during their legeart.org/ fellowships, contact Stacy American, Oceanic, and Mesoamerican Art fellowship term. At the conference, each Miller at 212-691-1051, ext. 242, or at at Hunter College, Pace University, recipient will give a presentation about his smiller@collegeart .org, or send an SASE to: Rutgers University, and the Fashion or her work during a session entitled Fellowships, CAA, 275 Seventh Ave., 18th Institute of Technology, as well as courses “Work-in-Progress: 2005 Professional Floor, New York, NY 10001. Deadline: in the same subjects at the Folk Art Development Fellows.” January 15, 2006.

CAA NEWS SEPTEMBER 2005 27 Advocacy Update

For more information on CAA’s advocacy efforts, visit www.collegeart.org/caa/ advocacy or write to Rebecca Cederholm, CAA manager of governance and advocacy, at [email protected].

2006 Watch List of Most Endangered Sites

The World Monuments Fund, a nonprofit organization dedicated to the preservation of historic art and architecture worldwide through fieldwork, advocacy, grantmaking, education, and training, released their “2006 World Monuments Watch List of 100 Most Endangered Sites.” The list includes sites from fifty-five countries on all seven continents. In the past, international attention to the list has inspired local governments and communities to take an active role in protecting cultural icons in The remains of Thatta, located about sixty miles east of Karachi, Pakistan, in the Indus Valley region of their regions. This year, the list includes Sindh, include monasteries, mosques, tombs, and funerary monuments built from the fourteenth to eigh- teenth century. Thatta was home to four Muslim dynasties. Image provided by World Monuments Fund. more modern sites than ever and, for the first time, an entire country: Iraq. For more enacted a version of the cost-basis deduc- discuss the role of the commission in information and to read the full list, visit tion in the Tax Reform Act of 1986, which achieving world peace through global edu- www.wmf.org. was not repealed until 1993. cation, the protection of cultural heritage, On June 21, the Panel on the Nonprofit scientific advancements, and communica- CAA Takes Stand on Noncash Sector, an independent group of leaders tions. Charitable Contributions from various public charities and private The two-day conference, held on the foundations, released to Congress its sec- Georgetown campus and attended by some CAA has joined eighty national, regional, ond and final report, which recommends 250 people, included plenary presentations state, and local museums, educational and more than 120 actions to be taken by char- by Margaret Spellings, secretary of the social-service groups, and other member- itable organizations, by Congress, and by U.S. Department of Education; James ship organizations to cosign a letter the Internal Revenue Service to strengthen Billington, Librarian of Congress; Bruce responding to Senator Charles E. Grassley the nonprofit sector’s transparency, gover- Cole, chairman of the National (R-IA) and the Senate Finance Committee’s nance, and accountability. Endowment for the Humanities; Dana increased interest in reforming regulation The letter that CAA cosigned supports Gioia, chairman of the National and oversight of nonprofit organizations, the panel’s reports as a whole but cautions Endowment for the Arts; John Marburger, including changing how taxpayers take against limiting donor deductions to cost- science advisor to President George W. deductions for donations of noncash gifts to basis only. The full text is available at Bush; and R. Terrell Miller, deputy assis- museums and other nonprofits. www.collegeart.org/taxletter. tant secretary of state for economic and A recent report by Congress’s Joint global issues. Louise Oliver, U.S. ambas- Committee on Taxation suggests eliminat- U.S. National Commission for sador to UNESCO, was also in attendance. ing or significantly modifying deductions During afternoon panel sessions, a broad for noncash charitable contributions such UNESCO range of global topics focused on literacy as art, collectibles, real estate, and house- and education research, social and human On June 6–7, the U.S. National Commission hold goods. The proposed changes are an sciences, information technology, and cul- for UNESCO held its first annual confer- effort to reduce the potential of valuation ture. On the latter subject, CAA’s support ence since withdrawing from UNESCO in misstatements by taxpayers. One of the of the preservation and conservation of 1984. Hosted by Georgetown University in leading proposals would limit a donor’s world cultural monuments and artifacts Washington, D.C., this landmark event cele- deduction to cost-basis only (e.g., the ini- was represented through Americans for brated the return of the United States to tial amount a person paid for a work of art, UNESCO. Americans for UNESCO is cur- UNESCO by bringing together distin- not its current value). Currently, taxpayers rently one of forty-nine NGO members of guished members of academia, government, may take a charitable deduction for the fair the National Commission, including the and nonprofit sectors, including CAA, to market value of noncash gifts. Congress American Association of Museums,

28 CAA NEWS SEPTEMBER 2005 American Ballet Theater, OPERA and in February at the CAA Annual Confer- work of art, or cluster of works with an America, and the American Film Institute. ence—and submits an annual report to overarching intellectual connection; a first Going forward, CAA is eager to join the CAA’s Publications Committee. CAA reim- full-length work by a younger author or by above NGO members to represent its burses the reviews editor for travel expenses an author who has received a PhD within 15,000 individual and institutional mem- for the spring and fall New York meetings in the past ten years. For complete guide- bers, whose opinions and expertise on accordance with its travel policy, but the lines, application forms, and grant descrip- important cultural issues are central to the reviews editor pays all expenses for attention, please visit www.collegeart.org/pub- National Commission’s mission. dance at the Annual Conference. grant. Deadline: March 1, 2006. The conference fostered dialogue among Candidates must be current CAA mem- and between commission members and bers. Nominators should ascertain their CAA Publication Grant Jury government leaders that culminated in a nominee’s willingness to serve before sub- series of discipline-based committee mitting a name. A c.v., a statement by the Seeks Members reports. The reports will comprise a part of nominee of his or her interest in the posi- Jurors are sought with expertise in any the commission’s formal policy statement tion, and at least one letter of recommen- area of art history, visual studies, or a at the UNESCO general conference in dation must accompany each nomination. related field. Candidates must be current Paris in October 2005. Please mail to: Director of Publications, CAA members who are actively publishing —Michael Fahlund, CAA Deputy Director The Art Bulletin Reviews Editor Search, scholars with demonstrated seniority and CAA, 275 Seventh Ave., 18th Floor, New achievement. Jury members may not them- York, NY 10001. Deadline: October 10, selves apply for grants in this program 2005. during their tenure on the jury. The jury CAA News will receive applications from publishers Call for Dissertation Listings each spring and will select finalists by e- For more information on CAA activities, mail, convening in early June at the CAA Dissertations in art history and visual stud- visit www.collegeart.org. office in New York to choose a grantee. ies, both completed and in progress, are The first jury will meet in spring 2006. published annually in the June issue of The Jurors are asked to serve a five-year term. The Art Bulletin Seeks Reviews Art Bulletin and listed on CAA’s website. For further information, please visit Editor PhD-granting institutions may send a list of www.collegeart.org/pubgrant or contact dissertation titles of its doctoral students to Eve Sinaiko, CAA director of publications, The Art Bulletin Editorial Board invites [email protected]. Full instruc- at [email protected]. nominations and self-nominations for the tions regarding the format of listings can be Nominations and self-nominations are position of reviews editor for the term July found at www.collegeart.org/dissertations; welcomed. Nominators should first ascer- 1, 2006–June 30, 2009 (with service as they will also be sent by e-mail and fax to tain their nominee’s willingness to serve. incoming reviews-editor designate from department heads later this fall. We do not Candidates should send a letter of interest February to June 2006). The Art Bulletin, accept listings from individuals. Improperly and c.v. to: Publication Grant Jury, CAA, published quarterly by CAA, is the leading formatted lists will be returned to sender. 275 Seventh Ave., 18th Floor, New York, publication of art history in English. For more information, write to the above e- NY 10001. Deadline: December 1, 2005. The reviews editor is responsible for the mail address. Deadline: December 1, 2005. commissioning of all book and exhibition reviews in The Art Bulletin. He or she selects CAA Publishing Grant Offered MILLARD MEISS books and exhibitions to be reviewed, com- PUBLICATION GRANTS missions reviewers, and determines the CAA invites publishers in art, art history, appropriate length and character of reviews. visual studies, and related fields to submit The reviews editor also works with authors CAA awards Millard Meiss Publication applications for a new grant to support the Grants to support the publications of and CAA’s director of publications in the publication of a book (or booklike work in development and preparation of review man- book-length scholarly manuscripts in another format) in the arts. the history of art and related subjects. uscripts for publication. He or she is expect- This grant is an annual award to a pub- ed to keep abreast of newly published and/or We welcome applications from non- lisher in the amount of $23,000 to support profit, for-profit, and museum presses. important books and recent exhibitions in the the publication of one book. Applicant fields of art history, criticism, theory, and books are original works of exceptional For complete guidelines, deadlines, museum publishing. This is a three-year merit and significant contributions to the term, which includes membership on The Art and application materials, please visit scholarship of art, art history, visual stud- www.collegeart.org/meiss. Bulletin Editorial Board. The position ies, art theory or criticism, or a related includes an annual honorarium of $2,000, field. Applications for works in the follow- Deadlines: paid quarterly. ing areas are especially welcomed: The reviews editor attends the three annu- March 15 and African, East Asian, South Asian, Native October 1 of al meetings of The Art Bulletin Editorial American, or contemporary art; works that every year MM Board—held in spring and fall in New York focus in depth on a single theme, artist,

CAA NEWS SEPTEMBER 2005 29 Wyeth Book Grant Offered publishers each fall and will select finalists earlier username-password combination. A by e-mail, convening in late fall at the representative from each institution must CAA is pleased to announce a new three- CAA office in New York to choose a register with the journal upon first use and year publishing grant program, funded by grantee. The first jury will meet in Novem- find the best way to circulate the username the Wyeth Foundation for American Art. ber or December 2005. Jurors are asked to and password to its users. CAA is working CAA will award publication grants to sup- serve a three-year term. For further infor- toward providing IP address recognition port book-length scholarly manuscripts in mation, visit www.collegeart.org/wyeth or for schools, libraries, museums, depart- the history of American art and related contact Eve Sinaiko, CAA director of pub- ments, and research centers. subjects that have been accepted by a publications, at [email protected]. If you are an individual member visiting lisher on their merits but cannot be pub- Nominations and self-nominations are either caa.reviews or the Member Portal lished in the most desirable form without a welcomed. Nominators should first ascertain for the first time, you must log in with the subsidy. For complete guidelines, applica- their nominee’s willingness to serve. Candi- username and password that have been tion forms, and grant description, please dates should send a letter of interest and c.v. preset for you. You may change your pre- visit www.collegeart.org/wyeth. Deadline: to: Wyeth Grant Jury, CAA, 275 Seventh assigned password anytime after your first October 15, 2005. Ave., 18th Floor, New York, NY 10001. log in. Your username is your member Deadline extended: September 15, 2005. number, which can be found on your Wyeth Book Grant Jurors Sought membership card or the label on most caa.reviews Improves Access CAA mailings. Your preset password was Jurors are sought with expertise in any included in your 2005 membership packet. branch of American art history, visual To log into caa.reviews, our online book- If you need your member number or pass- studies, or a related field. Candidates must and exhibition-reviews journal, individual word, contact our Development, Member- be current CAA members who are actively CAA members can now use the same pass- ship, and Marketing Department by e-mail publishing scholars with demonstrated sen- word system used for the Member Portal at [email protected] or by fax at iority and achievement. Jury members may on our main website. You now need only 212-627-2381. You may also call 212-691- not themselves apply for a grant in this one username and password to gain access 1051, ext. 12, during our office hours: program during their tenure on the jury. to both websites. Monday–Friday, 9:00 AM–5:00 PM EST. The jury will receive applications from Institutional members still must use the caa.reviews will be making additional

Under Larry Silver’s able leadership, caa.reviews has added New caa.reviews Editor-in-Chief coverage of exhibitions, particularly those at university art museums that too often escape scholarly notice. The journal can also take on a more comprehensive review of current rederick Asher, professor and scholarship on art. While that may not allow it to shape the chair of the Department of Art discipline, as CAA’s two print journals do, caa.reviews can History at the University of F nevertheless maintain a close sense of current directions in Minnesota in Minneapolis, has been writing and other forms of scholarship on visual production. appointed editor-in-chief of “To achieve this goal, I would like to see caa.reviews expand caa.reviews. He began his three-year its perspective. In addition to reviewing books and exhibi- term July 1, 2005, succeeding Larry tions—two primary venues in which knowledge is made and Silver of the University of disseminated—I think the journal should examine a great many Pennsylvania. other issues that have an impact on our field: conferences, ped- Asher has served on the journal’s edi- agogical developments, issues addressed by a cluster of recent torial board and as field editor of South publications, and professional talks. In short, I can see Asian art. He is the author of The Art Frederick Asher caa.reviews becoming an art-historical version of the Times of Eastern India: 300–800 (Minnea- Literary Supplement or New York Review of Books. polis: University of Minnesota Press, 1980) and Art of India “Finally, there are two additional issues I hope we will be (Chicago: Encyclopaedia Britannica, 2002)—two major histor- able to address in the coming years. First, access to the journal ical studies of the art of the subcontinent—and his essays have is currently available only to CAA members. We need to find appeared in numerous books and journals, including Artibus ways to make caa.reviews accessible to others—to our col- Asiae, East and West, and Ars Orientalis. His current research leagues around the globe and those in other disciplines who explores shared and contested space in South Asia, focusing nevertheless have reason to read scholarship in the fields we most recently on the religious site of the Katra Mound at represent. Second, given the crisis in academic publishing, Mathura, which has been the site of a Buddhist monastery, a electronic publishing must gain the respect granted to rigorous- Jain temple, several Hindu temples, and a mosque. ly refereed print publications. caa.reviews should be an exem- Asher writes, “caa.reviews, the newest of the three CAA plar of peer review as well as make a rich scholarly contribu- journals, represents a pioneering venture in electronic publish- tion in its own right. The journal has the potential to change ing. With a team of field editors ensuring that books are the perception of electronic publications, and with a dynamic reviewed in timely fashion, the journal plays the important role editorial board and superb field editors, I expect it to do so.” of both publicizing and critiquing new work in the discipline.

30 CAA NEWS SEPTEMBER 2005 design changes and improvements to the website in the coming months. Stay tuned! Members Alert: Help Us to Help You!

New Staff Members CAA mails all printed publications and notices to your street address and sends special bulletins via e-mail. Please update your contact information at the CAA Member Matthew Abate has joined CAA as media Portal, so that you don’t miss out on any CAA activity! You can do this easily and and communications assistant. Abate is quickly online: responsible for assisting the redevelopment • Go to www.collegeart.org; of www.collegeart.org, the design of vari- • Click on the Member Portal link that says “Already a Member? Click Here to Log ous print materials, and planning public- In”; relations and communications strategies. • Enter your member ID/user ID and password; Abate’s background includes positions • Update any and all contact information in your account. in visual-arts management, special-projects management, advertising, interactive and Thanks for helping us to serve you better! Web design, and media consulting. Before coming to CAA, he had worked for sever- International Committee: at least one al New York art galleries. Most recently, other members and provide service to the member; Education Committee: at least he was special-projects associate for Exit field. one member. Art, a nonprofit alternative art space. Committee members serve a three-year For information about the mandate and Abate graduated from the University of term (2006–9), with at least one new activities of each PIPS committee, please Arizona in Tucson with a BFA in mixed- member rotating onto a committee each visit www.collegeart.org/committees. media art, and from the Fashion Institute of year. Candidates must possess expertise Technology, State University of New York, appropriate to the committee’s work and with an MA in visual-arts management. must be current CAA members. Members of all committees volunteer their services Jimmy Huang is CAA’s new IT specialist. to CAA without compensation. CAA’s Join a CAA Award Jury Huang earned a BS in computer science president and vice president for commit- from City College, City University of New tees will review all candidates and make York, as well as credentials as a Microsoft appointments prior to the 2006 Annual illem de Kooning and Joan Certified Professional (skilled in imple- Conference in Boston. All new members Mitchell, Louise Bourgeois and menting Microsoft products as part of a will be introduced to their committees at W Miriam Shapiro, John business solution) and a Microsoft their respective business meetings at the Baldessari and Hans Haacke—these are Certified Systems Engineer (expertise in conference. not just the great artists of the twentieth designing and implementing infrastructure Nominations and self-nominations for century, but they are also recipients of using Windows). He comes to CAA after PIPS committee membership should CAA’s Distinguished Artist Award for eight years at Milford Consultants as a include a brief statement (no more than 150 Lifetime Achievement. This award is one system specialist. words) outlining the individual’s qualifica- of eleven that honor artists, art historians, tions and experience and an abbreviated authors, curators, critics, and teachers c.v. (no more than two pages). Please send whose accomplishments transcend their all materials to: Vice President for individual disciplines and contribute to the Join a CAA Committee Committees, c/o Alexis Light, Governance profession as a whole and to the world at and Advocacy Assistant, CAA, 275 large. Recipients are chosen by a jury of Seventh Ave., 18th Floor, New York, NY CAA members. ave a few bright ideas? Want to 10001. Materials may also be sent to Become a part of this exciting tradition! advocate for the rights of part-time [email protected]; all e-mail submis- Jury members serve a three-year term Hand adjunct faculty, select pro- sions must be sent as Microsoft Word (2006–9). Candidates must possess expert- gramming for ARTspace at the Annual attachments. Deadline: November 4, 2005. ise appropriate to the jury’s work and be Conference, or help organize a special of The following vacancies will be filled current CAA members. CAA’s president CAA News? CAA invites you to join one for terms beginning in February 2006: and vice president for committees appoint of our diverse, active Professional Committee on Diversity Practices: at least jury members for service. Interests, Practices, and Standards (PIPS) one member; Student and Emerging Nominations and self-nominations committees. PIPS committees address cru- Professionals Committee: at least one should include a brief statement (no more cial issues in the fields of art and art histo- member; Committee on Women in the than 150 words) outlining the individual’s ry and help to shape CAA’s activities and Arts: at least one member; Services to qualifications and experience and an goals. PIPS committees initiate and super- Artists Committee: at least two members; abbreviated c.v. (no more than two pages). vise ongoing projects and recommend to Professional Practices Committee: at least Send all materials to: Vice President for the Board new programs and formal state- two members; Museum Committee: at Committees, c/o Susan DeSeyn, Manager ments and guidelines. Joining a committee least one member; Committee on of Programs, CAA, 275 Seventh Ave., is also an excellent way to network with Intellectual Property: at least one member; 18th Floor, New York, NY 10001. Mater-

CAA NEWS SEPTEMBER 2005 31 ials may also be sent to sdeseyn under Picton celebrated his teaching and Renaissance Society of America annual @collegeart.org; all e-mail submissions vision. meeting. For membership information, must be sent as Microsoft Word attach- please contact Joyce Kubiski at ments. Deadline: November 4, 2005. [email protected]. The following jury vacancies will be Association of Historians of filled for three-year terms beginning in Nineteenth-Century Art May 2006: Arthur Kingsley Porter Prize: Leonardo/International Society at least one member; Art Journal Award: The Association of Historians of for the Arts, Sciences, and at least two members; Alfred H. Barr, Jr., Nineteenth-Century Art (AHNCA) has Technology Award: at least one member; Charles published papers that were presented at the Rufus Morey Book Award: at least two recent Siegfried Bing symposium appear in its The Leonardo Educator Forum is open to members; Distinguished Teaching of Art electronic journal, Nineteenth-Century Art any CAA member who is also a member of Award: at least two members: Distin- Worldwide, courtesy of the Van Gogh Leonardo/International Society for the Arts, guished Teaching of Art History Award: at Museum in Amsterdam; please visit Sciences, and Technology (Leonardo/ least two members: Distinguished Body of www.19thc-artworldwide.org. ISAST). The group is hosting a special ses- Work Award: at least one member; Distin- sion at the 2006 CAA conference in Boston guished Artist Award for Lifetime Historians of German and entitled “New Media Futures: The Artist as Achievement: at least two members: Researcher and Research as Art in the CAA/Heritage Preservation Award: at least Central European Art and Twenty-First Century,” chaired by Timothy two members; Distinguished Lifetime Architecture Jackson. For more details about this ses- Achievement Award for Writing on Art: at sion’s call for papers, other calls open to the least one member. The Historians of German and Central group, and general membership information, For more information on each award, European Art and Architecture (HGCEAA) go to http://mitpress2.mit.edu/e-journals/ please visit www.collegeart.org/awards. elected a new board of directors for 2005– Leonardo/isast/events/leonardocaa.html. You 8. Officers are: Peter Chametzky, presi- may also contact the workgroup’s chair, dent; Rose-Carol Washton Long, treasurer; Ioannis Yessios, at [email protected]. Marsha Morton, secretary; and Anna Brzyski, newsletter editor and webmaster. Affiliated Society Members of the board also include: New Media Caucus News Stephanie D’Alessandro, Timothy Benson, Eva Forgacs, and Thomas DaCosta Media-N, the online journal of the New Kaufmann. Media Caucus (NMC), is published at For more information on CAA’s affiliated www.newmediacaucus.org/median. The societies, visit www.collegeart.org/caa/ journal will explore current discourse in aboutcaa/affsocieties.html or write to Historians of Islamic Art new-media practice, research, debate, and Emmanuel Lemakis, CAA director of pro- inquiry. Starting in fall 2005, Media-N will The 2005–8 board of the Historians of grams, at [email protected]. be published twice a year, in September Islamic Art (HIA) includes: Stefano and February. The journal invites submis- Carboni, president; Renata Holod, presi- sions of papers, commentaries, and Arts Council of the African dent elect; Aimee Froom, secretary/treas- reviews for journal issues from NMC Studies Association urer; Persis Berlekamp, newsletter editor; members, media-arts practitioners, theo- Barry Wood, webmaster; Kishwar Rizvi, rists, and educators in the field. Several members of the Arts Council of the board member; Cynthia Robinson and Oya African Studies Association (ACASA) par- Pancaroglu, board members (rotating off at ticipated in the first European Conference of the end of 2005). Society for the Study of Early African Studies. Organized by the Africa- Modern Women Europe Group for Interdisciplinary Studies, Italian Art Society the meeting took place June 29–July 2, 2005, The Society for the Study of Early Modern Women (SSEMW) session at the 2005 at the School of Oriental and African Studies The Italian Art Society (IAS) will cele- (SOAS) and several other venues at the CAA conference has evolved into a book. brate its twentieth anniversary in 2006 Edited by Andrea Pearson, The Face of University of London. ACASA participants with a special reception at the Isabella were: Christraud Geary, Sidney Kasfir, Gender in Early Modern European Stewart Gardner Museum during the CAA Portraiture will be published by Ashgate. Philip Peek, Polly Richards, Enid Schild- conference in Boston. Concerned with krout, and Susan Vogel. ACASA member SSEMW regularly sponsors sessions at Italian art of all periods but with particular CAA, the annual meetings of the and Professor Emeritus John Picton of emphasis on the medieval, Renaissance, SOAS was honored in a workshop, “Recon- Renaissance Society of America and the and Baroque periods, IAS publishes a Sixteenth Century Society and Conference figuring the Contemporary: Dialogues in newsletter and sponsors sessions at CAA, African Art,” where scholars and practition- (SCSC), and other major conferences. Our the International Medieval Congress at plenary speaker at SCSC in October 2005 ers of African art influenced by or studied Kalamazoo, Michigan, and the will be Merry Weisner.

32 CAA NEWS SEPTEMBER 2005 SOLO EXHIBITIONS Midwest

BY ARTIST MEMBERS Michael Eble. Prairie Renaissance Cultural Alliance Gallery, Morris, Minn., Only artists who are CAA members are May 15–June 24, 2005. New Works on included in this listing; group shows are Paper. Mixed media. not published. Send your name, membership ID number, venue, city and state, dates Cara Long. Tchoupitoulas, Kansas City, of exhibition (no earlier than 2005), title of Mo., June 3–30, 2005. show, and medium(s). You may also send digital images of the work in the exhibi- Chitra Ramanathan. Barnes and Noble, tion; include the title, date, medium, and Greyhound Plaza, Carmel, Ind., June size. E-mail to [email protected]. 1–30, 2005. Painting.

Yonsenia White. Gates of Eden Abroad Messianic Resource Center and Art Gallery, East Peoria, Ill., June 2–30, Brit Bunkley. Lopdell House, Auckland, 2005. Manna from the Marquis: Spiritual New Zealand, July 7–August 20, 2005. Guidance from the Side of the Road. Toto, we’re not in Kansas anymore. Digital photography. Digital prints, 3-D prints, and video animation; Pelorus Trust Mediagallery, Deborah Zlotsky. Fort Wayne Museum Wellington, New Zealand, June 10–July of Art, Fort Wayne, Ind., August 9, 2005. Following Gravity’s Rainbow. 27–October 23, 2005. Paintings by Brit Bunkley, Descent, still from the vertical video projection Following Gravity’s Sculpture, installation, and video anima- Deborah Zlotsky. Rainbow, dimensions variable. tion; with John Roy, Mary Newton Gallery, Wellington, New Zealand, May December 6–24, 2005. Constructed September 15–October 14, 2005. A 28–June 18, 2005. Animal Farm. Digital Northeast Canvases – Embedded Images. Painting Startling Exhibition of Strength, prints, 3-D prints, and video animation. and weaving. Dexterity, and Disguise. Drawing, painting, and performance. Cecilia Mandrile. Luz Osorio Gallery, Arlene Baker. Humanities Gallery, London, England, June 14–July 3, 2005. Union College, Schenectady, N.Y., April David DiPasquale. 55 Mercer Gallery, Heather Ryan Kelley. Galerie Lafayette, The Perfume of Absence. Mixed media. 1–June 12, 2005. Arlene Baker: Recent New York, June 21–July 16, 2005. David Work. Painting. DiPasquale: Paintings. Lafayette, La., February 5–March 4, 2005. Always Keep a Diamond in Your Mid-Atlantic Frances Barth. Jaffe-Friede and Strauss John Jacobsmeyer. Jack the Pelican Mind. Painting and mixed media. Galleries, Hopkins Center, Dartmouth Presents, Brooklyn, N.Y., June 11–July 3, College, Hanover, N.H., June 28–July 24, 2005. Monster Monologues. Painting. Kate Kretz. Patricia and Phillip Frost Art Michael Aurbach. Suzanne H. Arnold Museum, Miami, Fla., June 3–July 31, Art Gallery, Lebanon Valley College, 2005. Paintings. Susan Manspeizer. Silvermine Guild 2005. Grace & Shame. Painting and Annville, Pa., August 26–October 7, Arts Center, New Canaan, Conn., mixed media; Chelsea Galleria, Miami, 2005. The Administrator. Sculpture. Ruth Bernard. Oxbow Gallery, North- ampton, Mass., July 19–August 15, September 11–October 9, 2005. Painting Fla., June 9–July 8, 2005. Resplendent as Sculpture. Frailty. Painting. Larry Holmes. Delaware Center for the 2005. Transitions: Still Life and Contemporary Arts, Wilmington, Del., Interiors. Painting. James Meyer. Sandra Gering Gallery, March 25–May 8, 2005. Short Stories. New York, June 2–July 8, 2005. Ironic West Painting. Virginia Davis. Noho Gallery, New York, Pentameter. Watercolor. Julia M. Becker. Paris Gibson Square Pat Feeney Murrell. Treasure Room Museum of Art, Great Falls, Mt., July 15– Gallery, Interchurch Center, New York, October 15, 2005. Flowebb: hand prints, May 19–June 24, 2005. Paper Personae: painting, sculptures (A New Installation). The Body as Persona for the Spirit. Mixed media. Denise DeHart. Central Gallery, Burton Barr Central Library, Phoenix, Ariz., June Heidi Neilson. Women’s Studio 2–27, 2005. Trace. Workshop Gallery, Rosendale, N.Y., March 11–April 3, 2005. Recent Work. Printmaking and drawing.

Donna Stack. Phoenix Gallery, New York, June 22–July 16, 2005. Donna Stack. Installation.

Elizabeth Terhune. Lake George Arts Project, Courthouse Gallery, Lake George, N.Y., September 17–October 21, 2005. Recent Paintings.

South

Les Barta. Trahern Gallery, Austin Peay State University, Clarksville, Tenn., September 12–October 2, 2005. Photoconstructions by Les Barta. Julia M. Becker, No Other Way Rachel Hoffman. Kirk Clark Gallery, (Archway), 2004, mixed media on paper, South Texas College, McAllen, Tex., John Jacobsmeyer, Mole World, 2004, oil on canvas, 36 x 36 in. 38 1/2 x 27 in.

CAA NEWS SEPTEMBER 2005 33 Heidi Neilson. Kodoku Gallery, Port- Culture of Fascist Italy (Ithaca, N.Y.: Lieberman was born in Paris and and the two bought art by many artists, land, Ore., September 1–30, 2005. Roofs Cornell University Press, 2005). raised there and in New York. He gradu- including work by Warhol, Rauschenberg, and A Block of Alleys. Printmaking and ated with honors from Swarthmore Stella, Rosenquist, and Johns before they artist’s book. Meredith Parsons Lillich. Stained Glass College. In 1943 he joined the Dept. of became well known. Many of the archi- before 1700 in Upstate New York Exhibitions and Publications at the tect’s donations to MoMA would not Fran Siegel. Bank, Los Angeles, Calif., (Turnhout, Belgium: Harvey Miller, 2004). Museum of Modern Art in New York. have ended up in the museum without April 16–May 21, 2005. Daylight After 2 years of graduate school at Whitney’s guidance. Savings. JoAnne Mancini. Pre-Modernism: Art- Harvard University, he returned to the World Change and American Culture museum to become an assistant to Alfred from the Civil War to the Armory Show H. Barr, Jr. PEOPLE IN THE BOOKS PUBLISHED (Princeton: Princeton University Press, At MoMA he curated over 40 exhibi- 2005). tions, concluding in 1979 with Art of the NEWS BY ARTIST MEMBERS Twenties. He was appointed director of Roberta Moudry, the new Dept. of Prints in 1949. Through Please send your name and listing to Only authors who are CAA members are ed. The American his influence, the dept. expanded to [email protected]. included in this listing. Please send you Skyscraper: Cultural include drawings. In 1967 he was named name, membership ID number, book title, Histories (New York: a curator in the Dept. of Painting and publisher’s name and location, and the Cambridge Univer- Sculpture. He then was appointed director Academe year published (no earlier than 2005) to sity Press, 2005). of the new Dept. of Drawings after a [email protected]. 1971 reorganization. Roann Barris has been appointed assis- Bernard O’Kane, In 1979 Lieberman became chair of tant professor of art history in the Art Claudia Chapline. Collage: Pop Poetry ed. The Iconography the Dept. of 20th-Century Art at the Met. Department of Radford University, in and Sound Bytes (Stinson Beach, Calif.: of Islamic Art: Studies He remained chair there, renamed the Radford, Va. Red Comma Editions, 2005). in Honour of Robert Hillenbrand (Edin- Dept. of Modern Art in 1999, until June burgh: Edinburgh University Press, 2005). 2004, when the dept. was given a new Yve-Alain Bois, formerly chair of the Colleen Denney. Representing Diana, designation, the Department of 19th- History of Art and Architecture Dept. at Princess of Wales: Cultural Memory and Clare A. P. Willsdon. In the Gardens of Century, Modern, and Contemporary Art. Harvard University in Cambridge, Mass., Fairy Tales Revisited (Madison, N.J.: Impressionism (London: Thames and has joined the faculty of the School of Fairleigh Dickinson University Press, 2005). Hudson, 2004). Al Loving, an abstract painter and col- Historical Studies at the Institute for lage artist, died June 21, 2005, in Advanced Study in Princeton, N.J. I. Wayan Dibia and Rucina Ballinger, Manhattan at age 69. with illustrations by Barbara Anello. OBITUARIES Loving emerged after a solo exhibition Benjamin Buchloh, formerly Virginia Balinese Dance, Drama, and Music: A of abstract works at the Whitney Museum Bloedel Wright Professor at Barnard Guide to the Performing Arts of Bali (North Sylvan Cole, an art dealer who champi- in 1969, a time when most African College and Columbia University in New Clarendon, Vt.: Periplus Editions, 2004). oned modern printmaking and print col- American artists were working in figura- York, has been appointed Franklin D. and lecting, died June 4, 2005, in Manhattan. tive and representational styles. His early Florence Rosenblatt Professor of Modern Douglas Dreishpoon. Petah Coyne: Above He was 87. work was geometric and cubic, but his Art at Harvard University in Cambridge, and Beneath the Skin (Buffalo, N.Y.: Cole, who had operated the Sylvan later style loosened with brighter colors Mass. Albright-Knox Art Gallery, 2005). Cole Gallery in Manhattan since 1984, and sensuous curves. exhibited prints and drawings by 19th- The Detroit-born Loving received a Harold Linton has been appointed chair Sherry Fowler. and 20th-century American artists, includ- BA in fine arts from the University of of the Dept. of Art and Visual Technology Muroji: Rearranging ing Avery, Benton, Davis, Hassam, Illinois in 1963 and earned an MA in fine in the College of Visual and Performing Art and History at a Hopper, Soyer, Whistler, and Wood. He arts from the University of Michigan in Arts at George Mason University in Japanese Buddhist even published new prints himself. 1965. Three years later he moved to New Fairfax, Va. Temple. (Honolulu: Cole began his career in 1946 at the York, and he later taught at City College, University of Associated American Artists Gallery in City University of New York, from 1988 Jeffrey Morin, for- Hawai‘i Press, New York and served as director there to 1996. His work has been collected by merly chair of the 2005). from 1955 to 1983. He was a founding the Whitney, Metropolitan Museum of Dept. of Art and member of the International Fine Print Art, Philadelphia Museum of Art, and Design at the Uni- Amaury A. Garcia. Dealers Association and served as its Detroit Institute of Arts. versity of Wiscon- Cultura Popular y Grabado en Japón, president from 1994 to 1997. sin, Stevens Point, siglos XVII a XIX (Popular Culture and Cole received a bachelor’s degree in David Whitney, a curator and collector has been appointed Prints in Japan, Seventeenth to English literature, with a minor in art his- of contemporary art and an art adviser to dean of the College Nineteenth Centuries) (Mexico City: El tory, from Cornell University in 1939. He his partner, Philip Johnson, died June 12, of Fine Arts and Colegio de México, 2005). attended graduate classes in art history at 2005, in New York at 66. Jeffrey Morin Communication at Rutgers and served as an officer in the Whitney was well known in the con- the university. Kim Grant. U.S. Army during WWII. His books and temporary art world, where he organized Surrealism and the catalogues raisonnés include Will Barnet: exhibitions of work by such artists as Monica Blackmun Visonà, formerly of Visual Arts: Theory Etchings, Lithographs, Woodcuts, Twombly, Johns, and Warhol, as well as Metropolitan State College of Denver, has and Reception (New Serigraphs, 1932–1972 (1972); Grant midcareer surveys of work by Heizer, joined the art-history faculty of the Dept. York: Cambridge Wood: The Lithographs (1984, ed. by Fischl, and Salle, at the Whitney of Art at the University of Kentucky in University Press, Susan Teller); and Raphael Soyer: 50 Museum. (He was not related to the Lexington. 2005). Years of Printmaking (1978). museum’s founding family.) Last year, he organized an exhibition of paintings Johanna House- William S. Lieberman, a renowned by de Kooning’s at New York’s Museums holder and Tanya museum curator and administrator, died Gagosian Gallery. Mars, eds. Caught in the Act: An An- May 31, 2005, in Manhattan at age 82. Whitney studied architecture at the thology of Performance Art by Canadian Lieberman was Jacques and Natasha Rhode Island School of Design, where he Hope Alswang, for- Women (Toronto: YYZ Books, 2004). Gelman Special Consultant for Modern met Johnson in 1960 after the architect merly president and Art at the Metropolitan Museum of Art, gave a lecture at Brown University; the chief executive offi- Yuko Kikuchi. Japanese Modernisation where he organized over 35 exhibitions. two became lifelong companions. After cer of the Shelburne and Mingei Theory: Cultural Nationalism He was also influential in acquiring large college, Whitney worked at the Museum Museum in Shel- and Oriental Orientalism (London: gifts and purchases for the Met, including of Modern Art and several galleries, burne, Vt., has RoutledgeCurzon, 2004). a collection of 81 modern works by including Leo Castelli, and briefly operat- become director of Picasso, Braque, Bonnard, Miró, and ed his own gallery. He also worked as an the Rhode Island Claudia Lazzaro and Roger J. Crum, Matisse, and 100 works from the Pierre assistant for artists, including Johns, and School of Design eds. Donatello among the Blackshirts: and Maria-Gaetana Collection, gathered was celebrated for arranging and Hope Alswang Museum of Art in History and Modernity in the Visual by the art dealer Pierre Matisse. installing exhibitions. Providence. Whitney was Johnson’s art advisor,

34 CAA NEWS SEPTEMBER 2005 Jacqueline M. Atkins has been appoint- Joseph Rosa, formerly Helen Hilton Kimberly Bowes, assistant professor at fellowships for its 2005–6 Visiting ed Kate Fowler Merle-Smith Curator of Raiser Curator of Architecture and Fordham University in New York, has Scholars Program to these CAA mem- Textiles at the Allentown Art Museum in Design at the San Francisco Museum of received a 2005–6 Rome Prize from the bers: Cammy Brothers, Sheila Crane, Allentown, Pa. Modern Art in California, has been American Academy in Rome to work on and Mary Louise Lobsinger. appointed John H. Bryan Curator and “Possessing the Holy: Private Churches Rene Paul Barilleaux, formerly deputy Head of Architecture and Design at the in the City of Rome in Late Antiquity.” Experimental Television Center, based in director for programs at the Mississippi Art Institute of Chicago in Illinois. Newark Valley, N.Y., has awarded finish- Museum of Art in Jackson, has been Aurore Chabot, professor of art and ing funds to CAA members Jillian appointed curator of art after 1945 at the Elizabeth ceramics at the University of Arizona in McDonald and Adam Zaretsky to sup- Marion Koogler McNay Art Museum in Pendleton Tucson, has received the 2005 Fellow of port their electronic media, sonic art, and San Antonio, Tex. Streicher, an inde- the Council Award from the National film projects. pendent curator, has Council on Education for the Ceramic Michael Barry has been appointed chair been appointed Arts (NCECA) in recognition of her The New York–based Joan Mitchell of the Dept. of Islamic Art at the Metro- director of collec- exceptional national service to the field of Foundation has awarded 2005 MFA politan Museum of Art in New York. tions and exhibitions ceramic arts and as a member of the Grants to the following CAA members: at the Worcester Art NCECA national board of directors for 5 M. Elisabeth Higgins O’Connor of the Ann Bitter, deputy director and chief Museum in years. The award confers membership University of California, Davis; Elizabeth operating officer at the Walker Art Center Worcester, Mass. and national annual conference fees for Shervone Neckles of Queens College, Pendleton Streicher in Minneapolis, Minn., has resigned to the life of the recipient and makes avail- City University of New York; and resume a consulting practice. Olga Viso has been able special opportunities for creative Michael Ogilvie of the University of named director of research, residencies, and exhibitions. Nevada, Las Vegas. This grant program Carissa DiCindio has been appointed the Hirshhorn Mus- helps MFA painters and sculptors to fur- assistant curator of education at the eum and Sculpture Marilyn E. Heldman has been awarded ther their artistic careers and to aid in Georgia Museum of Art, University of Garden in Wash- a 2005–6 fellowship in Byzantine studies their transition from academic to profes- Georgia, in Athens. ington, D.C. She at Dumbarton Oaks in Washington, D.C., sional studio work upon graduation. succeeds Ned Rif- for the fall term. Xandra Eden, for- kin, who has served The Metropolitan Museum of Art in New merly assistant cura- Photo: Lee Stalsworth since 2002. Mary Miller, Vincent Scully Professor of York has awarded fellowships to the fol- Olga Viso tor at the Power the History of Art at Yale University in lowing CAA members: Rachael Barron- Plant in Toronto, New Haven, Conn., has been named chair Duncan, Sandra Cheng, Jerrilyn Ontario, has been of the board of advisors at the Center for Dodds, William Hood, Vasileios chosen curator of Organizations Advanced Study in the Visual Arts, Marinis, Jessica Lee May, Elizabeth exhibitions at the National Gallery of Art, in Washington, Pergam, Catherine Puglisi, Eric University of North Craig Binkowski D.C., for 2005–6. Matthew Ramírez-Weaver, Freyda Carolina’s has been appointed Spira, Eve Straussman-Pflanzer, Xandra Eden Weatherspoon Art head librarian of the Elizabeth Perrill, a PhD candidate at Jonathan Weinberg, Marta Weiss, Museum in Reference Library Indiana University, has been awarded the Veronica White, and Diane Wolfthal. Greensboro, succeeding Ron Platt. and Photograph Midwest Art History Society’s 2005 Archive at the Yale Graduate Student Presentation Award for Linda S. Ferber, formerly Andrew W. Center for British her paper, “Ubuntu and Ubumba: Mellon Curator of American Art at the Art in New Haven, Philosophical Change in the Use of Zulu INSTITUTIONAL Brooklyn Museum in Brooklyn, N.Y., has Conn. Ceramic Vessels.” Perrill has also Craig Binkowski been appointed vice president and direc- received a Fulbright-Hays Fellowship NEWS tor of the museum at the New-York David P. Leach through the U.S. Dept. of Education and Only CAA institutional members are Historical Society. has been selected executive director of an International Dissertation Research included in this listing. Please send your the Worcester Center for Crafts in Wor- Fellowship from the Social Science name, membership ID number, and news Richard Flood, formerly deputy director cester, Mass. Research Council, funded by the Andrew item to [email protected]. at the Walker Art Center in Minneapolis, W. Mellon Foundation, to conduct Ph.D. Minn., has become chief curator at the Susan Shatter has been elected president research in South Africa. The Fabric Workshop and Museum in New Museum of Contemporary Art in of the National Academy in New York. Philadelphia, Pa., has been awarded a New York. Melissa H. Potter has been awarded a large grant by the Philadelphia Mirko Zardini has been appointed direc- Fulbright Scholar lecturing and research Exhibitions Initiative, funded by the Pew Douglas Fogle, formerly curator at the tor of the Canadian Centre for Archi- award to teach hand papermaking at the Charitable Trusts and administered by the Walker Art Center in Minneapolis, Minn., tecture in Montreal, Quebec. Faculty of Fine Arts in Belgrade, Serbia, University of the Arts, to collaborate has been appointed curator of contempo- in spring 2006. with Ed Ruscha, an artist-in-residence at rary art at the Carnegie Museum of Art in the workshop and museum in 2005–6. Pittsburgh, Pa. Gretchen Romey-Tanzer has received GRANTS, AWARDS, an Artist Grant in Crafts from the The Kansas City Art Institute in Melody Kanschat, executive vice presi- Massachusetts Cultural Council for her Missouri has instituted a Community Arts dent of the Los Angeles County Museum & HONORS artwork in the crafts field. and Service Learning (CASL) program. of Art in California, has been appointed Only CAA members are included in this CASL offers a rigorous 15-hour curricu- president of the museum. She succeeds Ron Shuebrook, artist, educator, and listing. Please send your name, member- lum that includes a service-learning Andrea Rich, who will retire in Novem- president of the Ontario College of Art ship ID number, and information to internship. Students who complete the ber 2005. and Design in Toronto, has received an [email protected]. program will be eligible for a certificate honorary doctorate from the college for in community arts. David C. Levy, director of the Corcor- making a significant contribution to the Basil Alkazzi has been honored as a sen- an Gallery of Art in Washington, D.C., arts and to education over the course of ior fellow of the Royal College of Art, The Newark Museum in New Jersey has has resigned. his career. both as an artist and as a benefactor of the received a Tourism Excellence Award from arts. The ceremony took place at the the New Jersey Governor’s Conference on Luanne McKinnon has been chosen Deborah Willis, University Professor at Royal Albert Hall in London. Tourism for the exhibition, Nicholas & curator of exhibitions at the Cornell Fine the Tisch School of the Arts at New York Alexandra: At Home with the Last Tsar Arts Museum at Rollins College in University, has been named an Alphonse Suzanne Preston Blier of Harvard and His Family, on view in 2004–5. Winter Park, Fla. Fletcher, Sr., Fellow by the Fletcher University in Cambridge, Mass., has been Foundation for her project, “Reflections selected a Evelyn Green Davis Fellow by Parsons School of Design in New York Guy Perricone has been appointed man- in Black: Black Photographers 1840 to the Radcliffe Institute for Advanced has received a large monetary gift from aging director of the Institute of the Present: A Documentary.” Study to work on her project, “Antiquities the estate of the late Gwendolyn Knight Contemporary Arts in London. at Ife: Violence, Disease, Power, and Art Lawrence to sustain the school’s The Canadian Centre for Architecture in in Ancient Africa.” Lawrence Scholars Program, a multiyear Montreal, Quebec, has awarded research

CAA NEWS SEPTEMBER 2005 35 education program for low-income high as are studies that consider America from demic sectors. The scholarship provides views, and artist’s projects for interactive school students from the Harlem commu- a comparative perspective. For details, for a stay of 1 year in Germany for pro- discussion. For more information, visit nity that provides rigorous precollege contact: Visiting Scholars Program, fessional development, study, or research. www.artcircles.org. Submissions may be training in art and design. American Academy of Arts and Sciences, Applicants design individual projects spe- sent to Holly Crawford at 136 Irving St., Cambridge, MA 02138; cific to Germany and decide at which [email protected]. Deadline: ongoing. The University of Michigan Museum of 617-576-5014; fax: 617-576-5050; vsp institutions to pursue them. Successful Art in Ann Arbor has received a chal- @amacad.org; www.amacad.org/projects candidates have come from such fields as lenge grant from the Kresge Foundation .aspx. Deadline: October 14, 2005. government, social and policy sciences, Conferences & Symposia in Troy, Mich., for the renovation and law, journalism, communications, eco- expansion of the museum’s current home, The American Academy in Berlin wel- nomics, architecture, public service, Alumni Memorial Hall. comes applications for the Berlin Prize humanities, arts, and environmental Small Tools/Big Ideas is a conference on from scholars, writers, and professionals affairs. The program begins September 1, the discipline-specific technologies Yale University Press in New Haven, who wish to engage in independent study 2006, and is preceded by language classes reshaping the practice of teaching art and Conn., has become the exclusive world- in Berlin for a semester during the taught in Germany. Candidates must be art history, to be held October 7, 2005, at wide distributor of books from the Art 2006–7 academic year. Benefits include a citizens of the U.S. or the Russian the Fashion Institute of Technology, State Institute of Chicago in Illinois. monthly stipend, airfare, housing, and Federation, possess a BA, and be under University of New York. For more infor- partial board. U.S. citizens and permanent 35 years of age by the start of the award. mation and to register, please visit residents are eligible to apply. Candidates Prior knowledge of German is not www3.fitnyc.edu/bigideas. are expected to have completed a doctor- required. For more information, please OPPORTUNITIES ate or equivalent professional degree at visit www.humboldt-foundation.de or e- The Ringling School of Art and Design the time of application. They need not be mail [email protected]. Deadline: October will host a conference November 17–19, To read more listings or to submit your German specialists, but the submitted 31, 2005. 2005, on “The Arts and Responsibility.” own, please visit www.collegeart.org/ project description should explain how a Sessions will be held at the Holiday Inn opportunities. Berlin residency would contribute to fur- Lido Beach in Sarasota, Fla., with a ther professional development. Fellows Calls for Papers reception on the school campus. The con- will be chosen by an independent com- ference serves as the annual meeting of Awards, Grants, mittee following a peer-review process. the Society for Ethics Across the For application forms and further infor- Con/texts of Invention is a working con- Curriculum, an international group that Fellowships mation, please contact: American ference of the Society for Critical examines the teaching of ethics in all aca- Academy in Berlin, Am Sandwerder Exchange to be held April 20–22, 2006, demic disciplines and professions. This The American Academy of Arts and 17–19, 14109 Berlin, Germany; +49-30- at Case Western Reserve University in year’s conference will focus on social and Sciences, an international learned society 804 83-0; fax: +49-30-804 83-111; Cleveland, Ohio. This conference interro- ethical issues in the arts. For complete and research institute, invites postdoctoral [email protected]; gates the social and cultural construction conference information, contact Douglas scholars and junior faculty to apply for www.americanacademy.de. Deadline: of invention in the arts and sciences, Chismar at 941-359-7528 or dchismar research fellowships for 2006–7. We are October 17, 2005. including literature, fine arts, entertain- @ringling.edu, or Gabriel Palmer- interested in proposals that relate to its ment, the life sciences, law, economics, Fernandez at [email protected]; current projects; for more information, The German Chancellor Scholarship medicine, engineering, agriculture, educa- www.rit.edu/~692awww/seac/ please visit our website. Projects that Program annually awards 20 scholar- tion, communications, computation, conferences.html. address American cultural, social, or ships to young professionals in the pri- finance, and business. Emphasis will be political issues are especially welcomed, vate, public, nonprofit, cultural, and aca- on the institutional cultures, rhetorics, and histories of invention across these fields. Exhibition Opportunities The conference will include lectures and panel discussions; to facilitate discussion, papers selected for panels will circulate in The Corning Museum of Glass seeks $""+063/"-40/-*/& advance of the conference. Send paper artwork for publication. Artists must sub- abstracts (no full papers please), a c.v. of mit a total of 3 slides illustrating 1 work '03"--$"".&.#&34 no more than 3 pages, and suggestions for or design series in glass per slide. Each panel topics to: [email protected]; image should be clearly labeled with www.case.edu/affil/sce/Contexts of identification number and title. All slides Invention-CFP.htm. Deadline: October 5, must be suitable for reproduction and will 2005. become the property of museum. A jury of artists, designers, educators, museum The Sterling and Francine Clark Art directors, curators, and critics will select Institute seeks participation for a confer- 100 slides from those submitted which will become the core of New Glass #BDL#BDLJTTVFTPG JTTVFT PG 5IF5IF"SU#VMMFUJO "SU #VMMFUJOBOEBOE "SU"SU+PVSOBM +PVSOBMBSFBDDFTTJCMFBSF BDDFTTJCMF ence on Asian art. As both a field and a concept, Asian art has changed much Review, published every spring. $15 entry POMJOFPOMJOFUISPVHI+4503 UIFOPUGPSQSPêUPOMJOFEJHJUBM UISPVHI +4503 UIF OPUGPSQSPêU POMJOF EJHJUBM since its beginnings in the last century. It fee. See www.cmog.org for details or BSDIJWFBSDIJWF$""NFNCFST $"" NFNCFST XIPTFJOTUJUVUJPOQBSUJDJQBUFTJO XIPTF JOTUJUVUJPO QBSUJDJQBUFT JO has been constantly shaped by successive contact Violet Wilson at 607-974-8451. shifts in the political world order and in Deadline: October 15, 2005. +4503TT"SUT4DJFODFT***$PMMFDUJPODBOêOEUIF "SUT 4DJFODFT *** $PMMFDUJPO DBO êOE UIF aesthetic priorities. This conference will KPVSOBMTKPVSOBMTUISPVHIUIFJSMJCSBSZPSEFQBSUNFOUTXFCBDDFTT UISPVHI UIFJS MJCSBSZ PS EFQBSUNFOUT XFC BDDFTT bring together historians, curators, and The Art Department of Sinclair critics working with and on Asian art and Community College (SCC) is seeking .FNCFST.FNCFSTXJUIPVUJOTUJUVUJPOBMBąMJBUJPODBOBDDFTTUIF XJUIPVU JOTUJUVUJPOBM BąMJBUJPO DBO BDDFTT UIF culture to discuss their field, its historiog- proposals for the 2007 exhibition season. KPVSOBMTKPVSOBMTJO+4503WJBUIF$"".FNCFS1PSUBMBU JO +4503 WJB UIF $"" .FNCFS 1PSUBM BU raphy, its tensions, and its possible future SCC has 2 separate, professionally designed galleries, including 1 dedicated IUUQXXXDPMMFHFBSUPSHIUUQXXXDPMMFHFBSUPSHGPSBOBOOVBMGFFPG GPS BO BOOVBM GFF PG directions. In collaboration with the Asia Society in New York, this year’s Clark to photography-based media. Exhibits are DIBSHFEDIBSHFEXJUIUIFJSZFBSMZNFNCFSTIJQ XJUI UIFJS ZFBSMZ NFNCFSTIJQ conference will be convened by Vishakha scheduled on 4–6 week rotation. SCC +4503BSDIJWFTUIFDPNQMFUFDPOUFOUTPGUIFKPVSOBMT+4503 BSDIJWFT UIF DPNQMFUF DPOUFOUT PG UIF KPVSOBMT Desai. It will provide a forum for discus- provides return shipping or an honorari- sion and debate among scholars of the um to defray return travel expenses. Send CBDLCBDLJTTVFT GVMMZTFBSDIBCMFBOECSPXTBCMF GSPNUIFJSêSTU JTTVFT GVMMZ TFBSDIBCMF BOE CSPXTBCMF GSPN UIFJS êSTU field from Asia, Europe, and the U.S. 10 slides, slide list, résumé, artist state- ZFBSZFBSQVCMJTIFEVQVOUJMUIFNPTUSFDFOUUISFFZFBST QVCMJTIFE VQ VOUJM UIF NPTU SFDFOU UISFF ZFBST Please send a 1-page proposal and a brief ment, and SASE to: Pat McClelland, c.v. to: Mark Ledbury, Associate Director, Gallery Coordinator, Sinclair Community +4503JTBOJOEFQFOEFOUOPUGPSQSPêUPSHBOJ[BUJPO+4503 JT BO JOEFQFOEFOU OPUGPSQSPêU PSHBOJ[BUJPO Research and Academic Program, Clark College, 444 W. Third St., Dayton, OH Art Institute, 225 South St., Williams- 45402-1460; XJUIXJUIBNJTTJPOUPDSFBUFBUSVTUFEBSDIJWFPG B NJTTJPO UP DSFBUF B USVTUFE BSDIJWF PG town, MA 01267;[email protected]; [email protected]; www.sin- TDIPMBSMZTDIPMBSMZKPVSOBMTBOEUPJODSFBTFBDDFTTUPUIPTFKPVSOBMT KPVSOBMT BOE UP JODSFBTF BDDFTT UP UIPTF KPVSOBMT www.clarkart.edu. Deadline: December clair.edu/facilities/galleries/index.cfm. Deadline; November 1, 2005. BTBTXJEFMZBTQPTTJCMF*OGPSNBUJPOSFHBSEJOH+4503 XJEFMZ BT QPTTJCMF *OGPSNBUJPO SFHBSEJOH +4503 15, 2005. JTBWBJMBCMFBUIUUQXXXKTUPSPSHJT BWBJMBCMF BU IUUQXXXKTUPSPSH AC:Collaborative, a peer-reviewed Robert A. Peck Gallery is reviewing cross-disciplinary online journal, seeks artist portfolios for exhibitions to take scholarly manuscripts, articles, inter- place August 2006–May 2007. Artwork 36 CAA NEWS SEPTEMBER 2005 must fit through a standard door. Any www.KHNCenterfortheArts.org. luminous, all conveniences, 212-367- The Legacy of Homer, all-day sympo- media except installation, computer, or Deadline: October 1, 2005 (February 7641. sium to consider the influence of Homer video is exhibited. Sculpture, ceramics, 1–May 31, 2006) in French, European, and American art and metalwork are especially encouraged. and literature, will be held Sunday, Interested artists may submit 20 images of The Studio of the Corning Museum of Opportunities October 9, 2005, at Princeton University work created within the last year (slides or Glass is now accepting proposals for its in conjunction with the exhibition The JPEGs on a CD or sent by e-mail), 2006 artist-in-residence program. The Call for Entries: Mid-Atlantic New Legacy of Homer: Four Centuries of Art résumé, artist statement, and SASE for program is open to any artist who wants Painting 2006. The University of Mary from the École Nationale Supérieure des return of materials to: Nita Kehoe- to pursue further work in glass. Interested Washington Galleries is sponsoring a bi- Beaux-Art, Paris (Princeton University Gadway, Gallery Director, Robert A. Peck artists must send 10 slides of their work, annual competitive painting exhibition, Art Museum, October 8, 2005–January Gallery, Central Wyoming College, 2660 2 letters of recommendation, a written opening January 2006. Artists living in 15, 2006, and Dahesh Museum of Art, Peck Ave., Riverton, WY 82501; nke- proposal detailing what the artist would Delaware, the District of Columbia, October 11, 2005–January 22, 2006). [email protected]. Deadline: November 1, like to do during their month-long resi- Maryland, Pennsylvania and Virginia are Confirmed speakers: Nina Kallmyer, 2005. dency, the best month to participate, and eligible to enter. The juror will be Dr. Betsy Rosasco, David Van Zanten, Roger a résumé to: Residency Programs, The Jonathan Binstock, Curator of Dierderen, Larry Norman, Constanza Studio of the Corning Museum of Glass, Contemporary Art, Corcoran Gallery of Guthenke. Residencies, 1 Museum Way, Corning, NY 14830- Art, Washington, DC. For prospectus and “Homer Seen from a Loge: Tragic and 2253; 607-974-6467; www.cmog.org. entry form, visit http://galleries.umw.edu. Comic Scenes from Stage and Studio,” Workshops, Exchanges Deadline: October 31, 2005. For more information, email keynote lecture by Emmanuel Schwartz, [email protected] or call 540-654-1013. conservateur en chef du patrimoine, École The KHN Center for the Arts offers Deadline: September 16, 2005. Nationale Supérieure des Beaux-Art, residencies of 2–8 weeks, 11 months of Paris, will take place Saturday, October 8, CLASSIFIEDS PM the year, to visual artists, writers, and CAORC Fellowships for Regional 2005, at 4:30 Princeton University. composers. Six additional residencies per Research 2006–2007. Open to US doc- Details to be posted on the Princeton To place a classified ad in CAA News, year are reserved for recent masters’ toral and post-doctoral scholars proposing University Art Museum Web site visit www.collegeart.org/news or write to degree program graduates. The newly research in the fields of the humanities, www.princetonartmuseum.org. [email protected]. renovated center, inspired by the architec- social sciences, or allied natural sciences. ture of Frank Lloyd Wright, is located in Research will have regional significance The Metropolitan Museum Of Art the historic Missouri River town of and must be conducted in more than one 2006–2007 Fellowships. The Nebraska City. Residents are provided For Rent country, one of which must host an Metropolitan Museum offers resident fel- with housing, studio space, and a American overseas research center. Check lowships in art history and conservation $100/week stipend. For an application Paris. Lovely fully-furnished and with CAORC concerning travel restric- to qualified graduate students at the pre- and complete guidelines, contact: Kathy equipped one bedroom apartment, 50 sq. tions. For an application and more infor- doctoral level as well as to postdoctoral Puzey, Executive Director, KHN Center m., 17th (near Parc Monceau); two weeks mation, visit www.caorc.org or email at researchers. Projects should relate to the for the Arts, 801 3rd Corso, Nebraska to 11 months. [email protected]. [email protected]. Deadline: Museum’s collections. City, NE 68410; ph/fax: 402-874-9600; January 13, 2006. The duration of these fellowships is [email protected]; Paris/Marais. Apartment, charm, calm, usually one year. Applications for short-

Gamboni, Charlene G. Garfinkle, Clarke H. Garnsey, Mary W. Gibbons, Ann E. CAA THANKS PATRON, SPONSORING, Gibson, Andrea Giumarra, Lawrence O. Goedde III, Edward Goodstein, Ann C. AND SUSTAINING MEMBERS Goodyear, Tonya T. Gregg, Daryl L. Haessig, Leslie G. Haines, Aeree Han, Ann S. Harris, Elizabeth F. Harris, Andree M. Hayum, Jean I. Heilbrunn, Kathryn M. Heleniak, Linda Henderson, Joel Herschman and Judith Herschman, Rhea P. Higgins, CAA expresses its most sincere gratitude to our 2005 Patron, Sponsoring, and Patricia S. Hills, Allison L. Hilton, Renata Holod, William E. Hood, Constance C. Sustaining members—individuals who contribute to CAA above and beyond their reg- Hungerford, Richelle H. Ivarsson, Sandra D. Jackson, Carroll Janis, Su Job, Craig ular dues. These members receive both The Art Bulletin and Art Journal. Membership Jobson, Neil H. Johnston, D. Signe M. Jones, Pamela Joseph, Nina M. Kallmyer, fees cover less than half of CAA’s operating costs, so voluntary contributions from our Younghee Kim-Wair, Dieter Kimpel, Dale Kinney and Mark L. Darby, Shelley I. members significantly help to make possible the wide range of programs and services Knapp, Geoffrey F. Koetsch, Dorothy M. Kosinski, Sandra Lang, Irving Lavin and we offer. Marilyn Lavin, Babatunde Lawal, Cathie Lemon, Madeline Lennon, William W. Lew, Rose-Carol Washton Long, Carey Lovelace, Glenn D. Lowry, Patricia Mainardi, Patron Members: Basil Alkazzi, Judith K. Brodsky and Michael Curtis, Jeffrey P. Katherine E. Manthorne, Deborah Marrow, C. C. Marsh, Joan M. Marter, J. David Cunard, Kevin E. Consey, Hester Diamond, Marta Florin, Margaret J. Herke and John McGee, Sarah Blake McHam, Sheila D. McKisic, James X. Meyer, Jerry D. Meyer, A. Herke, Dennis Y. Ichiyama, Virginia M. Mecklenburg, Peter Roos. Creighton Michael, Erika B. Michael, Ellen G. Miles, Arianne Miller, Cynthia J. Mills, Sponsoring Members: George S. Abrams, J. G. Alexander, Linda Lee Alter, Barbara J. Mitnick, Darryl L. Moody, Amy G. Moorefield, James Morganstern and Joseph P. Ansell, Catherine Asher and Frederick Asher, Susan Ball, Robt Barton, Anne Morganstern, Keith Moxey, Don R. Mullins, L. Murphy, Isabel Nazario, Nancy Sheila Biles, Richard Brilliant, Sarah Burns, Jeffrey T. Carr, Faya Causey, Holly D. Netzer, Roy R. Neuberger, Amy D. Newman, Andrea S. Norris and Thomas D. Crawford, Elizabeth J. Derosa, Therese A. Dolan, Elizabeth M. Enders, Beatrice Beisecker, Justin M. Nostrala, John S. O’Brian, Ferris Olin, Gabrielle Oppenheimer, Farwell, Norman B. Gulamerian, Katherine W. Haskins, Barbara H. Hess, Anne Osmund Overby, George Pappas, Joanne D. Payson, Bennett Peji, Melvin H. Pekarsky, Hollander, Mark Jarzombek, Suzanne and Emmanuel Lemakis, Joseph S. Lewis III, Sarah W. Peters, Allicia A. Pickett, Louise Pliskin, Todd Porterfield, Sally M. Promey, Elizabeth A. Liebman, James H. Marrow, Charlene C. Marsh, Imre S. Meszaros, Linda Barbara P. Putnam, Arlene Raven, Charles S. Rhyne, Danielle Rice, David A. Nochlin, Jeanette F. Peterson, Mag Irene Praehauser, Marla F. Prather, Sandra J. Reed, Richmond, Robert Rindler, Joseph Rishel and Anne D’Harnoncourt Rishel, Theres E. Bruce Robertson, David Rosand, Stephen K. Scher, Michael E. Shapiro, Christine Rohan, Jane Mayo Roos, Margaret Root, Anne N. Rorimer, Betsy Rosasco, Charles M. L. Sundt, Roberta K. Tarbell, D. E. Tebow, Mark Weil, Renate Wiedenhoeft. Rosenberg, Lisa A. Rotmil, Wendy W. Roworth, James H. Rubin, Jeffrey Ruda, W. Sustaining Members: Morton C. Abromson and Joan L. Nissman, Sheryl G. Jackson Rushing III, James M. Saslow, Norie Sato, John M. Schnorrenberg, Susan W. Adams, Eva J. Allen, Emma Amos, Brian Andrews, Miguel Arisa, Ellen T. Baird, Schwartz, John F. Scott, Nancy J. Scott, Pamela K. Sheingorn, Lola K. Sherman, Alan George Baker, Robert A. Baron, Terry Barrett, Stephanie J. Barron, Stephen Beal, Shestack, Richard A. Shiff, Larry A. Silver, Robert B. Simon, Eve Sinaiko, Robert T. Carol Becker, Melissa F. Benca, Benton, Marie Krane Bergman, Ann C. Bermingham, Singer, Alice J. Sklar, Terence E. Smith, Joanne Snow-Smith, Thomas W. Sokolowski, Jo Anne Bernstein, Annette Blaugrund, Sarah H. Bornhijm, Tom Bradley, Richard Katherine Solender, Priscilla P. Soucek, Barbara M. Stafford, Joan K. Stemmler, Julien Brettell, Estrellita Brodsky, Jack Perry Brown, Jonathan M. Brown, Marilyn R. Brown, M. Stock, Joyce Hill Stoner, Elizabeth Streicher, Charles Talbot, Hana Taragan, Celeste A. Brusati, Barbara C. Buenger, James F. Cahill, Gilbert Cardenas, Susan L. Jonathan S. Thurston, Aimee B. Troyen, Biron F. Valier and Paula Latos-Valier, Caroselli, Yvonne P. Carter, Elizabeth M. Casale, Peter Chapin, H. Perry Chapman, Kathryn A. Van Dyke, Jane A. Van Nimmen, Barbara A. Ventresco, Timothy Verdon, Hollis Clayson, Michele C. Cone, Janet Cox-Rearick, Lynn Croton, Joyce A. Cutler- Katheryn A. Vermillion, Wyatt Wade, Sonoko S. Wakita, Leonard E. Walcott Jr., Alan Shaw, Paul R. D’Innocenzo, Karen C. C. Dalton, John T. Daxland, Kosme M. de Wallach and Phyllis D. Rosenzweig, Susan L. Ward, Jack Wasserman, Idelle Weber, Baranano, Jane B. DeBevoise, Maria DeGuzman, Philippe de Montebello, Barbara K. Sally B. Webster, Gabriel P. Weisberg, Ruth Weisberg, Mariët H. Westermann, David Debs, Katherine B. Desai, William J. Diebold, Eleazer Durfee, Stephen R. Edidin, G. Wilkins, Irene J. Winter, Reva J. Wolf, John L. Wood, Jim Wright, Michio Susan H. Edwards, Jolie A. Elder, Jeffrey S. Eley, Ann D. Elias, Carol S. Eliel, Sonia Yamaguchi, Michael R. Zakian, Joyce Zemans, Carol Zemel, Henri Zerner and H. Evers, Tecton Fabricator, Ruth E. Fine, Evan R. Firestone, Antonia K. Fondaras, Catherine Wilkinson Zerner. Ilene H. Forsyth, Brandon B. Fortune, Jacqueline A. Frank, Mary E. Frank, Dario

CAA NEWS SEPTEMBER 2005 37 term fellowships for senior museum Malcolm Warner, and Stephen Wildman October 15, 2005 November 10, 2005 scholars are also considered. The fields of discuss the Pre-Raphaelite Brotherhood. Deadline for submissions to the Wyeth Deadline for submissions to the January research for art history candidates include Sessions focus on Christina and Dante Foundation for American Art Publication Grant 2006 issue of CAA News Western art; Asian art, the arts of Africa, Gabriel Rossetti, Edward-Burne Jones, Oceania, and the Americas; antiquities; John Everett Millais, collecting the Pre- November 4, 2005 December 1, 2005 arms and armor; costumes; drawings and Raphaelites, and decorative arts of the Deadline for applications to the Artists’ Deadline for nominations and self-nomi- prints; sculpture; paintings; illuminated period. Included in the symposium fee Portfolio Mentoring Sessions and Career nations to the CAA Publication Grant Jury manuscripts; musical instruments; and will be unlimited access to the exhibi- Development Mentoring Sessions for the photographs. Some art history fellowships tion Waking Dreams: The Art of the Pre- 2006 Annual Conference in Boston Deadline for submissions of dissertation titles for travel abroad are also available for Raphaelites from the Delaware Art for the June 2006 issue of The Art Bulletin students whose projects involve first-hand Museum for the weekend and a private Deadline for critics and curators to apply examination of paintings in major viewing of related works in the Tobin for the Artists’ Portfolio Mentoring December 2, 2005 European collections. Collection of Theatre Arts. A reduced Sessions at the 2006 Annual Conference Deadline for 2006 Annual Conference The fields of research for conservation fee for students and a discount for early in Boston session chairs to receive final drafts of candidates include scientific research and registration are offered. To request speakers’ papers the conservation of paintings, paper, pho- detailed information on Waking Dreams: Deadline for mentors and discussion lead- tographs, textiles, musical instruments, A Symposium on the Pre-Raphaelites, ers to apply for the Professional Develop- December 6, 2005 costumes, and objects. It is desirable that email [email protected] or call ment Roundtables at the 2006 Annual Deadline for the proposals of resolutions applicants for the conservation fellowship 210-805-1768. Conference in Boston for the Annual Business Meeting at the program have reached an advanced level 2006 Annual Conference in Boston of experience or training. Deadline for mentors to apply for the The deadline for art history fellow- Career Development Mentoring Sessions January 2, 2006 ships is November 4, 2005. DATEBOOK at the 2006 Annual Conference in Boston Deadline for applications for projectionist The deadline for conservation fellow- and room-monitor positions at the 2006 ships is January 6, 2006. September 10, 2005 Deadline for nominations and self-nomina- Annual conference in Boston Contact: Office of Grants and Fellow- Deadline for submissions to the tions to the Awards for Distinction committees ships, Education Department, The Metro- November 2005 issue of CAA News January 10, 2006 politan Museum of Art, 1000 Fifth Deadline for nominations and self-nomina- Deadline for submissions to the March Avenue, New York, New York 10028- September 15, 2005 tions to the Professional Interests, Prac- 2006 issue of CAA News 0198; Tel. 212-650-2763; Fax 212-396- Deadline for nominations and self-nomi- tices, and Standards (PIPS) committees 5168; Email education.grants@ nations to the Wyeth Foundation for January 15, 2006 metmuseum.org; Web http://www. American Art Publication Grant Jury Deadline for applications to the Profes- metmuseum.org/education/er_fellow.asp. October 1, 2005 Nineteenth Parkside National Small Deadline for fall submissions to the Full-Time Faculty Position, Print Exhibition. January 15th–February Millard Meiss Publication Grant 16th, 2006. All original print mediums Assistant Professor, from US artists, including monoprints. Deadline for submissions to After, the annu- Maximum 18" height, width, or depth. al CAA exhibition held in conjunction with Division of Foundation Studies, Work due November 4, 2005. For prospec- the 2006 Annual Conference in Boston Two Dimensional Design tus send SASE to Doug DeVinny, Parkside National Small Print Exhibition, Art October 10, 2005 Deadline for nominations and self-nomi- Rhode Island School of Design is seeking applications for a Department, University of Wisconsin- full-time faculty appointment to teach Two Dimensional Design Parkside, Kenosha, WI 53141 or call (262) nations for The Art Bulletin reviews editor 595-2581. e-mail: [email protected] or in the Division of Foundation Studies. The rank will be Assistant uwp.edu/academic/art/exhibits.html. October 14, 2005 Professor and teaching responsibilities will begin September 2006. Deadline for non-U.S. members to apply for In addition to teaching, full-time faculty advise students, participate Pre-Raphaelite Symposium. McNay the International Conference Travel Grant in curriculum development, and serve on college committees. Art Museum, San Antonio, Texas. Faculty in the Division of Foundation Studies have the opportunity October 28–29, 2005. Curators and Deadline for students to apply for the to teach in a vigorous program with talented students who are scholars Margaretta Frederick, Caroline Graduate Student Conference Travel Grant preparing to concentrate in a variety of disciplines in the design, Hannah, Jan Marsh, Dianne Macleod, architecture and fine arts areas. Designers and artists from all visual arts disciplines are encouraged to apply. Applicants should have a Masters degree or professional equivalent, a minimum of two years of teaching at the college level, significant professional experience in design or architecture areas, and/or a professional exhibition record. It is essential that applicants be prepared to teach Two Dimensional Design as a vital experience for a range of disciplines. A clear understanding of ART HISTORIAN/CHAIRPERSON current digital issues is expected. Familiarity with a range of professional design software is desired. Search Extended. (Rank negotiable – Associate or Full. Possible tenure Applications should include a letter of intent, curriculum vitae, upon appointment). Ph.D. required in Art History. Responsibilities include three names of references, not more than 20 images of teaching Art History courses and chairing the Art Department with its professional work and 20 images of your students’ work. correlative responsibilities beginning September 2006. A minimum of at least seven years teaching background and experience as chair required for Images should be in slide or CD format, and should be sent to: consideration. Demonstrated ability in lecturing required at interview. Ayanna Belton, Search Coordinator,Academic Affairs Women, persons of color, and persons with disabilities are encouraged to Office, Rhode Island School of Design, 2 College Street, apply. Screening will begin December 15, 2005. Please send a letter of Providence, RI 02903-2784. application, vita, one page teaching philosophy and management style, Applications must be postmarked by January 6, 2006. copy of graduate transcript, and three letters of recommendation to: Please include SASE. Chair, Art Department RISD is an equal opportunity employer. We encourage inquiries Art History Search from candidates who will enrich and contribute to the cultural and ethnic diversity of our College. RISD does not discriminate on Westfield State College the basis of age, race, creed, color, religion, marital status, gender, Westfield, MA 01086-1630 sexual orientation, veteran status, national origin, or disability status in employment, or in our education programs. An Affirmative Action/Equal Opportunity Employer

38 CAA NEWS SEPTEMBER 2005 sional Development Fellowship Program Building the Literature conferences on pedagogy-relat- developing teacher–mentor February 1, 2006 of Art Pedagogy ed topics: “Rethinking workshops for upcoming Deadline for participation in Arts Exchange CONTINUED FROM PAGE 3 Graduate Art Education” Annual Conferences, which at the 2006 Annual Conference in Boston (2005), “Corporatization in will enable both new and expe- February 22–25, 2006 session. Given that so few Higher Education” (2004), and rienced teachers to interact with 94th CAA Annual Conference in Boston CAA conference sessions are the differences in curriculum and learn from each another taught in graduate classes and and improve their teaching March 1, 2006 devoted to pedagogy, this is a Deadline for submissions to the CAA wise policy indeed. The more undergraduate surveys (2003). effectiveness. The committee is Publications Grant conference papers that are The fashioning of articles also collecting citations for based on similiar roundta- books, articles, and other pub- March 15, 2006 delivered on teaching and Deadline for spring submissions to the learning, the more articles of bles—the summer 2005 Art lished material on art pedagogy Millard Meiss Publication Grant quality will be generated and Journal piece, “Art History to appear in a comprehensive Survey: A Round-Table bibliography on the CAA web- February 14–17, 2007 submitted not only to CAA 95th CAA Annual Conference in New York publications but also to others, Discussion,” might serve as a site. such as FATE in Review, Art literary model—would be most 6. CAA’s education-oriented February 20–23, 2008 welcome. affiliated societies, such as 96th CAA Annual Conference in Dallas Education, Studies in Art Education, Chronicle for 5. The CAA Education Foundations of Art Theory and Higher Education, and Journal Committee has grown in Education (FATE), Art EDITOR’S NOTE on Excellence in College importance and influence over Historians Interested in Teaching. For its part, Art the years, playing a crucial role Pedagogy and Teaching The photograph of Jessica Jones Irons, in making pedagogy central to (AHPT), and the National Art executive director of the National Journal has hosted special Humanities Alliance, on page 7 of the July roundtables at the past three the organization and the field. Education Association CAA News was taken by Marc Barag. For example, the committee is (NAEA), to name just three,

Rasenberger, Perri Lee Roberts, E. Bruce Robertson, Helen A. Ronan, Peter D. Roos, CAA THANKS DONORS Anne Rorimer, David Rosand, Betsy Rosasco, Moira Roth, Lynn P. Russell, Edmund C. Ryder, Irving and Lucy Freeman Sandler, Norie Sato, Martica R. Sawin, Stephen K. Scher, John Beldon Scott, John F. Scott, Helen M. Shannon, Michael E. Shapiro, Donors to the 2005 Annual Campaign Roger Shimomura, Gregory Sholette, Duane Slick, Duston Spear, Jack Spector, Harold E. Spencer, Joaneath Spicer, Roger Stein, Gloria Steinberg, Kerri P. Steinberg, Joyce CAA thanks the following individuals and organizations for their generous sup- Hill Stoner, Ronald E. Street, Judy Sund, Christine L. Sundt, George B. Tatum, port of the association and its programs (July 1, 2004–June 30, 2005): Lucy Duncan and Elizabeth Tebow, Robert S. Thill, Robert Farris Thompson, Cristin Adams, Pat Adams, Diane Ahul, Ingrid Alexander-Skipnes, Joseph Ansell, Rudolph Tierney, Peter A. Tomory, Ann Tsubota, Nola Tutag, Gertje Utley, Mario Valente, Arnheim, Paul B. Arnold, Frederick M. and Catherine B. Asher, Michael Aurbach, Christine B. Verzar, Roslyn A. Walker, Alan Wallach, Maria Weaver, Idelle Weber, Teri Austen B. Bailly, Su E. Baker, Susan Ball, Carmen C. Bambach, George Bauer, Weissman, Susan G. Wilmarth-Rabineau, Carolyn C. Wilson, Rise A. Wilson, Irene J. Michael Belshaw, Annette Blaugrund, Suzanne Blier, Suzaan Boettger, Leslie Winter, Chris B. With, Hellmut Wohl, Nancy Coleman Wolsk, Susan E. Wood, Beth S. Bostrom, Bruce Boucher, Harvey Breverman, Judith K. Brodsky, Robert Brooker, Wright, Mimi Hall Yiengpruksawan. Marilyn R. Brown, Barbara Buenger, Diane Burko, Katharine Burnett, Sarah Burns, Gifts have been received in honor of the following people: Michael Aurbach, Sigrid Burton, James Cahill, William A. Camfield, Kerstin Carlvant, Nicolosa B. Susan Ball, Carmen Bambach, Richard Brilliant, Professor Anne De Coursey Clapp, Carnevale, David Giles Carter, Madeline Caviness, Elizabeth Lamb Clark, Kevin Mary Edison, Ofelia Garcia, Elizabeth Johns, Emmanuel Lemakis, Andrea Norris, Concannon, Maria Ann Conelli, Kevin and Susan Consey, Wanda M. Corn, Nicola Marta Teegen, the Toasters. Courtright, Holly Crawford, Katherine Crum, Carolyn Cummings, Charles D. Cuttler, Gifts have been received in memory of the following people: Dr. Leila Avrin, Thomas E. Dale, Joe Deal, William J. Dewey, Eleanor Dickinson, Douglas Phyllis P. Bober, Otto Brendel, Larry Day, Albert M. Friend, Leslie Furth, Rona Dreishpoon, Timothy W. Drescher, David C. Driskell, Sally Duncan, Francesca M. Goffen, Leon Golub, Anne Coffin Hanson, Ellen Johnson, Dr. Richard Krautheimer, Eastman, Diane Edison, Eisai Medical Research Inc., Milton Esterow, Willande Bates Lowry, Tom Lyman, Charles R. Morey, Hilda Pang, James A. Porter, Roberta F. Exume, Michael Fahlund, Beatrice Farwell, Alicia Craig Faxon, Frances D. Fergusson, Roos, Dr. H. Diane Russell, Meyer Shapiro, Eloise Rave Slick, Hilda Thorpe, Anne Alan M. Fern, Doris D. Fienga, Ruth E. Fine, Lois M. Fink, Mary E. Frank, Deborah Truitt, Rudolph Wettkower, Nathan T. Whitman, Christopher Wilmarth, Brucia D. Frizzell, Susan Grace Galassi, Clarke Garnsey, Mary D. Garrard, Elaine K. Gazda, Witthof. Lola B. Gellman, A. Yale Gerol, Parme P. Giuntini, Lawrence O. Goedde, Edward Goodstein, Anne C. Goodyear, Julie Goolsby, Susan Gosin, Oleg Grabar, Janet Donors to the Samuel H. Kress Foundation Greenberg, Terence Grieder, J. Eugene and Thomasena Grigsby, Guerrilla Girls Inc., Norman Gularmerian, Hans Haacke, Donna Harkavy, Ann Sutter Carol Harris, Barbara Matching Gift Haum, Egbert Haverkamp-Begemann,Janet Headley, Andrew F. Hemingway, Robert L. Herbert, Kathleen S. Herrera, Edith Hoffman, Anne Hollander, Dan Howard, Linda CAA thanks the following individuals for their generous support of the Samuel H. Hults, John Hyland Jr., Joel Isaacson, Michi Itami, Paul Jaskot, Dorothy L. Johnson, Kress Foundation Matching Gift for the 2005 Annual Campaign (February Frances Jowell, Pavel Kalina, Brian Kelly, Tran T. Kim-Trang, Dale Kinney, Norman 14–20, 2005): Michael Aurbach, Susan Ball, Judith K. Brodsky, Kevin Consey, Nicola Kleeblatt, Theodore E. Klitzke, Anne Classen Knutson, Christine Kondoleon, Janet Courtright, Katherine Crum, Diane Edison, Michael Fahlund, Susan Grace Galassi, Koplos, Ellen V. Kosmer, Carol Herselle Krinsky, Phyllis Lambert, Elizabeth Anne C. Goodyear, John Hyland, Paul Jaskot, Tran T. Kim-Trang, Dale Kinney, Langhorne, Lee A. Lawrence, Suzanne and Emmanuel Lemakis, Cathie Lemon, David Suzanne and Emmanuel Lemakis, Ellen K. Levy, Adriane Little, Joan Marter, Virgina and Ellen K. Levy, Elizabeth A. Liebman, Ann-Sofie Lindsten, Leah Lipton, Adriane Mecklenberg, Nicholas Mirzoeff, Andrea Norris, Ferris Olin, Gregory Sholette, Duane Little, William C. Loerke, Robert J. Loescher, Rose-Carol Washton Long, Joyce P. Slick, Joyce Hill Stoner, Christine L. Sundt, Carolyn C. Wilson, Barbara Wolanin. Ludmer, Pearson Macek, Pedro M. Maia, Eva Mantell, Tod A. Marder, Victor Margolin, Joan M. Marter, Neil E. Matthew, Kenny McAshan, William A. McIntosh, Donors to the Anne Coffin Hanson Fellowship Fund Susan R. McKillop, Virgina Mecklenburg, Valerie J. Mercer, Laura F. Miller, Cynthia J. Mills, Yong Soon Min, Nicholas D. Mirzoeff, Willard E. Misfeldt, Jill Morse, CAA thanks the following individual donors for their generous support of the Dewey F. Mosby, Carol A. Nathanson, Cynthia Navaretta, Minerva Navarrete, Morton Anne Coffin Hanson Fellowship Fund (July 1, 2004–June 30, 2005): Susan Ball, Needelman, Barbara Nesin, Andrea S. Norris, Francis V. O’Connor, Jennifer A. Odem, Jeffrey N. Blanchard, Marilyn R. Brown, Elizabeth Chew, Judith Colton, Elizabeth Ferris Olin, Satoko I. Parker, Charles Parkhurst and Carol Clark, Marjorie Pearson, Easton, Hilarie Faberman, Bernard Hanson, Peter J. Holliday, Sol and Carol Lewitt, Constantine Petridis, Debra Pincus, Jessie J. Poesch, Jerome J. Pollitt, William Judith A. Little, Barbara Monahan, Danielle Rice. Pressley, Barbara G. Price, Sally M. Promey, Jules D. Prown, Olga Raggio, Jean

CAA NEWS SEPTEMBER 2005 39 must continue to advocate for Postmodern Art and about art, histories of art, and artist by nurturing “the attitude pedagogical concerns. NAEA’s Learning aesthetic questions into a of the artist in those who study Higher Education Division CONTINUED FROM PAGE 5 socially responsive model, with him… [the] enlargement members can offer CAA mem- where students explore con- of mental vision, power of bers a great deal about the the- accepting—the status quo. temporary art and ideas increased discrimination of ory, practice, and assessment Newer art media include elec- through electronic and digital final values, a sense for of education at the college tronic and digital technologies media as well as traditional ideas.”5 According to Elliot level, and FATE members are found in the mass media. media. Learning in a context Eisner, teaching at its best the cutting edge of teaching at Students may be more skilled with such multiple perspectives resembles art making: the foundations level, primarily than some teachers in using serves individual desires for [Teaching is] a form of prac- in the studio arena but also computer-based technologies meaning and identity as well as tice informed by the imagi- introductory art-history and and responding to multiply social needs for symbolic cul- nation that employs tech- art-appreciation courses. The coded messages. For example, ture and a productive citizenry. nique to select and organize 2004–5 FATE in Review con- a student’s application portfo- —Mary Ann Stankiewicz, expressive qualities to tains the art historian Kerr lio may include images from a [email protected] achieve ends that are aes- Houston’s essay, “Further digital camera reworked in thetically satisfying. Notes Towards an Art History Photoshop, fashion designs 1. Lawrence White, “Which Legal Artistry—the artistic per- Issues Will Keep Colleges Busy in the of Production,” which focuses made from hand-stenciled fab- Year 2012?”, Chronicle of Higher formance of a practice—is on relating art-history content ric sewn on a machine that has Education 51, no. 38 (May 27, 2005): enhanced as artists of that to the backgrounds and inter- changed little since the advent B1–B4. practice learn to see and ests of students at a profession- of electricity, video documen- 2. See Lucy Lippard, ed., Six Years: The reflect upon what they have al art school, with very posi- tation of a performance piece Dematerialization of the Art Object created.6 tive results. A second article, incorporating music and dance from 1966 to 1972… (1973; repr. In that spirit, we might con- by myself, in the same issue with colorful costuming, and a Berkeley: University of California sider the quotes on pedagogy Press, 1997). centers on a “student-centered sketchbook of portrait and (see page 6) to inspire us, and approach” to teaching art histo- landscape drawings in pencil 3. John D. Bransford, M. Suzanne in turn inspire our students in Donovan, and James W. Pellegrino, ry and art appreciation that and oil pastels. This student’s eds., How People Learn: Brain, Mind, learning the many disciplines motivates students to a fuller influences vary widely and Experience, and School (Washington, and facets of visual art. engagement in the learning may include such artists and D.C.: National Academy Press, 2000), —Renee Sandell, process. designers as Eleanor Antin, 10. [email protected] All of these CAA-sponsored Jeff Koons, Hieronymus 4. Bransford, Donovan, and Pellegrino, or supported efforts are serving Bosch, and Issey Miyake. How People Learn, 16. 1. Lynette Burmark, Visual Literacy: to bring education, long con- Thus, educators may now con- 5. See Syndey R. Walker, Teaching Learn to See, See to Learn (Alexandria, Va.: Association for signed to an outsider or “other” sider their roles as guides or Meaning in Artwork (Worcester, Mass.: Davis Publications, 2001). Supervision and Curriculum status, into the mainstream. facilitators rather than as Development, 2002), vii. The growth of a richly com- authoritative sources of knowl- 6. David N. Perkins, The Intelligent plex pedagogical literature will edge. Eye: Learning to Think by Looking at 2. See Eric Jensen, Arts with the Brain Art (Santa Monica, Calif.: Getty be one highly desirable result. If art is information, then we in Mind (Alexandria, Va.: Association Center for Education in the Arts, for Supervision and Curriculum Positive results in the class- want learners to be able to cre- 1994), 90. Development, 2001). room—through the application ate forms that will demonstrate of these articles, the ensuing that they understand how to Inspiring Pedagogy 3. For more on this equation, see my forthcoming article, “Form + Theme + dialogue, and further research respond to visual forms created CONTINUED FROM PAGE 7 —will, of course, be another. by others. Visual art is not sim- Context: Balancing Considerations for Meaningful Art Learning,” in the —Robert Bersson ply the illustration of ideas that required grading, assessment January 2006 issue of Art Education. [email protected] students understand, but rather skills and procedures help stu- a way to work out, and to per- dents to evaluate their art 4. See Sydney R. Walker, Teaching 1. Bradford R. Collins, “Rethinking the form, that understanding.5 Art development and appreciation Meaning in Artmaking (Worcester, Introductory Art History Survey: A faculty need to be able to Mass.: Davis Publications, 2001). Practical, Somewhat Theoretical, and of art as a significant aspect of Inspirational Guide,” Art Journal 54, explain what students can learn human experience. Further- 5. John Dewey, “Some General Con- no. 3 (Fall 1995): 23. in the visual arts, how learning more, as we frequently assess clusions,” How We Think (Lexington, about past and contemporary our personal effectiveness as Mass.: D.C. Heath, 1910), 220–21. 2. “caa.reviews Textbook Projects,” visual culture can help us cre- an instructor, we discover ways CAA News 30, no. 3 (May 2005): 19. ate meaningful lives, and how 6. Elliot W. Eisner, The Arts and the to improve our teaching. This Creation of Mind (New Haven: Yale making and responding to helps us grow professionally University Press. 2002), 48–49. Italics images invites the development while transforming our peda- in original. of good thinking dispositions.6 gogical dispositions. The challenge for art faculty in Teaching is a performing art. a postmodern context is inte- As John Dewey once stated, grating studio artwork, talk the true teacher becomes an

40 CAA NEWS SEPTEMBER 2005 From Edification to showcases for exemplary learn- Problem-Based Learning duce patronage as a topic. Engagement ing designs. in the Art-History After I introduce Unit 1 and CONTINUED FROM PAGE 7 —Shari Tishman, shari Survey Course explain its particular character- [email protected] istics, the students research for CONTINUED FROM PAGE 9 agency are encouraged in two-and-a-half weeks. Each museum settings. They can For more information on the in art (sculpture and painting); group devises its own ques- also be used as design consid- theory and practice of active 5) trade and artistic exchange; tions and research strategies. erations for creating new muse- learning, please visit the (6) the invention of pictorial The students control the pace um offerings or refashioning Project Zero website, strategies; and (7) war and at which they acquire new old ones. But they are meant to www.pz.harvard.edu. propaganda in art. For Units 1 information, building scaffolds be evocative rather than pre- and 2, I use all seven topics, in their minds on which to scriptive. No one wants muse- but for Units 3 and 4 (imperial place or hang new bits of infor- ums to be so heavy handed that Rome through gothic art), I mation.7 Scaffolding demands they become obstacles to the drop topics 5 and 7 and intro- the professor’s support and very thing we relish in museum experiences—the pleasure in finding our own way and mak- #!!ISYOURLEADINGVISUALARTS ing our own meaning. Nevertheless, at a time when ANDEDUCATIONRESOURCE museums are working hard to broaden their constituencies 9OURCONTRIBUTIONWILLHELPUS beyond traditional audiences, it is especially important to find s%NHANCE#!!SCAREER DEVELOPMENTSERVICES creative ways of evoking visi- s%XPANDTHE!NNUAL#ONFERENCEANDEXHIBITIONS tor engagement. s!DDEXHIBITIONREVIEWSTOCAAREVIEWS Naturally, not everyone s'ATHERRESEARCHDATAONHIRINGANDTENURETRENDS needs guidance in order to s5PDATEANDEXPANDOURINmUENTIAL0ROFESSIONAL make their museum experience 3TANDARDSAND'UIDELINES meaningful. Many people #/,,%'% !24 !33/#)!4)/. come to museums with clear agendas or ample background 7EWELCOMEYOURSUGGESTIONSFORISSUES knowledge that enable them to !..5!, YOUWOULDLIKEADDRESSED9OUMAYCONTRIBUTE learn actively on their own, # ! - 0 ! ) ' . TO#!!S'ENERAL&UNDORDIRECTLYTO without a lot of external struc- s3ERVICESTOARTISTS ture or support. But it would be s3ERVICESTOARTHISTORIANS a mistake to suppose that s3ERVICESTOTHEMUSEUMlELD efforts to provide guidance s3ERVICESTOINTERNATIONALMEMBERS necessarily “dumb down” museums. Active learning and personal agency are salient fea- "Y CONTRIBUTINGTOTHE tures of good learning at all levels of sophistication, from !NNUAL#AMPAIGN expert to novice. When grace- fully and creatively designed, s#ONTRIBUTORSWILLBELISTEDIN#!!.EWS museum experiences that s#ONTRIBUTORSWILLRECEIVEANINVITATIONTOASPECIAL explicitly invite these behav- EVENTDURINGTHE"OSTON!NNUAL#ONFERENCE iors can enhance the learning s#ONTRIBUTORSOFnWILLRECEIVEA#!! of all visitors. And it’s not just TRAVELUMBRELLA museum visitors who stand to s#ONTRIBUTORSOFORMOREWILLRECEIVEONEOF benefit. Educators interested in #!!SART HISTORYMONOGRAPHS designing thoughtful learning s#ONTRIBUTIONSARETAX DEDUCTIBLETOTHEEXTENT environments in a range of ALLOWEDBYLAW institutions, including schools and museums, can take inspira- 4OCONTRIBUTE tion. Museums have a long his- 6ISITWWWCOLLEGEARTORG ORSENDACHECKTO tory of showcasing exemplary #OLLEGE!RT!SSOCIATION objects. As institutions increas- 3EVENTH!VENUE .EW9ORK .9 ingly make learning a central /RCALL EXT #/.42)"54% focus, they are also becoming 0,%!3%

CAA NEWS SEPTEMBER 2005 41 guidance so that the students tory course, their understand- er, in a private e-mail to me, • Cello: You are responsible, do not become frustrated and ing of the works of art that each person provides a brief reliable, steady, and one who overwhelmed too often or too they research is, in theory, assessment of his or her indi- keeps everyone else on track. quickly. deeper and longer lasting. That vidual contribution. The person You cannot be easily distract- I require them to use the is a reason to use PBL instead most capable of thinking holis- ed from the job at hand. You course textbook as their pri- of lecture and discussion mode tically about the project writes have stamina and endurance mary source of information and of instruction: that students the introduction and conclusion for the “long haul.” You are to focus on the works of art remember best what they and the “executive summary.” the right person to adjust the therein so that other groups can learned from their research and The person with the greatest group pace if it is too fast. easily find reproductions. I also discussions with each other. attention to detail proofreads • Flute: You are brilliant, require them to choose works My job is to press them to go for spelling, punctuation, and flighty, a dreamer, soaring of art from different cultures further than a superficial grammar. The person with the above the others; you are not and time periods in order to see encounter with the material and best knowledge of documenta- very down to earth. You are the topic from geographic and proceed into engagement by tion takes charge of making an “idea” person. The group chronological perspectives. asking questions and seeking sure all citations to sources and should encourage you to con- Then they read in the textbook answers: Who, what, when, the list of works cited are cor- tribute your “brainstorms” no about the art-historical and cul- where, why, how, and—per- rect. Everyone researches and matter how hard it is for oth- tural context of each work of haps most important—so what? writes individual paragraphs ers to conceive of following art. Throughout the semester, I about her or his research. The them through. Ultimately, In-class presentations and answer their questions about final paper’s length is no fewer others will help to shape your discussions of each unit take whether they are “on the right than six and no more than ten ideas. two seventy-five-minute class- track” because their anxiety and pages. The whole group • Oboe: You are experienced, es because I want the whole uncertainty are high with this receives the same grade for the mellow, mature, and the most class to benefit from each new approach to learning, and paper. likely to proofread well. You other’s research and ideas. The they need reassurance. They Dividing the students into keep the group from falling coauthored papers (six to eight need to know that they are not groups of five. Using the apart by bringing them pages) are due on presentation going to make irreparable mis- metaphor of a quintet, I tell the together to iron out their dif- day. The presentations focus on takes in PBL. I cannot stress students about the qualities of ferences. Your tact and wis- a single work of art or architec- enough, however, the difference each instrument and the roles dom will preserve group har- ture that, in the opinion of the between playing a supportive each plays in producing the mony. group, best illustrates the topic. role and playing a controlling whole composition. Each • Cymbals: You love to surprise; Each group writes an “execu- role as the professor. instrument makes vital contri- you seem to be uninvolved but tive summary” (one page) of Teaching with PBL does not butions; none is more important all the time are counting, wait- their paper and posts it on the mean relinquishing my role as than any other. However, each ing for your “big entrance.” course website. The students the expert. Instead, I am the has distinctive characteristics. You can add excitement and read the other groups’ execu- expert in reserve. The students From the handout that I energy to the project; you look tive summaries and come to need to connect with the topic give to students. Which instru- for unusual twists in the class on “discussion days” using their existing knowledge. ment are you most of the time? research, unexpected informa- ready to ask questions. I give If I start lecturing and flood Indicate as number 1. Which tion. But the violin and oboe an overview of the project to their minds with new informa- instrument are you some of the need to keep you involved focus them on the big ideas of tion and visual stimuli in the time? Indicate as number 2. because you can disappear for this unit. The group that gener- form of slides of artwork, they • Violin: You are impulsive, long stretches of time. ates the most discussion about do not connect this new materi- creative, the first to raise Ideally, each group has one of their project receives the most al with their prior knowledge— her/his hand, a natural leader each “instrument” and never points for the presentations. that takes time and concentra- who wants to take charge more than one violin (leader) I introduce Unit 2, and the tion, rare commodities for stu- right away. You are the best because one of them has to pattern repeats. In Unit 2, the dents today. If, however, dur- person to set the group pace, play “second fiddle” to the groups tackle a different topic ing and outside class, they make a schedule, and be the other. The “cymbals” are the out of the original seven. Their have a greater chance of con- group leader. class clown and usually number experiences in Unit 1 with structing their mental scaffold- • Viola: If you had your way, no more than two in a class of researching and knowledge ing. When the students have you would work by yourself thirty-five students. A “cymbals” about art transfer to Unit 2 and taken their thoughts as far as rather than in small groups. person should be the sixth per- so on.8 By reading the other they think that they can, I am But you are patient, waiting, son in a group with a strong vio- groups’ “executive summaries” there to answer their questions, listening, observing, and lin and cello. I group the stu- and papers, the students also correct their misconceptions, attentive; you are capable of dents first by their tempera- learn from each other’s find- and teach on the spot (my seeing the “big picture” and ment and personality and then ings and mistakes. While the favorite). thinking holistically. You are gender, if possible, to avoid the students are not exposed to as Strategies for Assessment. the best person to write the problems with flirtation or sex- many works of art as in a lec- The students compose their introduction and conclusion ual jealousy that can arise dur- ture-based introductory art-his- group’s paper together; howev- to the group paper. ing a fifteen-week semester. In

42 CAA NEWS SEPTEMBER 2005 my experience, single-sex Bibliography for Further Establish a “copyright police” museum and copying it— groups often form stronger Reading for infringement, especially despite Walter Benjamin’s bonds than mixed gender regarding copyright claims for admonition—doesn’t make the groups. Ching, Cynthia, and De Gallow, “Fear reproductions of two-dimen- original work any less valuable —Molly Lindner, & Loathing in PBL: Faculty Reactions sional artworks. Perhaps we or interesting. In short: the to Developing Problem-Based [email protected] Learning for a Large Research need a bulletin board on the painting is not being used up. University,” http://pbl.tp.edu.sg/PBL Web where we can discuss It is simply being used. 1. James Zull, The Art of Changing the -Resources/pblconference/full/ prices for images from various The theologian Mark Taylor Brain: Enriching Teaching by CynthiaCarterChingDeGallow.pdf. lenders and note restrictive or said recently, “Money and mar- Exploring the Biology of Learning beneficial practices by them. kets do not exist in a vacuum (Sterling, Va.: Stylus, 2002), passim. Gallow, De, “What is Problem-Based Learning,” http://www.pbl.uci.edu/ Point 6: Be flexible about but grow in a profoundly cul- 2. Luz Mangurian, “Learning and whatispbl.html. your illustration program. Ask tural medium, reflecting and in Teaching Practice: Power of the your publisher to give you a turn shaping their world.”4 Affective” (presentation, Lilly Littlejohn, Ronnie, and Mike Awalt, list of image lenders who Nowhere is this more evident Conference on Teaching, Miami “Decentered Classrooms: The WWW charge reasonable or exorbitant than in the culture of permis- University of Ohio, November 2003). and Problem Based Learning in Introductory Philosophy,” http://www fees. Sometimes one French sion. We have reached a 3. James Rhem, “Problem-Based .bu.edu/wcp/Papers/Teac/TeacLitt.htm. Gothic spire will serve as well moment in research and in Learning: An Introduction,” National as another. scholarly publishing when it’s Teaching and Learning Forum 8, no. 1 Miller, Mark Parker, “Introducing Art It’s important to describe the absolutely crucial to consider (December 1998), http://www.ntlf History Through Problem-Based nature of your project up front why, given the surfeit of visual .com/html/pi/9812/pbl_1.htm. Learning,” About Teaching 50 (Spring 1996), http:www.udel.edu/pbl/cte/ to lenders. Many of them do content on offer, the image 4. PBL works best in classes of 25–35 spr96-arth.html. consider whether the permis- continues to be a pawn in a students. Each additional group magni- sion you seek is for a scholarly seller’s market. fies the faculty member’s responsibili- Reedy, Chandra, NTLF Supplemental book or a more commercial It’s time for this to change. ties because he or she is managing a Material, vol. 8, no. 1 (December project when they calculate a Or, at least, it’s time to make complex course and not just grading 1998) http://www.ntlf.com/html/lib/ the end products of each unit. suppmat/81reedy.htm. fee. And most are aware of the some adjustments and rebal- Graduate-student teaching assistants erosion in the market for art ance the values that drive us as could work with small groups on Richlin, Laurie, ed., “Issues in books, but you should take a creative class to make work course content and research strategies Problem-Based Learning,” Journal on every occasion to remind them that we hope deeply, as people, as well as grade papers, but consistent Excellence in College Teaching 11, of it. Here, I must say, there will contribute to our common contact between the students and the nos. 2–3 (2000). professor “expert” establishes confi- are already signs of a thaw. good. dence and keeps our expectations clear. The British Museum, I’m told, © 2005 Susan Bielstein It would be advisable to recruit one Copyright Clearance has decided to waive reproduc- graduate student in communication tion fees for images that will 1. Virginia Rutledge, “Fare Use,” studies who has taken a course in CONTINUED FROM PAGE 21 appear in books with print runs Bookforum 12, no. 1 (April/May small-group process. For a discussion 2005): 33. of self-directed, tutorless small groups maybe $5.00 over the life of of fewer than 750 copies. Of in large classes, see D. R. Woods, the book. The return on invest- course, it’s the rare publisher 2. See “Revised Consolidated Text for “Problem-based Learning, especially in a Treaty on the Protection of ment for a quarter-page image who fires up the press to print the context of large classes,” http:// so few copies. This move by Broadcasting Organizations,” prepared chemeng.mcmaster.ca/pbl/pbl.htm. in black and white would, of the British Museum is in some by the Chairman of the Standing course, be far more modest. Committee on Copyright and Related 5. Chandralekha Singh, “Scaffolding Point 4: If you are working ways ineffective, but at least it Rights in cooperation with the and Learning” (presentation at the with a university press in the means fees are headed in the Secretariat, World Intellectual Property Learning Institute, Kent State Organization, SCCR/12/2, October 4, U.S., encourage private holders right direction: down! University, January 2005, Other institutions are also 2004. See also commentary by Wendy http://fpdc.kent.edu/learninginstitute/. of copyright to file for a tax revisiting their rights and per- Grossman, “Broadcast Treaty Battle deduction in exchange for a Rages On,” Wired News, August 28, 6. Zull, The Art of Changing the Brain. waiver of fees. If your publish- missions programs: Kenneth 2004, http://www.wired.com/news/ er enjoys a nonprofit status, the Hamma at the J. Paul Getty culture/0,1284,64696,00.html. 7. Singh, “Scaffolding and Learning.” waiver might qualify as a char- Museum has proposed placing its public-domain holdings on 3. See http://www.cni.org/tfms/ 8. Students move information from itable contribution. (Be sure to the Web in high-resolution 2005a.spring/abstracts/PB-hamma their short-term to long-term memory discuss the pros and cons of -public.html and http://www.cni.org/ when they work on cumulative proj- this strategy with your publish- scans suitable for downloading tfms/2005a.spring/abstracts/handouts/ ects that make them interact with the er before you make such an and printing—for free, on the CNI_hamma_public.doc. Kenneth same material over time. Terry Doyle, Hamma is executive director for digital offer.) grounds that the public domain “Understanding why teaching is such a is the public domain.3 If you policy and initiatives at the J. Paul difficult job to do well–What teachers Point 5: When lenders of Getty Trust. don’t control in the learning process,” images assert copyrightlike want to reproduce François (presentation, Lilly Conference on restrictions and fees on public- Boucher’s Fountain of Love on 4. Mark Taylor, Confidence Games: Teaching, Miami University of Ohio, domain works, they are a tote bag and sell it, that’s Money and Markets in a World without November 2004). Redemption (Chicago: University of infringing the public domain. your business. Taking an image of the painting out of the Chicago Press, 2004), 156.

CAA NEWS SEPTEMBER 2005 43 Nonprofit Organization NEWS U.S. Postage Paid SEPTEMBER 2005 Ephrata, PA College Art Association of America Permit No. 102 275 Seventh Avenue New York, NY 10001 www.collegeart.org ISSUE

ART PEDAGOGY

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BOARD OF DIRECTORS

Ellen K. Levy, President Nicola Courtright, Vice President for Publications Dale Kinney, Vice President for Annual Conference Diane Edison, Vice President for Committees Virginia M. Mecklenburg, Vice President for External Affairs John Hyland, Jr., Treasurer Jeffrey P. Cunard, Counsel Susan Ball, Executive Director

Kaucyila Brooke Mary-Ann Milford-Lutzker Coco Fusco W. Jackson Rushing III Susan Grace Galassi Duane Slick Dennis Y. Ichiyama Buzz Spector Paul Jaskot Christine Sundt Thomas DaCosta Kaufmann William Tronzo Joan Marter