newsletter Volume 4. Number] March 1979

1979 annual meeting report studio safety guide soon available Approximately 4,500 of us descended upon Washington January 31-Fcbruary 3 for our annual tribal rite. The gods were kind, our festivities occurring during the week after the first snowstorm partially immobilized the city and the week before the second snowstorm, subsequent floods, and The long-awaited manual, Safe Practices in angry fanners immobilized it even further. Coming as it did the year after our quadrennial ex­ the Arts & Crafts: A Studio Guide, is now at travaganza in the Big Apple, the Washington meeting seemed less frantic and less frenzied; there the bindery and should be available for distri­ was perhaps less of a sense of excitement but more of a sense of ease. Everyone we spoke to was bution by the end of April. having a relaxed and a good time; it's possible, of course, that the others just didn't speak to us, This 72-page handbook, published by the In keeping with the more human! e scale of the Washington meeting, Jean Sutherland Boggs, CAA, is an unusual-one might well say in­ in her Convocation Address, called upon art historians to practice their discipline with "more spiring-example of good works brought to spontaniety and joy" and with "a more sensitive response to humanity - the artists', the public's, reality by a wide constituency of people and and their own. (Excerpts from Dr. Boggs' address appear on page 3.) organizations that care about artists: the CAA; government (through a grant from the Program National Endowment for the Arts); higher education (the University of Illinois Chicago Sessions, somewhat fewer than last year, were Campuses and Cooper Union); corporations all well attended. In the art history program, (York Typesetting Co., Inc. and Champion organized by Alan Fern of The Library of Papers) that donated or drastically cut costs Congress, there was a greater-than-usual em­ on goods or services; and Local No. 1 of the phasis upon national, as contrasted with Amalgamated Lithographers of America, period, sessions_ Other specialized sessions which donated lithography. tended to emphasize theoretical and socio-po­ The list of involved individuals is even litical rather than stylistic approaches_ The longer. It begins with former CAA presideI).t studio program, organized by Jane Livingston George Sadek, Dean of the School of Art at of the Corcoran Gallery of Art, reflected our Cooper Union, and Ed Colker, Director of Art location at the seat of government (and all and Design at the University of Illinois, those funding agencies!) by relatively heavy Chicago Circle, who jointly first realized the reliance on museum directors, critics, admin­ need for this publication, began the project, istrators and lawyers and relatively light par­ and never let the ball drop. It includes a hard­ ticipation by working artists_ working author, Gail Coningsby Barazani, a Receptions, coordinated by Abram Lerner never-say-die project director, Ann Good­ ofthe Hirshhorn Museum and Sculpture Gar­ fellow, and a host of other people who con­ den, were gala and numerous, with four dif­ cerned themselves with the issue of artist's ferent museums-the Corcoran, N.C.F.A., health long before and throughout the pro­ Continued on p. 4, col. 1 cess of this publication. The purpose of the Guide is clearly stated by Ann Goodfellow in her Foreword: "We CAA awards Continued on p. 12, col. 1

Awards for excellence in art historical her monograph Manet and the Modem Tra­ scholarship and criticism and in the teaching dition. The Frank Jewett Mather Award for of fine arts and art history were presented at Distinction in Art and Architectural Criti­ SAFE PRACTICES.' the Convocation ceremonies of the 67th An­ cism went to John Russell, art critic for The A STUDIO (;UlDE . nual Meeting of the College Art Association, New York Times. The Arthur Kingsley Porter held in the Auditorium of the National Air Prize for the best article by a scholar in early Siligle'(Jopiesf:,'. $,3,~OO, plu,s ',75,¢:each for and Space Museum in Washington, D.C., on career appearing during 1977 in The Art postage: and"handling... . Friday evening, February 2, 1979. Bulletin was awarded to David Summers, The Association's newest award (estab· University of Pittsburgh, for "Contrapposto: ,Prepackaged"Cartons :,0£,10: ,(Jopie's:,' lished in 1977), for Distinguished Teaching of Style and Meaning in Renaissance Art." $29.00 plus$S,50per carton for Art History, was presented to H. W. Janson, The citations read as follows: postage' and' handling, New York University. The Distinguished Teaching of Art Award went to Louis Fink­ Distinguished Teaching of Art History Award 'Pret>a~ent, requited. Seu'd o'iders':to, ~lstein, Professor of Art at Queens College, CAA,16 East 52 Street,N.Y.G. :"U.N.Y. The CAA's major award for art With felicity, the Oxford Dictionary de­ l0022;:.. N .. Y;, State:tesidents ada.:,ap~ i:istorical scholarship, the Charles Rufus fines the verb "to teach" as "to enable by in­ pli~able 'sales 'tax'~ Morey Book Award for 1977, was presented to struction" and that has certainly been the Anne Coffin Hanson, Yale University, for Continued on p. 2, col. 1 {CAAawards towards a more humane art history

greatest gift: he enables students to achieve Charles Rufus Morey Book Award Excerpts from the Convocation Address delivered at the 67th Annual trat9r$ to forget the museum visit9r.;;' c:;;<;ep~ as t)umb~~s. Even tq.e autonomy of mind and action. But, ultimate­ Meeting of the College Art Association ofAmerica, February 2, 1979. readers of our books may seem remote, except for the carping editor or ly, Peter captures our imaginations because The members of the Committee unani­ the damning critic. And yet these publics are not anonymous. They he is the very type of homo ludens. His exam­ mously acclaim Anne Coffin Hanson's Manet One of the virtues in the reinvigorated College Art Association is are intelligent and unexpected. .. The actual love of art and pIe teaches that a predisposition to free men­ and the Modern Tradition. With a painter's that it reminds us of the most human element behind works of art -the readiness to draw so much from it is very real. The danger is that we art tal play seems to be a necessary condition of insight, the author has captured the full artists themselves. There have been periods when artists have calculat­ historians are in positions to discourage it, thwart it, even stunt it, profound insight. complexity of Manet's work, which juxtaposes edly tried to erase their personalities from works of art - and this has when we should be encouraging it to bloom. The verb "to teach" comes from the Old symbolism and formalism, boldness and re­ been true of certain post-war artists. But at the moment many seem English tac{e)n which is cognate with the Ger­ finement of technique. She has linked these to thrust themselves upon us through video, performance, or the We art historians are the moderators between the work of art and man "zeigen" (to show) and "Zeichen" (a sign contrasts in tum with the French striving to reproductions of their own faces. We cannot escape the essential the public. We make it available. We document it. We interpret it. humanity of works by Vito Acconci, Laurie Anderson, or Chuck or symbol) and, thus, with the English reconcile reverence for tradition with the pur­ We explain it. ... But whatever we do we should do with gusto and Close. The knowledge of their works and the presence of artists all "token" as well. Your enabling instruction, suit of progress. Her monograph skillfully love. Our own humanity should be apparent. ... Restraint is possible, Peter, what you have shown us, has made us constructs a new reading for Manet, combin­ around us at the meetings, as well as their studio sessions, prepare us to even desirable, but impersonality should not be the hallmark of our all your students in one way or another and ing contemporary criticism and latest schol­ look for the man or woman, even when he or she seems to retreat in work as teachers, writers, or museum people. has earned you the admiration and respect of arship, in which the content of his art, the works as austere as Donald Judd's. the art-historical world. Today, however, we craft of his luminous surfaces, and the poetry present this award to you also for something of his cool realism are interpreted as reflecting We acknowledge that it is important for art historians to have some There probably also needs to be more self-criticism if we are going to that cannot be earned, only freely given: af­ both the optimism and the loneliness of La vie direct knowledge of the active artist. We have allowed for it in many speak humanely to the public. I realize that I am beginning to tread on fection for that sharp eye, that hard head and moderne in nineteenth-century France. dangerous ground. Perhaps I need to reassure you that I agree with the that soft heart. college curricula by having studio classes or making use of resident art­ Committee: Alessandra Comini, Chair; ists. Some others may do what I did this past semester at Harvard concept of elitism expressed by Shennan Lee at the address last year, Committee: Kathleen Weil-Garris, Chair; Wayne Dynes; John R. Martin - give a seminar on contemporary art in which each student studies that I believe in the acquisition and exhibition of the finest if otherwise Leopold Ettlinger; William R. Rearick the work of a living artist. ... The students who were able to talk in­ useless works of art. In the same way I supJXlrt the most rigorous H. W. Janson. That sharp eye, that hard head timately with the artists on whom they worked wrote papers of great scholarship as an end in itself. I realize that just as there are courses and that soft heart. feeling and immediacy. I do not think they would ever be guilty of say­ there are publications for the specialized art historian .... But I believe we will also be reaching a broader public, partly by doing new goal of aU Peter Janson's professional activity ing or writing "it was painted," as if a work of art were the product of in the classroom and beyond. He has taught Frank Jewett Mather Award history or destiny instead of a human being. things but also in doing much of what we do now with a greater grace for 43 years, 30 of them at New York Universi­ Distinguished Teaching of Art Award and a sense of humanity (the artists', the readers', and our own). ty, at the Institute of Fine Arts and at After yawning through reams of gray prose Louis Finkelstein, artist, author, lecturer, about art, reading John Russell is like a Whether artists conceal themselves ... or reveal themselves, there Washington Square where he was Chairman This grace never condescends. It is rooted in the most serious and teacher; a member of the faculty at the resuscitating whiff of oxygen. Unfettered by are human qualities which appear in their works. Heor she chooses the of the College Department for 25 years. He scholarship. it will not cavalierly dispense with our discipline's preoc­ Brooklyn Museum Art School, at the Phila­ abstract ideologies, unconcerned with solemn subject, the point of view spatially and psychologically, the color, the has been visiting professor at an astonishing cupations with footnotes, captions, provenances, exhibition histories, delphia College of Art, at Yale University's LastJudgments on artists who are no less mor­ materials, and executes it with his or her eyes and mind and hand. The number of colleges and universities in this bibliographies. But in a greater awareness of the artists, our publics, School of Art; Chairman of the Art Depart­ tal than critics, he is a master of empiricism, creation of a work of art is not a passive state, but is a decidedly active country and abroad. He is as much a touring and ourselves it will produce- as upon occasions it does now and hasin ment at Queens College, City University of combining precision and flexibility. In choos- ( ,~ne. The artist is responding to the world in which he or she lives-but champion as Buffalo Bill Cody and Mae the past-art history in many forms that is varied, personal, and in its West. It would in fact be hard to count the New York from 1964 till 1969; Professor since ing the right words to pinpoint what he sees he or she can fight, challenge, overcome, or sensitively acquiesce to the and in keeping his eyes and mind open to the consideration of the public courteous as well as graceful. members of CAA alone whom he has enabled 1964. mores of the time. widest range of experiences, both old and to develop their gifts and to find a place in Professor Louis Finkelstein, familiarly and affectionately known as Louie, you are versed new, he can illuminate everything from the professional life. The Jansons' History ofArt, There is another part of the more humane conception of art history It has been suggested to me that I am expecting too much - but I in the lexicon of ideas from physics to Freud to stones of Egypt to the bricks of Carl Andre. hope not. I have also been reminded that Baltasar Gracian Morales, in translated into 15 languages to date, contin­ and that is the consideration of the public-students in our classes, ues to spread his teaching and, with it, the im­ painterly; from mathematics to hermeneu­ His enormous erudition should be the envy 1647, ended his Oracle: A Manual on the Art of Discretion with an tics; from Monet to Merleau-Ponty. A teacher of professional academics, and his supple, visitors to our museums, readers of our writing. The humanity of the pact of art history all over the world. At the students, their interest or apathy, their passiveness or involvement, is even more demanding and offhand command than my address: "And, by the accident of passion rather than by Continued on p. J, col. 1 same time, Peter has been ever alert to the very difficult to ignore. Unhappily it is easier for museum adminis- by the way, be a saint." development of techniques and organizations design, you are compelled to understand how Jean Sutherland Boggs III that might enable us to gather, use and dif­ information is received, how it is ordered and Philadelphia Museum of Art fuse art-historical knowledge in new ways. how it may be transmitted. As an artist, the Peter Janson's teaching, like his scholar­ genius of your eye is in your ability to discern ship, is the direct expression of a personality strategies of order and ordering. In your of extraordinary dimension. Prodigious re­ explorations into the history of ideas and sources of energy, generosity and intellectual the mechanics and psychology of perception, curiosity are instantly mobilized on behalf of you use language, whether of the eye or the {CAA awards sustaining members all who call upon him, be they sage or suck­ tongue, as an instrument of discovery and ling. As deep as his instinct to help is his knowing. Your mode is always transitive: creative urge to find and to shape facts, ideas changing, learning, inquiring; you are first sprightly prose a model for every writer. With illuminates one of the most difficult questions Sustaining membership is a voluntary and events. And it is perhaps this drive that of all a practicant and then a professor. In the the FrankJewett Mather Award for Art Crit­ faced by the art historian, namely why styl­ category for those who wish to make contribu­ icism, we honor his free and educated spirit. links his teachings, his writing and his career process of your continuing self-instruction istic change occurs, by reexamining the con­ tions to the CAA in excess of their income­ as an intellectual entrepreneur. He chal­ you invite everyone you encounter to share in Committee: Alfred Frankenstein, Chair; nections between -ancient literary theory, based membership dues. The rate for Indi­ lenges students to discover, with him, new the joys and the ardors of that rigorous and Linda Nochlin; Robert Rosenblum Renaissance literary and aesthetic theory and vidual Sustaining Members is $100 annually. patterns in the flux of history and to seize on passionate adventure. its interpretation in some key works of the We are pleased and proud to announce our pungently singular visual images as though Professor Louis Finkelstein; Louie, it is we, High Renaissance and Mannerist period. His Individual Sustaining Members for 1979: they were truffles. The mixture of vision and your friends and your students, who are most Arthur Kingsley Porter Prize provocative and complex system of ideas has Ann L. Breeding-Kelso, Miami, Fla.; Sol shrewdness that makes Peter a consummate honored today, as we gratefully and gladly many important implications for all students Alfred Davidson, Bear Creek, Pa.; William David Summers' article, "Contrapposto: master of the art of the possible also has much bestow on you the College Art Association's of artistic theory and practice and will stimu­ Heidrich, Peoria, Ill.; Edgar Kaufmann, Style and Meaning in Renaissance Art," is an to do with his success as a teacher. By example Distinguished Teaching of Art .\ward for late much discussion of these issues in the art Jr., New York City; D. Terrence Netter, ~,ntricate and perceptive examination of a and persuasion he empowers students to be 1979. of Western Europe after 1500. Wallingford, Conn.; Cynthia H. Polsky, -,-Tinciple of artistic theory that he believes confident that they too can vanquish com­ Committee: Wolf Kahn, Chair; Dore Ash­ New York City. III inspired a new stylistic direction in Italian art Committee: Ann Sutherland Harris, plicated problems and accomplish daunting ton; Edward Betts; George Bunker; Jason df the sixteenth century. In a discussion of im­ Chair; Vincent Bruno; Margaret Frazer; Bar­ tasks. In this way he gives the great teacher's Seley Louis Finkelstein. Practicing what he teaches. pressive scope and intellectual endeavor, he bara Stafford III

2 CAA newsletter March 1979 3

I 11979 annual meeting report affiliated societies IV. Liaison with Affiliated Societies: A. Annual Meeting. To the extent possible, the CAA will provide-each affIliated the Renwick, and the National Portrait As any careful reader of the 1979 Annual Meeting Program will have noted, a considerable society with facilities for one meeting lasting Gallery holding receptions on Wednesday number of sub-disciplinary and other spedal interest groups have formed or are in the process up to two and one-half hours during those evening; the new East Wing of the National offormation. Whether this represents a healthy extension ofinterest or a potentially dangerous time slots not reserved for official CAA pro­ Gallery opening its doors to, we are told, splintering ofthe discipHne can-and has been-subject to endless debate. Princzple aside, the gram sessions and will attempt to provide ad­ 4,000 of us on Thursday evening; and a wind­ practical fact ofproliferation has made it necessary for the CAA to adopt a more formal pro­ ditional time slots to those groups that request up post-Convocation party at the Hirshhorn cedure than we have had i'n the past with respect to groups that regularly request annual more than one meeting. If audio visual equip­ on Friday evening. The architectural tour of meett'ng program time or other services of the Association. The following policy was ment required by the society is already pres­ Washington, conducted by Wolf' von Eck­ unanimously adopted by the CAA Board of Directors at its meeting onJanuary 31, 1979. ent for CAA sessions, there will be no charge hardt on Saturday morning, was an unquali­ to the society. This meeting will be listed in fied success; we regret only that we were the final CAA annual meeting program. Ad­ unable to accommodate all those who wanted RELATIONS WITH AFFILIATED SOCIETIES ditional information relating to affiliated to join it. societies may be distributed in the CAA regis­ I. To be recognized by the CAA as an two other members of the Board of Direccors tration area. affiliated society, a group must be national in ~one representing art historians and one B. On-Going Liaison. Liaison be­ Placement scope and must present evidence that: representing studio artists. The committee's tween affiliated societies and the CAA will be A. It is committed to the serious rulings may be appealed to the CAA Board. maintained by the President and Executive We won't have final figures until next issue, study, practice and advancement of the visual The committee should report annually to the Secretary of the CAA and the officers of the but our guess is that 1200-1300 applicants arts and/ or the history of art. Board and review the status of affiliated affiliated societies. The executive officer of an used the placement service (last year it was B. It possesses a formal organization­ societies every five years. affiliated society or his/her representative 1643). There were 486 different openings al structure, i. e. , elected officers, an identifi­ III. The CAA will publish in its newsletter may be invited to a CAA Board meeting to act listed: 265 in the Annual Meeting Positions able membership, and such signs of on-going an annual directory of affiliated societies as a resource person when in the opinion of Listing mailed January 2; an additional231 in activity as a newsletter, a periodical, a record including the following information as pro­ the President of the CAA issues arise on which the Supplementary Lists distributed in situ. of exhibitions, or other documentation. vided by the societies: name, date of found­ his/her expertise is required. It's a pleasure to report that there were no ma­ II. Applications for affiliated society ing, size of membership, annual dues, name V. News from affiliated societies of in­ jor foul-ups in the operation of placement status will be screened by a standing commit­ and address of president and/or correspond­ terest to the CAA membership as a whole may services: in fact, the most significant mal­ tee of the CAA composed of the Vice Presi­ ing secretary, and a statement of 25-50 words be submitted - to the editor of the CAA function was that the Hilton clean-up staff dent (as chair), the Executive Secretary, and on the society's nature or purpose. newsletter for possible publication. .. thought the numbers on our interviewers' tables were just so much more litter and con­ scientiously removed them each night.

Business Meeting comes the resolution ... Backtracking a bit, the 67th Annual Mem­ bers Business meeting was held on Thursday, The last meeting of the CAA Board of Direc­ productions of Works of Art adopted by the cy in foreign languages for the purpose ot February 1, at noon. As has become custom­ tors was held on Wednesday, January 31, Association of Art Museum Directors at its study and research and for international in­ ary at these events, there was a relatively large 1979, at the Washington Hilton Hotel. Some meeting on January 30, 1979 and recom­ terchange among members of this organiza­ return of proxies (nearly 1 ,000) and a relative­ highlights: mends their application to all societies and in­ ly small in-the-flesh attendance (approxi­ tion and their counterparts in other coun­ dividuals concerned with reproductions of mately 75). The slates proposed for Officers, tries, the College Art Association endorses the Policy re Affiliated Societies. The whys, the works of art. " new Directors, and the 1979 Nominating spirit of the Resolutions on Language in wherefores, and the guidelines themselves ap­ The AAMD Guidelines are reprinted on Committee (see December 1978 newsletter) American Education of the Joint National pear on page above. page 16. were all duly and unanimously elected, and Committee for Languages (approved Octo­ At Annual Members Business Meeting, left to right, CAA Secretary Lucy Sandler, Noting that art historians and artist teach­ the membership unanimously approved a By­ ber 7, 1978) with the added understanding Honorary Counsel Gilbert Edelson, President Marilyn Stokstad, and Vice President Faculty Status for Librarians. The Board er/scholars may have additional concerns Laws change making the term of Executive that similar recommendations should be Joshua Taylor. unanimously endorsed the following resolu­ about reproductions of works of art that go Committee Members two years. made for Latin, Greek, and other historical tion: beyond those of art museum directors, the languages of importance to the continuation "The College Art Association, through its Board also voted to establish an ad hoc com­ of humanistic studies." Board of Directors, recognizes its debt to art mittee to articulate those concerns and, if Miscellaneous librarians <;lnd depends~ both for academics desirable, to develop supplementary guide­ and for students-upon their professional lines. Some Fun! Lest tender-hearted members begin to think that all CAA Directors ever get As has been the case for as long as we have skills. Accordingly, be it resolved that the CAA endorses thejoint Statement on Faculty to do is to sit in a smoke-filled room with been J<.eeping count, there were more alumni Standards for B.A. and B.F.A_ Degrees in Status of College and University Librarians, nothing but dried-out sandwiches and bitter reunions (24 of them) than ever before. There Studio Art. With a speed to which we would prepared by the Joint Committee on College coffee as a reward for their efforts, we hasten were 68 exhibitors, with lively traffic through like to become accustomed, the Committee Library Problems, representing the Associa­ to report that the Board meeting was followed the exhibit area at all times. Film showings, on Standards for the Undergraduate Art De­ tion of College and Research Libraries, the by a delightful reception at the Vice Presi­ initiated last year, were somewhat less extc:;n­ gree, co-chaired by Paul Arnold and George Association of American Colleges, and the dent's House, graciously hosted by Joan Mon­ sive but considerably better attended. (It Sadek and appointed on January 25, 1978, American Association of University Profes­ dale. The company, the house, the art, and l takes a while for word-of-mouth to get was ready to submit its final report just one sors, in circumstances where art librarians do the food were a genuine pleasure. And not a around.) Fourteen films were shown, all but year later. The Standards, unanimously indeed have a faculty function, performing single resolution was passed! II" one of them dealing with 20th-century art. adopted, appear on pages 13 and 14. Finally: the Hilton got into what it considered teaching and research roles." Editor's Note: Copies of the joint Statement ,;:- the spirit of the occasion by featuring al "Picasso Pizza Special" at its downstairs snack / Reproductions of Works of Art. The Resolutions on Language in American on Faculty Status of College and University Board unanimously adopted the following Education. The following resolution was and the iiI\1 Ukc the othe< exhibito,", bar. We do not consider it our responsibility Librarians Resolutions on Language ·•··•·••··•·. nllm CAA-,po~,",cd resolution: unanimously adopted: t'n American Education may be obtained RILA at the Annual Mectmg. to review it. R.R.W... l···· \~U~ "shows~of£" "The CAA supports the Guidelines for Re- "In view of the pressing need for proficien- from the CAA office. .. 4 CAA newsletter March 1979 5 I conferences and symposia announcements eAA travel grants new eAA monograph to Bologna The earraed and Italian Art c. 1600 ARLIS/NA NEH Fellowships Niccolo di Giovanni Fiorentino and Vene­ tian Sculpture of the Early Renaissance by To be held on Saturday, April 7, in conjunc­ The national art librarians association, which The National Endowment for the Humanities Anne Markham Schulz- the thirty-third vol­ tion with the exhibition "Prints and Related has decided to meet separately from the CAA will offer fellowships for 1980-81 in three The need for travel grants by CAA members ume in the CAA Series of Monographs on Drawings by the Carracei Family" at the Na­ every third year, is off to Toronto this March categories. participating in the International Congress Archaeology and the Fine Arts- has just been tional Gallery of Art. Participants will include (the 21st to 25th, at the Park Plaza Hotel). Categories A and B offer fellowships for for the History of Art to be held in Bologna, published by N.Y.U. Press. Carl Goldstein, Catherine Johnston, Stephen The program will include workshops and independent study and research in the hu­ September 10-23, 1979, is expected to be so Ostrow, Donald Posner, Erich Schleier, Rich­ panels on resource and information-sharing manities and carry stipends of up to $10,000 great as to far exceed the limited funds ard Spear, and Clovis Whitfield. Admission is through the computer; writing and publish­ for six months of tenure, $20,000 for twelve. available through the American Council of free. For further information: Diane De­ ing in the arts; Canadian art periodicals; Category B is intended for persons engaged Learned Societies-which must, of course, 000 Grazia Bohlin, NGA, 6th and Constitution research in the decorative arts; creating a primarily in teaching undergraduates; Cate­ cover all the disciplines in the humanities. Avenues, Washington, D,C, 20565. bibliography for museum objects; as well as gory A is open to all scholars, teachers, and Therefore, the CAA has set aside a special Outside a small group of Yugoslav art histor­ other topics related to research, bibliography other interpreters of the humanities. Applica­ fund to provide additional travel subsidies. ians, the name of Niccolb di Giovanni Fiorcn­ and art librarianship. Other highlights are tion deadline for both categories is June 1. CAA subsidies will be provided only to invited Goodson Symposium on American Art tino is virtually unknown. Yet Niccolb was institutes on visual resources and on cata­ Fellowships in Category C provide teachers participants. The second annual GSAA will be held at the indisputably the major sculptor of the Renais­ loguing issues as well as visits to local Native in undergraduate and two-year colleges op­ Whitney Museum of American Art on Mon­ Because CAA travel funds also are limited, sance in Dalmatia where his art effected a Indian and Eskimo collections, the Albright­ portunities to participate in seminars directed day, April 23. This year papers will focus on preference will be given to (1) those who are total transformation, determining the style of Knox Art Gallery (Buffalo) and the McMich­ by distinguished scholars at designated 20th century art and architecture (excluding ineligible to apply for ACLS travel grants sculpture there for at least a century. Since ael Collection (Kleinberg, Ontario). For fur­ universities and to undertake study and decorative arts), with special emphasis on the (e.g., graduate students and those who are documents concerning him were first discov­ ther information: Joyce Pellerano Ludmer, research of their own choosing beyond the response and reaction to abstract expression­ not citizens of the United States or Canada), ered and his works were first described, no UCLA Art Library, 405 Hilgard Avenue, Los work of the seminar. This category is open ism. Papers will be selected by Dore Ashton, and (2) those who have submitted applica­ one has doubted that he came from Florence Angeles 90024. only to members of departments that do not Robert Hughes, and Linda Nochlin, assisted tions for travel grants to the ACLS but have and had long and intimate acquaintance with offer the Ph.D. these fellowships carry sti­ by the Whitney Museum staff. been turned down. Donatello's sculpture of the 1440s and 1450s. pends of up to $20,000 for twelve months of But no one has ever thought to seek his works Basil the Great and Byzantine Culture tenure. Application deadline is November 12. Those wishing to apply for CAA travel sub­ in Italy. In this book the author aims to prove To commemorate the 1600th anniversary of SECAC Conference One may apply under only one category in sidies should write immediately to the CAA that, after an apprenticeship in Donatello's the death of St. Basil, a workshop sponsored The Southeastern College Art Conference anyone year. Applicants for NEH fellowships office for an application form. The deadline Paduan shop in the late 1440s and early 1450s by the Committee for Medieval Studies of the will hold its 1979 annual meeting in Atlanta, need not have advanced degrees, but must for receipt of applications is MAY 15. CAA and before Niccolb's arrival in the Dalmatian University of British Columbia will be held October 25-27. Georgia State University will have completed their professional training. will attempt to announce decisions by June city of Trogir in 1468, Niccolb di Giovanni Niccoli) di Giovanni, Justice and Prudence, November 16 and 17. The program will be of act as host. In addition to the general studio Degree candidates may not apply, nor may 15. (Note: ACLS Travel Grants will be an­ was active for at least a decade in Venice Foscari Tomb, Santa Maria dei Frari, Venice. an interdisciplinary nature. Abstracts (200- nounced on or about May 1. In no case will an and art history sessions, there will also be ses­ those seeking support for work leading to­ where many of the most important works of 250 words, for 20 minute presentation) to Fr. applicant be awarded travel grants both from sions focusing on the art and particular con­ wards degrees. sculpture executed between 1457 and 1468 Paul C. Burns, St. Mark's College, UBC, cerns of the region: "Contemporary Art in the Application materials for all three cate­ ACLS and CAA.) .. can be attributed to him. di Giovanni in Trogir, Sibenik and Dubrov­ Vancouver, B.C. V6T 1 V7. Deadline: May 1. gories will be available by mid-March and nik, form the basis for the attribution to Nic­ Southeast," "Afro-American Art," "Art and These works include the Tombs of Doge may be obtained from the Division of ( colo of the Venetian monuments mentioned Art History: Do They Belong in the Same De· Francesco Foscari and of the Gcnnals. Orsato partment?" and "The Neglected Audience: Fellowships, Mail Stop 101, NEH, 806 15th above. In the course of her stylistic America between the Wars: 1918-1941 Giustiniani and Vittore Capello, plus several Art Programs in the Community." Also, ala Street, N.W., Washington, D.C. 20015. demonstrations, the author publishes and re­ The topic of the fall meeting of the Ohio­ statues from the Arco Foscari in the courtyard CAA, sessions sponsored by slide curators and produces for the first time many superb Indiana American Studies Association, to be of the Ducal Palace and the figure of St. by the regional WCA. For further informa­ Fulbright-Hays Announcement Dalmatian sculptures. held October 26-27 at the Toledo Museum of Christopher from the main portal of the tion: Cathy Fox, Art Dept., Georgia State The 1980-81 announcement of opportunities Art and the University of Toledo. Papers Madonna dell'Orto. None of these works is In the final chapter of the book Schulz inte­ University, University Plaza, Atlanta, Ga. for university lecturing and advanced re­ completely documented and their authorship grates this new body of Venetian work and the should be comparative or interdisciplinary in search abroad will be available in March. In visiting artists 30303. forms one of the most vexed questions con­ facts that can be deduced from it within the nature and should not exceed 20 minutes. recent years about 500 awards have been fronting the student of Quattrocento sculp. biography of Niccolo di Giovanni Fiorentino. Among topics invited: "Painting and Graphic made annually, 6 to 8 of them to artists and and scholars ture. Not only have these monuments never Niccolo's Venetian sojourn is examined his­ New Directions in Native American Art Arts in the 1920s and 1930s," "Architecture art historians. Registration for personal and Decorative Arts," "Images of American been perceived as all belonging to a single torically within the context of his documented A major three-day symposium, to be held at copies of the F-H announcement is open to all Life in Film," "Images of American Life in stylistic group, but the most famous of them, career. (An appendix to the book's text re­ the University of New Mexico, Albuquerque, U.S. citizens with university or college Cecile Abish. Visual and environmental Popular Culture." Inquiries and papers to: the Foscari Tomb, parades as the work of an cords all the known documents regarding October 24-26. Formal papers, panels, and teaching experience. For forms: Council for studies. At Harvard University. Spring 19~9. Guy Szuberla, Dept. English, UT, Toledo, artist whose very existence has never been Niccolo - most of them published in virtually open discussion sessions are planned. For fur­ International Exchange of Scholars, Suite Ohio 43606. Deadline: May 1. confirmed by any document. Schulz shows inaccessible Serbo-Croatian books and jour­ ther information: J. Brody, Maxwell Muse­ 300, 11 Dupont Circle, Washington, D.C. J. Joyce Tenneson Cohen. Visiting artist. that its putative author - Antonio Bregno - is nals - and gives extensive paraphrases in um of Anthropology, or S. G. Kenagy, Art 20036. Corcoran School of Art. Spring 1979. probably an invention of the sixteenth·cen­ English of each.) The style of Niccolo's Vene­ Dept., UNM, Albuquerque, N.M. 87131. Jungian Perspectives on Creativity Rutgers Art Review tury cicerone Francesco Sansovino. tian works is related to that of his Dalmatian Abstracts by May 1. Donald McCallum. Japanese art history. sculpture in order to define the course of his Conference at Miami University, Oxford, A new journal for graduate research in art In pursuit of the identity of the sculptor of At D.C.L.A. 1979-80. artistic evolution over half a century. From Ohio, June 2-4. Walter Darby Bannard will history; the first annual issue was scheduled to these monuments, scaffoldings were erected this analysis of Niccolo's oeuvre there emerges 18th-Century Studies Society be one of the lecturers . For additional infor­ appear in February. Manuscripts (The Art at several sites and a battery of photographs, the figure of a sculptor who was the most East Central Meeting, November 8-10, in mation: Donald W. Fritz, Dept. English, 234 Bulletin footnote format) are welcome for Labelle Prussin. University of Wash­ which show several views of all the details of Williamsburg, Va. The theme of the confer­ Upham Hall, MU, Oxford, Ohio 45056. consideration and should be addressed to ington, Seattle. Historic preservation of West the relevant works, were newly made. Ac­ faithful and worthy epigone of the expressive ence will be "The Pan-Atlantic Enlighten­ RAR, Art Department, Voorh,:es Hall, Rut­ Africa's cultural heritage. At Institut Na­ quaintance with the monuments at first hand and monumental art ofDonatello. A.M.S. ment." Inquiries and papers to: Robert P. gers University, New Brunswick, N.]. 08903. tional de Recherche et de Documentation de made possible several startling discoveries of Guinee, Conakry, Guinea. Aug. 1979-May Maccubbin, English Dept., College of Wil­ Architecture in Canada both a technical and iconographical nature. o 0 0 liam and Mary, Williamsburg, Va. 23185. May 25,-29, at the University of Saskat­ Exhibition Opportunities Abroad 1980. New archival material bearing on the monu­ Deadline for papers: June 1. chewan. Sessions on "Research Resources," A list of such opportunities is available from ments was brought to light. All this new infor· "Architecture of the Prairies," "Building Artists Talk on Art, Inc., 15 East 10th Street, Jo Sandman. Studio. At the School of the mation provided Schulz with tools. hitherto Publication of this monograph has been f Materials," "Townscapes." To present papers 2F, N.Y.C. 10003. Send 50 and a self-ad­ Art Institute of Chicago. April 2-May 4. lacking, for the attribution of these monu­ aided by a grant from The Samuel H. Kress British Studies Conference or for further information: George Kapelos, dressed stamped envelope. Information on ments. Numerous stylistic and iconographic Foundation. Copies may be ordered from October 26-27, at the University of Colorado. c/o Heritage Administration Branch, Minis­ performance opportunities abroad is avail­ Srihadi Sudarsono. Bandung Institute of resemblances, never remarked before, be" N.Y.U. Press, 113-115 University Place, Paper proposals to Richard Cosgrove, Dept. try of Culture and Recreation, 77 Bloor Street able from Mimi Johnson at Artservices, 463 Technology. Modern American art. At Ohio tween the Venetian sculptures and docu­ N.Y.C. 10003. Price: $22.50; for CAA History, VC, Colorado Springs, Colo. 80907. West, Toronto, Ontario M7A 2R9, Canada. West St., N.Y.C. 10003. State, April-Dec., 1979. • mented or otherwise assured works by Niccolb members: $16.87. III Deadline: July 1. .. Continued on p. 15, col. 3 March 1979 7 6 CAA newsletter people and programs Ipeople and programs

In January, Smith College hosted a con­ NEW ACTIVITIES Eugenia S. Robbins, who has compiled and TEACHING State officials thought the new name would indicate more clearly the breadth of depart­ ference and exhibition on "Contemporary edited PEOPLE AND PROGRAMS since the incep­ Women in the Visual Arts." Organized by The University of Michigan's old Bulletin of tion oj the CAA newsletter in 1976 and has Department chair at the University of Pitts­ ment offerings in drawing, painting, and art • Debbe Goldstein and Donald Keyes, the the Museum of Art has reemerged as an annu­ burgh Millard F. Hearn has stepped down history, along with its programs in crafts, served as News Editor oj the ArtJournal since day-long event was part of Smith's interterm al Bulletin oj the Museums oj Art and Arch­ 1973, is resigningfrom both positions imme­ after five years. He is currently on sabbatical, advertising and interior design_ project on Women in the Arts. Participants aeology. Jointly sponsored by the Kelsey writing a monograph on Ripon Minster in the diately after the current issues. We shall miss Museum of Archaeology, the Museum of Art, 12th century. Acting chair this year is Aaron were artists Janet Fish, Harmony Ham­ her contributionsl and the department of the history of art, the Shean, whose splendid exhibition (and cata­ mond, Beryl Korot. Sylvia Sleigh, Hannah Maten'al for inclusion in the next newslet­ New faculty at the University of Connecticut new publication is edited by Marvin Eisen­ logue) of paintings by Monticelli is now tour­ Wilke, and Martha Wilson; critic Rosalind ter should be sent directly to the College Art are William Majors, printmaking, and berg and Jacquelynn Slee. In addition to ing and is scheduled to spend the summer at Krauss, and dealer Paula Cooper. Associat£on, 16 East 52 Street, N. Y. C. 10022, Rudy Serra, sculpture. A new fine arts facil­ scholarly articles relating to works in the col­ the Van Gogh Museum in Amsterdam. A byApnI15.-R.R. W. ity for the 270 art majors is under construc­ lections, lists of accessions by the two muse­ newcomer to Pitt in the fall was Jeffrey tion, scheduled for completion in 1980. ums will be published regularly. Scholars Chipps Smith (Ph.D. Columbia), who joined interested in submitting articles for future the faculty to teach late Gothic painting. Bar­ publication are invited to contact the editors, bara Novak was Visiting Mellon Professor for Churchill Lathrop, known to generations of care of the University Museum of Art. the fall term. Recent publications by Pitt fac­ colleagues and former students as Jerry, IN MEMORIAM ulty members include John Williams' Early joined the Dartmouth College faculty more Also new at Michigan is the establishment of a Spanish Manuscript Illumination (1978, than fifty years ago. To celebrate that event, special fund for medieval studies. Among ac­ Braziller). David Summers, who is at the In­ Dartmouth mounted an exhibition titled tivities sponsored by this fund in 1978-79 was stitute for Advanced Study this year, expects "Churchill Lathrop Collects 1934-1974," a visiting lectureship by the noted French that his volume on Michelangelo's art theory documenting the growth of Dartmouth's scholar Leon Pressouyre, whose recent dis­ will soon be published by Princeton. holdings from virtually a handful of dignified covery of the early Gothic sculptures of the portraits to a significant collection of cloister of Notre-Dame-en-Vaux, Chilons­ thousands of works, many superb. As director sur-marne, was the subject of a public lecture At Wake Forest University, Robert Knott is of the Dartmouth museum and galleries (even on February 19. Professor Pressouyre was on the new department chair. With the aid of a before they existed physically) for forty years, New chair of the department of the history of campus for several weeks, during which time grant from the Mellon Foundation, the Lathrop attracted major gifts, such as an art at the University of Kansas, Lawrence, is he led a number of seminars on topics of early department is growing in both studio and art Abby Aldrich Rockefeller donation of over Jeanne Stump. A specialist in modem Euro­ Gothic sculpture in France. history. Among recent additions to the facul­ 100 works in. 1935 and works by Leger and pean art, Stump has been on the Kansas fac­ ty are Andrew Polk, printmaking, and Vic­ Juan Gris, and was an astute dispenser of ulty since 1971, a year before earning her Southern Methodist University has an­ tor Faccinto, the new gallery director. The meager acquisition funds. Perhaps his most Ph.D. from the same institution. She replaces nounced an endowed annual Algur H. department has also received a grant from the famous contribution: the Baker Library fres­ Chu-tsing Li, who has been named the first Meadows Award, in honor of the arts patron Rockefeller Foundation to support a visiting coes by Jose Orozco. Judith Harris Murphy Distinguished Profes­ and benefactor of SMUs Meadows School of artist program. During the past year, par­ sor of Art History. As faculty curator of the Arts who died last year. Intended to ticipating artists have included Joan Snyder, Oriental art for the Spencer Museum, Li recognize "the highest level of international Douglas Buebler, Peter Plagens, Robert organized the recent exhibition "Paintings by Harvard's Busch-Reisinger Museum, which achievement in the creative and performing Maki, Doris Leeper. Tom Palazzolo. Eliza­ Hung Hsien." Andrew Carnduff Ritchie, director of the arts," the award consists of $25,000 and a beth Dworkin, Dan Kiacz, Alan Siegel, and celebrates its 75th anniversary this year, is Yale University Art Gallery from 1957 until small, specially commissioned art work. The Elin Elisofon. honoring its former leader Charles Kuhn by 1971 and director emeritus since his retire­ renaming the Renaissance Hall Kuhn Hall. $1 million endowment will also be used to ment, died late last summer. His distin­ fund public events appropriate to the field of The Busch, which began as a museum of Leif Brush, University of Minnesota, Duluth. Kenneth Prescott, chairman of the art guished career was largely devoted to muse­ the award recipient. plaster casts, only began to acquire original department at the University of Texas, ums, but he was also much sought after in the Jane P. Davidson has been appointed to works during the 1930s under Kuhn's leader­ Austin, organized the currently travelling academic world. Born in Scotland, Ritchie teach baroque and renaissance art history at Leif Brush, assistant professor of art at the ship. Because of his policies, it now has major Jack Levine retrospective for the Jewish came to the U.S. at the age of fifteen, earning the U niversit y of Nevada, Reno. Farther west, University of Minnesota, Duluth, has been Creation of a biographical microfiche index holdings of both art and archival material, Museum. He is currently preparing a Bur­ both his A.B. and M.A. from the University at UCLA, Albert Boime has joined the named one of five recipients of a $10,000 of photographers is the purpose of a major with especially strong collections of 20th­ goyne Diller retrospective and would appre­ of Pittsburgh, which also awarded him an department as professor of modern art. Mar­ fellowship from the Minnesota State Arts grant from the NEH to the International Mu­ century Gennan works. ciate information on unpublished works or honorary Doctor of Fine Arts degree many tin Powers, a Chicago graduate, has also Board. Brush said his plans for using the seum of Photography, Eastman House. Proj­ biographical information. years later. His earned doctorate was from the gone to Los Angeles to teach in the new fellowship money include further work on his ect director Andrew Eskind, who is assistant Courtauld Institute. The Frick Collection was Chinese art history program. Temporary ap­ Terrain Instruments structure series, a three­ director of the museum, expects to concen­ Moore College of Art has appointed James the first museum to employ Ritchie's many pointments include Josephine Gear to teach dimensional tool used in recording sounds of trate first on photographers whose work is Striby to its newly-created position dean of talents, and he simultaneously taught at modern while David Kunde is on leave and leaves, winds, snow/sleet, and other natural represented in the Eastman House collec­ faculty. Hilda Schoenwetter, formerly dean Newcomb College's printmaking professor N. Y. U. and Johns Hopkins while he was Jean Peppers to teach classical while Susan tions-estimated at some 5,000. Using the of the college, is now dean of administration. phenomena. J ames Louis Steg is the subject of a retrospec­ research assistant and lecturer at the Frick. Downey is on leave-a leave originally computer as a storage facility, data will be Striby, who comes from the Maryland Insti­ tive show organized by the New Orleans He then served as director of the Albright Art planned for field excavation in iranI sorted into individual entries of name, life tute, where he taught since 1965 and more Museum of Art and presently touring muse­ Gallery in Buffalo and, later, as director of dates, place and period of activity, national­ recently served as chairman of the art educa­ ums and art centers throughout Louisiana. the department of painting and sculpture at ity, and relevant bibliographic information. tion department and director of the graduate The new department chair at Central Michi­ "Thirty Years of J. 1.. Steg: 1948-1978" was the Museum of Modern Art. Since his retire­ Leadership of the CUNY graduate art history The resulting microfiche index, under proj­ art education department, will be responsible gan University is sculptor Richard Graham. organized by NOMA curator Valerie Loupe ment Ritchie had been visiting professor at program has changed hands, with Milton ect editor Susan Dodge Peters, will eventual­ for areas related to Moore's instruction and Graham came to the Mount Pleasant campus Olsen, and its catalogue contains an essay by Williams and at the University of Sydney. A Brown retiring as executive officer although ly be available to scholars at a nominal cost. curriculum. from the Minneapolis College of Art. Alan M. Fern of the Library of Congress. former director of the CAA, Ritchie also he will continue in the program as resident served on the editorial boards of The Art professor _ William Gerdts has assumed the The Friends of the Neuberger Museum, Bulletin and the Art Journal during the position until September 1980. SUNY, Purchase, have received a grant from 'forties. He was the author of numerous books New appointments at the University of North "'<'rom Babette Martino comes news of her To insure receipt of all CAA publica­ the New York State Council on the Arts to and important exhibition catalogues and was Carolina, Chapel Hill, are Richard Shiff for mal appointment as drawing instructor at tions and announcements, please be establish an intern program in museum edu­ decorated by the governments of France and In the "changing times" department, we note 20th-century art history and Steven Mans­ [ohawk Valley College and as painting and sure to keep us informed of your cur­ cation. It is expected that one graduate stu­ the Netherlands for his work with the that the department of applied art at Iowa bach to teach 19th century. Visiting faculty drawing instructor at the School of Art, rent address. dent, on the master's level, will be selected Monuments and Fine Arts Section of the U.S. State University has officially changed its this year are Jerrilynn Dodds and Keith Munson-Williams-Proctor Institute. Continued on p. 10, col. 1 Army during World War II. name to the department of art and design. Crown. 9 8 CAA newsletter March 1979 Ipeople and programs grants and awards

MUSEUM STAFF NOTES ized an Evergood exhibition while completing each semester. The program, which will be NEH TRANSLATIONS PROGRAM MEYER SCHAPIRO CHAIR directed by Kathleen Zutter, has been her doctoral dissertation on that artist, Mary Garrard, whose ACLS grant-in-aid Grants awarded in 1977-78 that have some was reported in a previous issue, also received developed in cooperation with NYU's Muse­ Ceremonies held at Columbia University on direct or indirect impact upon art historical a grant for 1978-79 from the American Asso­ um Studies Program and the Bank Street Several staff changes have been made recently November 29 marked the successful conclu­ studies include: P. Gerson, for Pilgrim's College of Education. at the University of Michigan Museum of Art. sion of a fund-raising effort to endow a Chair ciation of University Women's Educational Marjorie H. Swain, fonnerly assistant to the Guide to Santiago de Compostela; P. Mac­ in Art History in Honor of Meyer Schapiro. Foundation for an iconographic study of the Kay, Univ. Washington, for The TravelJour­ paintings of Artemisia Gentileschi. Bowdoin College is the reCIpIent of a director, has been named associate chair of Unique in this effort was the contribution of nal ofEvliya Celebt~ Book 8: Travels in Main­ $750,000 gift from the Charles Dummer and the Museum Practice Program. Jacquelynn 12 artists who, in 1974, created original litho­ land Greece; Y. T. Wang, Univ. Pittsburgh, Ida Morton Barry Foundation to establish Slee has moved from her previous position as graphs, etchings and silkscreens to help raise registrar to become assistant to the director. for Record afthe Buddhist Monasteries in Lo­ funds for the chair. They are: Stanley and maintain a chair of history and criticism A post-doctoral fellowship for research on the Carole Cunningham has been appointed yang; R. Winkes, Brown Univ., for Riegel, William Hayter, Jasper Johns, Ellsworth of art. By its tenns, the Barry Chair will be a sculptural program of Jaca Cathedral was The Character of Late Roman Art. Kelly, Alexander Liberman, Roy Lichten­ rotating professorship, which will mean registrar. John E. Holmes has resigned his awarded to David L. Simon, S. U.N. Y., Cort­ stein, Andre Masson, Robert Motherwell, greater flexibility and variety in the art history position of assistant director and curator. land, by the Joint United States-Spanish Claes Oldenburg, Robert Rauschenberg, courses that Bowdoin will be able to offer. Committee for Educational and Cultural Af­ MMA FELLOWSHIPS Saul Steinberg, Frank Stella and Andy Roald Nasgaard has been appointed chief fairs. He will be at the University of Zaragoza The recipients of Metropolitan Museum of Warhol. The UCLA Museum of Cultural History, curator of the Art Gallery of Ontario in Tor­ through August. which now has its own permanent exhibition onto, having served as curator of contempo­ Art Fellowships (and their research topics) for gallery, received a $200,00 endowment from rary art at the gallery for three and a half 1979-80 are: DavidAlexander, The sword in This year's recipient of the Benjamin Frank­ the Ahmanson Foundation. Income will be years. Before coming to Ontario, Nasgaard Islam from the time ofthe Prophet to the 18th lin Medal, awarded by the Royal Society of available for program support, including (Ph.D. IFA) taught at the University of century; Greta Berman, Realist directions Arts, London, for forwarding the cause of research, lectures, and exhibitions. This ex­ Guelph. during the period characterized as "Abstract Anglo-American understanding, is Henry­ Zena Pearlstone Mathews, on leave from the tremely nice shot-in-the-arm is augmented Expressionism," "Action Painting," or "The Russell Hitchcock. The award goes to a citi­ Parsons School of Design, has received a Can­ Tom L. Freudenhehn, NEA Museum Program. this year by additional grants: a .$150,000 Charles C. Eldredge, director of the Spencer New York School"; Andrew Clark, Attic zen of the United States every other year; the ada Council grant for "A Survey of Ontario challenge grant from the NEH, an additional Museum at the University of Kansas, is cur­ black-figured oinochoai; David Cohen, previous American recipient was former Sen­ Iroquoian Effigy Pipes of the 16th and 17th $50,000 from the NEH to produce a series of After eight years as director, Tom L. rently a Smithsonian Fellow doing research at Pierre-Philippe Thomire, a late 18th- and ator J. William Fulbright. Centuries." • filmstrips for elementary and secondary Freudenheim has left the Baltimore Museum NCFA on American art and symbolist aes­ early 19th-century bronzier; Alice Freling­ school students, and two NEH grants for an of Art to become director of the Museum Pro­ thetics. The assistant director at the Spencer, huysen, American-made ceramic and glass Indian folk tradition exhibition and for care gram at NEA. Under his leadership, the Douglas Tilghman, is now acting director. wares and foreign wares imported into Amer­ of the textile collection. Baltimore Museum opened its innovative ica; Peter Galassi, early paintings of Corot; NOTES FROM THE WOMEN'S CAUCUS FOR ART Downtown Gallery, established an extensive Kenneth Donahue, director of the Los Nancy Groce, Musical instrument makers of traveling exhibition program, instituted a Angeles County Museum of Art for the past New York City; Walter Liedtke, Dutch genre major plan for renovation and physical 13 years, has become director emeritus at his painting; James Marrow, Prints and draw­ NEW FACILITIES development, and made significant additions own request. He will continue to act as de ings of Hans Baldung Grien (will result in cat­ to its collections. facto curator of European art and to be re­ alogue for Yale exhibition); Julia Murray, The School of Art of the University of sponsible for a number of the professional Chinese painting "Sung Kao-tsung, Ma Ho­ Denver has just moved into its new home, the aspects of the museum program for the com­ chih, and the illustration of the Mao Shih"; recently completed Shwayder Art Building. ing year. Pratapaditya Pal, senior curator of Kathleen Nolan, Early Gothic sculpture in The new facilities are for the undergraduate Helen Williams Drutt has been appointed Indian and Islamic art and acting chief cura­ the collections of MMA; Robin Sand, Gothic and M.A. art history programs and for fine gallery director at the Moore College of Art in tor since August 1978, has been designated ivory carvings of the Passion diptych group; arts students, and include a slide library of Philadelphia, the only women's college of art acting director. Robert Thorp, Tomb furnishings of early more than 80,000 slides and new studio space. in the U.S. Drutt, who has been on the Moore imperial China (dissertation); Emily Um­ There is also a new gallery, which opened faculty since 1976 and taught at the Philadel­ berger, MMA's Aztec sculptures; Marcia with exhibitions of prints by Dennis Olsen, phia College of Art before that, has also di­ Briggs Wallace, Romantic landscape paint­ followed by Picasso tapestries and a painting rected her own gallery in the city. A specialist ASSOCIATIONS ing in America: The influence of J. M. W. from Nelson Rockefeller's collection. Jack in various crafts fields, she assumes the posi­ Turner (dissertation); Elizabeth Jean Walt­ Kunin is the gallery coordinator. tion left vacant by Dianne Vanderlip Perry The new president ofthe Archives of Ameri­ ers, Attic grave reliefs that represent women last year. can Art is Gilbert H. Kinney. Siadhal in the dress of Isis (dissertation); Roger At Rhode Island College, a 1200-square-foot Sweeney has been appointed editor of the Wieck, Illustrations of manuscript copies of gallery in the Art Center was recently named Archives' Journal. Paul Cummings, former Ludolphus de Saxonia's Vita Christi and to in honor of Edward M. Bannister. Rhode The Ackland Art Center of the University of editor of the Archives' Journal, has been catalogue MMA's manuscript holdings. Island's 19th-century painter and one of the North Carolina, Chapel Hill, also has a new elected president of The Drawing Society. few academic black artists to have achieved director: Evan Turner, who resigned as The American Society for Aesthetics reports national prominence before the turn-of-the­ director of the Philadelphia Museum of Art NEA/SECCA FELLOWSHIPS that its new officers are Rudolf Arnheim, century. The new Bannister Gallery functions mid-way through 1977. Turner is replacing president; Francis Sparshott, vice president; These.$2,000 awards, jointly sponsored by the .Photo: Carole A. Rosen under the auspices of a gallery committee Joseph Sloane, who retired after twenty years Arnold Berleant, secretary-treasurer. Southeastern Center for Contemporary Art Left to right: Louise Neveoon, Alice Neel, Selma Burke, Isabel Bishop, President Carter, Joan Mondale_ composed of faculty and Craig T. Coonrod, as director of the Chapel Hill art center. E.S.R. and the National Endowment for the Arts, gallery coordinator. with matching funds provided by the Ciba­ On January 30, President Carter presented the Women's Caucus for Art First Annual Awards for The new senior curator at the Indianapolis Geigy Corporation, are for the purpose of Outstanding Achievement in the Visual Arts to five women artists, all of whom are more than The 52-year-old Alfred C. GlasseIl. Jr. Museum of Art is Anthony F. Janson (Ph.D. "enabling southeastern artists, of exceptional seventy-five years of age. School of Art, affiliated with the Houston Harvard), who most recently taught at the information talent, to set aside time and! or purchase The five-Isabel Bishop, Selma Burke, Alice Neel, Louise Nevelson, and Georgia O'Keeffe (in Museum of Fine Arts, finally has a home of its College of Charleston in South Carolina and materials and generally enable them to ad­ absentia)-were honored by President Carter at a private ceremony in the Oval Office and later own. In January the school moved into new before that at SUNY, Buffalo. vance their careers as they see fit." Recipients at a public ceremony and reception in which Joan Mondale, Honorary Chair of the Federal quarters, a largely glass block structur.e For a small exhibition of the work of the for 1979-80: Sue CieHen, Georgia, sculp­ Council on the Arts, and Mary Ann Tighe, Deputy Chair of the National Endowment for the designed by Eugene Aubry, of S. I. MorrIS KendaH Taylor has been named director of American artist Jan Matukla (1890-1972) in­ ture; Jim Crable, Virginia, photography; Arts, participated. In conjunction with the awards, Middendorf-Lane Gallery in Washington and Associates. Containing over 40,000 the Brainerd Art Gallery at the State Univer­ formation about specific works and biograph­ Suzanne Camp Crosby, Florida, photogra­ mounted an exhibit which presented the work of these distinguished five. square feet, the new building will permit the sity College at Potsdam, New York, where she ical data is sought. Please contact Patterson phy; Melody M. Guichet, Louisiana, paint­ The highlight event of the WCA 8th Annual Meeting, the award ceremony marked the first school, already the largest museum-affiliated will also teach museology courses in the Sims, Associate Curator, Whitney Museum of ing; Sharon Lawless, Virginia, painting; time that women in the visual arts have been recognized on a national level. in the White House, art school in the Southwest, to almost double department. Last year, as a Smithsonian American Art, 945 Madison Avenue, N. YC. Mike Vatalaro, South Carolina, sculpture; for their accomplishments. Norma Broude .. its enrollment from 440 to 850 students a day. Fellow at the Hirshhorn Museum, she organ- 10012. (Telephone: 212-794-0625)_ Edward R. Whiteman, Louisiana, painting. WCA Correspondent CAA newsletter 10 March 1979 II standards for the BA and BFA degrees in studio art shows by artist members preservation news Adopted unanimously by CAA Board of Directors, January 31, 1979 Two meetings devoted to preservation were After a thorough study of graduate education in the visual arts, the Board of Directors of the College Art Association, on Cecile Abish. Carpenter Center for the Daniel E. Mader. Duveneck Gallery, held at the CAA in Washington: April 16, 1977, ofFcially adopted a Statement of Standards fOT the M.FA. Degree. In the beliefthat a similar set afstandards Visual Arts, Cambridge, Mass. Jan. 22-Feb. Carnegie Art Center, Covington, Ky. March is needed governing the B.A. and B.F.A. degrees in studio art, the Board instructed a subcommittee to make a study of 9. "Past Projects." 4-25. Paintings, sculpture. The International Survey of Jewish Mon­ undergraduate education in the visual arts. The subcommittee has presented the Statement below. After careful considera­ Edward Mayer. O.K. Harris, N.Y.C. Nov. John Balsley. University of Delaware, uments, which will collect and make photo­ tion, the Board has adopted the report as the officialformulation afthe Association's policy regarding the B.A. and B.F.A. ll-Dec. 2. Sculpture. Newark. Nov. 6-21. Art Center, Madison, graphic inventories ofJewish monuments and Muck afthe report is consonant with standards published in its Handbook by the National Association of Schools of Art, as Wise. Dec. 10-Jan. 21. Sculpture: construc­ Kumiko Murashima. Marsh Gallery, Uni­ other evidence of the past, will inaugurate criteria for accreditation of member institutions. C.A.A. and N.A.S.A. are in agreement on the objectives of maintaining tion, welded metal, mixed media. versityofRichmond, Va. Feb. 11-28. Gallery several projects: Mark Epstein (Univ. Wash­ present levels of quality of undergraduate programs in studio art and working continually to improve the process of educa­ 310, York, Pa. March 10-31. Textiles. ington) will conduct a "windshield" survey of ting young artists. Judith Brodsky. Associated America Art­ sites in Turkey; Margaret Alexander will un­ Requirements and options in undergraduate studio education vary greatly from institution to institution throughout the ists, Philadelphia. Feb. 10-March 6. "Dia­ Philip Pearlstein. Hewlett Gallery, Car­ dertake an inventory of monuments in Tuni­ country. The differences in degrees of concentration and emphases in both art subjects and adjunct areas are immense. It is grammatics," intaglio prints. negie-Mellon University, Pittsburgh. March sia; and Philipp Fehl will make preliminary not the intention of C.A.A. to impose a uniform pattern on undergraduate institutions, since variety adds healthy enrich­ 19-ApriI13. Drawings retrospective. forays in Vienna. Contributions to these proj­ ment to a field that would be stultified if unduly restricted. It is of vital importance that institutions and departments assess Barbara Chenicek. Gallery One, Ann Ar­ ects can be made through the CAA and their educational objectives carefully, making sure that they are realistic and feasible within the existing context-or possible bor, Mich. Nov. 3-26. Barry College, Miami. Florence Putterman. John Bolen Gallery, should be specifically earmarked for I~M. in view of projected changes in the immediate future. The objectives, as well as patterns ofrequirements and options, should Jan. 26-Feb. 16. "Lights and Spaces," paint­ Santa Monica, Calif. Dec.-Jan. 31. Prints and monotypes. Bergsma Gallery, Grand For further information and membership: then be clearly formulated and published, so students planning to enroll will have a reliable notion of what can be expected ings. Rapids, Mich. March 15-ApriI30. Philipp Fehl, University of Illinois, 143 Fine from the program they are considering. The various guidelines cited below represent a logical minimum to insure the Katherine Fishman. Sheldon Memorial Arts Bldg., Champaign, Ill., 61820 or Sybil maintenance of quality. Where possible, they should be surpassed in order to foster continuing advance in the standards of Art Gallery, Lincoln, Neb. Jan. 9-Feb. 4. Bruce Rauffenbart. Gross-McCleaf Gal­ Milton, Leo Baeck Institute, 129 East 73 St., the profession. Hand-colored photography. lery, Philadelphia. Feb. 1-24. Oil paintings New York, 10021. Portions of the Statement that follows are arranged in parallel columns to facilitate comparison. Comments concerning utilizing a symmetrical pattern format. the B.A. appear on the left, the B.F.A. on the right. Betty Fitzsimmons. Explorer'S Club, CAA Committee for the Preservation of N.Y.C. Feb. 5-10. Womanart Galleries, John Remsen. Central Savings Bank, Art met with Federal officials Karel Yasko DEFINITIONS AND PURPOSES OF THE B.A. AND B.F.A. DEGREES IN THE VISUAL ARTS (STUDIO) N.Y.C. March 2-31. "Scott's Antarctics," Smithtown, Long Island. March. Eleven (General Services Administration) and Wil­ The B.A. degree in art, normally awarded by art departments in col­ The primary objective at institutions offering the B.F.A., usually mixed media on paper. small canvases. liam Murtaugh (Heritage Recreation Conser­ leges and universities, certifies the completion of major study in the university and independent schools of art, is to provide professional Marian Galczenski. Wilson College Art Miriam Schapiro. Lerner-Heller, N.YC. vation Services). Discussion centered around visual arts, which has been undertaken as an integral part of a education in art and design at the undergraduate level, to enable Gallery, Chambersburg, Pa. April 1-27. Feb. 3-28. "Fans," canvases. Gladstone/ the preservation of architectural decoration. general liberal arts degree program. The degree normally implies graduates to enter professional careers in such fields as design, paint­ Paintings and drawings. Villani, N. YC. Feb. 3-·28. "An Approach to Murtaugh noted that the Tax Reform Act of study in some depth in a number of studio and art historical ing, and sculpture after the award of the degree. Students concen­ the Decorative Works on Paper." 1976, which applies to income-producing disciplines. Such study mayor may not prepare students for careers trate in relevant technical and aesthetic studies, which are a major Dorothy Gillespie. Pine Library, Fair property, discourages the destruction of ar­ as art professionals. Career preparation is not a primary objective in portion of the program. There is a basic assumption that B.F.A. Lawn, N.]. Jan. 7-Feb. 2. Canvasworks, Robert Schecter. Soho Center for the tistically significant interiors because one can programs leading to the B.A. A major part (over 50%) of a student's graduates shall have developed technical competence, aesthetic metalworks. Gurewitsch Gallery, N. Y.C. Jan. Visual Arts, N .Y.C. April4-May 5. Two sec­ no longer claim accelerated depreciation. It is education is in areas outside art, with substantial coverage in the judgment, and a strong commitment to artistic quality. It is also 12-Feb. 3. Paintings, sculpture. tions of "Indian Paint Brush" (painting and sculpture) plus oil paintings. now economically sounder to rehabilitate and humanities, social sciences, and physical sciences. assumed that the holder of the B.F.A. has had sound instruction Roland Ginzel. Boston University Art take it off taxes. Yasko has proposed a five­ beyond the high school level in certain fundamental academic Gallery. March 2-23. Paintings and press Patrie Shannon. Country Club Plaza year plan to restore works of art i~ non­ disciplines, especially in English, the humanities, social sciences, and drawings. Bank, Kansas City, Mo. April 1-30. Jewish Federal public buildings to be adminlstered the physical sciences. Community Center, Kansas City, Mo. April by state arts councils. Hanna Hannah. Miami University Mu­ 26-May 20. Paintings. seum of Art, Oxford, Ohio. Jan. 8-Feb. 18. DEGREE REQUIREMENTS Ursula von Rydingsvard. 55 Mercer, Conference Recent paintings and drawings. Definition of Credit. Because credits are a unit of measure, reflecting amounts of work over certain periods of time, a N.Y.C. Feb. 27-March 17. Wood sculpture. The 7th Annual Meeting of the American In­ Allan I. Ludwig. Milliken Gallery, Con­ stitute for Conservation of Historic and Artis­ precise definition is needed in order to reconcile the variety of academic record-keeping arrangements that exist through the verse College, Spartanburg, S.C. Nov. 15- Idelle Weber. Chatam College, Pitts­ tic Works will be held in Toronto, Canada, nation. The Association recognizes a standard in which one semester credit represents three hours of work a week over a Dec. 1. Alonzo Gallery, N.Y.C, Dec. 16-Jan. burgh. March 4-24. O.K. Harris, N.YC. May 30 to June I, 1979. Workshops and pro­ semester of at least 15 weeks (one quarter credit is the equivalent of % of a semester credit). Work towards credit can take 20. Photographs from Reflections out of April 28-May 19. Paintings. fessional papers will be presented. For infor­ place in formal classes, critiques, technical workshops, or in independent studio activity. While the distribution of time spent between in-class and out-of-class options is a decision that must be made by the faculty, who determine specific educational Time series. Ken Weinberg. Hampden Gallery, Uni­ mation: Martha Morales, Executive Secre­ tary, A.I.C., 1522 K Street, NW, Suite 804, patterns within a given institution and a given discipline, the ratio of three hours of work per week per credit should be met. Richard McKown. Grey Gallery, Antioch versity of Massachusetts, Amherst. Feb. Washington, D.C. 20005. 202/638-1444. College, Yellow Springs, Ohio. Feb. 26- 26-March 15. "Screaming Buildings," paint­ To earn the B.A., students should complete a minimum of approx­ To earn the B.F.A., students should complete a minimum of 70 Annabelle Simon Cahn • March 9. Xerographic works. ings and drawings. • imately one-third of their total work toward graduation from among credits in courses related to their intended areas of specialization, in­ Public Information Officer courses offered by the art department, including a minimum of 8-12 cluding from 12 to 18 credits in art history. These professional studies credits in art history. The studio curriculum should be designed to should constitute no more than 'J4 of the total work towards gradua­ provide breadth, rather than specialization, by insuring that tion. The specific nature and sequence of classes in the various students take courses in a variety of media. The maximum elections disciplines is, of course, subject to the discretion of each individual in studio and art history should normally not exceed one-half the institution, but it is assumed that, following introductory study in a Istudio safety guide total for graduation. The remainder(12 -%) should be in liberal arts variety of media, some degree of specialization in a particular courses offered by other departments in the institution, including discipline will usually be required. In addition, no less than !4 of the specific studio practices (in alphabetical study in the humanities, social sciences, and physical sciences. total credits for graduation should be in courses outside the art cur­ must try to keep artists from killing them­ The Guide, then, is a survival primer not a order, from ceramics to woodworking) and is riculum, including English, the hu-manities, social science, and selves using new materials and processes in call to panic. It presents, in easily readable designed to be copied and used as mini­ physical sciences. uninformed ways; and we must inform them form: (I) hazards of materials and processes posters in work areas. of potential dangers and the ways ofmi~imiz­ common to the various studio media; (2) Information on ordering the Guide is given STUDIO CURRICULUM ing them without killing the visual arts In the measures for' avoidance or minimization of in the box on page I. We shall begin process­ process .... No one close to artists will expect risks; (3) descriptions of physical symptoms of It is not the intention of C.A.A. to provide curriculum outlines and thus undermine the valid principle of diversity in higher them to leave off experiments with new mate­ over-exposure; (4) sources of emergency and/ ing orders as soon as possible. education. Credit distribution must be left to individual programs in the belief that they will capitalize on their strengths and In the meantime, to again quote our proj­ rials, but if some of those are deadly, users or long-term help to remedy damage already minimize their weaknesses in order to provide the soundest education possible. There is no necessity that every institution of­ ect director: "From the College Art Associa­ have the right to know it, and to make in­ done; and (5) references to more detailed in­ fer work in all conceivable art disciplines. It is more important to teach fewer areas thoroughly and well than to cover a larger tion to its members and everyone else at work formed decisions whether to risk using a formation about both curative and preventive number superficially. Once general structures are agreed upon, each student deserves from the staff careful consideration of in art studios: long life and good health to substance with proper precautions or to leave measures. The bulk of the Guide -,,~ 45 pages individual needs and conscientious direction in planning an appropriate course of study within the program. you, and many happy returns on your creative it and find a substitute." _ deals with materials and processes of Continued on p. 14, col. 1 efforts." • March 1979 CAA newsletter 12 fannouncements CAA FINANCIAL REPORT-DECEMBER 31,1978 fBA and BFA standards 1978 1977 Winterthur Portfolio Seeks REVENUES Authors and Reviewers . . GRADUATION AND OTHER EXHIBITIONS OF STUDENT WORK Membership Dues $222,785 $192,792 WP (a quarterly as of this year) mvItes t.he Individual 92,748 90,015 submission of scholarly articles dealing WIth Policies regarding the exhibition of student work vary from institution to institution. The opportunity for an students to see Institutional American material culture past or present. their work on public view, in either group or solo shows, adds a significant dimension to understanding of their achievements $315,533 $282,807 Preference is for analytical rather than des­ Total Dues and growth; therefore, exhibitions are' encouraged. Every effort possible should be made to provide satisfactory spaces for criptive articles and for articles that place such shows. In B.A. programs, graduation exhibitions for majors are desirable, though not mandatory. For B.F.A. material culture into its broader contexts. In­ graduates, the senior show can serve as public evidence of the levels of competence each has achieved and as a device for Other Income . $ -0- $ 15,617 Subscri ptions to Positions Listmgs terdisciplinary studies are encoura?"ed as are evaluation of the work; therefore, B.F.A. granting institutions are urged to require graduation exhibitions as a prerequisite studies utilizing extensive illustratIons .. Pro­ Sales of back issues, miscellaneous for awarding the degree. 10,673 11,319 spective authors contact Ian M. G. QUlmby, publications It is desirable that slides of works shown be made and retained as an ongoing record. In addition, institutional resources 1,843 871 Editor, WP, Winterthur, Del. 19735. Poten­ MFA Program Listing (net) 3,427 should, if possible, be used to purchase outstanding examples of student work. The C .A.A., in a resolution, dated April 29, 10,471 tial book reviewers contact Kenneth L. Ames, Book Service Income (net) 25,290 1972, has declared the unacceptibility- and illegality-of the all-too-prevalent past practice of demanding, without com­ 21,625 Book Review Editor, at above address. pensation, examples of work by students. Interest and Dividends 2,444 1,276 Slide Buyer'S Guide (net) 37,430 40,110 ADMISSIONS Annual Meeting (net) 33,969 36,189 In many institutions, admission to the major in art, leading to the Admission to B.F.A. programs is often by portfolio review, to deter­ Art Bulletin Subventions 1,166 Amnesty International Appeal .. 414 Vasyl Barladyanu, an Uhanian art cntlc and B.A., is open to all students enrolled in the institution, who are at mine not only the student's potential for success in the program but Computer List Sales 3,446. 1,15Il historian was arrested and condemned to liberty to declare their intention to specialize after electing a number also to detennine whether there are deficiencies in prior training or Sales of- Educational Slide Rolls a,,t h ,,' of introductory-level courses. In other departments, often as a means problems in aesthetic direction that demand the attention of the three years of internment after a s ort m $120,380 $138,711 oflimiting the number of majors and to insure an acceptable level of faculty once the student is enrolled. Total Other Income camera" lawsuit which took pl~ce on J.une quality in their students, portfolio review or other screening devices 21st 1977. His state of health IS alannlI~g. $435,913 $421,518 are instituted. Either arrangement is satisfactory. Total Revenues Those interested in his case are asked to wnte to: Amnesty International, Groupe 96 de ADVISING Vincennes, CIO Bernard Laune, 6, Avenue In either of the above circumstances, it is the obligation ofthefaculty Once enrolled, students need and deserve the opportunity to consult EXPENDITURES du Dr A. Netter, 75012 Paris, France. of the department to provide a careful advising system for all majors, with faculty members regarding course choices that will compensate to determine each student's strengths and weaknesses and to help for possible weaknesses and build on strengths. Achievements should Administrative Costs $ 77,015 $ 83,620 devise logical programs of study to fit particular needs. be reviewed from time to time to help insure that satisfactory levels of Salaries 11,591 13,006 Payroll Taxes and Fringe Benefits Winterthur Research FellowshiPS. progress toward professional competence are being achieved. 17,653 19,573 Two to three fellowships are avaIlable for Rent and Cleaning Services FACULTY Office Expenses (printing: postage, 1979-80 to support postdoctoral resea~ch for 20,393 19,194 six to eleven months in fields appropnate to The core of the studio faculty at any B.A.- or B.F.A.-granting institution should consist of full-time, continuing members stationery, mailing servIces) 2,471 2,373 the Museum and Library collections, namely who are, by training and experience, qualified to teach at the post-secondary level and are currently involved in creative work Telephone 3,225 2,900 Anglo-American cultural and social history. of high quality. They should be able to communicate their knowledge and insights effectively to students. In order that pro­ Accounting Fees 1,788 383 Experienced museum profes.sionals without a per instruction may take place, there should be sufficient faculty members to insure that all students receive the full attention Office of the President Expenses 806 499 doctorate also eligible. Wnte: Dr. Scott T. they deserve (student-faculty ratios, calculated to fun-time equivalents, should not exceed 15-1). Teaching loads should be Insurance 1,108 825 Swank, Education Division, Winterthur ~u­ such that facility members have the opportunity to engage in their own professional work. Full load should consist of no more Administrative Travel and Expenses $144,466 seum, Winterthur, Del. 19735. Deadhne: than 18 contact hours per week. Enrollments in introductory courses should be kept at a level at which adequate contact is Total Administrative Costs $133,957 possible between teacher and students and generally should not exceed 25, with smaller numbers, as appropriate, for more April 2. advanced classes in which even greater contact between teacher and student is necessary. Other Costs $161,970 B.A.-granting institutions which have fewerthan four well-qualified Programs are so varied in kind and size that it is impossible to specify $119,291 Art Bulletin 29,584 38,476 Registry of Roving Researchers Revisited studio teachers, including at least one person who is competent to precise numbers offaculty members needed to conduct a satisfactory Art Journal (net) 11,599 teach college-level art history, * should consider carefully whether B.F.A. program. The faculty should be sufficient in numbers and 8,809 First, our apologies to all those who promptly Newsletter (net) 7,829 5,480 wrote in for forms when tht' announcement of they are justified in offering a major in art, since both breadth of competence to carry out effectively the professional and educational Board Travel/Meeting Expenses 1,527 coverage and variety in points of view are vital to a strong major pro- programs of the school and to provide a variety of points of view in 726 the Registry appeared in the D~cember news­ Committee Expenses letter and then had to wait untIl after the an­ gram. every major discipline offered. Preservation Committee Organizational -0 *One art historian and three studio instructors might be an accept- 1,666 nual meeting when we finally got around to Meeting 1,006 792 eSIgnmg' . them . We have had several re-d able alternative. Dues 2,227 d FACILITIES AND RESOURCES 2,298 sponses both from potential research~rs an Awards 22,461 28,635 potential clients, but are still looking for B.A. and B.F.A. programs should be offered only in those areas that are fully and adequately equipped with a reasonablyfuU Placement Service 825 range of available technology and satisfactory working spaces for students. While facilities can never take the place of gifted 333 researchers in The Hague and Brussels. For MFA Survey Project 2,591 4,019 those who missed the initial announcement: teachers, the better they are, the more those using them will benefit. Specialized equipment is absolutely necessary in some Studio Guide to Safe Practices -0- areas, and students should not only become technically competent in its use but should also be trained to understand fully 7,444 The CAA/RRR is a simple,. non-co:np,~ter­ Grant to RILA Project 827 -0- ized, non-interfering "matmg serVIce for and practice safe shop and studio procedures. In addition, students should be thoroughly informed of the many hazards to Moral Rights Study - final payment those able to do on-site research abroad and their health found in the arts today, from solvents, toxic synthetic materials, inadequate ventilation, etc., and means of pro­ Binding of back issuesl Art Journal and 608 -0- those needing such research done; we take no tecting themselves from such hazards. Art Bulletin 2,184 Ifit is within the ability of the institution to provide them, private or semi-private studio arrangements are desirable for ad­ -0- responsibility for fees, expenses, and the PhD Survey -0- 985 vagaries of various postal systems. One-year vanced students, especially in B.F.A.-granting institutions, though they should not be so private-so segregated-that they Placement Booklet 812 prevent healthy contact and interchange. 623 registration (for researchers) costs $3.00. Miscellaneous 50,000 -0- No strong program in art can exist without adequate library, slide, and exhibition resources. If the institution does not in­ Grant to Monograph Endowment Fund Write to CAA office for forms. clude a museum, it is of utmost importance to provide opportunities for students to visit neighboring centers, where theycan $255,882 $259,745 become familiar with masterworks of the past and have continuing contact with the art of the present. Departments, Total Other Costs especially those that are remote from cultural centers, should consider establishing data banks of video and film documenta­ Erratum . 1,123 1,249 The correct address for the American Co?-ncd tion on contemporary art and artists, in order to broaden student contact with and awareness ofrriajor issues in the arts today. Depreciation for the Arts - source for Money Bu:mes~: $390,962 $405,460 Committee on Standards for the B.A. and B.F.A. Degrees in Art Total Expenditures Grants and Awards Jor Creative Art'tSts~IS Paul Arnold, Oberlin College, Co-chairman; George Sadek, The Cooper Union, Co-chairman; Alma Eikerman, Indiana 570 (not 507) Seventh Avenue, N. Y.C. 1001~ University; Ellen Lanyon, New York City; Leonard Lehrer, University of Arizona, Tempe; Jerrold Maddox, Kansas State $ 44,951 $ 16,058 Sorry. University; John Rogers, University of North Dakota; Helen Schiavo, Queens College; Jason Seley, Cornell University; Excess oj Revenues over Expenditures Wallace Tomasini, UniversityofIowa. • 15 March 1979 14 eAA newsletter AAMD GUIDELINES FOR REPRODUCTIONS OF WORKS OF ART classifieds Endorsed by CAA Board oj Directors,january 31, 1979.

Art museum directors are responsible for 1. Museums. when producing and lor sell­ The CAA newsletter will accept classifieds of maintaining a climate of artistic integrity. ing reproductions. shoul,d through the use of a professional or semi-professional nature Such integrity should therefore characterize integral markings on the object as well as (sale of libraries, summer rental or exchange all museum operations, including sales ac­ signs. labels and advertising, clearly indicate of homes, etc.). The charge is 50F per word, { tivities. In recent years, increasing enthusi­ that it is a reproduction. Signatures, print minimum charge $10.00, advance payment asm for the arts has nurtured a growing edition numbers, and printers' symbols or required. Make checks payable to CAA. market for items that go beyond those tradi­ titles should not appear in the reproduction if tionally sold to complement the collections in the original they occur outside the borders OUT-OF-PRINT BOOKS at reasonable and exhibitions. These changing conditions of the image: Similarly, signatures, edition prices in art history, architecture, photogra­ must not compromise professional standards. numbers andlor foundry marks on sculpture phy. Free catalogues. Available: 9-Women Income has been generated by art muse­ should not appear on the reproduction. Artists, 10-Photography/Film. Forthcom­ ums through the sale of such educational 2. Museums. when producing andl or sell­ ing: II-Ancient Art, 12-General. Blue Rider materials as catalogues, books, postcards, ing reproductions of paintings and sculpture, Books. 65 Mt. Auburn Street, Cambridge, and reproductions. Recently, however, a pro­ should offer them in materials andlor size MA 02138. liferation of "art-derived" materials, coupled other than those used by the artist in the with the marketing of copies of original original work of art. It is recognized that Keep in touch with California, Texas, the works. have created such widespread confu­ reproductions of decorative arts serving func­ Northwest and Southwest. Subscribe to ART­ sion as to require clarification if ethical stand­ tional purposes may pose special problems, WEEK (now in Art Index). 44 issues a year ards of art museums are to be maintained: but the fact that they are reproductions only .$14, individual subscriptions; $16 to To offer reproductions to the public as an should be clearly indicated. institutions. ARTWEEK, 1305 Franklin, adjunct to the work of art is one thing; to offer 3. The so-called investment value some­ Oakland. CA 94612. a surrogate for original works of art is quite times touted in advertising is deplorable since another. and could lead to confusion in the the object or work being offered for purchase Arts and Human Values-125 slides, accom­ public mind as to what constitutes originality is not original and the resale value is highly in panying humanities text; masterpieces from in a work of art. doubt. The retail pricing of reproductions the museum's collections. Send .$150.00 to We endorse the educational role that re­ should be in accord with cost-effective and ARIC. Minneapolis Institute of Arts, 2400 productions can playas reminders of the standard marketing practices. 3rd Avenue South, Mpls., MN 55404 or call original and as a way of making images of art 4. When advertising these reproductions 612/870-3190 for more information. .. widely accessible. There can be no quarrel in public media, museums should not use lan­ with the manufacture and knowledgeable use guage implying that there is any identity of To insure receipt of all CAA publica­ of reproductions for teaching purposes or in a quality between the copy and the original, or tions and announcements, please be decorative context. lead the potential buyer to believe that. by sure to keep us informed of your cur­ In view of these considerations. we recom­ purchasing any such reproduction, he or she rent address. mend the following guidelines: is in effect acquiring an original work of art ... '------',

DATEBOOK. 31 March deadline submission of topic proposals for 1980 annual meeting, .. 20 April deadline submission of positions for May listing. , . 15 May deadline applications for CAA travel grants to Bologna ... 1 July deadline ACLS travel grant applications (conferences November-February).

G44newsletter Non-Profit Org. U.S. Postage ©1979 PAID College Art Association of America New York, N.Y. 16 East 52 Street, New York 10022 Permit No. 4683 Editor: Rose R. Weil

March 1979