CAA News a Number of Artists Immerse Themselves in 21 Affiliated Society News Business Life to Revitalize the Idea of What Art Is and Might Be

NEWS

Newsletter of the College Art Association Volume 30, Number 1 January 2005

What Business Table of Contents Are You In? 2 From the Executive Director 3 Willie Cole and Lesley Dill he 2005 CAA Members’ Exhibition, at ARTspace entitled What Business Are You In?, 4 Bruce Cole is 2005 T takes place January 29–March 26 at Convocation Speaker the Atlanta Contemporary Art Center, also 5 Richard Brilliant is 2005 known as the Contemporary. Organized by Distinguished Scholar Helena Reckitt, the exhibition explores the Annual Conference complex and contradictory relationships 6 Highlights between artists and the corporate and academic worlds. Among the artists are: Michael 10 CAA Statement Regarding the Patriot Act and Threats Aurbach, Alex Bag, Andrea Fraser, Jason to Civil Liberties and Artistic Irwin, Gunilla Klingberg, Lucy Kimbell, Freedom Matthieu Laurette, Irene Moon, Christian Phillip Müller, Adrian Piper, John Salvest, and 12 Archiving Alternative Spaces Carey Young. 13 The Forgotten Era: Modern Despite the myth of the artist as romantic Art in Iraq outsider, artists often depend on the support of 14 Committee on Intellectual institutions and corporations, much as they Property Q&A once did on the aristocracy or church. As con- 16 Vote for 2005–9 Board temporary artists engage in self-promotion CAA Student Fellowships and branding and outsource the production of 17 Available their work, they redefine the ground shared by John Salvest, Paper Trail, 2002. Shredded Enron letterhead. 32 x 34 x art, higher education, and commerce. 78" 18 CAA News A number of artists immerse themselves in 21 Affiliated Society News business life to revitalize the idea of what art is and might be. Some use mimicry to insert them- 23 Solo Exhibitions by Artist selves in corporate or academic culture. Others take an anthropological approach, using the uni- Members versity or the corporation as subject matter. Books Published by CAA Unlike first-generation conceptualists, whose tactics developed in tandem with—and were often 24 Members absorbed by—mass media, artists today are not necessarily oppositional. Instead, by highlighting the interdependence of individuals and organizations, they explore the moral ambiguities and 24 Obituaries strategic identifications demanded in our ideologically impure times. 25 People in the News What Business Are You In? presents artists from Britain, France, Germany, Sweden, and the 26 Grants, Awards, & Honors United States working in photography, sculpture, video, performance, and installation. Quizzical, Resources & Opportunities playful, and self-critical, they explore the slippery definitions of art, artist, and entrepreneur. A 27 publication with an essay by the art historian William Wood accompanies the show. 28 Classifieds Sponsored by the CAA, the exhibition coincides with the 2005 Annual Conference in Atlanta. 30 Datebook Additional support comes from the British Council and the International Artists Studio Programme in Sweden. The opening reception takes place Thursday, February 17, from 5:30 to 7:00 PM; directions to the Contemporary can be found in your conference Program. years, CAA’s members and Board mem- From the Executive Director bers, especially those from southern states, have lobbied to correct this imbalance. Like several other academic associations, Atlanta 2005: Choosing a Conference Site CAA did not consider Atlanta as a potential site until the state repealed its anti- n February bisexual, and transgendered artist and art- sodomy laws in 1998. More recently (sub- 16, CAA will historian community.” The newsletter for sequent to the Board’s choice of Atlanta), Oconvene the the Queer Caucus for Art, a CAA affiliated a question was raised about the presence 93rd Annual Confer- society, notes that the caucus is planning in the Georgia state flag of Confederate ence in Atlanta. It to have an open exhibition at a bookshop emblems; the issue was favorably resolved promises to be a very or other venue in Atlanta. We urge you to about a year ago. lively and exciting attend that exhibition as well, to show It is essential that we sign hotel and

PHOTO: ANDREI RALKO event—a full pro- your support. other conference contracts as early as pos- Susan Ball gram of sessions and Another CAA Board member who has sible to secure affordable room rates and social events, book been active in planning the Atlanta confer- other benefits for attendees. Furthermore, it and trade show, and job fair. We hope to ence writes, “This is my home, my coun- is important to emphasize that no contracts see many of you there. Recently, concerns try, and the state I have lived in with my are signed without a thorough review and have been raised by some CAA members partner for fourteen years. Atlanta is home vetting by our legal counsel. Once signed, about our decision to hold the conference to one of the largest lesbian, gay, bisexual, these contracts are binding; breach of con- in Georgia, given the recent passage of a and transgendered communities in the tract carries a huge financial liability. discriminatory amendment to the state country. It is a mecca in the South…. To You, the members, elect the Board to constitution banning same-sex marriages. those lesbian, gay, and transgendered peo- “do all lawful things which they may CAA’s Board of Directors takes seriously ple planning to come to the CAA confer- deem expedient to promote the business all such concerns from our members; in ence: I urge you to attend in large num- and interests of the Association…. The keeping with the spirit of CAA’s mission, bers. Leaving is not an option for most of Board of Directors shall have charge of we abhor discriminatory practices. The us who live, work, and raise children in the general interest of the Association, Board discussed this matter after the Georgia. I prefer to stay and become much being vested with the power to control and November federal and state elections and more politically active.” (For the complete manage the affairs, funds, and finances of determined not to cancel the 2005 confer- text, see www.collegeart.org/conference/ the Association.” When faced with a ence. 2005/letter.) request from a member to boycott a city Conference planning is a long-term The CAA process of conference selec- where contracts have been signed in good process. The selection of Atlanta for 2005 tion is rigorous and takes into considera- faith, a Board of Directors may face the was made in 2000, and the contracts were tion many factors, including political con- dreadful dilemma of having to exercise its signed in 2001. At present, no boycott of cerns that might affect CAA members. fiduciary responsibility for the fiscal sta- Georgia or other states that have passed (Other issues are accessibility by air and bility of the organization, rather than such laws is being enacted. The CAA rail; hotel accommodations and convention respond to political concerns that many of Board therefore urges our members to use facilities able to accommodate a meeting them personally share. CAA’s Board this opportunity to show support for the as large as ours; geographical diversity examined this issue at length, weighing local arts and scholarly community in and equity; and the participation of local our deep disappointment at the passage of Atlanta and, as one CAA Board member museums, galleries, and educational and the discriminatory law, our feelings of sol- writes, to “use our presence in Atlanta to cultural communities.) idarity with the Atlanta community, and support a more open-minded point of Standard CAA policy for conference site our fiduciary responsibilities as trustees of view. In addition, we could highlight our selection includes detailed research by CAA. We concluded that the present solidarity with the local lesbian, gay, CAA staff and presentations to the Board of description of our site-selection process several potential sites for each future year. should be presented to you, our members, Planning begins about eight or nine years in and posted on our website, together with a Volume 30, Number 1 advance. Staff members visit the communi- statement from an Atlanta-based Board CAA News is published six times per year by the College ties under consideration and make a com- member. Art Association, 275 Seventh Avenue, 18th Floor, New parative analysis of all factors. Because our York, NY 10001; www.collegeart.org. See you in Atlanta! conference is so large, we can only go to —Susan Ball, Executive Director, and Editor-in-Chief Susan Ball big cities with substantial facilities. Ellen K. Levy, President Editor Christopher Howard Weighing heavily in our decision to go Material for inclusion should be sent via e-mail to to Atlanta was that CAA has never held a Christopher Howard at [email protected]. Photographs and slides may be submitted to the above conference in this region of the South, street and e-mail addresses for consideration. They cannot despite the fact that 20 percent of CAA be returned. All advertising and submission guidelines may be found at www.collegeart.org/news.html. members reside in southern states. (We were in New Orleans in 1980, Houston in Copyright © 2005 College Art Association 1988, and San Antonio in 1995.) For

2 CAA NEWS JANUARY 2005 and intelligent approach to synthesizing Anita Jung looks at ephemeral print, Willie Cole and the physical and spiritual worlds. design, and installation art. And to keep Lesley Dill at Represented by Alexander and Bonin our sense of humor, Victor Margolin will Gallery in New York, Cole has exhibited chair a mock-academic session on new ARTspace nationally and internationally. In fall 2004, directions in the study of popular culture. the University of Wyoming Art Museum Representatives from Creative Capital, organized and presented Afterburn: Willie the Marie Walsh Sharpe Art Foundation he artists Willie Cole and Lesley Dill Cole: Selected Works 1997–2004, which and the Foundation Center will be on will participate in the Annual Artists’ will travel in 2005–6 to the California hand, and Joe Seipel will offer an T Interviews at the 2005 Annual African American Museum in Los overview of a professional practice course Conference in Atlanta. These exclusive Angeles; the Edwin A. Ulrich Museum of for visual artists, with funding from the events, taking place Friday, February 18, will Art at Wichita State University in Kansas; Emily Hall Tremaine Foundation. be held in ARTspace, the “conference within the Worcester Art Museum in Massachu- The Services to Artists Committee– the conference” programmed by CAA’s setts; the University of Kentucky Art sponsored session, “The Patriot Act and Services to Artists Committee. Museum in Lexington; and the Herbert F. the Arts,” coordinated by Joyce Hill Willie Cole holds the 2004–5 Lamar Johnson Museum of Art at Cornell Stoner, addresses issues facing artists, art Dodd Professorial Chair at the University University in Ithaca, N.Y. historians, and museums stemming from of Georgia in Athens. In his assemblages, Lesley Dill, a Brooklyn-based painter, the USA Patriot Act. Panelists include installation, and prints, he transforms ordi- printmaker, sculptor, photographer, and Nato Thompson, curator of a Mass MoCA nary domestic objects such as hair dryers, performance artist, explores the elusive exhibition that included work by Steve bicycle parts, irons and ironing boards, boundaries between mind, body, and spirit. Kurtz and the Critical Art Ensemble, and high-heeled shoes, and lawn jockeys into Her work examines language and its rela- Gregory Sholette, who will present a sur- powerful works embedded with references tionship to the physical. Words, both legi- vey of political and activist art; representa- to the African American experience and ble and illegible, bridge the private world tives from the Department of Homeland inspired by West African religion, mythol- of thought and the public discourse of Security and other government agencies ogy, and culture. The appropriation of dis- shared experience; Dill uses them in com- have also been invited to speak. carded mass-produced American products, bination with images to evoke the spiritual Please check the online and printed objects that have themselves acquired a content of human experience. She is best Program for all dates and times. prehistory through their earlier handling known for her paper dresses printed with CAA News thanks Beauvais Lyons and Susan and use, becomes the raw material of the poetry of Emily Dickinson; Dill refers Cole’s creations. Drawing on personal Moldenhaur, director and chief curator of the to these garments as housing for the body, University of Wyoming Art Museum, for contributing experience and collective cultural histo- which in turn is housing for the soul. to this article. ries, his work takes a playful, inquisitive, Lesley Dill: A Ten Year Survey was organized by the Samuel Dorsky Museum of Art at the State University of New York, New Paltz, and traveled in 2002–3 to the CU Art Galleries at the University of Colorado in Boulder; the Chicago Cultural Center; the Contemporary Museum in Honolulu; the Scottsdale Center for Contemporary Art in Arizona; and the National Museum of Women in the Arts in Washington, D.C. Since 1995, Dill has shown her work at George Adams Gallery in New York. ARTspace will also host a discussion, “Portrait of an Artist,” led by Robert Storr and JoAnna Isaak, which will focus on the art and life of the late Leon Golub. In related events, Pam Longobardi has assembled a panel surveying Atlanta’s new contemporary art venues, and Jerry Cullum of Art Papers and Patricia C. Phillips of CAA’s Art Journal will guide artists through practical aspects of art publishing. Other ARTspace sessions explore artistic mediums: Clarence Morgan will Willie Cole. Kitchen tji wara, 2004. Vinyl, wood, and metal. present a panel on painting; Carmon Lesley Dill. A Thought Went Up My Mind Today, 1996. Ink 98 x 47 x 30" (249 x 119 x 76 cm). Photograph courtesy Colangelo will explore printmaking; and and thread on black-and-white photograph, 69 x 40". Photo- Alexander and Bonin, New York. graph courtesy George Adams Gallery, New York

CAA NEWS JANUARY 2005 3 ing. He served as a panelist in the endow- I am proud that the federal government ment’s peer-review system and in 1992 recognizes the role we play in strengthen- was named by President George H. W. ing the intellectual and cultural landscape Bush to the National Council on the of our country. The We the People initia- Humanities, the endowment’s twenty-six- tive is a great success both for its contribu- member advisory board, where he served tion to our colleges and universities and to for seven years. the U.S. as a whole. The NEH now enjoys CAA Executive Director Susan Ball unprecedented bicameral, bipartisan sup- recently spoke with Cole about his work port in Congress. We have seen this in the with the NEH. record-breaking funding increases, as well as personal interest of members of Susan Ball: In your impressive career, you Congress in strengthening the intellectual have written fourteen books, taught at life of our country. Indiana in fine arts and literature, and served as a government advisor. What do The greatest funding increase went to a you see as similarities and differences new initiative of yours: We the People. among academic, administrative, and What has the impact of this program been scholarly life? on the field of art history? Could you name some success stories and trouble spots? Bruce Cole: It is an honor to serve the American people at the NEH. We are an We the People has benefited every part of ideas-driven institution, much like a uni- NEH, including areas of art history. For versity. My job at the NEH allows me example, we funded a teacher workshop Bruce Cole, chair of the National Endowment for the Humantities. Photograph courtesy the NEH great freedom to explore old and new sub- on the art and architecture of the U.S. jects and emerging as well as traditional Capitol, the cataloguing and preservation scholarship—from presidential papers to of approximately 50,000 pieces of Civil Bruce Cole Is 2005 work on illuminated manuscripts to the War–era ephemera in both printed and Sumerian Dictionary Project—as we work manuscript form, a documentary film on Convocation Speaker to fund the best of humanities scholarship. the life of the architect Benjamin Henry The chairmanship is a combination of Latrobe, the planning for an exhibition on intellectual and administrative duties that American circus lithography, and research ruce Cole, chair of the National keeps me constantly in touch with my aca- on Frank Lloyd Wright’s later public archi- Endowment for the Humanities demic colleagues. tecture. The program has brought the B(NEH) and a scholar of Renais- humanities to more audiences—especially sance art, will be the keynote speaker at You served on the National Council of K–12 students and teachers—and it has Convocation for the 2005 CAA Annual Humanities during the “Culture Wars” of provided all citizens a greater knowledge Conference in Atlanta. the 1990s. How do you see the progress of their own history and culture. Stay Cole joined the NEH as its eighth chair that the NEA and NEH have made since tuned for more to come. in December 2001. Previously he was dis- then? tinguished professor of fine arts, professor Have you been able to work on any new of comparative literature, and chair of the For almost forty years, the NEH has research or book projects? department of the history of art at Indiana enriched American life through every University’s Hope School of Fine Arts in decade and every chairman. Thanks to My duties as chairman keep me very busy, Bloomington. He has written fourteen President George W. Bush’s support, our so I don’t have any plans to publish any- books, many on Italian and Renaissance budget has risen dramatically. Just last thing soon. However, I do enjoy the many art, including studies of Giotto, Masaccio, year alone we were able to increase the possibilities I have to explore scholarly Piero della Francesca, and Titian. His most number of our awards about 30 percent. questions as a “consumer.” By sitting in on recent volume is The Informed Eye: As an art historian, I am especially heart- peer-review panel discussions, reading Understanding Master-pieces of Western ened by the level of our support to individ- applications, interacting with the erudite Art (Chicago: Ivan R. Dee, 1999). ual scholars, museums, and other cultural NEH staff, and consulting with members of Cole is the first art historian to head the institutions across the country. the National Council on the Humanities, I NEH. As such, he has been a strong, pas- have access to the best and most interesting sionate, and distinguished advocate for our In 2004, the NEH received its highest scholarship in every humanities discipline. fields. We at CAA have an opportunity to budget increase in thirteen years, but at the I also enjoy visiting the great museums of work closely with the NEH and to support same time, agencies on the state and local Washington, D.C., whenever I get the its vital work. Cole has worked with the level are experiencing drastic cuts. What is chance. agency since 1971, when he was awarded the climate in Congress today with regard a fellowship to do research on the origins to support for the arts and humanities? After so many years in the classroom, how and development of early Florentine paint- does it feel not to be teaching?

4 CAA NEWS JANUARY 2005 I have found speaking to the public and Brilliant was editor-in-chief of The Art delivering lectures on campuses extremely Richard Brilliant Is Bulletin from 1991 to 1994, the director of rewarding. It is very different from the 2005 Distinguished the Corpus of Roman Sculpture, United classroom, but in those settings I’ve been States, and the first director of the Italian able to recapture some of the excitement Scholar Academy for Advanced Studies in and intellectual exchange that comes from America, based at Columbia. Most impor- teaching. tant, he has been an inspiring mentor to he CAA 2005 Distinguished generations of younger scholars—first at Given your strong record of success at the Scholar’s Session will honor the University of Pennsylvania from 1962 NEH, would you consider a second term T Richard Brilliant, Anna S. to 1970 and then, for most of his career, at as chair? Garbedian Professor in the Humanities in the Columbia. Many of his students have Department of Art History and Archaeology become the new leaders in the field. Like My term as chairman lasts through 2005, at Columbia University. This special panel is his scholarship, his adventurous and inno- so I still have a significant amount of my chaired by Bettina Bergmann of Mount vative teaching has been recognized by current term ahead of me. Whether I con- Holyoke College and includes Jonathan numerous awards. tinue beyond that time is up to President Crary and As a writer, consultant, and director, he Bush. It has been a great privilege for me David Rosand has contributed to television and film; a to serve at the NEH, particularly under this of Columbia project on the ancient painted portraits of president and in these times. University, Dale Fayum earned numerous prizes. Brilliant Kinney of Bryn has collaborated with colleagues in courses What can CAA members do to help sup- Mawr College, in the art and culture of India and of the port the endowments? and Shearer Renaissance, as well as classes in the histo- West of the riography of art history; he has taught the CAA members can help review grant University of Contemporary Civilization course that is applications as NEH panelists—please go Birmingham. It part of the core curriculum of Columbia to our website, www.neh.gov, and sign up. will take place College and has served as chairman of that And they can continue to send us excep- on Thursday, program—a signal acknowledgement of his tional applications that advance the February 17, intellectual breadth. humanities in a significant way. from 2:30 to Born in Boston in 1929, Brilliant earned 5:00 PM at the his B.A. in classics from Yale University, Finally, let me end with the question that Atlanta Marriott where he graduated magna cum laude in will be on the minds of people planning to Marquis Hotel. 1951. After earning an LL.B. at Harvard Richard Brilliant go to Atlanta: What will you talk about in A leading University in 1954, at which time he was your Convocation speech address? member of the admitted to the Massachusetts bar, he art-history community for many decades, turned to art history and returned to Yale, It’s a surprise, but I will give you a hint: Brilliant transformed the study of Classical where he earned an M.A. in 1956 and I’m going to discuss art history, art histori- art, opening the field to new critical meth- Ph.D. in 1960, with a dissertation on ges- ans, museums, and the NEH. ods of historical and stylistic analysis. ture in Roman art, the subject of his first Expanding the theoretical and critical range publication. of the historiography of ancient art, he has Following the Distinguished Scholar’s made it a central part of the larger discourse Session, the Samuel H. Kress Foundation on the interpretation of images and the will host a reception to celebrate its 75th understanding of visual culture. His schol- anniversary from 5:30 to 7:00 PM at the arship has been primarily based in the study same location. Highlighting the reception, of ancient Greek and Roman art and has Marilyn Perry, president of the foundation, ranged widely in its approaches, from social will speak about its achievements and semiotics to visual narratology. He is the future directions. author of countless articles, reviews, and In its fifth year, the 2005 Distinguished essays; his principal publications include Scholar’s Session has again been funded by Gesture and Rank in Roman Art: The Use the Kress Foundation. CAA is deeply of Gestures to Denote Status in Roman grateful to the foundation for its continued Sculpture and Coinage (1963), Visual support of this valuable contribution to the Narratives: Storytelling in Etruscan and Annual Conference. Dedicated to celebrat- Roman Art (1987), Portraiture (1991), ing the contributions of post–World War II Commentaries on Roman Art (1994), and, scholars, the series fosters discussion with- most recently, My Laacoön: Alternative in and among generations. Previous hon- Claims in the Interpretation of Artworks orees are James Ackerman, Leo Steinberg, (2000). the late Phyllis Bober, and James Cahill.

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CAA NEWS JANUARY 2005 5 Annual Conference Highlights Conference Tours Available Atlanta, February 16–19, 2005 Atlanta Arrangements, an Atlanta hospital- ity organization, will provide two postcon- ference tours on Sunday, February 20. One 2005 Conference Program Online ing abstracts, conceiving goals and objec- tour will visit the Michael C. Carlos tives, creating documentation and assess- Museum at Emory University, with its The Program, which contains session ment plans, and formulating a budget. large collections of ancient and nineteenth- and meeting listings for the 2005 Annual Information on researching sources of grant and twentieth-century African, European, Conference, can be found on CAA’s web- funding will be provided at both sessions. and American art from the Renaissance to site at www.collegeart.org/conference/ To register, write to [email protected] or the present—all housed in a building 2005. You may sample the approximately [email protected]. Each session is designed by the architect Michael Graves. 150 program sessions in detail, search by limited to fifty people. The tour will then stop at the Atlanta keyword, and browse by conference day. Botanical Gardens. This tour costs $41.00. Conference registration is also available NYFA Workshop on Business The second tour will visit the Atlanta History Center, which traces the transfor- online. You must be a paid 2005 member for Artists to take advantage of the discounted mation of Atlanta’s historic Buckhead Advance registration: Deadline for District. Both tours will depart at 1:00 PM This full day of professional-development Advance registration: January 12, 2005. from the Atlanta Marriott Marquis Hotel. workshops, to be held 8:30 AM–5:00 PM on This tour costs $36.00. Tuesday, February 15, at the Marriott To register for these tours, please visit Grant-Writing Workshop for Marquis Hotel in Atlanta, aims to assist www.atlantaarrange.com/caa. For more visual artists at all career stages. Presenters Artists information, call 800-883-3866. Deadline: will provide practical information on how January 28, 2005. CAA will host a special preconference to manage the business of art without sac- grant-writing workshop for visual artists on rificing creative time. Topics include: Goal Wednesday, February 16, 2:00–5:00 PM. Led Setting and Life Planning; Developing a Meet the Editors at the CAA Booth by Barbara Bernstein, an independent artist, Professional Artist Portfolio; NYFA and Douglas Chismar, program director of Source Grants and Awards for Visual During the 2005 Annual Conference, come the Ringling School of Art and Design’s Artists; and Shooting Great Slides. The meet the editors-in-chief of The Art Liberal Arts Program, the workshop com- workshop is limited to the first 120 people; Bulletin and Art Journal at the CAA booth prises two parts that run back to back. The the price is $110. To register, visit in the Book and Trade Fair. Discuss the first is an overview of the complete grant- www.nyfa.org/caa. journals, present your ideas, learn how to proposal-writing process for individual submit material for consideration, and ask questions. Prof. Marc Gottlieb of The Art and/or collaborative projects, including M.F.A. Exhibition background information, goals and objec- Bulletin and Prof. Patricia C. Phillips of Art Journal will be at the booth on Friday, tives, activity plans, budget, and assessment. This year’s M.F.A. exhibition at the 2005 February 18, 10:00 AM–12:00 NOON. In part two, small groups will engage in conference is organized by Robin Dana, hands-on practice exercises, including writ- director of the Lamar Dodd School of Art Gallery at the University of Georgia in Publications Committee Session Athens, and Bill Lowe, the owner and director of the Lowe Gallery. The exhibi- The session “Between 0 and 1: Digital tion will be held February 19–25 at the Rights and the Future of Art Reproduc- Lowe Gallery, with a reception on tions Online” addresses the complex issues Saturday evening, 5:30–7:00 PM. Work by surrounding the use of artworks online. M.F.A. candidates from the following Speakers discuss the importance of the schools will be included: Clemson online artworks for students, scholars, University; East Tennessee State librarians, publishers, and artists—particu- University; Florida State University; larly its role in the development of online Georgia Southern University; Georgia educational resources; furthering new art Costume and the Visual Arts State University; Louisiana State and new scholarship; and preserving Papers from a conference co-sponsored University; Savannah College of Art and intact, searchable digital archives of past by Costume Society of America and Design; Tulane University; University of scholarship. Winterthur Museum – Dress, vol. 29 Alabama, Tuscaloosa; University of The panelists will explore key ques- (2002). 106 pages; 79 illustrations (29 Florida; University of Georgia; University tions: What are the aims of providing color). Table of contents viewable at of North Carolina, Chapel Hill; University online information, and how are art www.costumesocietyamerica.com. of North Carolina, Greensboro; University images vital to that goal? What does the Price: $26 plus shipping of South Carolina, Columbia; and art image online enable or disable in aca- Order at 1-800-CSA-9447 University of Tennessee, Knoxville. demic and artistic communities? What

6 CAA NEWS JANUARY 2005 artworks are reproduced online? Why is Ted Feder, Artists Rights Society; and Joy practical skills with theoretical and con- access restricted to some images and not Garnett, independent artist. ceptual approaches, including a combined others? What permissions are needed for M.F.A./M.A. in studio art and critical theo- use of reproductions online? What are the Art Journal Roundtable: ry, an M.A. in curatorial studies or visual needs and rights of artists regarding art- culture, programs that embrace distance works online? How do institutions and Rethinking Graduate Art learning, and interdisciplinary programs individuals further art appreciation and Education that merge art and science. scholarship through digital media and At the CAA Annual Conference, the protect photograph collections? How do Twenty years ago, getting an M.F.A. usu- Editorial Board of Art Journal will con- we satisfy the hunger for art and still ally meant two years working in the studio vene a roundtable discussion on the value safeguard artworks from copyright under the supervision of artists who and nature of new approaches to graduate infringement? What distinctions should or encouraged students in much the same studio education and art history. We seek can be made between commercial and way that their teachers had encouraged interested CAA members to join us for the noncommercial uses? them. The information economy, digital discussion. The meeting will take place on As CAA’s various constituencies negoti- technologies, and the blurring of bound- Thursday, February 17, from 2:00 to 4:00 ate this complicated terrain, we look to aries among artistic and academic disci- PM, at the Hilton Hotel. It will be chaired intellectual-property laws concerning fair plines now call for new pedagogic visions by two members of the Editorial Board: use and the public domain to provide for graduate art education. Students must Maureen Connor, a New York–based artist viable, long-term solutions for the presen- learn not only how to work within the and a professor at Queens College, City tation of works of art online for our com- broader cultural context and gain the skills University of New York, and Saul Ostrow, munities. necessary to realize their vision, but also dean of fine arts at the Cleveland Institute Chaired by Eve Sinaiko, CAA Director how to continue to educate themselves of Art. of Publications, this panel includes after the degree. Universities, colleges, and As space is limited, please send a brief Christine Kuan, Grove Art Online, Oxford art schools are rethinking their programs e-mail explaining the nature of your inter- University Press; Max Marmor, ARTstor; and formulating new models that blend est in the topic, why you would like to

CAA NEWS JANUARY 2005 7 attend, and what you would bring to the 1, 2005, though we expect to fill all slots Student Survival Guide Online conversation to [email protected]. In sooner. Participants will be responsible for early February, we will contact approxi- their work. CAA is not liable for any losses CAA’s Student and Emerging Professional mately twenty invited participants with the or damages. Sale of work is not permitted. Committee (SEPC) has published the 2005 location of the meeting. Deadline: Student Survival Guide to the Annual February 1, 2005. Atlanta Residents: Host a Conference, which provides links to eco- Student at the Conference nomical hotels, restaurants, and transporta- Show Your Art at Arts Exchange tion in the Atlanta area, as well as to museums, galleries, and other sites of CAA’s Student and Emerging Professional interest. Please visit www.collegeart.org/ CAA artist members are invited to partici- Committee (SEPC) is once again coordi- survivalguide. pate in Arts Exchange, an open-portfolio nating the Host a Student Program for the session on Friday, February 18, 7:00–9:00 2005 Annual Conference. This program PM, at the Hilton Hotel, Galleria Hall. Six- brings together CAA members living in Services to Artists Committee to foot tables have been reserved for artists to the conference area with student members Build “The Democracy Wall” show prints, drawings, and/or photographs, looking for accommodations. The commit- work on battery-powered laptops, or any- tee appeals to all CAA members in the Many CAA members have felt the impact thing else that will fit on the tables. There Atlanta area to host a student member dur- of the Patriot Act on their lives and work; will be a cash bar. The general public may ing the conference. A willingness to the Services to Artists Committee wishes to attend this session free of charge. accommodate more than one student or provide them with a safe means to relay All reservations for tables will be filled last-minute requests for accommodation is their stories to others. This conference proj- on a first-come, first-served basis. Send especially appreciated. Potential hosts and ect will collect testimonies—about the your request via e-mail to Beauvais Lyons, students interested in finding housing denial of a visa or the censorship of an University of Tennessee, Knoxville, at should contact Patricia Flores at exhibition, for example—and post them [email protected] with the subject heading [email protected] for further informa- (with or without names) on the wall out- “CAA Arts Exchange.” Include your CAA tion. The SEPC hopes to find housing for side of the room in which a related session membership number and if you are show- all those who request it, but we cannot will take place. Because CAA members are ing a laptop-only presentation. Confirm- guarantee that all applicants will be visually oriented and may find text alone ation reply e-mails will be sent. matched with a host. inadequate to tell their stories, images and The deadline for reservations is February short videos are also solicited. Send your testimony to Rebecca Rushfield, Services to Artists Committee member, at 2004-2005 [email protected] or 66-10 149th St., #4C, Visiting Artist Program Flushing, NY 11367. Southern Illinois University Carbondale School of Art & Design Museum Design and Construction at the High Museum of Art

The High Museum of Art is working with the architect Renzo Piano to expand its facilities. Taking place Saturday, February 20, 12:30–2:00 PM, in the museum’s Hill Auditorium, this session explores museum design and construction using the High as a Photo courtesy of Joel Feldman. Design donated by buypolar industries. case study. By having a representative from the major stakeholders (owner, project manager, architect), the session offers Gardenfresh Robert Farris insights into the entire process and stimu- Artists Thompson late questions and audience involvement. Friday, September 17 at 5 pm Art Historian Friday, February 11 at 7 pm For more information, locations The session is followed by hard-hat tours and current scheduling Contact through the expanded museum. Participants Ben Nicholson Joel Feldman, Director, VAP or Architect Jeffrey Vallance Renea Kennedy at (618) 453-7792, include: Marjorie Harvey, director of archi- Monday, October 18 at 7 pm Artist [email protected] or go to tecture and design, High Museum of Art; Monday, March 21 at 7 pm artanddesign.siu.edu Randy Shields, vice president and project Robert Irwin director, Jones Lang LaSalle; and John Artist Starr, principal, Lord Aeck Sargent. Monday, November 1 at 7 pm Attendance is by registration only; write to [email protected].

8 CAA NEWS JANUARY 2005 THE NEW YORK FOUNDATION OF THE ARTS PRESENTS TheProfessional Artist Business of Art Conference for Visual Artists

Receive advice and During the 2005 CAA Annual guidance from experts Conference in Atlanta in the field!

This conference is perfect for Tuesday visual artists at all career February 15, 2005 stages. Atlanta Marriott Marquis Workshop topics 265 Peachtree Center Ave. will include:

Career Development Goals Space is limited

Developing a Professional To register and for Artist Portfolio & Shooting more information, visit: Great Slides www.nyfa.org/caa

Awards, Grants & Fellow- ships for individual artists

CAA NEWS JANUARY 2005 9 many points in our history, people have lections must be comprehensive. CAA Statement traveled here from faraway countries in “Modern” art defines itself by its chal- Regarding the Patriot order to be able to see great works of art lenge to traditions and has often served as that other governments have chosen to a catalyst for social change. The museums Act and Threats to hide, and to witness the talents of artists of the National Mall in Washington, D.C., who have thrived in the United States after contain Whistler’s portrait of his red- Civil Liberties and enduring repression abroad. Clearly, our haired mistress in a white dress—a scandal nation’s designers knew well the symbolic of 1863—as well as the Kienholz sculp- Artistic Freedom and nurturing values of art and culture. ture, In The Infield was Patty Peccavi, that Potent art mirrors or challenges social comments on the state of women’s rights reality and may suffer accordingly. Artistic in 1981. Since the 1960s, the artists in monuments are often destroyed to signal America have addressed a wide variety of Approved by the CAA Board of political change; the equestrian statue of complex and controversial issues, from Directors on October 24, 2004* Louis XIV was destroyed following the AIDS, racism, sexism, homophobia, envi- French Revolution; many monuments from ronmental degradation, corporate control In accordance with the College Art the Socialist era in Eastern Europe were of culture and politics, and even genetic Association’s mission to cultivate the disposed of at the end of the Cold War, engineering. In some regrettable instances ongoing understanding of art as a funda- and the Taliban dynamited two giant fifth- in our country’s history, public officials mental form of human expression and to century Buddha sculptures in March 2001. and law enforcement have treated artists support the contribution of artistic culture Art also can be a balm in troubled times. and educators who express dissenting to society, we encourage our elected repre- Throughout the bombings of World War II, views through legally protected means as sentatives to fulfill the promise of our the National Gallery of London kept a if they were traitors and criminals. Sadly, nation’s design and to take concrete steps “picture of the month” on display for citi- they only recognize the error after damage to restore trust in free expression by: zens seated listening to live chamber is done to artworks, careers, and personal • Protecting public access to a full spec- music as the shrapnel fell nearby. The lives. Hundreds of brilliant and dedicated trum of voices, ideas, and opinions from Vietnam Veterans Memorial designed by scholars lost their university positions dur- the United States and around the world. Maya Lin continues to offer veterans and ing the McCarthy era solely on the basis of • Protecting the privacy of individual the families of the soldiers who gave their their political views. As a nation and a cul- artists and scholars in their professional lives a site for contemplation and mourn- ture, America was enriched by the rescind- pursuits to ensure the free exploration of ing that is metaphorically potent for all its ing of the rulings that once banned such information and ideas. stylistic restraint. works as James Joyce’s Ulysses. However, • Ensuring that United States policies The personal response to art felt by our we suffered an unfortunate loss when reflect our country’s fundamental com- elected officials may vary. John Adams Andy Warhol’s mural, Thirteen Most mitment to free speech and that govern- objected to the “allusions to heathen Wanted Men, was painted over at the New ment ensure these rights at home and mythology” in early designs for the east York World’s Fair in 1964. More recently, expand them internationally. portico of the Capitol. In 1999, New York in 2000, Philadelphia puppeteers who were Mayor Rudolph Giuliani found the com- fashioning their puppets for a Republican bination of religious and scatological ref- convention were arrested for harboring Delivering on the Promise of erences in a Chris Ofili painting on view “instruments of crime,” and their artworks Our Nation’s Design: The at the Brooklyn Museum to be highly were destroyed by police. We believe that Significant Placement and objectionable. However, American values such actions run counter to our principles Protection of Artistic Expression are best served by upholding the constitu- and our national interests. tional right of freedom of expression. The tragic events of September 11, The land between the Capitol and the Artistic innovation entails freedom of 2001, ushered in a period of great anxiety Washington Monument is occupied almost speech and inquiry. Scholarship and pub- about the safety of the United States and exclusively by museums: almost a dozen lic education of the highest quality its citizenry. Federal authorities have buildings house a diverse spectrum of require unfettered access to a wide range responded to new dangers with a number man-made achievements, from ancient of information, ideas, and artifacts. In the of legislative measures that are ostensibly Near Eastern art at the Freer/Sackler to same way that scientists must test all designed to safeguard our borders and root contemporary sculpture at the Hirshhorn. known possibilities in order to arrive at out possible subversion emanating from These museums, like others around the sound conclusions about the physical within the country. A decade prior to 9/11, country that are also supported by our tax world, scholars of the arts must look at a Steven C. Dubin wrote: dollars, are the repositories of our cultural broad range of materials to make sound Whenever a society is overwhelmed by patrimony and contain some of the finest judgments about the qualities and charac- problems and its sense of national identity examples of human creativity and inven- teristics of all cultures. The collections of is shaky or diffuse, a probable response is tion from around the world. Visitors from museums, like public libraries, must be for states to attempt to exercise control by across the globe are enlightened by their administered with trust and freedom; not regulating symbolic expression. (Arresting encounters with these works. Indeed, at every taxpayer will appreciate everything Images, 1992, p. 19) that is housed therein, but valuable col- The heinous attacks on the World Trade

10 CAA NEWS JANUARY 2005 Center and the Pentagon occurred during and have interfered in the free exchange of scholars, artists, and other arts profes- the era of a digital revolution that intro- ideas among artists and arts professionals. sionals impede scholarship, inhibit inter- duced us all to the Internet, a phenome- We offer the following general and specific national cultural exchanges, and limit non that has transformed the way and the examples as the tip of an iceberg: possibilities for American artists to create rate at which communication occurs • Established areas of academic inquiry are and present their work. among Americans and between Americans now being treated as potential national • New visa and immigration regulations for and other people throughout the world. security threats and even as criminal foreigners, compounded by extended Americans’ capacity to access, send, and activity. Sadly for all of those who treas- delays, have interfered with scholarly receive information has increased expo- ure freedom of inquiry for academic exchanges among curators, guest speak- nentially. The digital revolution has research, this year Congress voted to ers, and professors who work with art expanded the possibilities of scholarship establish an advisory board to monitor and artifacts from Cuba, Iran, and Iraq as and cultural exchange and has enabled how effectively campus international well as elsewhere. Given that a substan- American arts professionals to present studies centers serve “national needs tial amount of art-historical scholarship is their creative accomplishments to the rest related to homeland security.” The con- devoted to the study of the art and culture of the world in new ways. Federal and gressional discussion of this measure, of the Near and Middle East, and that state authorities have responded to this which singled out Middle Eastern studies great works of twentieth-century Cuban rapid expansion of public access and cir- as particularly threatening, represents an art are in the collections of such celebrat- culation of information by instituting laws ominous offensive against academic free- ed institutions as the Museum of Modern that permit the government to arbitrarily dom and oppositional views. In light of Art, these restrictions affect a sizeable survey the private correspondence of U.S. the fact that numerous art historians dedi- portion of CAA’s membership. According citizens. cate their research to the study of the art to the Center for Cuban Studies, The members of the College Art and history of the Near and Middle East, exchanges with Cuba that involved more Association abhor terrorism and fully including antiquities and Islamic art, than five hundred scholars, curators, understand the need to safeguard the many CAA members stand to be affected artists, and collectors have now been ter- United States and its citizens from actual by this measure. Artistic innovation, minated. threats. However, we maintain that safety which has defined itself as the engage- In sum, the members of the College Art should not become a pretext for the ero- ment with new ideas and materials for Association, as artists, art historians, cura- sion of core American values, and freedom over century, is now considered a threat tors, conservators, and other arts profes- of speech and the right to privacy are fore- to national security. Artists with no histo- sionals, and citizens of the world who most among them. It is our government’s ry of involvement in violence or any value democracy, join the PEN American responsibility to protect the constitutional form of subversive political activity have Center to call for a review of the USA rights of Americans and to uphold interna- been treated as criminals in an overzeal- PATRIOT ACT and the full range of tionally recognized human rights and free- ous interpretation of national security antiterrorism laws and orders enacted doms such as the right not to be subject to needs. For example, artist and professor since 9/11. arbitrary arrest, detention, invasion of pri- Steven J. Kurtz was recently investigated * At its May 2004 meeting, CAA’s Board of Directors vacy as well as freedom of thought, opin- by the FBI on suspicion of bioterrorism approved a resolution submitted by the Radical Art ion, expression, and assembly. Our coun- based on his using for his artwork bacte- Caucus concerning art and intellectual freedom in times try’s ability to exercise a leadership role ria that is frequently found in research of war. (The resolution is available at internationally depends on the adherence laboratories.1 Numerous artists involved www.collegeart.org.) The statement regarding the Patriot Act that the Board approved in October 2004 is a more to democratic principles at home and our in legitimate political protests have been complete elaboration of the issues that necessitated and support for those principles abroad. arrested, harassed, and spied on by feder- supported the May 204 resolution. Finally, our country’s artists, scholars, and al agents over the past three years. 1. After a grand jury hearing, Kurtz was arraigned and other arts professionals cannot exercise • Works for museum exhibitions have been charged in Federal District Court in Buffalo in July 2004 their professions effectively or excel at delayed in customs, sometimes missing on four counts of mail and wire fraud (18 U.S.C. §§ 1341 them in ways that have, up to now, the entire exhibition schedule. and 1343), which each carry a maximum sentence of enhanced our national image without the • Translation of texts from countries listed twenty years in prison. preservation of the right to free speech and as “enemy states” is now being criminal- 2. Congress has declared that U.S. trade embargos may free exchange of ideas. ized.2 This move not only limits what not be able to restrict the free flow of ideas. However, the By instituting the USA PATRIOT ACT contemporary literary texts from such Office of Foreign Assets Control of the Department of the Treasury is making ordinary publishing activities ille- and related legislation, federal authorities countries as Iran and Cuba can be made gal. The OFAC has declared that Americans cannot pro- have increased their power to monitor the available to American readers, but it vide substantive or artistic alterations or enhancements to daily activities of U.S. citizens. These impinges upon the ability of arts profes- works by authors in embargoed countries, effectively pro- hibiting routine activities such as editing and translation. measures have created a shadow legal sys- sionals to produce both scholarly publica- The OFAC insists that publishers cannot promote works tem that undercuts basic due process pro- tions and catalogues and monographs that from authors in embargoed countries, effectively barring tections and curtails other constitutionally accompany exhibitions. We submit that publication. For example, in September 2003 the OFAC, protected freedoms. Aspects of post-9/11 now, more than ever, the ability to read responding to inquiries from U.S. entities interested in publishing works by Iranian authors in the U.S. and in security measures and new controls have and translate these languages should be working with Iranian publishers to publish U.S. works had what is now called “a chilling effect” encouraged. there, ruled that these activities would not be covered by on free expression by artists and scholars • Increased travel restrictions imposed on the exemption and would therefore be barred.

CAA NEWS JANUARY 2005 11 Archiving Alternative Spaces

ulie Ault’s groundbreaking volume Alternative Art New York, 1965–1985 J (Minneapolis: University of Minne- sota Press, in association with the Drawing Center, 2002) makes a persuasive argu- ment that New York alternative spaces and artists’ groups and organizations continue to influence the contemporary international art world. The cross-pollination of artistic venues during this time exemplifies how communities overlapped, thrived, and otherwise extended themselves in multi- Tibor Kalman and Scott Stowell, Everybody, 1993. Part of the 42nd Street Art Project. Photo © 1993 Maggie Hopp. tudes of directions—be it through artists’ Photograph courtesy Creative Time. books and periodicals, in performance spaces, within gallerylike venues, or in ties have not provided adequate access to preserving, and creating archiving stan- public spaces as small as alleyways and as the study of materials in their collections. dards for alternative spaces. expansive as Times Square. A primary fig- For living organizations, history is seen as In November 2004, ASAP launched the ure of the New York art scene in the a storage problem and not a resource: first of two Web-based surveys, found at 1980s, Ault was present for and participat- archives are stacks of teetering boxes www.as-ap.org. The first, Survey I, solicited ed in activities within the city’s alternative rather than Rosetta Stones of past activity, alternative or avant-garde centers to register spaces and was a member of the artists’ a fire hazard rather than vivid documenta- with ASAP and to provide us with basic collective Group Material. tion of groundbreaking activities. contact information (e.g., dates of founding, But how do later art historians research Moreover, the work of professional basic organization data, the status of their the avant-garde of not only New York but archivists is expensive, and for organiza- archive). This simple, ten-question under- also the nation, especially when these tions that are no longer active, today’s taking will build upon data collected by the spaces were busy promoting new art rather archival materials are tomorrow’s recy- Archives of the Avant-Garde, a project of than commodifying or institutionalizing cling pile. Franklin Furnace Archive. This winter, artistic practice or even documenting their In summer 2003, the Art Spaces Archive Survey II will seek detailed information own activities? Few catalogues were pro- Project (ASAP) was founded by a consor- regarding the archives of respondents to duced of programming, rare reviews tium that included CAA (which is provid- Survey I, such as the physical state of indi- appeared in newspapers or periodicals, and ing ASAP with office space), Bomb maga- vidual archives, types of documents held, perhaps a postcard, handbill, or other zine, Franklin Furnace, Printed Matter, the their state of preservation, and conditions of ephemeral element marked the moment in New York State Council on the Arts access to scholars. Survey II respondents a time before websites were de rigueur. (NYSCA), the New York State Artist receive a modest stipend for participating. The collective memories of participants, Workspace Consortium, and the Of course, simply generating surveys residual materials, and a few surviving art- Skowhegan School of Painting and will not save archives; with proper funding, works can speak to an important time, Sculpture. ASAP’s nonprofit mandate is to ASAP would like to provide additional fis- space, and energy that transformed artistic help living and defunct alternative spaces cal and professional assistance to Survey II practice. Many of these organizations have of avant-garde activity from the 1960s to respondents in developing archiving strate- only the most cursory grasp of their own the present to preserve and protect their gies. Meanwhile, ASAP will make its data histories and perhaps do not recognize archival heritage. However, without a guid- public, allowing scholars to begin to gain their file cabinets, banker boxes, or waste ing index of these organizations, or even an insight into the alternative and avant-garde bins as valuable repositories—historically assessment of need to quantify the location structure, spaces, artists’ groups, and and monetarily. and state of condition of these archives, organizations nationwide. So, where does the history reside? where do we begin? ASAP will present a panel on the project Collective memories serve a historical pur- With funding provided by NYSCA, the at CAA’s Annual Conference in Atlanta, pose but, again, primary documents are the National Endowment for the Arts, and the on February 17, 2005 at 5:30 PM. For more lasting lifeblood of our disciplines, and for Andy Warhol Foundation for the Visual information, write to David Platzker at the most part they are untended by those Arts, ASAP has begun to compile a [email protected]. who produced them. Depositories such as national register of such spaces and proj- —David Platzker, Project Director, Art museums, research centers, and universi- ects and to assess the needs for archiving, Spaces Archive Project, New York

12 CAA NEWS JANUARY 2005 recently formed Iraqi police. About 1,300 to complete. The Forgotten Era: works have been recovered and are in the Time is critical: most of the missing Modern Art in Iraq custody of the Ministry of Culture. Most works will vanish into private collections, of these are severely damaged and are in and the history of modern Iraqi art will be desperate need of restoration. It is not cer- lost forever. Many have either been dam- ews about the destruction of tain the extent to which the Iraqi govern- aged beyond recovery or face the risk of Iraq’s cultural heritage often ment will actively retrieve other stolen severe damage, due to the lack of a safe, N takes a back seat to reports on works. controlled environment. Iraq’s infrastruc- political and military issues and informa- Luckily, a number of successful individ- ture has been destroyed, and resources are tion about the wanton destruction, lack of ual efforts were undertaken by concerned in short supply. During the hot tempera- protection, and severe neglect of Iraq’s Iraqi citizens and are helping to locate, tures of summer, most households, busi- archaeological sites and museum collec- acquire, and protect missing artworks. It is nesses, and establishments only had elections. But the destruction of the modern presumed that most of them are still in tricity for few hours every day. cultural heritage that was a pioneering Iraq; thus, it is possible that with concerted Recently, Abbas Jawar was appointed force in worldwide modernism is a and coordinated efforts most can be recov- the director for the planned new modern tragedy that should not go unnoticed. ered. Almost immediately after the looting art museum. He is operating under the Many seem to forget that the cradle of of museums, some works were purchased administration of the Institute of National civilization is also the land of a contem- personally by Iraqi gallery owners with the Heritage, but no funds have been allocated porary country with a thriving culture. publicly stated intention of preserving to retrieve, restore, or document the works Since the mid-twentieth century, Iraq them until they could be returned to a new previously held at the museum, or those hosted important regional and international Iraqi museum. recovered so far by the government or by cultural events, which exhibited many A wider and more efficient effort has individuals. Furthermore, while the muse- works of art that entered the permanent been organized by the renowned Iraqi um is a government institution, adminis- collection of the Iraqi Museum of Modern sculptor Mohammed Ghani. Returning to tered since its inception by the Ministry of Art, formally known as the Saddam Center Baghdad weeks after the collapse of the Information and Culture, there is talk of for the Arts. Iraqi artists once led the Arab former regime, Ghani found the Iraqi converting it into a self-sufficient private world in successfully forging a modern Museum of Modern Art in ruins, with institute, eliminating much-needed govern- national style and provided a model for mounds of shattered sculptures and broken ment funding altogether. other artists in the region. In addition to or empty frames whose canvases had been There are controversial reasons for the Iraqi and other important regional works, hastily cut out. With the help of his col- government’s abandonment of Iraq’s mod- the museum also owned works by Pablo leagues and students, he initiated and ern art. Art of the last twenty years may be Picasso, Joan Miró, and other modern funded a campaign to buy back some of perceived by authorities as problematic European masters. In the wake of the U.S.- the stolen works in the neighborhood near because of concern about the political led invasion in 2003, nearly all of the the museum. identity or patronage of the artist. In other museum’s collection was destroyed, Ghani contacted the CPA, pleading for words, the fear is that a policy of “de- looted, or lost. financial support and help to continue his Ba’athification” might determine the value The modern art museum was one of endeavor. Failing to secure any aid, he and worth of a work of art. many buildings severely damaged during solicited funds from friends, personal To my knowledge, there exists no offi- the U.S. bombing raids over Baghdad. The acquaintances, and other concerned indi- cial or comprehensive catalogue of the collection of over seven thousand works of viduals within the Iraqi community. His museum’s collection, since its archives art was viciously looted as the Ba’ath plan was simple: his eager students were were destroyed with the building. One regime collapsed, and as the occupying to locate and purchase the stolen works consequence of this is the inability of the power failed to provide security to protect through word of mouth. The individuals authorities, including the Interpol, to track Iraq’s important cultural institutions. A who donated the funds for the effort stolen works. When I relayed the informa- number of the works were smuggled out signed an agreement, retained by Ghani, tion I received about attempts to sell spe- of the country, while others are still avail- establishing them as the temporary custo- cific stolen works by the artist Faiq able on the black market in Baghdad. dians of the specific works purchased Hassan in Amman, Jordan, to Interpol, I Many have petitioned the Coalition until the museum is reconstituted. In was told that unless authenticated full Provisional Authority (CPA) and the U.S. return, these individuals will be publicly information and images are provided, they State Department for help in stopping the acknowledged as donors. He has been cannot even add the items to the database pillaging of the museums and the recovery able to retrieve a considerable number of of stolen works published on their website. of the stolen works of art, but the official works in various conditions, which are With this level of complacency, many position has been to insist on the voluntary currently stored in private Iraqi houses. valuable pieces will disappear without return of the stolen works; thus, nothing Ghani’s efforts persist, but, unfortunately, documentation. has been done. Only recently did the new the price of stolen works continues to rise —Nada Shabout, School of Visual Arts, P.O. Iraqi government authorize the reposses- while his limited funds are being depleted, Box 305100, University of North Texas, sion of works by force with the aid of the making his task slower and much harder Denton, TX 76203; [email protected].

CAA NEWS JANUARY 2005 13 This is the sixth it (in a book, for example) and display it that the rights holder in the artwork itself in a series of publicly, as well as the exclusive right to might object to cropping or other modifica- articles spon- authorize others to do the same. The suppli- tion of the image. sored by the er of the image (e.g., a museum or gallery) In addition to an agreement and permis- CAA Committee may be able to direct you to the copyright sion regarding how the image is to be pub- on Intellectual holder, but this is not always the case—you lished, you may have to pay copyright fees. Property (CIP), may have to do some research. Remember Again, there may be two sets of fees, one in which a hypothetical question is posed that in clearing rights, you may need to for the copyright in the artwork and the on some aspect of rights, permissions, fair obtain permission from the owner of the other for the copyright in the photograph of use, and related topics. We provide a short image (the photograph), not just the owner it. In the vast majority of cases, the image answer on the legal aspects of the ques- of the artwork. source (e.g., museum or gallery) holds the tion, followed by commentary from a Many well-known artists or their estates copyright to the photograph. If so, their fee practical perspective. This feature is are represented by rights-clearance agen- and agreement for the loan and use of the intended to provide general information cies. Two of the largest agencies in the film or digital image may cover some uses, and does not constitute legal advice. If United States are the Artists Rights Society but you will need to review that agreement you have specific questions, please con- (ARS), which has a strong emphasis on carefully; if you or your institution signed tact an intellectual-property attorney. European artists, and the Visual Artists and an agreement to use a slide for classroom Galleries Association (VAGA), which use, you will not have permission to use Image Fees works with many American artists. For the image for your book and must obtain a those artists not represented by an agency, separate permission. Occasionally, a repro- I’m an art historian publishing a it is best to go directly to the artist or his or duction obtained from an artist or architect, book. Several of the artworks her gallery. Occasionally the trail takes sev- for example, will carry a photographer’s Q illustrated in my book are protect- eral communications with different parties copyright. In such an instance, the photog- ed by copyright. Though it is a scholarly to reach the rights holder. Copyright law rapher must be contacted separately. (Note: publication, the press has asked me to get requires that you make a good-faith effort A photograph of a work in the public permission from the copyright holders to to find elusive copyright owners. If you domain also may, or may not, be subject to publish these photographs and pay any make valiant good-faith efforts to try to copyright. See “CIP Q&A,” CAA News, fees these parties might charge. Do I need find the copyright holder but fail, you and September 2003.) to do this? How do I begin? How can I your press will have to decide whether to Bottom line: Several layers of permis- determine whether or not the fees are fair? publish the image of the artwork neverthe- sions and fees may be required to reproduce Also, some of the artworks are old and not less. If it is decided to do so, then you and a single image. Potentially, there are three in copyright. Do I have to pay fees for your publishers will be relying on the fair- fees to consider: one for the holder of the them too? use doctrine. If you and your publisher copyright in the artwork; possibly another were to be sued by the rights holder, your for the copyright in the photograph or digi- good-faith efforts ought to count signifi- tal image; and finally, image suppliers (e.g., Yes, usually you need to obtain cantly in your favor. Accordingly, it is museums and others) may also charge a permission for publication of extremely important that you document and separate loan or rental fee for use of the A works in copyright. (But see other archive your search—that is, maintain a photograph or digital file itself. This last is CIP Q&A columns in CAA News and at good paper trail of all correspondence, a contractual loan fee, rather than a fee for www.collegeart.org for discussion of the phone calls, e-mails, and the like. exercise of a copyright right. It may be fair-use doctrine.) You also may need to Once the copyright holder or his or her charged for a photograph of an artwork that pay fees for the rental of photographs of representative is identified, send a written is in the public domain, as well as for one artworks, both those that are in copyright communication with complete information that is in copyright. and those that are in the public domain. about your publication (see sidebar on page Be sure to read carefully any contractual First, copyright: The process of copyright 15). The copyright clearance process agreement you sign in this process. Some clearance for the reproduction of an art- should result in a written statement granti- permission agreements require that you work begins with finding the copyright ng permission for the specific use you are give the granter of permission one or more holder(s) or their representative(s). As a requesting. The copyright owner has the copies of the publication. (Check with your threshold matter, you should recall that it is right to determine if, when, or where an publisher to determine if it is willing to rather unlikely that the owners of the physi- image of the artwork is published or dis- absorb this cost for you, or if you must pay cal artwork (or the image) are the holders played. You may be asked to submit the for and ship the books yourself.) There of the copyright. Unless copyright has been text relating to the image or artist for prior may be a stipulation that a color proof of legally transferred (to a museum, for exam- approval. the image be sent for approval before the ple), most often the copyright holder is the The owner of the copyright in the image book is printed. Again, check with your artist or his or her legal heirs. (the photograph of the artwork), which may publisher beforehand to clarify who will As discussed in a previous column (see be the photographer or the museum or pay for the proof. Any credit information “CIP Q&A,” CAA News, November 2003), gallery, may have stipulations regarding that must appear with the image should be the copyright holder has the exclusive right image alteration, such as cropping or over- brought to your editor’s attention. In some to reproduce a work and distribute copies of printing. If you shoot the photographs you cases, failure to include a precisely correct intend to publish, it may still be the case credit line can result in a penalty fee.

14 CAA NEWS JANUARY 2005 CIP Commentary tion assists some granters of permission to before contract who will be responsible determine the scale of fees they will for clearing copyrights, paying fees, and The road to copyright clearance can have charge. Your editor can supply estimates. obtaining images. This is also a good unexpected, and expensive, surprises. To Many grantors of permission and/or time to get information from your pub- keep surprises to a minimum, consider rights holders, especially artists, will lisher about the best formats for images: copyright fees early on in your writing. waive or reduce fees, particularly for a black-and-white prints, transparencies, Speak to your press and check your con- scholarly publication. Conversely, some 35-mm slides, or digital scans. Ask your tract to determine who will pay the fees. fees can be shockingly expensive. There is publisher for detailed information about Make a preliminary list of the artists and no rule of thumb about this. print run, languages, markets, and other works you want to include in your publi- Note that occasionally a photograph, factors that may affect the price of cation. If you are responsible for clearing transparency, or scan will not be released images and permissions. copyright and paying the associated fees, from an image source until you show • Begin the process of seeking photos and check with rights-clearance agencies (e.g., proof of permission to publish from the permissions early. It will take longer VAGA and ARS) to see which artists they copyright holder. than you think to clear all permissions. represent. This can be done by submitting When obtaining an image from a source • If you are responsible for clearing copy- a list to them or by checking their web- other than the copyright holder, rental and rights, remember that there may be two sites (if available). If you are searching use fees may also be charged, and these copyrights: the copyright in the artwork for the gallery that represents an artist, vary as well, depending on the source. (if the work is not in the public domain) often a Web search of the artist’s name Here, too, steep discounts are often given and the copyright in the image. Recall will yield the name of his or her gallery. It to scholarly works, so if you are required also that the owner of an artwork under would be most useful, of course, to find to secure the images for your book, it is copyright or the institution that supplies the relevant information on the artist’s important to communicate the nature of own website, if there is one. These your publication clearly. In some cases the sources generally will provide contact rental fee and use fee are separate charges Information to Provide in a information for permissions. Another (and separate again from the rights fee), Permissions Request so it is critical to read the fine print of the helpful resource is the Art in America • Author name rental agreement. Annual Guide to Museums, Galleries, and • Tentative title of book or article Occasionally, the use fee is not charged Artists, which includes an index of many • Expected year of publication until the publication is printed. Sometimes artists with their galleries indicated. If the • Name of publisher a rental term (e.g., three months) is stipu- creator is not affiliated with a gallery or is • Type of publication (scholarly, text- lated in the agreement. Talk to your pub- not found in a Web search, sometimes (if book, etc.) lisher about who is responsible for paying you know where he or she lives) a tele- • Location of image in publication any late fees that may be incurred due to phone directory yields results. (inside, cover) the production schedule of the book. Note Copyright fees vary widely. Price • Color or black and white that the length of rental can also sometimes depends on many factors: Will the image • Planned size of image (quarter page, be negotiated, if you do so in advance. be in a book or journal article? Will it be half page, full page, etc.) If the image is acquired directly from an in the interior pages or on the cover? The • Distribution (North America, world, artist or from his or her gallery, it is often reproduction of the work in black and etc.) possible to avoid the two separate fees for white or color also can have a bearing on • Language (English language, multiple loan and use and for copyright. the fee. A rights-clearance agency may ask languages, etc.) If your budget is overextended, you find the planned size of the reproduction (e.g., • Expected size of print run quarter, half, or full page). Sometimes size that potential copyright fees are signifi- is not possible to predict so early on, and cant, and you have done your best to it is only when the publication has been negotiate prices, consider whether you Contact Information for designed that you will know this informa- might be able to replace some images and VAGA and ARS tion. Sometimes, therefore, a final bill artists. You also might consider reducing from an agency is not issued until the size the number of images or the size of cer- Artists Rights Society (ARS) has been finalized. You may need to contain ones. Flexibility and good planning 536 Broadway, 5th Floor sult with your editor and/or designer to help to ease costs. This is a key reason for New York, NY 10012 limit expenses by controlling the size of planning your copyright and permissions Tel: 212-420-9160 certain images and choosing works for clearances and fees at an early stage in Fax: 212-420-9286 color reproduction based on fees. your writing. www.arsny.com Other information you may be asked to Visual Artists and Galleries Association provide includes the proposed print run of Rules of Thumb the publication, information about the (VAGA) 350 Fifth Avenue, Suite 6305 breadth of its distribution (e.g., whether it • Think about costs and the availability of will be sold in North American or world New York, NY 10118 permissions and images early in the writ- Tel: 212-736-6666 markets), and whether the publication will ing process. Where possible, shape your be published in English only or will also Fax: 212-736-6767 picture list with these constraints in mind. [email protected] be in other languages. All of this informa- • When you have a publisher, clarify

CAA NEWS JANUARY 2005 15 the image probably does not hold the ments in December (either by postal mail copyright to the work. Numerous Vote for the 2005–9 or e-mail, depending on what you indicat- inquiries may be necessary to locate CAA Board ed on your membership form). copyright holders. Several layers of per- You may cast your ballot by sending it mission and fees may be required to by mail, courier service, or hand delivery reproduce a single image. AA’s 2004 Nominating Commit- to the CAA office, or in person during the • Document your inquiries and save all tee has selected the following Atlanta conference. Voting will end paperwork relating to rights and permis- C slate of six candidates for our Friday, February 18, 2005 at 4:45 PM. sions. If your publisher asks for these Board of Directors for the 2005–9 term: Results will be announced at the close of documents, be sure to keep copies, per- Susan Grace Galassi, curator, Frick the Annual Business Meeting, and new manently. Obtain written statements Collection; Mary-Ann Milford-Lutzker, Board members will take office at the from all copyright holders granting per- provost and dean of the faculty, Carver spring meeting. mission for the specific use you are Professor of East Asian Studies, Mills If you wish to vote during the confer- requesting. College; Charles Reeve, assistant profes- ence, CAA will provide computers in the • Copyright holders have the right to sor of art history, Department of Visual registration area for electronic ballots and determine if, when, and where an image Art, Kennesaw State University; Jack a ballot box for paper ballots. If you have of the work is published. They may ask Rushing, professor of art history, selected a paper ballot and wish to vote in for a preview of your text before grant- University of Houston; Buzz Spector, person during the conference, you must ing approval to use an image. professor of art and department chair, bring your ballot with you! No substi- • Expect that separate fees may be Cornell University; William Tronzo, pro- tute paper ballots will be issued. charged for the loan or rental of the fessor of art and chair, Newcomb Art We urge you to attend our “Meet the image itself and for the copyright per- Department, Tulane University. Candidates” session at the conference on mission. In accordance with a 2004 CAA by-law Wednesday, February 16, at 5:00–5:45 • Be flexible about the specific works you amendment, the CAA membership will PM—just before Convocation. Please take need as well as the size and number of elect four new members to the Board of this opportunity to hear the candidates images you expect to include in your Directors at the Annual Business Meeting before casting your ballot. Deadline to text. in Atlanta. All members received a ballot return ballots: Friday, February 18, and the candidate biographies and state- 2005, at 4:45 PM.

Contribute to CAA News In addition to reporting about CAA’s many activities, CAA News has begun to examine other issues critical to the fields of art and art history. The July issue was dedicated to environmental, health, and safety issues for artists, art schools, and art departments, and in September we investigated the current state of slides and digital images in the classroom. CAA News solicits your thoughts on two topics for future newsletters: the first will explore pedagogy in art-history survey courses and in foundation studio-art classes; the second will examine censorship in art and scholarship. Additionally, we welcome your thoughts on other pertinent issues that you face in the art, academic, and museum worlds. Please share your comments with Christopher Howard, Editor, at [email protected].

16 CAA NEWS JANUARY 2005 CAA Congratulates Former Fellow Laylah Ali

From time to time, CAA News will highlight a former art-historian or artist fellow, letting our readers know such things as where they may be showing their artwork or what articles or books they may be publishing. We invite former fellows to please contact us at [email protected] to let us know your current activities.

he Boston-based artist Laylah Ali, a 1993 CAA Professional T Development Fellow, has won national acclaim for her challenging and provocative work. CAA congratulates her on her well-deserved success! Laylah Ali. Untitled, 2000. Gouache on paper. 13 x 19". Photograph courtesy 303 Gallery, New York. Ali creates an intimate, self-contained identity. Ali says, “I am interested in the Museum of Modern Art in New York in world of gouache figures depicted in a sto- idea of parallel societies and assimilation; 2002 and the Museum of Contemporary ryboard format—where uniformly spheri- how different groups and individuals Art, Chicago, in 1999. Her work has also cal heads top designlike, almost stick-fig- appear to be working together, but how appeared in the 2004 Whitney Biennial and ure bodies. Ali’s precisely rendered, flatly that is often subverted.” the 2003 Venice Biennale. colored figures seem formally simple but Ali received a degree in studio art and New work by the artist will be on view carry much symbolic weight. Looking English literature at Williams College in at 303 Gallery in New York from January closer at these small works, the viewer 1991 and attended the Whitney Museum 15 to February 26, 2005, and the Contem- finds violent and alarming details of sev- Independent Study Program in 1991–92. porary Art Museum in St. Louis is pre- ered arms, manacles, open wounds, and Xs She earned her M.F.A. in painting from senting the exhibition Laylah Ali: carved on body parts; other figures, how- Washington University in St. Louis in Paintings and Drawings from December ever, seem to offer help and comfort. 1994, with the help of CAA’s fellowship. 3, 2004, to February 27, 2005. Psychological tension makes us reflect Ali has had numerous solo exhibitions in deeply on the serious contemporary issues venues throughout the U.S., including the of prejudice, race relations, and gender

Three fellowships are available this year: CAA Offers Student • The 2005 Wyeth Endowment for Fellowships American Art Fellowship is open to all Ph.D candidates who are studying American art and who will complete AA’s Professional Development their dissertations and receive their Fellowship Program helps M.F.A. degrees in the 2006 calendar year. C and Ph.D. students bridge the gap • Two fellowships, each with generous between graduate study and professional matching grants from the National careers. By offering our support at this Endowment for the Arts and the National critical juncture in their careers, we hope Endowment for the Humanities, are open to make timely degree completion more to all M.F.A and Ph.D. candidates who viable and employment opportunities more will complete their degrees in 2006. accessible. In turn, by nurturing outstand- Applications are now available at ing artists and scholars at the beginning of www.collegeart.org; follow the Fellowships their careers, we hope to strengthen and link on the menu at left. To request an diversify the profession as a whole. CAA application by mail, call 212-691-1051, ext. encourages applicants from socially and 219, or write to [email protected]. economically diverse backgrounds to apply. Deadline: January 31, 2005.

CAA NEWS JANUARY 2005 17 for nominations and self-nominations, the nominator, if different from the nomi- CAA News on pages 20–21). nee. You may use the form below. Please • A resolution to include union status forward nominations and self-nominations CAA Governance Update among the criteria in negotiating hotel to Rebecca Cederholm, Manager of and service contracts for the Annual Governance and Advocacy, CAA, 275 CAA’s Board of Directors approved the Conference or for any other meetings Seventh Ave., 18th Floor, New York, NY following items at its fall meeting on organized by CAA, where possible. 10001; [email protected]. October 24, 2004: Deadline: April 8, 2005. • Revised Standards for Retention and Nominations Requested for Tenure of Visual Arts Professionals (the 2006–10 CAA Board Barr and Morey Award revised standards are available online at Finalists www.collegeart.org). Want to help shape the future of CAA? • Guidelines for Curatorial Studies Tell us who you would like to see on CAA is pleased to announce the finalists Programs (the guidelines are available CAA’s Board of Directors. Nominations for the 2005 Charles Rufus Morey Book online at www.collegeart.org). and self-nominations are sought for indi- Award and the Alfred H. Barr, Jr., Award. • Statement Regarding the Patriot Act and viduals interested in serving on CAA’s The winners of both prizes will be Threats to Civil Liberties and Artistic Board for the 2006–10 term. The Board is announced at the Atlanta conference. Freedom (see page 10–11; also available responsible for all financial and policy The Charles Rufus Morey Book Award online at www.collegecart.org). matters related to the organization. It pro- honors an especially distinguished book in • A recommendation from the Exhibitions motes excellence in scholarship and teach- the history of art, published in any language Taskforce that an Exhibitions Committee ing in the history and criticism of the visu- between September 1, be formed, and that the taskforce develop al arts, and it encourages creativity and 2003, and August 31, a formal charter for the committee in technical skill in the teaching and practice 2004. Finalists are: consultation with CAA counsel by of art. CAA’s Board is also charged with Patricia Fortini Brown, February 2005. representing the membership on issues Private Lives in • A recommendation from the Art Bulletin affecting the visual arts and humanities. Renaissance Venice: and Art Journal Editorial Boards that Nominations should include the follow- Art, Architecture, and one new Editorial-Board member be ing information: name, affiliation, e-mail the Family (New added to each of their Boards beginning address, and telephone number, as well as Haven: Yale University with the next fiscal year (see the calls the name, affiliation, and e-mail address of Press, 2004); Sarah Burns, Painting the

NOMINATION FOR CAA BOARD OF DIRECTORS 2006 MAIL TO: CAA Nominating Committee FAX TO: Rebecca Cederholm c/o Rebecca Cederholm 212-627-2381 College Art Association 275 Seventh Avenue, 18th Floor New York, NY 10001

NAME:

TITLE:

AFFILIATION:

ADDRESS:

PHONE: FAX: E-MAIL:

PERSON SUBMITTING THIS NOMINATION:

PHONE: FAX: E- MAIL:

DEADLINE: APRIL 8, 2005

18 CAA NEWS JANUARY 2005 Dark Side: Art and the Gothic Imagination Millard Meiss Publication Grant nations for jurors to serve a three-year in Nineteenth-Century America (Berkeley: Winners term. Applicants should be actively pub- University of California Press, 2004); John lishing in American art, art history, visual R. Clarke, Art in the Lives of Ordinary CAA is pleased to announce five Millard studies, and related fields with demonstrat- Romans: Visual Representation and Non- Meiss Publication Grant recipients for fall ed seniority, achievement, and expertise. Elite Viewers in Italy, 100 BC–AD 315 2004. Thanks to the generous bequest of Jurors must be current CAA members in (Berkeley: University of California Press, the late Prof. Millard Meiss, these grants good standing. For more information, 2003); Sarah E. Fraser, Performing the are awarded twice annually to publishers please contact Eve Sinaiko, Director of Visual: The Practice of Buddhist Wall to support the publication of scholarly Publications, at [email protected]. Painting in China and Central Asia, books in art history and related fields. 618–960 (Palo Alto, Calif.: Stanford The grantees are: Sheila Dillon, Greek Art Journal Seeks Editor-in-Chief University Press, 2004). Portrait Sculpture: Context, Subjects, The Alfred H. Barr, Jr., Award for muse- Styles (Cambridge University Press); The Art Journal Editorial Board invites um scholarship is presented to the author(s) Deborah Hutton, The Art of the Court of nominations and self-nominations for the of an especially distinguished catalogue in Bijapur (Indiana University Press); position of editor-in-chief for the term July the history of art, published between Véronique Plesch, Painter and Priest: 1, 2006–June 30, 2009 (with service on the September 1, 2003, and August 31, 2004, Giovanni Canavesio and the Passion Art Journal Editorial Board in 2005–6 as under the auspices of a museum, library, or Cycle at Notre-Dame des Fontaines, La editor designate, and in 2009–10 as past collection. The finalists are: Helen Evans, Brigue (University of Notre Dame Press); editor). Art Journal, issued quarterly by ed., Byzantium: Faith Natasha Reichle, Violence and Serenity: CAA, publishes informed discussion about and Power Late Buddhist Sculpture from Indonesia issues across disciplines in twentieth- and (1261–1557) (Metro- (University of Hawai‘i Press); and Cécile twenty-first-century art, nationally and politan Museum of Art, Marie Whiting, L.A. Pop: Picturing the internationally. in association with City in the 1960s (University of California Working with the Editorial Board, the Yale University Press, Press). Hutton and Reichle received indi- editor-in-chief is responsible for the con- 2004); John C. vidual author grants in addition to a grant tent and character of the journal. He or she Huntington and Dina to the publisher. reads all submitted manuscripts, sends Bangdel, The Circle of Books eligible for a Meiss Fund subsidy them to peer reviewers, provides guidance Bliss: Buddhist Meditational Art (Chicago: are those already under contract and whose to authors concerning the form and content Serindia Publications, in association with subject is in the arts or art history. Authors of submissions, develops projects, makes the Columbus Museum of Art, 2003); Mary must be CAA members in good standing. final decisions regarding content, and may Miller and Simon Martin, Courtly Art of Application criteria and guidelines are support fundraising efforts on its behalf. the Ancient Maya (New York: Thames and available at www.collegeart.org/meiss or He or she may be an artist, art historian, Hudson, 2004); Jenifer Neils and John H. from [email protected]. art critic, art educator, curator, or other art Oakley, Coming of Age in Ancient Greece: Deadlines: March 15 and October 1 of professional. The editor-in-chief works Images of Childhood from the Classical every year. closely with CAA’s staff in New York. Past (New Haven: Yale University Press, The editor-in-chief attends the three in association with the Hood Museum of New Wyeth/CAA Book Grant annual meetings of the Art Journal Art, Dartmouth College, 2003). Editorial Board—held in New York in the Jury Seeks Members spring and fall and in February at the MILLARD MEISS Annual Conference—and submits an annu- CAA is pleased to announce a three-year al report to CAA. CAA reimburses mem- PUBLICATION GRANTS grant program, funded by the Wyeth bers for travel and lodging expenses for Foundation for American Art. CAA will the spring and fall New York meetings in CAA awards Millard Meiss Publication award publication grants to support book- accordance with its travel policy, but Grants to support the publications of length scholarly manuscripts in the history members pay their own expenses for the book-length scholarly manuscripts in of art and related subjects that have been Annual Conference. the history of art and related subjects. accepted by a publisher on their merits, The position usually requires one-half of We welcome applications from non- but cannot be published in the most desir- an editor’s working time. CAA provides profit, for-profit, and museum presses. able form without a subsidy. Terms and financial compensation for course release, guidelines will be similar to those for the usually to an editor’s employer. For complete guidelines, deadlines, Millard Meiss Publication Grants (see Candidates must be CAA members in and application materials, please visit www.collegeart.org/meiss), but the Wyeth good standing, and nominators should www.collegeart.org/meiss. grant will be awarded only once a year, in ascertain their nominee’s willingness to the fall. Details and procedures will be serve. A c.v., a statement by the nominee posted in the Publications section of the Deadlines: of interest in the position, and at least one March 15 and CAA website later this winter. The grant letter of recommendation must accompany October 1 of MM program will begin in fall 2005. each nomination. Please mail materials to: every year CAA invites nominations and self-nomi-

CAA NEWS JANUARY 2005 19 Director of Publications, Art Journal of new books, museum exhibitions, and port fundraising efforts on its behalf. Editor-in-Chief Search, CAA, 275 Seventh projects relevant to the fields of art history, Members also assist the editor-in-chief to Ave., 18th Floor, New York, NY 10001. visual studies, and the arts. keep abreast of trends and issues in the Deadline: March 20, 2005. Working with the Editorial Board, the field by attending sessions at the CAA editor-in-chief is responsible for the con- Annual Conference and other academic Art Journal Seeks Editorial Board tent and character of the journal. He or she conferences, symposia, and events in their supervises the journal’s Council of Field fields. Candidates may be artists, art histo- Members Editors, assisting them to identify and rians, art critics, art educators, curators, or solicit reviewers, articles, and other con- other art professionals with stature in the CAA invites nominations and self-nomina- tent for the journal; he or she guides the field and experience in writing or editing tions for two individuals to serve on the Art journal’s editorial program and may pro- book and/or exhibition reviews. Journal Editorial Board for a three-year pose new initiatives for it; and may sup- Institutional affiliation is not required. For term, beginning July 1, 2005. Art Journal, port fundraising efforts on its behalf. The this term, the journal especially seeks issued quarterly by CAA, publishes editor-in-chief attends the three annual museum- or gallery-based professionals to informed discussion about issues across meetings of the caa.reviews Editorial supervise a group of exhibition-reviews disciplines in twentieth- and twenty-first- Board and submits an annual report to field editors. century art, nationally and internationally. CAA. The editor-in-chief also works Candidates must be CAA members in The Editorial Board assists and advises closely with the CAA publications depart- good standing. Nominators should ascer- the editor-in-chief to seek authors, articles, ment. The editor-in-chief receives an annu- tain their nominee’s willingness to serve. artist’s projects, and other content for the al honorarium of $2,000. The Editorial Board meets three times a journal; guides its editorial program and The Editorial Board meets three times a year, in New York in the spring and fall may propose new initiatives for it; per- year, in New York in the spring and fall and in February at the Annual Conference. forms peer reviews and recommends peer and in February at the Annual Conference. CAA reimburses members for travel and reviewers; and may support fundraising CAA reimburses members for travel and lodging expenses for the spring and fall efforts on its behalf. Candidates are indi- lodging expenses for the spring and fall New York meetings in accordance with its viduals with a broad knowledge of modern New York meetings in accordance with its travel policy, but members pay their own and contemporary art. Members also assist travel policy, but members pay their own expenses for the Annual Conference. the editor-in-chief to keep abreast of trends expenses for the Annual Conference. Please send a letter of interest, c.v., and and issues in the field by attending ses- Candidates must be CAA members in contact information to: Chair, caa.reviews sions at the CAA Annual Conference and good standing, and nominators should Editorial Board, CAA, 275 Seventh Ave., other academic conferences, symposia, and ascertain their nominee’s willingness to 18th Floor, New York, NY 10001. events in their fields. The Editorial Board serve. A c.v., a statement by the nominee Deadline: March 20, 2005. especially seeks applicant artists with book of interest in the position, and at least or publications experience and museum- one letter of recommendation must and gallery-based professionals. Candi- The Art Bulletin Seeks Editorial accompany each nomination. Please mail dates must be CAA members in good to: Director of Publications, caa.reviews Board Members standing. Nominators should ascertain Editor-in-Chief Search, CAA, 275 their nominee’s willingness to serve. CAA invites nominations and self-nomina- Seventh Ave., 18th Floor, New York, NY The Editorial Board meets three times a tions for individuals to serve on the Art 10001. Deadline: March 20, 2005. year, in New York in the spring and fall Bulletin Editorial Board for a three-year and in February at the Annual Conference. term, July 1, 2005–June 30, 2008. The Art CAA reimburses members for travel and caa.reviews Seeks Editorial- Bulletin, published quarterly by CAA, is lodging expenses for the spring and fall Board Members the leading publication of art history in New York meetings in accordance with its English. travel policy, but members pay their own CAA invites nominations and self-nomina- The Editorial Board advises the editor- expenses for the Annual Conference. tions for individuals to serve on the in-chief and assists him or her to identify Please send a letter of interest, c.v., and caa.reviews Editorial Board for a three- and solicit authors, articles, and other con- contact information to: Chair, Art Journal year term, July 1, 2005–June 30, 2008. tent for the journal; guides its editorial Editorial Board, CAA, 275 Seventh Ave., caa.reviews is an online journal devoted to program and may propose new initiatives 18th Floor, New York, NY 10001. the peer review of new books, museum for it; performs peer reviews and recom- Deadline: March 20, 2005. exhibitions, and projects relevant to the mends peer reviewers; and may support fields of art history, visual studies, and the fundraising efforts on its behalf. Members caa.reviews Seeks Editor-in-Chief arts. also assist the editor-in-chief to keep The Editorial Board advises the editor- abreast of trends and issues in the field by The caa.reviews Editorial Board invites in-chief and Council of ield editors and attending and reporting on sessions at the nominations and self-nominations for the assists them to identify books and exhibi- CAA Annual Conference and other rele- position of editor-in-chief for the term July tions for review and to solicit reviewers, vant academic conferences, symposia, and 1, 2005–June 30, 2008. caa.reviews is an articles, and other content for the journal; events in their fields of specialty. online journal devoted to the peer review guides its editorial program and may pro- The ideal candidate has published sub- pose new initiatives for it; and may sup- stantially in the field and may be an aca-

20 CAA NEWS JANUARY 2005 demic, museum-based, or independent Stacy Miller is ment, training, government relations, scholar. Specialists in medieval, ancient, CAA’s new director and administration. Most recently, he Asian, American, Latin American, and con- of research and career was program manager for the Center of temporary art, as well as museum-based development. She is Institutional Reform and Informal Sector, a scholars, are especially invited to apply for responsible for the nonprofit organization focused on interna- this term. Candidates must be CAA mem- Professional Devel- tional economics and governance research bers in good standing. Nominators should opment Fellowship at the University of Maryland. ascertain their nominee’s willingness to Program and the serve. PHOTO: ANDREI RALKO Online Career Cen- The Editorial Board meets three times a Stacy Miller ter, as well as new year, in New York in the spring and fall projects in research and data collection. Affiliated Society and in February at the Annual Conference. Trained as an artist, Miller has a broad CAA reimburses members for travel and range of experience, including museum News lodging expenses for the spring and fall education and leadership, art education New York meetings in accordance with its activism, and design and technology pro- travel policy, but members pay their own gramming. After receiving a B.F.A. from Art Historians Interested in expenses for the Annual Conference. the Massachusetts College of Art, she Pedagogy and Technology Please send a letter of interest, c.v., and worked at the Museum of Fine Arts, contact information to: Chair, Editorial Boston, and became the first curator of How can scholars and schools afford the Board, The Art Bulletin, CAA, 275 education at the Isabella Stewart Gardner switch to digital technology? The Art Seventh Ave., 18th Floor, New York, NY Museum. Completing her M.A. at Bank Historians Interested in Pedagogy and 10001. Deadline: March 20, 2005. Street College Graduate School of Technology will address this question dur- Education, she is earning her doctorate at ing their breakfast panel at the 2005 CAA New CAA staff members Teachers College, Columbia University. Annual Conference. “The Economics of Committed to community, Miller estab- Teaching with Technology in Art History” Susan De Seyn is the new manager of pro- lished a collaboration between the New will take place Friday, February 18, 2005, grams; she will coordinate CAA’s Awards York State Department of Education and 7:00–8:30 AM; it will explore subscriptions for Distinction, manage the affiliated soci- Teachers College to co-found the to image databases, digital projectors, fac- eties, and assist with Annual Conference Heritage School, an arts-integrated public ulty training, and infrastructure and focus activities. Trained as a visual artist, De high school in East Harlem, where she on successful ways to leverage costs. A Seyn earned a B.F.A. in sculpture from was its first director. short business meeting follows the panel. Virginia Commonwealth University in Miller comes to CAA from the Parsons New members are welcome. Richmond and an M.F.A. from the Mason School of Design, where she headed the Gross School of Art at Rutgers, the State Art and Design Education Department, Association of Research training future educators and developing University of New Jersey. In recent years, Institutes in Art History she was an intern at Johnson & Johnson’s design- and technology-education curric- ula. She continues to teach in the gradu- Corporate Art Program. As program associ- Want to know more about the variety and ate for Young Audiences New York, she ate programs in design and technology and in photography at Parsons. She is type of fellowships offered by research wrote curriculum and designed arts residen- institutes in America? Come to the Associ- cies for New York City Public Schools. also an advisor in graduate-program supervision and administration in the ation of Research Institutes in Art History De Seyn currently teaches in the Art and (ARIAH) information breakfast at CAA’s Design Education Program at Pratt Institute. visual arts at Bank Street College. Miller is a founding curator of and an Atlanta conference, on Thursday, February exhibiting artist in Ides of March, a bien- 17, 7:30–9:00 AM, in the Champagne Anitra Haendel is CAA’s new office serv- Room of the Marriott Hotel (one of the ices coordinator, assisting the chief finan- nial exhibition at ABC No Rio in New York. headquarters hotels for the conference). cial officer with human resources and Representatives from ARIAH research administration projects. Haendel graduated Adam Schumacher has joined CAA as institutes will be available to provide from Brown University with a B.A. in art information and answer questions about all history and visual art. She has studied executive/development assistant. He is responsible for managing the development aspects of their institutes and research fel- painting in Italy and South Africa, and her lowships. All interested delegates are invit- work has been included in a number of activities for CAA’s Annual Campaign, reporting to CAA Executive Director ed. For more information on ARIAH and a exhibitions in New York. Her series of full list of members, see www.ariah.info. Death Row Portraits has been shown in Susan Ball. Before joining CAA, conjunction with the play The Exonerated Schumacher worked for several interna- and at the Cathedral Church of Saint John tional-development nonprofit organizations Art Libraries Society of North the Divine. Prior to joining CAA, she was in the Republic of Moldova and in America office manager at Phaidon Press and a Washington, D.C. His background freelance portrait painter. includes midlevel positions in program The 33rd conference of the Art Libraries management, fundraising and develop- Society of North America will be held

CAA NEWS JANUARY 2005 21 April 1–6, 2005, in Houston, Tex. The Italian Art Society nologies and cultural understandings theme of the conference is “Beyond brought about by the digital revolution. Borders: Collaborative and Explorative The Italian Art Society (IAS) is now an Photography today is a multidimensional Ventures in Arts Information.” The city affiliated society of the Renaissance hybrid; baseline expectations for today’s itself stands as a model of cooperation Society of America. Plans are underway photo graduates are becoming unmanage- and synergy, and the conference will for IAS’s twenty-year anniversary in 2006, able. Rapidly expanding and changing include sessions on pre-Columbian and with sessions on “Celebrations and options are straining academic budgets and Latin American art, twentieth-century Anniversaries” at the CAA Annual Confer- faculty. These concerns will be explored architecture, collectors, and the city’s ence in Boston. IAS announces grants to in the SPE session, “Challenges for own great museums. graduate and undergraduate students to aid Photographic Education,” chaired by in travel to CAA meetings (each February) Blaise Tobia of Drexel University. Historians of British Art and to the International Congress for Panelists include Monique Silverman of Medieval Studies at Kalamazoo, Michigan Simon Fraser University, Steven Skopik The Historians of British Art (HBA) annual (every May). Two $500 grants, one for of Ithaca College, and Mary Stieglitz of business meeting will be held Saturday, each conference, are awarded to a student Iowa State University. February 19, 12:30–2:00 PM, during CAA’s presenting a paper related to the art of Atlanta conference. In addition to our regu- Italy in any period. Applications may be Southeastern College Art sent to Rebecca Corrie at rcorrie@abacus lar meeting, we will hold session at which Conference graduate students working on topics in .bates.edu by January 16, 2005 (for CAA), and to Amy Neff at [email protected] by British art and visual culture will present The Southeastern College Art Conference March 15, 2005 (for Kalamazoo). their research. For more information, con- (SCAC) annual meeting will be held tact Julia Marciari Alexander, HBA presi- October 26–30, 2005, at the University of dent, at [email protected]. Pacific Arts Association Arkansas, Little Rock. The conference hotel is the Peabody Little Rock, on the Historians of Eighteenth Century The Pacific Arts Association (PAA) is Arkansas River near the new Clinton Art and Architecture sponsoring three meetings in 2005: first, Presidential Center and the Arkansas Arts PAA hosts a panel and a business meeting Center, famed for its collection of works February 19 at CAA’s Atlanta conference; After serving a three-year term, Melissa on paper. For further information, contact the PAA-Europe annual meeting will take Hyde is stepping down as president of the Floyd Martin of the University of place April 21–24 at the Museum für Historians of Eighteenth Century Art and Arkansas, Little Rock, Department of Art, Völkerkunde in Berlin; and the 8th PAA Architecture (HECAA). Our newly elected at [email protected] or 501-569-3182. International Symposium will be held July president is Anne Schroder, associate cura- 19–23 at Peabody Essex Museum in tor and adjunct assistant professor of art Salem, Mass. For more information, please Visual Resource Association history at the Nasher Museum of Art, visit www.pacificarts.org or write to Duke University. Inquiries about the The Visual Resource Association (VRA) [email protected]. Wiebenson Prize, publication subventions, recently elected three new officers: and HECAA membership may be directed President-Elect Virginia M. G. Hall, Johns to [email protected]. Renaissance Society of America Hopkins University; Vice-President Betha Whitlow, Washington University; and International Arts Critic The Renaissance Society of America Secretary Linda Reynolds, Williams (RSA) will hold its annual meeting April College. Association 7–9, 2005, in Cambridge, England. Those VRA will sponsor a CAA session, “How who wish to stay in a Cambridge college Necessity Sparks Invention: MDID, A The American section of the International should contact [email protected] as soon as pos- Digital Solution for the Classroom,” on Arts Critic Association (AICA/USA) is sible. The 2006 meeting will take place February 17, 5:30–7:00 PM. VRA President organizing an all-day symposium to coin- March 23–25 at the Renaissance Hotel in Kathe Albrecht will chair the session. cide with Christo and Jeanne-Claude’s The San Francisco. Panels and papers can be Christina Updike will demonstrate version Gates project in New York’s Central Park. submitted to [email protected] beginning two of the Madison Digital Image “Art, Democracy and Public Space: The February 1, 2005. Deadline: May 23, 2005. Database (MDID), and Helen Langa and Impact of Christo and Jeanne-Claude,” Susan Nalezyty will present papers on its will take place February 25, 2005, at the use in the classroom. Solomon R. Guggenheim Museum. Society for Photographic The Wyndham Miami Beach Resort will Speakers will consider the artists’ relation- Education host the 2005 VRA conference, to be held ship to the evolution of public art, the role March 6–10; it will cover topics in digital of audience in their work, and their impact The undergraduate photo curriculum, imaging, information management, and on current debates over democracy, art, already pressured by increased demands teaching with technology. Visit vraweb.org and society. for awareness of both cultural context and professional practices, is being further for more information. pressured by major changes in photo tech-

22 CAA NEWS JANUARY 2005 Mark Staff Brandl. Famous, 2003. Gouache, Athena Tacha. 17-year Shield, 2004. Gigacicada exoskeletons on expanded Micki Watanabe. A Room of Her Own: British ink, and acrylic on paper. 10 1/8 x 6 5/8" aluminum and glitter hot glue. 32" diameter; 7" deep Museum Library, 2004. Wood, leather, brass hardware, lights, and veneers. 60 x 48 x 10" (closed dimensions)

Charles W. Goolsby. Sleeth Gallery, Kerri Cushman. University Art Gallery, NORTHEAST SOLO EXHIBITIONS West Virginia Wesleyan College, Central Michigan University, Mount BY ARTIST MEMBERS Buckhannon, W.Va., October 19– Pleasant, Mich., November 1–20, 2004. Pat Adams. Zabriskie Gallery, New December 3, 2004. Work Epic. Installation, book art, and York, January 10–March 10, 2005. Pat mixed media. Adams: Zabriskie Gallery Celebrates Only artists who are CAA members are in- Philip Lindsey. Ezra Lehman Memorial Fifty Years. Painting. cluded in this listing; group shows are not Library, Shippensburg University, Jill Downen. Contemporary Art Museum, published. Send your name, membership ID Shippensburg, Pa., October 30–November St. Louis, Mo., July 16–August 22, 2004. Barbara Bachner. Kleinert/James Arts number, venue, city and state, dates of exhi- 18, 2004. Philip Lindsey: New Paintings. The Posture of Place. Installation. Center, Woodstock, N.Y., April 16–May bition (no earlier than 2004), title of show, 31, 2004. Echoes. Painting and works on and medium(s). You may also send photo- Babette Martino. Pennsylvania College Alison Gates. Silo Gallery, Stoughton, paper; A.I.R. Gallery II, New York, graphs, slides, or digital images; include of Technology, Williamsport, Pa., Wisc., October 2–November 4, 2004. January 6–31, 2004. Echoes. Painting and the work’s title, date, medium, and size February 22–March 25, 2005. Realism Power and Structure. Sculpture and works on paper. (images cannot be returned). Mail to: Solo with a Surreal Edge. Painting. textiles. Member Exhibitions, CAA News, 275 David Boyajian. Seton Gallery, Seventh Ave., 18th Floor, New York, NY Brian H. Peterson. Phillips Museum of John Hitchcock. Macalester College Art University of New Haven, West Haven, 10001; [email protected]. Art, Rothman Gallery, Franklin and Gallery, St. Paul, Minn., November Conn., December 3, 2004–January 21, Marshall College, Lancaster, Penn., 3–December 12, 2004. Exit Strategies: 2005. Nature Constructed: Sculpture and November 4–December 10, 2004. Current Works on Paper and Interactive Drawings by David Boyajian. ABROAD Personal Nature: Photographs by Brian Art by John Hitchcock. H. Peterson, 1985–2004. Michele Brody. Littlejohn Contemporary, Mark Staff Brandl. Tony Wuethrich Imi Hwangbo. Hiestand Galleries, New York, September 2–October 23, Kabinett, Basel, Switzerland, November Ann Stoddard. School 33 Art Center, Miami University, Oxford, Ohio, 2004. Looking Out. Installation. 14, 2004–January 22, 2005. Covers. Baltimore, Md., June 5–July 1, 2004. September 20–October 20, 2004. Device Works on paper. Application Center: Waiting Room. for Not Being. Works on paper. Caren Canier. Square One Gallery, New Installation. York, November 12, 2004–January 21, Irene Chan. Islington Arts Factory, Michael Krueger. Lawrence Art Center, 2005. Caren Canier: Paintings. London, October 8–29, 2004. Habit/ Athena Tacha. Marsha Mateyka Gallery, Lawrence, Kans., October 18–November Inhabit. Works on paper. Washington, D.C., November 5– 30, 2004. Drawing Lawrence; Moss- Jeanette R. Durham. Mohawk Valley December 18, 2004. Shields and Thorns Gallery of Art, Fort Hays State Center for the Arts, Little Falls, N.Y., Byron Clercx. Museum of Art Café Universes. Sculpture. University, Hays, Kans., November 3–19, September 26–October 23, 2004. Jeanette Gallery, Olomouc, Czech Republic, 2004. Oddities and Amendments. R. Durham: Recent Works. Painting. October 15–31, 2003. Textuality: Reading Micki Watanabe. Julio Art Gallery, Drawing. between the Lines. Sculpture, book art, Loyola College, Baltimore, Md., Ellen Hackl Fagan. Silpe Gallery, and painting; Gallery Konvikt, Palacky September 13–October 22, 2004. Stories Mary C. Nasser. Messing Gallery, Hartford Art School, University of University, Olomouc, Czech Republic, and Containers. Sculpture; Evergreen Ladue, Mo., November 14–December 17, Hartford, Hartford, Conn., October October 20–November 14, 2003. Tactile House, Baltimore, Md., October 19, 2004. Within the Landscape. Painting. 16–21, 2004. Ecstatic Paint. Memories and Related Passages. 2004–January 2, 2005. Object of Sculpture, book art, and painting. Literature. Sculpture. Sylvia Schuster. Coe College, School of Jesseca Ferguson. Contemporary Artists Art, Cedar Rapids, Iowa, November 1–6, Gallery, University of Massachusetts Holly Crawford. Berlin Kunstprojekt, MIDWEST 2004. Sylvia Schuster: Drawings; Dartmouth, New Bedford, Mass., Berlin, Germany, September 9–30, Bucksbaum Center for the Arts, Grinnell September 25–October 24, 2004. 2004. Thirteen Ways of Looking at a Loretta Bebeau. Christensen Center, College, Grinnell, Iowa, November 1–6, Photographs by Jesseca Ferguson. Blackbird, Berlin. Performance, installa- Augsburg College, Minneapolis, Minn., 2004. Sylvia Schuster: Drawings. tion, and sculpture. September 17–October 31, 2004. Words Stephen Lamia. Gallery at the New York Saved. Painting. Dietrich Wegner. Robert E. and Martha Center for Experiential Psychotherapy, MID-ATLANTIC Hull Lee Gallery, Miami University, New York, August 11, 2004–January 11, Dorothea Bilder. Ellwood House Oxford, Ohio, August 16–September 10, 2005. The Serenity Series: Vistas and Still Ruth Bernard. Lynden Gallery, Museum, DeKalb, Ill., August 15– 2004. Recent Sculptural Works. Lifes from Apulia. Photography. Elizabethtown, Pa., November 5–27, October 17, 2004. Sight, Sound, and 2004. Ruth Bernard: New Work. Painting. Scent. Painting and lithography.

CAA NEWS JANUARY 2005 23 Sharon Louden. Anthony Grant Gallery, Michael Roque Collins. LewAllen Con- Ellen Johnston Laing. Selling University, and the University of New New York, September 10–October 16, temporary, Santa Fe, N.Mex., October Happiness: Calendar Posters and Visual Mexico, where he served as professor of 2004. Sharon Louden: Paintings. 15– November 17, 2004. Ritual of Culture in Early Twentieth-Century art, chair of the Dept. of Art, and director Memory. Painting. Shanghai (Honolulu: University of of the University of New Mexico Art Elizabeth Roberts McFalls. UMF Art Hawai‘i Press, 2004). Museum. He was director of the George Gallery, Farmington, Maine, November Eastman House International Museum of 9–December 9, 2004. Polished. Mixed Margot Lovejoy. Digital Currents: Art in Photography and Film and served as media. BOOKS PUBLISHED the Electronic Age. (New York: curator of photography at the San Routledge, 2004). Francisco Museum of Modern Art from Jill Moser. OSP Gallery, Boston, Mass., BY CAA MEMBERS 1979 to 1987. An acclaimed art historian, October 15–November 27, 2004. Parings. Coke received a Guggenheim Fellowship Only authors who are CAA members are Martha Drexler Lynn. American Studio Works on paper. in 1975 and a Fulbright Fellowship in included in this listing. Please send your Glass, 1960–1990 (New York: Hudson name, membership ID number, book title, Hills Press, 2004). 1989. He organized seminal exhibitions Alejandra Munizaga. Azarian publisher’s name and location, and year and catalogues, including Avant-Garde McCullough Gallery, St. Thomas Aquinas Photography in Germany, 1919–1939 and published (no earlier than 2004) to Amy M. Mooney. College, Sparkill, N.Y., October 10– Photograph: A Facet of Modernism, [email protected]. Archibald J. Motley, November 7, 2004. Translucent Pages. among others. Jr: David C. Installation and works on paper. Jacquelynn Baas and Driskell Series of Mary Jane Jacob, Jacques Derrida, a French intellectual, Rhea Nowak. Studio Gallery 88, New African American philosopher, and writer, died October 8, eds. Buddha Mind in Art, Vol. 4. York, December 19–January 31, 2004. Contemporary Art 2004, in Paris. He was 74. Rhea Nowak. Painting. (Petaluma, Calif: Born in Algeria, Derrida studied briefly (Berkeley: University Pomegranate Press, of California Press, at Harvard University after graduating Lorna Ritz. Oxbow Gallery, 2004). from the École Normale Supérieure in 2004). Northampton, Mass., November 2–29, 1956. For the next 30 years, he taught 2004. Lorna Ritz. Painting. Lisa Pon. Raphael, Dürer, and philosophy at both the University of Paris Elaine Block. Marcantonio Raimondi: Copying and the and the École Normale Supérieure. Corpus of Medieval Misericords Annie Shaver-Crandall. Paula Barr Italian Renaissance Print (New Haven: Derrida’s influence continues to be wide- (Turnout, Belgium: Brepols, 2003); Chelsea, New York, November 18–21. Yale University Press, 2004). spread, though his work has been more 2004. Annie Shaver-Crandall: Hills, Elaine Block and Frederic Billiet. Les influential in the U.S. than France. His Valleys, and Clouds. Painting. stalles de la cathedrale de Rouen (Mont- Trudy Wilner Stack and Rebecca books, which number more than 50, Saint-Aignan, France: University of Busselle. Paul Strand Southwest (New include Of Grammatology (1967), Glas Debra Swack. Gallery 128, New York, Rouen Press, 2003). York: Aperture Foundation, 2004). (1974), The Truth in Painting (1978), and September 16–October 16, 2004. 24 The Post Card (1987). Rules for Marriage. Photography. Lex Bosman. The Power of Traditions: Richard Steven Street. Photographing Derrida is known as the father of Spolia in the Architecture of St. Peter’s in Farmworkers in California (Palo Alto, deconstruction, a theory and practice that SOUTH the Vatican (Hilversum, the Netherlands: Calif.: Stanford University Press, 2004). is commonly referenced but perpetually Uitgeverij Verloren, 2004). misunderstood. This method of inquiry Kim Anderson. Fay Gold Gallery, Diane Wolfthal. Picturing Yiddish: asserts that all writing is full of confusion Atlanta, Ga., September 11–October 6, Fintan Cullen. The Irish Face: Gender, Identity, and Memory in and that absolute meaning cannot over- 2004. Paintings. Redefining the Irish Portrait (London: Illustrated Yiddish Books of Renaissance come the inherent contradictions and National Portrait Gallery, 2004). Italy (Leiden, the Netherlands: Brill, instability of an author’s use of language. Amy S. Broderick. ConTemporary 2004). The concept was applied to a wide range Gallery, University of West Florida, Frédérique De Jode and Marie- of academic disciplines, including literary Pensacola, Fla., March 19–April 16, Angélique Ozanne. Theo: The Other Van criticism, art history, linguistics, architec- 2004. Amy Broderick. Drawing. Gogh, trans. Alexandra Bonfante-Warren ture, anthropology, political science, and (New York: Vendome Press, 2004). OBITUARIES more. Advocates of feminism and gay Ke-Hsin Jenny Chi. Florida School of rights and critics of late capitalism the Arts, Palatka, Fla., October 20– Edward Dimendberg. Film Noir and the Richard Avedon, a world-renowned embraced the method as a way to uncover fashion and portrait photographer died December 5, 2004. Figurative Works. Spaces of Modernity (Cambridge: prejudices and inconsistencies of Western September 30, 2004, in San Antonio, Tex. Drawing. Harvard University Press, 2004). culture’s literary and cultural canon. He was 81. Avedon made portraits of many influen- Ralph M. Larmann. Malone Gallery, Colin Gardner. Joseph Losey Terry Dintenfass, a dealer of modern tial cultural figures and politicians of the Troy University, Troy, Ala., October (Manchester: Manchester University American art, died October 26, 2004, in 25–November 20, 2004. Accumulation. 20th century. He also worked on editorial Manhattan, at the age of 84. Press, 2004). Painting and drawing; Athens State spreads for Harper’s Bazaar (1946–65) University, Athens, Ala., November 22, and Vogue (1966–70) and in 1992 became Clark B. Fitz-Gerald, a sculptor, died Jean A. Givens. Observation and Image- 2004–January 15, 2005. Accumulation. the first staff photographer for The New October 18, 2004, at the age of 87. Making in Gothic Art (New York: Painting and drawing. Yorker. Exhibitions of his work were Fitz-Gerald graduated from the Cambridge University Press, 2005). staged at the Metropolitan Museum of Philadelphia College of Art in 1940 and Elaine J. Oehmich. Nth Gallery, Boone, Art, Whitney Museum of American Art, taught art at the Phillips Academy, N.C., June 4–30, 2004. Visual Sound: The Tom Huhn. The Cambridge Companion Museum of Modern Art, and Smithsonian Washington University in St. Louis, and Breathing Wind. Painting. to Adorno (New York: Cambridge Institution. Beloit College. He received many public- University Press, 2004); Imitation and art commissions; his wood, stone, metal, Daniel Smith. Telfair Museum, Savan- Society: The Persistence of Mimesis in Van Deren Coke, a curator, teacher, and bronze sculptures can be found at nah, Ga., December 1–30, 2004. Building the Aesthetics of Burke, Hogarth, and author, and photographer, died July 11, Columbia University, Philadelphia’s the Jepson Center Series. Painting. Kant (University Park: Pennsylvania 2004. He was 83. Independence Hall, and on numerous col- State University Press, 2004). Coke entered the University of lege campuses in Maine. WEST Kentucky in 1939 and attended summer Katrin Kogman-Appel. Jewish Book Art classes at the Clarence White School of Viola Frey, a ceramic artist, died July 26, Peter Arcidiacono. Edge Gallery, between Islam and Christianity: The Photography in New York. He also stud- 2004, at her home in Oakland, Calif. She Denver, Colo., October 8–31, 2004. Decoration of Hebrew Bibles in Spain ied with Ansel Adams in the early 1950s. was 70. Fallow Copse. Sculpture. (Leiden, the Netherlands: Brill, 2004). Coke earned his M.F.A. in sculpture and Frey was known for large figurative, M.A. in art history at Indiana University glazed clay sculptures that shared charac- Byron Clercx. Lorinda Knight Gallery, Jaime Lara. City, Temple, Stage: in 1958. teristics with Abstract Expressionist Spokane, Wash., October 1–31, 2004. Eschatological Architecture and Liturgical Coke served on the CAA Board of painting, Pop art, and California Funk. Directors from 1973 to 1977, and again Textuality. Painting, book art, and sculpture. Theatrics in New Spain (Notre Dame: While studying under Richard University of Notre Dame Press, 2004). from 1988 to 1991. He taught at the Diebenkorn, she received a B.F.A. from University of Florida, Arizona State the California College of the Arts; work-

24 CAA NEWS SEPTEMBER 2004 ing with Mark Rothko, she earned an and on agriculture and slavery in classical graduate-level courses in math, science, M.F.A. from Tulane University. Frey Athens. He co-authored A Greek and engineering. PEOPLE IN THE lived briefly in New York before moving Countryside: The Southern Argolid from NEWS to San Francisco in 1960. She taught at Prehistory to Present Day (1994). Rose Slivka, a writer, critic, and editor, the California College of the Arts from died September 2, 2004, in Southampton, Please send your listing to caanews 1965 to 1998; she also exhibited widely. Herbert Katzman, a figurative expres- N.Y. She was 85. @collegeart.org. Her works can be found in the collections sionist painter, died October 15, 2004, at Slivka was an ardent supporter of crafts of the Hirshhorn Museum and Sculpture the age of 81. as a serious artistic discipline. As the edi- Garden, Metropolitan Museum of Art, After studying at the School of the Art tor-in-chief and writer for Craft Horizons Academe and San Francisco Museum of Modern Institute of Chicago, Katzman lived and magazine from 1959 to 1979, she helped Art. worked in New York. His art has been to define a respect for crafts at a time Jonathan Berman, a film and video shown in the Whitney Museum of when the field was growing in popularity maker, has joined the Communication Helen Gee, a New York art dealer who American Art, Museum of Modern Art, and professionalism. She favored a shift Dept. at California State University, San specialized in photography, died October and the Venice Biennale. He received a toward more innovative forms of creative Marcos, as an assistant professor. 10, 2004, in Manhattan. She was 85. Guggenheim fellowship in 1968 and a expression and away from an emphasis Gee operated the Limelight gallery Lee Krasner award from the Pollack- on traditional skills and techniques. M. Wayne Dyer has been appointed from 1954 to 1961, where she showed Krasner Foundation in 2000. Slivka is the author of Peter Voulkos: A chair of the Dept. of Art and Design at work by Ansel Adams, Rudolph Dialogue with Clay (1978) and Ordinary East Tennessee State University in Burckhardt, Imogen Cunningham, Phyllis Williams Lehmann, an archaeol- and Extraordinary Uses: Objects by Johnson City. Brassaï, Harry Callahan, and Aaron ogist and art historian, died September Artists (1984), co-author of The Art of Siskind. Her intensity and passion influ- 29, 2004, in Haydenville, Mass., at 91. Peter Voulkos (1995), and editor of The Ed Forde, former chair of the Art Dept. enced photography galleries that fol- Lehmann received a B.A. from Crafts of the Modern World (1968). at California State University, Los lowed. She later became an art consultant Wellesley College in 1934 and then Angeles, has been appointed chair of the and also lectured and wrote about photog- worked for two years at the Brooklyn Anthony Toney, a painter and teacher, Dept. of Art and Art History at the raphy and organized photography exhibi- Museum in the Classical collection. In died September 10, 2004, in Marin University of Nebraska, Lincoln. tions. 1936, she attended the Institute of Fine County, Calif. He was 91. Arts at New York University, earning a Toney was born in Gloversville, N.Y. Phillip King has resigned as president of Caroline Lerner Goldsmith, co-founder Ph.D. in 1943. The institute was operat- He received a B.A. in fine arts from the Royal Academy of Arts in London. of ArtTable and a public-relations execu- ing an excavation in Samothrace, and she Syracuse University in 1934 and first tive, died October 2, 2004, in Manhattan. married the archaeologist Karl Lehmann, exhibited his work in New York at the Eve Andree Laramee has been appoint- She was 78. the excavation’s director, the next year. Wakefield Gallery in 1941. He began ed the chair of the Sculpture and General Goldsmith graduated from Cornell Lehmann first visited Samothrace, a teaching at the New School for Social Sculptural Studies Dept. at the Maryland University in 1946. In 1960, she formed Greek island in the north Aegean Sea, in Research in 1952 and earned a Ph.D. in Institute College of Art in Baltimore. Gallery Passport with Helene F. Kaplan, 1938 and became assistant field director fine arts and education at Columbia which was one of the first organizations there from 1948 to 1960 and acting direc- University’s Teachers College in 1955. Soraya Marcano has been appointed visiting faculty in the School of Art and that led guided tours of museums and gal- tor from 1960 to 1965. She remained He showed his art at the ACA Gallery in Design at Pratt Institute in New York. leries. In 1980, Goldsmith helped to closely involved with the island for the New York and wrote four books, includ- establish ArtTable Inc., a nonprofit arts rest of her career and was considered ing Creative Painting and Drawing organization that helps women in the arts an authority on its monuments and archi- (1968) and Painting and Drawing: Museums professions nationwide, with chapters in tecture. Discovering Your Own Visual Language many U.S. cities. She was executive A professor at Smith College from 1946 (1978). His work can be found in the col- Staci Boris, formerly associate curator at director for the first 15 years and served to 1978, Lehmann was dean of the collections of the Whitney Museum of the Museum of Contemporary Art, on its board of directors until her death. lege from 1965 to 1970. She was book- American Art, Chrysler Museum, and Chicago, has been appointed senior cura- Since 1966, Goldsmith was an execu- and periodical-reviews editor for The Art New Britain Museum. tor of the Spertus Museum in Chicago. tive with Ruder Finn Arts and Communi- Bulletin from 1949 to 1951 and served on cations Counselors, a division of the pub- the journal’s editorial board from 1984 to lic-relations firm Ruder & Finn that 1991. Her publications include The actively promotes corporate support for Pedimental Sculptures of the Hieron in the arts. She organized an exhibition of Samothrace (1962) and Samothrace III: J S T O R F O R A L L C A A M E M B E R S ! the work of African American artists that The Hieron (1969), which was awarded toured nationally and commissioned a the Alice Davis Hitchcock Book Award 1985 film about the installation of 25 by the Society of Architectural Historians. monumental Henry Moore sculptures in New York City parks. She also conceived Jane B. Meyerhoff, an art collector and an exhibition, Frontier America: The Far philanthropist, died October 16, 2004, in West, organized by the Museum of Fine Baltimore. She was 80. Arts, Boston, which traveled to museums With her husband, Meyerhoff con- in the U.S. and Europe in 1975–76. tributed a large collection of post-WWII CAA members who do not have an institutional affiliation, American paintings to the National or whose home institution does not participate Michael Hamilton Jameson, a scholar of Gallery of Art in Washington, D.C. The in J STOR’s Arts & Sciences III Collection, will be able Greek antiquity, died August 28, 2004, in Robert and Jane Meyerhoff Collection, Stanford, Calif. He was 79. numbering more than 100 works, includes to access back issues of CAA’s journals, Jameson earned his Ph.D. in 1949 from paintings by de Kooning, Hartigan, Kline, The Art Bulletin and Art Journal, via the Member Portal at the University of Chicago and enjoyed a Pollock, Johns, Kelly, Lichtenstein, www.collegeart.org. Members with an institutional successful career as an academic. He Rauschenberg, Stella, and Marden. The affiliation may also use this service to access the journals taught at the University of Missouri and Meyerhoffs provided funding for the the University of Pennsylvania, and he National Gallery to purchase Newman’s from any location worldwide. joined the faculty of Stanford University series Stations of the Cross. An annual fee of $15 will be charged with your in 1976, retiring in 1990 as Crossett Meyerhoff was introduced to Abstract Professor Emeritus of Humanistic Expressionism in the 1950s on a trip to yearly CAA membership. Studies. New York with representatives from the Jameson led expeditions on the 5th- Baltimore Museum of Art. A native of the J STOR is an independent not-for-profit organization century BC Peloponnesian War and city, she had approached the museum with a mission to create a trusted archive of uncovered important evidence from the about purchasing several works of art in scholarly journals and to increase access to those journals Persian Wars. He discovered parts of the her father’s name. Beyond the arts, she as widely as possible. Information regarding J STOR ancient town of Halieis, a strategic harbor and her husband established a program at on the Argolid, the easternmost peninsula the University of Maryland, Baltimore is available at http://www.jstor.org. of the Peloponnesus. Jameson wrote sev- County, in 1989 to provide financial eral books on the tragedies of Sophocles assistance to minority students pursuing

CAA NEWS JANUARY 2005 25 Elizabeth Dunbar, formerly chief cura- Kristina Van Dyke has been appointed tor of the Ulrich Museum of Art at the first curator of non-Western art at the GRANTS, AWARDS, Wichita State University in Wichita, Menil Collection in Houston, Tex. & HONORS Kans., is now curator at the Kemper Museum of Contemporary Art in Kansas Philippe Vergne, currently senior curator Only CAA members are included in this City, Mo. at the Walker Art Center in Minneapolis, listing. Please send your name, member- will assume the directorship of the ship ID number, and listing to Katie Geha has been selected as curator François Pinault Foundation for [email protected]. of modern and contemporary art for the Contemporary Art in April 2005. The new Ulrich Museum of Art at Wichita State arts center is scheduled to open in late Rebekah Bogard, assistant professor of University in Wichita, Kans. 2006 in Paris. ceramics at the University of Nevada, Reno, has received a 2004 fellowship Deborah Gribbon has resigned as direc- Virginia-Lee Webb has been appointed from the Nevada Arts Council. tor of the J. Paul Getty Museum. research curator in the Dept. of the Arts of Africa, Oceania, and the Americas at Phoebe Farris, professor of visual and Toby Kamps, formerly curator at the the Metropolitan Museum of Art in New performing arts at Purdue University in Museum of Contemporary Art in San York. West Lafayette, Ind., has received a grant Diego, will serve as the new director of from the U.S. Dept. of State to organize a the Institute of Contemporary Art at the Emily M. Weeks traveling poster exhibition, to be entitled Maine College of Art. has been appointed Visual Power: Twenty-First Century curator of American Native American Artists/Intellectuals. The Patrick Loughney, formerly head of art at the Florence Deborah Rockman. Untitled 2bIT from moving images at the Library of Griswold Museum posters will be translated into French, Losing Sleep, 2004. Lazertran transfer on Congress, is now curator of motion pic- in Old Lyme, Conn. Spanish, and Arabic for exhibition in handmade sheet of acrylic medium. 22 x 17" tures at the George Eastman House American embassies. International Museum of Photography James B. Wyman, and Film in Rochester, N.Y. He also holds formerly the John B. Barbara Rita Jenny has been named a The National Academy Museum in New the position of director of the Eastman and Dareth A. 2005 New Hampshire State Arts Fellow. York has awarded fellowships for the House’s L. Jeffrey Selznick School of Emily M. Weeks Gerlach Director of Edwin Austin Abbey Memorial Fund for Film Preservation. the Kennedy Jane Lackey has been awarded a visual- Mural Painting in America. CAA mem- Museum of Art at Ohio University in artist fellowship by the Camargo bers Robert Martinez and Roberto Wyona Lynch-McWhite, formerly asso- Athens, has been appointed the first chief Foundation in Cassis, France, where she Salas were among the recipients. ciate curator of the Columbus Museum in curator at the University of Michigan will be in residence in spring 2005. Columbus, Ga., has been named the first Museum of Art in Ann Arbor. The Smithsonian American Art Museum director of the Eleanor D. Wilson Eve Andree Laramee received a in Washington, D.C., has appointed fel- Museum at Hollins University in The Dahesh Museum in New York has Pollock-Krasner Foundation Grant to pur- lows for the 2004–5 academic years. Roanoke, Va., part of the school’s new appointed Robert Logan as visitor and sue her work in sculpture and installation. CAA members include: Sara Doris, Richard Wetherill Visual Arts Center. staff relations officer, and Laura McGown as education and program Ann P. Meredith of Swordfish Kristin Makholm, formerly curator of assistant. Productions has won 2 awards at the prints and drawings at the Milwaukee Art Berkeley Video and Film Festival: the Museum in Wisconsin, is now adjunct The Yale Center for British Art in New award of excellence in documentary for faculty and director of galleries and exhi- Haven, Conn., has appointed 2 new col- her newest film, The Right To Marry: bitions at the Minneapolis College of Art leagues: Michael Hatt is the center’s Our Right To Love, about lesbian, gay, and Design in Minnesota. head of research, and Cassandra bisexual, transgender, and queer Albinson is assistant curator of paintings (LGBTQ) marriage; and the best-of-festi- Sonya Rhie Quintanilla is the new cura- and sculpture. val award in documentary for her film tor of Asian art at the San Diego Museum about LGBTQ cowgirls of the of Art in California. International Gay Rodeo Association. Organizations William Keyse Rudolph has been Deborah Rockman has been awarded a appointed the Pauline Gill Sullivan Liz Aston, formerly of the Henry Moore visual-arts fellowships at the Virginia Associate Curator of American Art at the Institute, is now curatorial researcher at Center for the Creative Arts in Sweet Dallas Museum of Art in Texas. Visual Associations, Leeds. Briar and at the Ragdale Foundation in Lake Forest, Ill. She has also received the Thomas Southall, formerly curator of Sylvie Fortin has been appointed editor- Northwood University Artist Award from photography at the High Museum in in-chief of Art Papers magazine. Northwood University in Midland, Mich.; Atlanta, has been appointed the first cura- the Arts and Sciences Award at the tor of photography at the Samuel P. Harn Samuel Sachs II, director emeritus of the Peninsula Fine Arts Center National Museum at the University of Florida in Frick Collection in New York, has been Biennial 2004 in Newport News, Va.; and Gainesville. appointed president of the Pollock- the Centennial Celebration’s 100 Art Krasner Foundation. Alumni Award from the School of Art at Rick Stewart has stepped down from his Western Michigan University in position as director of the Amon Carter The Southeastern Society of Architectural Kalamazoo. Museum in Forth Worth, Tex., to become Historians has named Anat Geva and its chief curator. Nancy Volkman editors of ARRIS, the John Trefethen has received a Learning journal for the society. Productivity Program Grant from the Institute of Teaching and Learning and a Catherine Urban Scholarship for excellence in photographic arts, both from San Jose State University in California.

Bernadette Vielbig has received a 2004 Grant for Artists Projects (GAP) Award by Artist Trust of Seattle, Wash.

Deanne Wood has received the Robert Toulouse Master’s Award for the 2004–5 academic year by the Federation of North Texas Area Universities.

26 CAA NEWS JANUARY 2005 Hiroko Ikegami, Guy Jordan, James slides. $1,500 in awards will be allocated; www.mofa.fsu.edu/combinedtalents.htm. 25–November 20, 2005, at the Armory Lawrence, Jessica May, David a catalogue will be produced, and return Deadline: February 14, 2005. Center for the Arts in Pasadena. Juror for McCarthy, Anne Samuel, Kirsten shipping is provided. The exhibition is the exhibition is Ruth Weisberg, dean of Swenson, and Stephanie Taylor. scheduled for August 22–September 25, The Los Angeles Printmaking Society fine arts at the University of Southern 2005. For more information and prospec- seeks entries from U.S. and Canadian California. Entry fee is $25 for 3 slides or tus, contact: Jean D. Young at 850-644- artists for its 18th national exhibition. The $30 for 5 slides; LAPS members pay $20 CONFERENCES & 3906; [email protected]; exhibition will take place September and $25 respectively. Monetary awards SYMPOSIA

Please send your listing to caanews @collegeart.org. Calls for Papers

The Cleveland Symposium, entitled “Addressing Ideologies: Art in Context,” will be held April 15, 2005, at the Cleveland Museum of Art. Enrolled graduate students are invited to deliver papers that address any period or geographical area of art history. Interested candidates should submit an abstract of 400 words or less, a cover sheet with contact information and paper title, and a c.v. to: [email protected]. Deadline: February 7, 2005. To Attend

Symposium on the History of Art, an annual event jointly sponsored by the Frick Collection and the Institute of Fine Arts (IFA), New York University, will be instruct and inspire held April 15–16, 2005. Graduate students from 14 northeastern colleges and universities will present recent research The Savannah College of Art and Design exists to prepare talented students for careers on a wide range of art-historical topics. in the visual and performing arts, design, the building arts, and the history of art and Participating institutions include: Boston University, Brown University, Bryn Mawr architecture. The college emphasizes learning through individual attention in a posi- College, Columbia University, Cornell tively oriented environment. University, the Graduate Center of the City University of New York, Harvard Due to growth in our Savannah programs, the opening of SCAD-Atlanta in 2005, University, Institute of Fine Arts, Princeton University, Rutgers University, and our recently offered SCAD e-Learning programs, we continue to accept applications State University of New York at in the following areas of study: Binghamton, University of Pennsylvania, University of Rochester, and Yale Advertising Design Furniture Design Interior Design University. The Friday afternoon session will be held at the IFA and the Saturday Animation Foundation Studies Media and Performing Arts sessions will be at the Frick Collection. No registration is necessary; seating is Architectural History General Education Metals and Jewelry available on a first-come, first-served Architecture and Liberal Arts Painting basis. For more information and the program of speakers, see www.frick.org or Art History Graphic Design Photography www.nyu.edu/gsas/dept/fineart. Broadcast Design Historic Preservation SCAD e-Learning and Motion Graphics Illustration Sequential Art RESOURCES & Fashion Industrial Design Sound Design OPPORTUNITIES Fibers Interactive Design and Visual Effects Please send your listing to caanews Film and Television Game Development @collegeart.org. For position and application details, visit www.scad.edu. Calls for Entries

The 20th Annual Combined Talents: The Florida International Competition is open to artists 18 years and older. Sponsored by the Florida State University Human Resources · P.O. Box 3146 · Savannah, GA, USA 31402-3146 Museum of Fine Arts, the competition is juried by a panel of FSU School of Visual www.scad.edu/employment · [email protected] Arts and Dance faculty. All media are eligible for consideration; there are no size restrictions. The entry fee is $20 for 2

CAA NEWS JANUARY 2005 27 are $3,000. For an application, send a fully searchable Cumulative Index to Residencies University of Southern Maine, 37 College legal-size S.A.S.E. to: LAPS 18th National Master Drawings (vols. 1–41). This index Ave., Gorham, ME 04038; www.usm Exhibition, Donna Westerman, 2131 will be updated annually. Please visit .maine.edu/art/visiting/vair.html. Anniversary Ln., Newport Beach, CA www.masterdrawings.org. The Bemis Center for Contemporary Deadline: March 1, 2005. 92660; 949-642-3842; Arts is accepting applications for residen- www.LAPrintmakers.com. Deadline: cies for 2005–7. The program provides February 25, 2005. well-equipped studio spaces, living Programs accommodations, and monthly stipends. CLASSIFIEDS Our facility is located in 2 urban ware- The Erasmus Institute at the houses totaling 110,000 square feet and To place a classified ad in CAA News, visit Calls for Participation University of Notre Dame will offer a includes a half block of open urban prop- www.collegeart.org/news or write to seminar for advanced graduate students erty in downtown Omaha, Nebr. The [email protected]. Lea Rosson DeLong seeks information and postdoctoral scholars, June 11–29, facility includes an art library, printmak- on American artist Gordon Samstag 2005. Jeffrey Hamburger will lead the ing facilities, darkroom, video-editing For Rent (1906– 1990), director of the American seminar, whose theme is “Image, Text, room, woodworking shop, and a welding Art School in New York (1951–61), for a Context: Interdisciplinary Approaches to facility. For more information or to down- biography. Send your information to: Lea the Illuminated Manuscript.” load an application, please visit Florence. Unique small penthouse, his- Rosson DeLong, 3022 SW 39th St., Des www.bemiscenter.org. Deadline for toric center, spectacular terrace, sleeps Moines, IA 50321; [email protected]. The National Endowment for the January–June 2006 residencies: three-plus, furnished elevator, washing Humanities announces its Summer February 28, 2005. machine, references required. 508-877- Seminar for College Teachers, which will 2139. Online Resources be held June 27–August 5, 2005, in Rome. The University of Southern Maine is The topic is “Roman Religion in its accepting applications for 2 residencies Paris. Lovely fully furnished and Cultural Context” and the director is Karl (spring 2006 and 2007) in its B.F.A. pro- equipped one bedroom apartment., 50 sq. Master Drawings Association, publisher Galinsky at the University of Texas at gram. Responsibilities are to teach a m., 17th (near Parc Monceau); two weeks of the quarterly journal Master Drawings, Austin. The sponsoring organization in course and/or involve students in a proj- to 11 months. [email protected]. is pleased to announce its new website. In Rome will be the American Institute for ect for credit; complete a work for the addition to basic information about the Roman Culture. Galinsky can be reached permanent collection; and present a pub- Renting Rome apartment, near Ameri- journal—which is devoted to the scholar- at: Dept. of Classics C3400, University of lic lecture. The residency is for a mini- can Academy and public transportation to ship of drawings from the Renaissance Texas at Austin, Austin, TX 78712-0308; mum of 7 weeks between January and center city and train station. 1 large bed- through the 20th century—including con- 512-471-8504; fax: 512-471-4111; galin- May. The artist receives a $10,000 room with study area, living-dining room, tents of recent issues and specifications [email protected]. Complete informa- stipend and $4,500 for materials. Send 20 bath, eat-in kitchen, dish and laundry for prospective authors, we have included tion about the program, eligibility, and the slides or appropriate documentation, washers, large terrace, four balconies, a feature that we expect to be useful not application process is available at résumé, artist’s statement, supporting central heating, fully furnished. Available only to scholars of drawings, but to all http://ccwf.cc.utexas.edu/~galinsky/NEH. materials, 2 brief proposals (for a project September 1, 2005. $1,350 monthly (heat researchers in the field of Western art: the Deadline: March 1, 2005. and a course and/or student involvement), included) plus utilities. Prof. Jack and an S.A.S.E. for return of materials to: Wasserman. Phone: 215-625-3902. VAIR Search Committee, Dept. of Art, Classifieds continue on page 30

ASSISTANT PROFESSOR/ FACULTY FELLOW Program in Museum Studies Dean, Tyler School of Art Temple University invites applications and nominations for the position o FACULTY OF ARTS AND SCIENCE School of Art. Located in Philadelphia, PA, Temple University has a world-c international presence. Founded in 1887 by Dr. Russell H. Conwell, the Univer The Program in Museum Studies, an interdisciplinary program of the on the premise that those who have the imagination to dream and the desire have the opportunity to make their dreams come true. Under the leadership of Graduate School of Arts and Science at New York University, invites Dr. David Adamany, Temple is moving confidently to become one of America' applications for an Assistant Professor/Faculty Fellow. The initial research universities. appointment will be for one year beginning September 1, 2005, renewable The Tyler School of Art, ranked 10th in U.S.the nationNews andby World, Reportenjoys a worldwide reputation for excellence. The School's superior standing is foun annually for a maximum of three years pending administrative and distinguished faculty of artists, scholars, and teachers. More than 70 fac programs in Architecture, Art and Art Education, Art History, Crafts (Ceram budgetary approval and satisfactory performance. and Fabric Design, and Jewelry, Metals/CAD-CAM), Foundation Studies, Graphi (Graphic and Interactive Design, Photography, and Printmaking), Painti We are seeking an outstanding scholar whose research interests engage Sculpture.

the history and theory of museums, and whose knowledge of museums The Dean is responsible for academic, fiscal, and personnel matters with extends beyond his or her area of specialization. Responsibilities expected to provide leadership for the School and to foster excellence performance, and service to the Temple community and beyond. The successf include, but are not limited to, teaching three Museum Studies courses a demonstrate excellent management skills, a track record in develop advancement, superior communications skills, commitment to the institutio year, advising master’s theses, and actively participating in the life of a ability to work collaboratively with a diverse group of faculty and fellow dynamic and growing program. Teaching experience and knowledge of external constituencies. The Dean will lead fundraising efforts and plan upcoming relocation to Temple's main campus from it's current home i museum operations are required, and professional museum experience is Pennsylvania. This move will include a new, fully funded, state-of-the-art f a track record of distinction in higher education, art, museum or cultural desirable. Ph.D. must have been completed within three years of the the practice of one of the particular disciplines represented in Tyler.

date of application. Nominations, or a letter of application accompanied by a curriculum vitae a should be sent to: Please send curriculum vitae, dissertation précis, letter of application, Gerard F. Cattie, Jr. including a description of three Museum Studies courses you might Managing Director teach, and three letters of reference by, January 30, 2005,to:Search The Diversified Search Companies One Commerce Square Committee, Program in Museum Studies, Faculty of Arts and 2005 Market Street, Suite 3300 Philadelphia, PA 19103 Science, New York University, 240 Greene Street, Suite 400, New [email protected] York, NY 10003. 215 568-8399 (fax) 215 656-3576 (phone) NYU is an Equal Opportunity/Affirmative Action Employer. For more information about Temple, please consulthttp://www.temple.edu the Web site: Temple University is strongly committed to Affirmative Action and Equa

28 CAA NEWS JANUARY 2005 Assistant/Associate Pro fessor in Visual Arts, Computation and Digital Media

The Arts Media and Engineering (AME) Program at Arizona State University announces an opening for a faculty member who combines visual arts skills with an understanding of computation, knowledge of digital media and an interest in hybrid arts-engineering research and creation. Arizona State University, a Research One Institution, is the fourth largest US University. Arts, Media & Engineering http://ame.asu.edu( ) is a joint Program between the Herberger College of Fine Arts (http://herbergercollege.asu.edu) and the Fulton School of Engineering http://fse.asu.edu( ). The goal of AME is to facilitate the parallel, integrated development of media hardware, software, content and theory. The focal point of current AME research is the development of experiential media through integrated research across context aware sensing, information modeling, interaction architectures and experiential construction. The program has established its own graduate interdisciplinary curriculum which includes AME concentrations in Visual Arts, Dance, Music, Theater, Electrical Engineering and Computer Science and Engineering. Concentrations in Psychology, Bioengineeringand Education are currently being added. The appointee will be expected to take a leadership role in the visual arts/visual media activities of AME and contribute significantly to the development of the education, creation and research mission of AME.

Required qualifications: Terminal degree in arts, media or engineering and creative and/or scholarly record appropriate to rank.

Desired qualif ications: Evidence of research in the areas of: interactive visual arts and/or animation and/or video games; interdisciplinary experience in research and creation spanning arts, media and engineering; leadership experience; national recognition of creative/research work or evidence of funded research, demonstrated communication skills; and teaching experience appropriate to rank.

Application procedure: Send a letter of interest, CV, representative supporting material and names, addresses and telephone numbers for three professional references to: Chair, VACDM Search Committee, AME, P.O. Box 878709, Tempe, AZ 85287-8709. For more information about this positionplease write to: [email protected].

Application deadline: Applications received by February 1, 2005 will receive full consideration. If not filled, applications will be reviewed every FOUR weeks thereafter until the search is closed. The anticipated start date is August 16, 2005.

ASU is an Equal Opportunity/A ffirmative A ction Employer

CAA NEWS JANUARY 2005 29 Opportunities February 18, 2005 Deadline to return ballots for the CAA Board of Directors election Columbia Artists’ Enclave at I-Park. Deadline COLLEGE CHICAGO January 22, 2005. Four week residen- March 10, 2005 cies for visual and environmental Deadline for submissions to the May artists, music composers, landscape/ 2005 issue of CAA News We are a diverse, open admissions, urban institution garden designers, architects. of over 10,000 undergraduate and graduate students Comfortable living quarters, private March 15, 2005 studios, 450-acre woodlands retreat, Deadline for spring submissions to the emphasizing arts and communications in a liberal rural East Haddam, Connecticut. $20 Millard Meiss Publication Grant education setting. application fee. See www.i-park.org. We seek an artist and educator for Book Arts Faculty, 2005 Application materials can be March 20, 2005 downloaded directly from the website. Deadline for nominations and self-nomi- a newly-created, full-time position. The Interdisciplinary E-mail: [email protected]. Phone nations to the Art Journal editor-in-chief Arts Department is one of the oldest inter-arts graduate 860-873-246. programs in the country and is the host Department Deadline for nominations and self-nomi- of the Columbia College Center for the Book And nations to The Art Bulletin Editorial Paper Arts. Board DATEBOOK Requirements include an M.F.A. and expertise in one of Deadline for nominations and self-nomi- our areas of concentration (i.e. Bookbinding, Artist Books, January 10, 2005 nations to the Art Journal Editorial Board Deadline for submissions to the March Letterpress or Papermaking). Must also have a minimum 2005 issue of CAA News of 5 years undergraduate/graduate teaching experience Deadline for nominations and self-nomi- and Curriculum/Program Development at the higher nations to the caa.reviews editor-in-chief January 12, 2005 education level. Prefer experience in arts administration. Deadline for Advanced registration and Deadline for nominations and self-nomi- inclusion in the Directory of Attendees Responsibilities will focus primarily on teaching with some nations to the caa.reviews Editorial Board for the 2005 CAA Annual Conference in administration including coordination and student advising Atlanta April 8, 2005 of M.A. and M.F.A candidates. Deadline for nominations and self-nomi- January 31, 2004 We offer a competitive salary and excellent benefits pack- nations for the 2006–10 Board of Deadline for applications to the CAA age. Please send current CV, work samples, cover letter Directors Professional Development Fellowship and the names/contact information for three references Program May 10, 2005 to: Columbia College Chicago, Attn: Human Resources, Deadline for submissions to the July 2005 Interdisciplinary Arts Dept. Search Committee, 600 South February 1, 2005 issue of CAA News Michigan Avenue, Chicago, Illinois 60605-1996. Minority Deadline for participation in Arts Exchange at the 2005 CAA Annual and Women applicants are especially encouraged to October 1, 2005 Conference in Atlanta apply. Equal Opportunity Employer M/F/D/V. For more infor- Deadline for fall submissions to the mation, visit our website at: http://web2.colum.edu/hr. Millard Meiss Publication Grant February 16–19, 2005 93rd CAA Annual Conference in Atlanta February 22–25, 2006 94th CAA Annual Conference in Boston

the cooper union ASSISTANT PROFESSOR OF for the advancement SOUTH ASIAN ART AND of science and art ARCHITECTURE

The Cooper Union seeks a distinguished artist and/or scholar The Cooper Union Department of Fine Arts with an international reputation to lead the most selective for the Advancement School of Art in the nation. With a signiﬁcant record of of Science and Art is FACULTY OF ARTS AND SCIENCE one of the nation’s top achievement as an educator of artists, the Dean will join a ranked private colleges, highly collaborative community of faculty, staff and students in offering degree programs The Department of Fine Arts at New York University seeks a historian of South developing and implementing a shared purpose and vision. in Art, Architecture, Asian art and architecture for a full-time, tenure-track assistant professorship, Located in Manhattan, Cooper Union’s School of Art offers and Engineering. beginning September 1, 2005, pending budgetary and administrative approval. a rigorous undergraduate studio program taught by a faculty Founded by industrialist and philanthropist Candidates must have a Ph.D. in art history, teaching experience and a solid of practicing professionals at the center of the worlds of art Peter Cooper, the record of scholarly publication in a field of specialization, with promise of and design. Working in close concert with the faculty, the College has provided continued research and publication. The candidate’s field should complement Dean will provide intellectual leadership, strategic planning, a full-tuition scholarship that of existing faculty members, who have specialties in East Asia and the academic program development, budget administration, facil- to every accepted ities oversight and public engagement, continually enhanc- student since 1859. Islamic world. While a primary specialization in pre-modern art and ing the College’s interaction with the cultural life of the city. Letters of application architecture is required, secondary interests in colonial and contemporary art The Dean will also have signiﬁcant responsibility for identifying or nomination are welcome. Courses to be taught, all undergraduate, would include: a college- with vita to: wide core-curriculum class, introductory surveys of South Asian art and and cultivating funding sources to support initiatives and Dean Search Committee operations of the School of Art. The School of Art architecture, advanced courses in the areas of the candidate’s specialization; In addition to an outstanding record of achievement and The Cooper Union and thematic seminars for senior majors. Send detailed letter of application, c.v. appropriate education, the position requires superb commu- 30 Cooper Square and names of three references, by February 1, 2005,to:Professor Kenneth nication and interpersonal skills, a broad understanding of the New York, NY 10003 Silver, Chair, New York University, Faculty of Arts and Science, arts communities, the ability to work with diverse constituencies Att: Human Resources Department of Fine Arts, Silver Center, 100 Washington Square East, and a commitment to shared governance. Questions via email to deansearchArt@ Room 303, New York, NY 10003-6688. Available August 2005 The Cooper Union is an EEO/AA Employer. cooper.edu NYU is an Equal Opportunity/Affirmative Action Employer.

30 CAA NEWS JANUARY 2005 Please Contribute

Why? CAA wants to do more for you and to support visual arts and education.

Your contribution will help us: • Enhance CAA’s career-development services • Expand the Annual Conference and exhibitions • Add exhibition reviews to caa.reviews • Keep color reproductions in Art Journal and The Art Bulletin • Gather research data on hiring and tenure trends • Update and expand our influential Professional Standards and Guidelines

Help us serve you better! We welcome your suggestions for issues you would like addressed.

You may contribute to CAA’s General Fund or directly to: • Services to artists • Services to art historians • Services to the museum field • Services to international members

This year, your contribution has double value! We will use it to match a CAA National Endowment for the Humanities (NEH) Challenge Grant.

• Contributors can be listed in CAA News • C o n t ri bu t o rs will receive an invitation to a special event during the 2005 A n nual Confe r e n c e • C o n t ri butions may be made in honor or memory of a fri e n d , c o l l e a g u e, or family member • C o n t ri bu t o rs of $100–249 will receive a CAA travel umbrella or a one-year s u b s c r i p tio n t o B o o k fo r u m • Contributors of $250 or more receive one of CAA’s art-history monographs • Contributions are tax-deductible to the extent allowed by law To Contribute:

Visit www.collegeart.org or send a check to College Art Association 275 Seventh Avenue New York, NY 10001 or call 212-691-1051, ext.252

Mission The College Art Association supports all practitioners and interpreters of visual art and culture, including artists and scholars, who join together to cultivate the ongoing understanding of art as a fundamental form of human expression. Representing its members’ professional needs, CAA is committed to the highest professional and ethical standards of scholarship, creativity, connoisseurship, criticism, and teaching. For more information about CAA’s mission, and how you can make a gift to support it, please visit www.collegeart.org or e-mail [email protected]. Background image: Sam Gilliam. Untitled (detail), 1997, lithograph, handmade paper, and chine collé, edition of 50. 1 21 2 x 22".Thanks to the generosity of the artist, all proceeds of sales of this print benefit CAA’s Professional Development Fellowship Program. For more information or to purchase a print, please call 212-691-1051 x252 or visit our website at www.collegeart.org/prints to download an order form.

CAA NEWS JANUARY 2005 31 Nonprofit Organization NEWS U.S. Postage Paid JANUARY 2005 Ephrata, PA College Art Association of America Permit No. 102 275 Seventh Avenue New York, NY 10001 www.collegeart.org

BOARD OF DIRECTORS

Ellen K. Levy, President Michael Aurbach, Past President Nicola Courtright, Vice President for Publications Andrea S. Norris, Vice President for Annual Conference Ferris Olin, Vice President for Committees Joyce Hill Stoner, Vice President for External Affairs Kevin Consey, Secretary John Hyland, Jr., Treasurer Jeffrey P. Cunard, Counsel Susan Ball, Executive Director

Kaucyila Brooke Dale Kinney Irina Costache Joan Marter Diane Edison Virginia M. Mecklenburg Coco Fusco Nicholas Mirzoeff Dennis Y. Ichiyama Gregory Sholette Paul Jaskot Duane Slick Thomas DaCosta Kaufmann Christine Sundt Tran T. Kim-Trang Mimi Hall Yiengpruksawan