,------1 '";:!l Conference on Fair Use (cONFU) Survey I -.~... The proposed guidelines and this survey are also posted 0/1 CAA's web site: http:www.collegeart.orgjcaa/TlIe Profession/CEI/index.lIfml. I Po.

~< I I -5... Please check the proposed guidelines you have reviewed: I ~'" __ Digital Images __ Multimedia I __ Distance Learning '"... .s;, Which of the proposed guidelines should CAA endorse? " Please check the areas in which you currently use or anticipate Ei __ Digital Images __ Distance Learning using electronic resources: Multimedia None i __ Teaching __ Display or exhibition of art N Research __ Collections management Name ______5 __ Scholarly publication __ Documentation of art Alfiliation ______'" __ Curatorial publication __ Other e::> __ Artistic production ~ Address .______. ______~ Are the projects in which you are now engaged permitted by the proposed guidelines? Leslie King­ t:: a..., ~ \\ (' .9 __ Yes __ No Your CAA membership # ~

',. .~ '"v If not, please explain. Permission granted to have your comments posted on the Hammond 0 The New York Times (see p. 12). The 1997 Marilyn R. Brown Patricia Leighten hundred sessions, it was expanded to fine tuned so that in subsequent years Regional MFA Exhibition organized by Diane Burko Joe Lewis 125 sessions in New York. There was we will have even more enthusiastic Susan Edwards at Hunter College Art Whitney Davis Arhtro Lindsay about a 10 percent increase in the participation and support from both Gallery was also a great success. Joe Deal Yong Soon Min. exhibits of books, museum publications, artists and curators. Congratulations to the curators, artists, Vishakha Desai John Hallmark Neff gallery events, journals, and artist As part of the CAA History Project, and designers of both exhibitions. Bailey Doogan Beatrice Rehl materials. The director of conference the board of directors also included the The conference convocation is Jonathan Fineberg Rita Robillard placement services estimated that 2,500 First Annual Artist Interviews paneL always a stellar occasion to pay homage Shifra M. Goldman NorieSato people used the placement center, and The artists Faith Ringgold and Miriam Linda C. Hults Roger Shimomura CONTNUED ON PAGE 14 Susan L. Huntington Jeffrey Chipps Smith Michi Itami Alan Wallach .. Studio Art experience of both the viewer and the enthroned king, showing how each This year's conference was interesting (!3ontents Sessions in Awards for would read the scenes from the vantage and rewarding for several reasons, points of doorways and throne. The including the diversity of the panels, the Volume 22, Number 2 copies of these throne-room stories, inclusion of panels for independent Excellence March/April/997 New York transferred to the obelisk, both rein­ artists, the range of panels for artists forced the message of imperial power who are interested in the digital world, .. ' From the President and made the na:rratives accessible to a 1 and the Techno-Seduction exhibition at wider public not allowed access to the Cooper Union. ollege Art Association's throne room itself. Sessions in New York Art History This was the first conference to host 2 annual convocation ceremony Addiction, apocalypse, chaos, cholera, eleven panels concerned with new was held at the New York Committee: John Clarke, University of . consumption, death, Dracula, filth, media. One such panel was even chaired C Texas, Austin, chair; Hollis Clayson, Awards for Excellence Golden Age, modernity, the "new" from Helsinki in real time through Hilton and Towers, February 14, 1997. 3 Nortlnvestern University; Judith Oliver, order, regeneration, renewal- these teleconferencing. Apple loaned us two CAA President Leslie King-Hammond Colgate University were some of the terms and concepts high-end computers; Interport Commu­ presided over the presentation of CAANews 9 engendered by this year's theme for nications gave us ISDN access to the awards for excellence in teaching, CAA art history sessions, "Decadence Internet; and John Engstrom provided scholarship, creativity, criticism, and conservation. Phillipe de Montebello, Annual Conference Update and Renascence." Indeed, as "Millen­ technical assistance for all the technol­ 10 niwn" banners flew from city buildings, ogy-based panels. director of the Metropolitan Museum of Art, delivered the keynote address (see Alfred H. Barr, Jr., Award the theme and the sessions and papers it Panels such as "Office Looks," Presented by Alan Wallach insert in this issue). Following are the CAA in the News provoked seemed timely and "Aphrodite/Amazon: Female Body­ Awarded to Rebecca Zurier, Robert Snyder, 11 award recipients and their citations: appropriate. building as Aesthetic Discipline," and Holly Pittman, Arthur Kingsley Porter Prize and Virginia Mecklenburg for Metropoli­ CAA meetings always function as "Spiritual Manifestations" demonstrated tan Lives: The Ashcan Artists and Their International C0111mittee 12 barometers of the state of art historical the wide range of visual arts issues that New York scholarship in America, and this year's were represented. We attempted to II, and that the Assyrians began with 13 l1wnks to Contributors gathering produced its own reading. It include panels for independent artists as Arthur Kingsley early experiments in more perishable The Alfred H. Barr, Jr., Award was appears that critical theory per se is on well as meet the needs of artists who Porter Prize wall painting, glazed brick, and terra­ established in 1980 in honor of a former the wane. Of course, this does not mean practice their art outside of the usual Presented by John Clarke cotta. director of the Musewn of Modern Art 14 Advocacy that art historians have abandoned college teaching venue. This conference Awarded to Holly Pittman for The White The article lucidly addresses-for and scholar of early twentieth-century theory, rather that it has infused the was the first time that artists' work was Obelisk and the Problem of Historical the first time-the problem of reading, painting. It is presented to the author, or discipline to the extent that it has reviewed by independent curators. It Narrative in the Art of Assyria relating the order and composition of authors, of an especially distinguished Annual Confercnce 1997 15 become inseparable from it. The body, was also marked by the introduction of a visual elements to the accompanying catalogue in the history of art, published already hot from last year, is still in; also program called "Art Talks," which Holly Pittman persuasively reinterprets inscription, and decoding the underly­ during the penultimate calendar year Solo Exhibitions by Artist with us is memory and the construction allotted time and space for artists to Members a canonical object of ancient Near ing visual logic of the scenes. Recon­ under the auspices of a museum, library, 16 of (art) history and approaches based on show their work. Both of these programs Eastern art in the virtual absence of structing the arrangement of these or collection. gender and sexual orientation. Some of were initiated by the Visual Artists People in the News textual evidence. Her rereading of the scenes in their original throne-room This year the award goes to Rebecca 18 Grants, Awards, & Honors the best papers I heard were informed Committee led by Rita Robillard. narrative sequence of episodes on the context, Pittman also proposes the Zurier, Robert Snyder, and Virginia by gay and lesbian studies. We would like to applaud the great White Obelisk leads to a new under­ One of the most positive aspects of success of Teclmo-Seduction, coordinated standing of the obelisk as a copy of a Conferences & Symposia 19 this year's CAA meeting was the by CAA and Cooper Union, and the narrative program that originally lined cultural diversity represented by the imaginative installation of the show by the walls of a long narrow room, 20 Opportunities participants and the papers presented. Robert Rindler. In addition, one of the perhaps the throne room of a place in With important sessions on Asian, Afro­ most engaging programs was the panel the Assyrian capital at Nineveh. Pittman Information Wanted American, Jewish, pre-Columbian, and of Professional Development Fellowship is also able to show that the tendency to Classified Ads Native American art, as well as the art recipients coordinated by Jennifer K yvig think that the monument was to be read 22 Errata of immigrant and exile groups, CAA of the CAA staff. It was a delight to one vertical face at a time was in error; Datebook displayed a cultural inclusiveness that is witness such enlightening presentations she demonstrates that the viewer should unique to national and international art­ by young scholars. read continuous scenes horizontally CAA News, a publication of the historical conferences. Many thanks to all the chairs and College Art Association, is published register by register, wrapping around six times per year. Material for This year's meeting was the their panelists for presenting such the four sides of the obelisk. Pittman's inclusion should be addressed to: product of the efforts of those who interesting panels in a professional and interpretation of this major monwnent submitted session topics and those who courteous manner. And we must, of Jessica Tagliaferro, eAA News enlarges the repertoire of Assyrian 275 Seventh Avenue responded to the call for papers. I would course, thank Suzanne Schanzer, CAA palace narrative and pushes its develop­ New York, New York 10001 like to acknowledge them as well as staff members, and the many student ment back by centuries, for she persua­ Telephone: 212/691-1051, ext. 215 members of the committee who helped volunteers for their valuable time and sively argues for a redating in the little­ Fax: 212/627-23.81 select sessions and compile the program. aid. known eleventh-century Middle E-mail: [email protected] Last but not least, thanks and best -Holly Block and Michi Itami Assyrian period. The obelisk thus Editor-in-Chief Susan Ball wishes go to our outgoing and incoming 1997 Studio Art Program Chairs becomes new evidence for the early Mmmgil1g Editor Elaine Koss conference coordinators, Suzanne Editor Jessica Tagliaferro evolution of narrative cycles; she Schanzer and Mary-Beth Slllile. postulates that their ultimate source was Virginia Mecklenburg, Rebecca Zurier, and Robert Snyder, Alfred H. Barr, Jr., Award Printed on recycled paper. -Petra ten-Doesschate Chu the Egyptian narrative reliefs of Rameses PHOTO: JOAN BEARD © 1997 College Art Association 1997 Art History Program Chair Visit ollr web site lit Mlp://www.collegenrl.orglcnn.

CAA NEWS MARCHI APRIL 1997 2 CAA NEWS MARCHI APRIL 1997 3 Mecklenburg, co-authors' of Metropolitan Between 1994 and 1996, Lie and Friends and colleagues speak of Distinguished Teaching to be effective, it must go beyond the Lives: The Ashcan Artists and Their New Carol Mattusch of George Mason Ferguson's own passion for knowledge of Art History Award classroom. Her commibnent to this York, published by the National Mu­ University studied tecluuques used in and his determination to instill this love Presented by David A. Levine principle has led her to consign an seum of American Art in association the fabrication of fifty-four large-scale of learning in young artists. He chal­ Awarded to Franc;oise Forster-Hahn unusual amount of her time to nurtur­ with W. W. Norton and Company. Greek and Roman bronzes. A report of lenges his students to expand their ing the intellectual growth of her Metropolitan Lives amplifies its tlus research was published in Harvard hearts and search their souls in what Since her arrival on the Riverside students. She is celebrated for her parent exhibition, which was mounted University Art Museums' catalogue The will become a lifelong quest for vision campus of the University of California unique class trips, carefully crafted by the National Museum of American Fire of Hephaistos: Large Classical Bronzes and meaning. Ferguson has changed our in 1974, Fran<;oise Forster-Hahn has excursions to collections and archives Art. Like the show itself, the catalogue in North American Collections. Lie says, thinking about pots and has provided been impressing students and col­ that customarily end with dinner at her juxtaposes the Ashcan artists' work with "The award is a wonderful way for the academic and artistic leadership that leagues alike with her exceptional home for the entire group. In their other visual imagery produced at the conservation in various disciplines to fostered in America a genuine "ceramic pedagogical gifts and remarkable letters, students speak about their time, from newspaper illustrations to take note of work that is significant to enlightenment." dedication to teaching. Convinced that teacher's accessibility as a mentor. They postcards and song sheet covers. It the field in general. And it's useful for While Ferguson is a consummate inspired instruction can profoundly also cite her remarkable intellectual illuminates the visual environment that recipients to have their home institu­ craftsman, his work consistently evades improve the life of everyone it touches, generosity, acclaiming her willingness inspired the artists and shows how the tions know they are recognized in a the facile border between fine art and she has committed herself to practicing to share her research, resources, artists' ways of seeing the city compared more general way by others in the craft. These boundaries evaporate in the the craft of teaching at the highest knowledge, and experiences without with representations produced by other field." presence of the work itself. This ability possible level. Her colleagues report that hesitation. int'7rpreters of their time. It thus places Lie is currently director and senior to transcend the boundaries between they have never met a scholar at a Forster-Hahn is a brilliant educator, the work of the Ashcan artists more conservator of objects at the Straus fine art and craft is key to the legacy that research university who cared so much someone who practices the teaching of firmly than before in its historical and Center. The center serves as a training art history as if it were a fine art. It is cultural contexts. program as well as a regional conserva­ thus our great honor and pleasure to The exemplary collaboration tion facility that treats museum objects award the 1996 Distinguished Teaching between two art historians and a Ken Ferguson, Distinguished and outdoor bronze monuments for Teaching of Art Award of Art History A ward to Professor cultural historian demonstrates the institutions and municipalities in the Forster-Hahn. enormous possibilities of interdiscipli­ Northeast. nary scholarship. We congratulate the Lie earned Ius graduate degree in professor and chair of the Ceramics Committee: David A. Levine, Southern authors/ Rebecca Zurier, Robert Snyder, objects conservation from the Deparbnent at the Kansas City Art Connecticut State University, chair; Ellen and Virginia Mecklenburg. Winterthur jUniversity of Delaware Institute, Ferguson has helped to shape T. Baird, University of Illinois, Chicago; program. He served as an intern at the and guide the changing definition of James Cahill, University of California, Committee: Alan Wallach, College of Walters Art Gallery in Baltimore and contemporary ceramics. In 1995 this Berkeley; Alessandra Comini, Southern William and Mary, chair; Ann Gunter, has assisted in archaeological excava­ remarkable artist and educator was Methodist University; Pamela H. Simpso11, Arthur M. Sackler Gallery; Christine tions in England, Cyprus, Turkey, and celebrated in the exhibition Keepers of The Washington and Lee University Kondoleon, Worcester Art Museum; George Israel. In Massachusetts and New Flame: Ken Ferguson's Circle, mounted by Shackelford, Museum of Fine Arts, Boston Hampshire, Lie trained volunteers from the Kemper Museum of Contemporary NIC's Save Outdoor Sculpture! project to survey outdoor monuments. He also Art and Design, and by a concurrent retrospective of Ferguson's work at the conducted many conservation surveys Nelson-Atkins Museum of Art. in these states. Charles Rufus Morey Award Ferguson is passionate, outspoken, -Council Update: A Dispatch from the Presented by Lany A. Silver CAAIN ational Institute for demanding, and always unwilling to National Institute for the Conservation of Awarded to Suzanne Preston Blier for settle for less than the best. He is willing Conservation Joint Award for Cultural Property African Vodun: Art, Psychology, and to set. his personal or professional needs Distinction in Scholarship and Power Conservation aside for the benefit of his students. Franc;oise ForsterMHahn, Distinguished Teaching of Art History Award Awarded to Henry W. Lie Ferguson is a warm and powerful force--a seemingly endless source of Taking as its subject the strikingly plain yet culturally potent objects of the West The 1997 CAA/NlC Joint Award for energy, enthusiasm, and good (some­ Distinguished Teaching Ferguson has passed to the "keepers of about teaching or who spent so much African coast cultures, African Vodun: Distinction in Scholarship and Conser­ times outrageous) humor. As Edward his flame" and is one more reason why time and energy in direct aid to stu­ Art, Psychology, and Power by Suzanne vation has been awarded to conservator of Art Award Lebow writes in his essay on Ferguson we take such pride in bestowing the dents. Professor Forster-Hahn's packed Preston Blier attempts nothing less than Henry W. Lie of the Straus Center for Presented by John S. Gordon in the catalogue to the retrospective 1997 Distinguished Teaching of Art lectures on nineteenth- and twentieth­ to penetrate mysteries of cultural Conservation, Harvard University, for Awarded to Ken Ferguson exhibition at the Nelson-Atkins, "I-Ie has Award upon him. resistance and individual self-assertion his technical examination of classical a reputation for being the John Madden century European art are renowned for their freshness and vitality, features through created artifacts. In reconstitut­ bronzes in American collections. The Few ceramic artists have had a greater and Lyndon Johnson of the kiln room. Committee: Ofelia Garcia, chair; William ing the practices surrounding these award, sponsored by the CAA and the impact on the education of young artists Part clay coach, part arm-twisting poll, engendere~ by her regular incorpora­ Conger, Northwestern University; John S. tion of new critical methods and recent figures of counteraesthetics, she ranges National Institute for the Conservation than the highly respected American his wise, unwieldy, and always Gordon, Pratt Institute; Joseph M. Ruffo, through a panoply of complementary of Cultural Property (NlC), honors artist Ken Ferguson, one.of the preemi­ plainspoken huffing and puffing have scholarship, much of it her own. University of Nebraska-Lincoln; Raymond questions of status and power, of art professionals who have "enhanced nent potters and studio teachers of his sometimes seemed as bold, unmeasured, Students rave about her classes, in Saunders, California College of Arts and and alchemy. In lucid and energetic understanding of art through the generation. His four decades of singular and bilious as smoke from his Wyoming which they learn as much about how dedication to teaching and to the wood kiln. But the slow, almost pains­ Crafts aesthetic concerns shape their own prose she studies verbal terms from both application of knowledge and experi­ makers and users of these vodun ence in conservation, art history and teaching of Ius craft are unparalleled in taking progress of his own work in clay culture as they do about art and history. American higher education. First as tells a far less boisterous story of a Professor Hahn's lectures are but objects, while she carefully examines the art." The award was presented to Lie at sensate artistic properties of the forms NICs annual meeting this October in potter-in-residence and manager of the thoughtful and original career." one facet of her exceptional teaching; Archie Bray Foundation, and then as she ardently believes that if education is themselves. She investigates the former Washington, D.C. slaver coast of Africa in dialogue with

4 CAA NEWS MARCHI APRIL 1997 eAA NEWS MARCHI APRIL 1997 5 an African diaspora that reaches foundation of installation and neocon­ ability to pair simplicity with complex­ through history to the slaver regions of ceptua! work of the 1990s. ity and the irrational with the logical. the New World. Along the way, she The Kienholzes' vision and art Since the early 1960s he has viewed art employs both scrupulous anthropologi­ encompass both modernist and as a philosophical issue: an inquiry into cal analysis and insights taken from postmodern sensibilities. Their work the nature of the concept of art so that modern psychology and critical theory. represents an amalgam of relationships the working procedure of the artist not The resulting book is a kaleidoscope of with various European tendencies and only encompasses the formulation of viewpoints and approaches. Its first defines a uniquely American vernacular works, but also annexes the traditional achievement lies in providing a care­ that has assisted in reestablishing role of the critic. He is an artist who both funy nuanced and theoretically imagism and narration in art. celebrates order and logic and welcomes grounded culture-specific case study. A The Kienholzes' assemblage of chance, spontaneity, and playfulness. In second, wider application of this work environments, which are rooted in Pop most of his work there exists a definite suggests its richness as a model for the art, combine painting, sculpture, collage, order, even elegance, and boundless function and the power of images in and theater. Their art allows viewers to energy. Bochner has never engaged in society within the discipline of art think as well as feel; it is an expression mark-making for its own sake or in history as well as a host of cognate similar to tragic drama. Their installa­ Mel Bochner, Award for Distinguished releasing pedantic statements. His art is disciplines. tions are inspired from the lines of life , Body of Work, Exhibition, Presentation, subtle; he continues to explore connec­ or Performance itself, revealing social insights into the PHOTO: JOAN BEARD tions between thinking and seeing and Committee: Larry Silver, Northwestern miseries beneath the surface of everyday to discover new structures. University, chair; Andree Hayum, Fordham life. Spiced always with humor, their With respect and pleasure, our University; Renata Holod, University of work uses diverse media borrowed from tradition of nonobjective art, his work committee, on behalf of the College Art Pennsylvania common existence; while often critical, it stands as a curious anomaly. He has Association, is pleased to bestow this Suzanne Preston Blier, Charles Rufus Morey Award also evokes an understanding and been called a Minimalist, a Conceptual­ Award for a Distinguished Body of compassion for humanity. The influence ist, a post-Minimalist, and a Neoexpress­ Work to Edward and Nancy Reddin of their work has been profound, ionist-Abstractionist. There is no Kienholz and Mel Bochner. own standard. In so doing, he brings an Committee: Suzanne Muchnic, Los especially on a generation of West Coast denying that aspects of all of the above incisive point of view to critical essays Angeles Times, chair; Dave Hickey; artists such as Michael Kelly, Charles appear in different periods of his work, Committee: Elaine A. King, Carnegie on art issues that he finds rewarding, Lowery Stokes Sims, Metropolitan Museum Ray, and Paul McCarthy. and his investigations reflect a zealous Mellon University, chair; Peter Frank, intriguing, infuriating, or confounding. of Art During the past three decades Mel analysis of all systems of representation, independent curator and critic; Thomas Although the body of work that Bochner has continually blurred cat­ both visual and verbal. Nakashima, Catholic University of America; won the Mather Award committee's egorical distinctions between drawing, Much of the work in the Yale Roger Shimomura, University of Knnsas; approbation is grounded in Los Ange­ painting, and sculpture. Within the exhibition demonstrates Bochner's Idelle Weber, independent artist les, it encompasses a wide range of subjects in many varied locales. During Award for Distinguished the past year Knight has written compellingly about such major East Body of Work, Exhibition, Coast exhibitions as Picasso and Portrai­ Presentation, or Performance ture and retrospectives of Cezanne, Presented by Elaine A. King Mondrian, and Brancusi. He has also Awarded to Edward and Nancy Reddin focused his critical eye on Atlanta's Kienholz and Mel Bochner Distinguished Artist Award for Cultural Olympiad and Australia's first Accepted by Lisa Phillips on behalf of Lifetime Achievement major exhibition of J. M. W. Turner's Edward and Nancy Reddin Kienholz Presented by Bill Paul Christopher Knight, Awarded to Peter Voulkos Frank Jewett Mather Award painting in Canberra. Among Knight's PHOTO: TODD GRAY stimulating pieces on Southern Califor­ In honoring Edward and Nancy Reddin Accepted by Rose Silva nia are examinations of the work of Jolm Kienholz for the exhibition Kienholz: A McLaughlin, an underexposed abstract Retrospective, organized by the Whitney The 1997 Distingulshed Artist Award Frank Jewett Mather Award painter; Lari Pittman, whose exuber­ Museum of American Art, and Mel for Lifetime Achievement celebrates the Presented by Suzanne Muchnic antly gritty decorative painting is Bochner for the exhibition Mel Bochner: life and work of Peter Voulkos. His Awarded to Christopher Knight receiving international notice; Anne Thought Made Visible 1966-1973, orga­ energy and his powerful forms in clay, Brigman, a forgotten California photog­ nized by the Yale University Art Gallery, metal, and paint have changed many This year's Frank Jewett Mather Award rapher; and Agnes Pelton, a little-known we are acknowledging not only two lives, philosophies, and histories. for distinction in art criticism goes to modernist painter. exceptional exhibitions, but also artists In 1949 Voulkos enrolled in Christopher Knight for doing a seem­ At a moment when serious daily who sought to redefine artworks at a ceramics classes at Montana State ingly impossible job with intelligence, newspapers constitute something of an critical point in the twentieth century. In University under duress, but as soon as style, and integrity. As art critic for the endangered species and their pages a moment when installation and he crossed the threshold of the "mud­ Los Angeles Times-a major daily include very little informed, well­ environment art are in the forefront of room," it was love at first sight. His newspaper with more than one million reasoned, engaging art criticism, the contemporary critical discourse, it is nearly fifty-year love affair with clay has readers-he is charged with writing committee is particularly pleased to appropriate to honor the work of these combined ancient pottery traditions clearly about a wide range of subjects present this award to a critic who not artists. Each artist provided a corner­ with painting, sculpture, calligraphy, for a vast audience under pressure of only is up to the challenge of the gruel­ stone to an art form that blurred and philosophy to create highly deadlines. Much of his success can be ing deadlines but raises journalism's boundaries between concept, sculpture, Edward and Nancy Reddin Kienholz, The Merry-Go-World or Begat by Chance and the personal work. Voulkos creates major attributed to the fact that he writes to his standards. and reality; each contributed to the Wonder Horse Trigger, Award for Distinguished Body of Work, Exhibition, Presentation, sculptures in bronze, as well as impor- or Performance

6 CAA NEWS MARDi!APRIL 1997 CAA NEWS MARCHI APRIL 1997 7 samples: "When I was in Paris and and intuition, he has cast a long shadow/ disregard for what other artists were new structures necessary? Can mean­ wanted to study art, my father did not altering the concepts of art and art doing. At her beginnings as a sculptor, ing, imagination, and conceptual education throughout the world. give me enough money to take studio CAA she was a foreigner in a strange country thinking be taught? What is the role of courses. 'Let her starve and she'11 get and a woman in what was still very "new genre" art practices (performance, married,' was the attitude, straight out Committee: Deborah Willis, Smithsonian much a man's world. Decades of being installation, public)? of one of Balzac's novels." And: "As for News Institution, chair; Rupert Garcia, indepen­ ignored (except by a small nucleus of Papers that pose theoretical issues my English, when I married my dent artist; Younghee Choi Martin, enthusiasts) left her totally unfazed. In as well as report on actual experiences husband in 1938-he was an Ameri­ independent artist; Bill Paul, University of her seventies the world caught up with in rethinking studio art education are can-we made a pact. I would never Georgia her. The total originality of her talents welcome, including specific course criticize his French if he would never stirred audiences at home and abroad, structure, content, syllabi, and assign­ criticize my English. We kept to it. To Calls for with exhibitions shepherded by the ments showcasing student work. Focus this day, I have no idea what my English Submissions indispensable Jerry, displaying her work may be on foundation, undergraduate, is like! If I make mistakes, it is with a Art Journal seeks manuscripts on the arts from Helsinki to Sao Paulo. or graduate levels. Individual submis­ total assurance." and visual culture of Angola or Zaire, What astonished and still aston­ sions or collaborations/polemics CAA Commitee on I have the unenviable task of any East African country (Kenya or ishes is the torrential output. Now in her between colleagues are welcome. Women in the Arts representing Louise. Although I am Uganda), or Southern African nation eighties the flow is unabated: enormous Previously published material cannot be touched and honored that she chose me (Tanzania, Zimbabwe, Mozambique, or Recognition Award sculptures, ever-renewed variety of accepted. as her ambassador, I must ten you that South Africa) for an issue titled Contem­ Awarded to Louise Bourgeois graphic work, idiosyncratic writings, Submit one-page abstract to: no one can substitute for Louise. She is porary African Art, to be guest edited by Accepted by Jean-Louis Bourgeois on poems, even a rap piece she recorded Pamela Wye, 6 Hampton Ct., Jersey unique, one of a kind. TIley broke the Nkiru Nzegwu. Manuscripts should February 13, 1997, at the CAA Committe on herself. So I congratulate you on City, NJ 07302; or e-mail to: 103516.600@ mold after she carne into this world. explore the underpinning politics of Women in the Arts Recognition Award honoring someone so worthy of honor, compuserve.com. Deadline: May 15, 1997. If you will allow me to be personal stylistic innovations that have devel­ Breakfast. Rosamund Bernier made the and in her place I extend her heartfelt for a moment. Although I had admired oped since the 1970s or should attend to following remarks: thanks. To end, I would like to read you her work for years, I had not met Louise the ways in which creative expression CAA Staff Peter Voulkos, Distinguished Artist Award a few lines of a poem she wrote for me: for Lifetime Achievement until I was preparing a lecture about her has been shaped by postindependent Changes Louise Bourgeois is deeply disappointed The question is for the Metropolitan Museum. I was told politics, economic hardship, life defined Elaine Koss succeeds Virginia not to be able to be with you this "Why are we all there, in the silence morning. She was delighted at the news she was very fierce, very difficult/ very by civil wars, life in refugee camps, or Wageman as director of publications. of the night?" tant paintings/ collages, and monotypes/ small. Only the last characterization democracy movements. Submission Elaine comes to CAA after eleven years that she was being given this prestigious And how did we get out of that but he reaches his fu11 stride when these award and wants you all to know how turned out to be true. I had the privilege must be a full draft and must be at the Brooklyn Museum of Art, where grea t unknown? forms are all joined together in clay to of getting to know a remarkable human accompanied by a c.v. Send to: Nkiru she was vice director for publications. grateful she is for this distinction. I'm And for how long? make worlds of mystery evoking being. She had the tenacity, the passion­ Nzegwu, Dept. of Art History, Before joining the museum she worked sure you are equa11y disappointed not to And what are we here for? universal natural orders. He did not ate faith in the direction her talent Binghamton University, Binghamton, at the Whitney Museum of American h.ave the opportunity of seeing her and Is it worth all the trouble? arrive at this moment through acquies­ propelled her, to forge ahead against NY 13902-6000. Deadline: April 30, 1997. Art, Viking Penguin U.S.A, and Oxford hearing some of the pithy remarks of Have we said "thank you?" cence to the ordinary and mundane or which she is a master. Here are two monumental obstacles-with regal Art Journal is seeking articles for an University Press, both in New York and without controversy. Have we attained our full potential? issue titled Rethinking Studio Art Oxford, England. A graduate of Barnard Advocates and critics alike have Have we fulfilled all our Education to be guest edited by Pamela College, Columbia University, Elaine referred to the paddled, rawboned possibilities? Wye. The issue seeks to reflect the holds two master's degrees from the alteration (and sometimes destruction) All I can say is that diverse methods/ philosophies, and London School of Economics and of leather-hard clay that is slashed, I am lucky to have made it efforts to rethink contemporary studio Political Science. punctured/ ripped/ scored, and I am lucky to be here art education. How does studio art scratched to make forms that are I am lucky to be alive education reflect the paradigm shifts in confrontational and apocalyptic on the Aren't you? today's art world? What pedagogical one hand and strangely serene on the And all I can say is studio traditions (e.g., Bauhaus, Beaux­ other. He has created forms that, "Thank you much." Arts, Arts and Crafts) remain vital? And although burned and charred, are so That's my philosophy for today. most important, how? A variety of heroic and intense that they have a "Thank you much." perspectives is sought. spiritual presence. His forms are stained Possible issues could include the and encrusted with ash residue, role in the studio of perceptual skills; profound and complex forms that craft and technique; formalism; the combine traditions of human history. "crit"; visiting artists and critics; They speak of the Mayans and the technology (video, computer, photogra­ Aztecs. They tell us of the Minoans and phy); theory, art illstory, and other the Greeks. They show us the spirit of verbal disciplines; diverse notions of Korea and Japan. They bring us to pedagogy; the impact of feminism on Picasso and Matisse/ to Pollock and de studio art education; multiculturalism Kooning. They celebrate Leach and and interdisciplinarity; collaboration; Hamada. Most of a11, they give us and postmodernism. Should studio Voulkos with his explosive and dra­ areas be divided along traditional matic energy. divisions of medium-based disciplines Voulkos found himself in his work/ (draWing, painting, sculpture), or are Elaine Koss and he has revealed himself to us Jean~Louis Bourgeois and Rosamund Bernier, CAA Committe on Women in the through his work Fo11owing instinct Arts Recognition Award Breakfast in honor of Louise Bourgeois PHOTO: JOAN BEARD

CM NEWS MARCH/APRIL 1997 8 CAA NEWS MARCH/APRIL 1997 9 Suzanne Schanzer has resigned to the "systematic misreading" of publicly constrain what can be made dialogue and in clarifying power from her position at CAA. Mary-Beth Annual alienation, marginalization, and fashion. visible-and so, knowable. This panel, relations and cultural perceptions; the Shine succeeds her as conference This process occurs on a vast level (truly in crossing a double politics of identity mechanisms and obligations of ex­ CAAin coordinator. Mary-Beth received a B.A. a Situationist detournement on a mass and location with a politics of desire, change and how these are inscribed in in art history from the University of Conference scale, as an anonymous or collective will focus on the implications for artists the gifts; and the relationship between the News Massachusetts, Boston, and an M.A. in activity). This alienated city, produced and cultural production of reading the gift and identity. Papers comparing folk art studies from New York Univer­ by the systems of mass culture, in turn memory and desire forward as well as the mode of gift exchange with other sity, She comes to CAA after serving as Update makes possible a new kind of social life backward-and both in potentially modes of acquisition such as commer­ assistant to the director of the Grey Art that is essentially a conversion of the socially transformative ways. cial exchange, appropriation, or looting Gallery and Study Center at New York marginal into the acceptable. This "Gardens as Colonial or are welcome, University. marginalized, critical life turns up Mulitcultural Spaces." Chair: MIchael Scott Heller, Artnezos, january 1997: CAA Counsel Barbara Hoffman symptoms of the breakdown of con­ Charlesworth, Dept. of Art and Art Exhibition Proposals "Renaissance sculpture and Impression­ has recently stepped down. She has 1998 Call for sumer culture. In turn, these symptoms History, University of Texas at Austin, Sought for 1999 ist painting still figure at the College Art served as a valuable adviser to CAA Participation: Additions are transformed into a new form of Austin,1')( 78712. Association's annual meetings. But since 1989 and is perhaps best known by For submission guidelines, please see commodity; the city makes of this Papers should deal with gardens Annual Conference visual culture's impact can be felt there, CAA members for her insightful "Legal the 1998 Call for Participation malled to alienation a quality that can inject new that were exotic or that privileged In 1996 a new exhibition component too, This year's conference in New York Update" column in CAA News, which all members at the end of January. The value into the mass production of exotica; that is to say, gardens geo­ was added to the annual conference in next month will have a session on Walt reported On key court cases affecting the submission deadline (receipt, not culture-difference, thus newness, graphically located in one culture that response to significant interest ex­ Disney and American visual culture. , . , arts and humanities. postmark) for all sessions is May 10. hence value. This alienation and purported to represent distant places or pressed by CAA members. In addition A book on visual culture, W. j. T. "Cultural Identity: Its Mitigation marginalization become methods of ideas derived from an alien culture such to the regional MFA exhibition, which Mitchell's Picture Theory: Essays on Journal and Tension in Photo-Based Media," production that stabilize rather than as the JeSuit gardens in China. Chinese was revived in 1989, an exhibition of Verbal and Visual Representation, received Distribution Program Chair: june Clark, AIR, Studio Museum undermine mass culture, and turn the gardens or garden buildings in eigh­ work by professional artists will be the association's Charles Rufus Morey presented in conjunction with the In an effort to assist Central and Eastern in Harlem, 144 W. 125 St., New York, city into a factory of Warholian cooL teenth-century Europe or Mughal award for the best book of 1995. 'Visual conference. European countries, CAA continues to NY 10027. This precarious balance is the cultural gardens in India are other examples. culture pursued to its logical conclusion As of this writing two exhibitions donate fifty copies of each issue of the This panel will discuss questions condition of the metropolis in the Explanations of such places would have is not a tweaking of art history,' says have been presented: AIDS Communities/ Art Bulletin and Art Journal to libraries in and concerns deriving from the problem tecllnological world. to appraise not only what lies behind [Anne] Higonnet, 'It's a fundamental Art Coml11unities, mounted at the Boston Bulgaria, Croatia, the Czech Republic, of cultural communication as it specifi­ "Indigenous Narratives: Euro­ their making in historical terms, but disruption.' Center for the Arts and the Institute of Estonia, Hungary, Latvia, Poland, cally pertains to photo-based art Canadian Concepts of Art and Art how they were understood by visitors at "To those who side with her, this is Contemporary Art in 1996 featuring Slovakia, Russia, Ukraine, and, most practice. Because of the nature and use Practices versus Native American particular times, Do such gardens a wonderfully liberating time. 'Beautiful work representing the Archives Project; recently, Bosnia and Herzegovina. The of the photograph in the twentieth Concepts." Chair: Tom Hill, Woodland constitute spaces in which the voices of stuff is still beautiful,' says Janet A. and Techno-Seduction, a juried exhibi­ distribution program is under the century (newspapers, billboards, etc.), Cultural Centre, 184 Mohawk St., PO more than one culture find expression, Kaplan, a professor at Moore College of tion of works by CAA members auspices of the Sabre Foundation, which most people have been mentally trained Box 1506, Brantford, ON, Canada N3T or are they simply imperial spaces? Is Art and Design in Philadelphia and the working with new media and tech­ selects participating institutions and to form opinions of an image within a 5V6. this binary opposition adequate as a new editor of the College Art nology. coordinates warehousing and overseas maximum of two seconds. How does As more art colleges and universi­ way of thinking about the problem? Association's magazine Art Journal. , .. CAA members who would like to shipments, Scholars, students, and the photo-based artist effectively ties in Canada involve indigenous Methodologies which do justice to "That's fine for Art Journal, which organize a group exhibition to be researchers are among the beneficiaries mediate between what we know and peoples in the planning and design of gardens as spaces of sensory and despite its academic-sounding name is a presented concurrently with the 1999 of Sabre shipments. For more informa­ what we think we know? To how many new curricula, new models and strate­ imaginative stimulus will be favored. glossy magazine that appeals as much to conference in Los Angeles, February tion about the foundation and its communities does the individual gies have evolved to facilitate that The hope is that conventional expecta­ artists as art historians. But the appear­ 10-13, are invited to submit proposals, programs, visit their web site at http:! / realistically belong in contemporary process, Can an indigenous art history tions of how colonial and multicultural ance of Norman Rockwell in the Each'proposal must include a c.v. along www.sabre.org/. times? As artists, how do we forge ties be integrated into a Western art history forces work will be upset by the association's flagship quarterly, The Art between these microcommunities and course with its universalistic theories particular nature of the spaces dis­ with the names of curator(s) /organ­ Bulletin, last month (in an article on the macrocommunity? Is this possible? and its own notions of excellence? With cussed: izer(s), an outline of theme and venue, images of white masculinity in the Within each of these communities (age, the aid of case studies and 35 mm slides, Historians of Islamic Art, "TIle and a budget reflecting sources of artist's Saturday Evening Post illustra­ sexuality, gender, race, class, and social), a framework model will be proposed. Discourse of the Gift in the Medieval funding. CAA will provide $11,000 in tions) may well change the reputation of there is the inherent belief in the social "Forecasting Memory and Desire." Islamic World and Beyond." Chair: Eva seed money for the selected exhibition. a publication known for its stodginess. health of the respective community Chair: Carol Laing, Ontario College of R. Hoffman, Dept. of Art and Art Proposals should be sent to Mary­ "That essay appeared near the end regardless of conventional views, When Art and Design, 100 McCaul St., History, Tufts University, 11 Talbot Beth Shine, Conference Coordinator, of Nancy J, Troy's three-year term as The the work is executed is there an attempt Toronto, ON, Canada M5T lWl. Ave., Medford, MA 02155. College Art Association, 275 Seventh Art Bulletin's editor, during which time to address those outside the commu­ This panel is open to submissions This session explores the wide­ Ave., New York, NY 10001; fax 212/ the journal gave over the front of the nity? Inside? Both? When and why? Is from artists, critics, curators, and art spread legends and practices of gift 627-2381; [email protected]. Mall book to lively roundtables on the history the artwork proactive? Reactive? historians. It begins by understanding giving within the Islamic world and your proposal certified, return receipt and politics of the discipline. Her Neither? Under what circumstances is memory less as a personal archive than between the Islamic world and other requested, or enclose a self-addressed, successor, Jolm T. Paoletti of Wesleyan one more effective than the other? How as a social-historically constituted medieval realms. We will consider the stamped postcard if you wish the University, promises more in the way of can the artist deal with the gap between discourse that is linked to experience, gift as a mode of discourse for cultural receipt of your proposal to be acknowl­ change. Though his first issue won't individuality and convention? though not in utterly fixed ways, excllange located at the center of a edged. A decision will be made by the nppear until later this year, he has "The City as Producer," Chair: Always somewhere in process, and relationship between the giver and the Visual Art Committee at its October begun to review manuscripts and wants Robert KJeyn, 1087 Windemere Rd., subject to change, memory-like recipient. Issues to be addressed may meeting, and all applicants will be articles that are shorter, more provi­ Windsor, ON, Canada N8Y 3E5. consciousness itself--can be understood include the mythology of gift giving; the contacted shortly after that date. Sional, more 'cage-rattling,' Art histori­ The world city is a vast cultural as a locus of struggle where the self, and visual language of gift giving, including Deadline: September 5,1997. ans need to produce more work that is laboratory where the everyday is subject the capacity publicly declare oneself to, aesthetic criteria, classification and of interest beyond the narrow province to a relentless defarniliarization, The are often felt to be in conflict with the hierarchy, status and value of gifts; the of a particular period or genre, he says. once familiar is estranged and left open wider social narratives that would role of the gift in opening up cultural 'I know ifll make people jump up and

10 CAANEWS MARCH/APRIL1997 CAANEWS MARCH/APRIL 1997 11 scream bloody murder/ says Paoletti of Alisa Solomon, Villiage Voice, Committee is also developing an and criteria for quality are continually wide the nets to gather in ever more the Rockwell piece. 'But you know March 4, 1997: advocacy role for CAA and its members Musings reexamined yet we must remain true to paying guests. And yet, musetllns are in what? I've started teaching Norman "[Heather] Foster posed as part of the to support the return of the United the art-inescapably of its own time and about as healthy a state as they have Rockwell in my 20th-century class. A finale to a panel discussion titled States to UNESCO after an absence of place~of which we are the trustees for ever been, both financially and program­ hell of a lot more people saw Norman 'Aphrodite Amazon: Female Bodybuild­ almost seventeen years. on Museums posterity. For what people-and I am matically. They are run seriously and Rockwell than saw Jackson Pollock.' ing as Aesthetic Discipline/ one of about The committee has produced the absolutely convinced of this-derive professionally, and they are vibrant and "He [Bruce Cole, professor of fine 100 offerings at this year's conference of International Directory of Arts Organiza­ from a museum visit, aside from socially responsible. Of course, we must arts at Indiana University] and other the College Art Association. Drawing tions, which is now available from the pleasure in contemplating some of not be complacent-ever, in fact-lest professors interested in traditional some 7000 professors from around the New York office. Edited by Danielle humankind's greatest achievements, is we become museums of ourselves, But it approaches to art history are banding country, the annual gathering, says New Hughes, the directory contains ad­ the security and confidence that come is not a matter of little sigttificance that together to form an alternative to the School teacher Ann Meredith, is dresses of more than one thousand from finding in the art on view a sense visitors now flock to us in larger 14,OOO-member College Art Association 'generally academic and stuffy.' But organizations in the visual arts around of enduring quality, in short, a constant numbers than ever before; and anecdotal [sic; there are 15,000]. The Association panels like 'Aphrodite Amazon/ she the world. This is the first version of a against which shifting fashions and evidence, the ltigh incidence of repeat for Art History, as it is called, will make be~ms, 'are breaking it down.'" future publication that the committee ideas may be tested. visitors, and numerous surveys tell us room for this group of traditionalists at hopes will contain more detailed The following address was delivered by We should bear this in mind, I that they are for the most part satisfied its own scholarly conferences. After a material about these and other organiza­ Philippe de Montebello, director of the tltink, whenever we feel the need to visitors. So before we turn ourselves year of discussions, the group has little tions. Efforts are currently under way to Metropolitan Museum of Art, at the transform ourselves, especially now, inside out to remake ourselves, let's to show for itself except a name, but develop a funding proposal for the next convocation of CAA's 1997 Annual with the millennium being greeted in remember tltis: that before devising Cole isn't deterred. 'I think that statisti­ edition. Conference in New York: museum circles as a clarion call for the countless activities aimed primarily at cal evidence doesn't bear out this Lastly, the committee, under the creation of the "new museum," a call to increasing attendance, embarking on seismic shift in the way art history is leadership of Joan Giroux, has been reinvent ourselves, usually with wholly new initiatives, or resorting to done, despite the impression otherwise/ developing pages for the CAA web site. increased marketing, popularization, the every manner of gimmickry (all of International adies and Gentlemen, distin­ says Cole." This committee site will have various multiplication of programs and activi­ which are expensive, by the way, and guished colleagues: it's a sections to provide information about ties; radical change too in display and require large bureaucracies), we should privilege and a pleasure to Judd Tully, Arh1ews, February 1997: CAA's UNESCO activities, the directory of L architectural setting-and a headlong be sure to understand thoroughly the Committee appear before the CAA this afternoon, "Though the foundation does not issue arts organizations, and residency phmge into the still somewhat murky quality and nature of the experience that and I am grateful to have been asked. certificates of authenticity, a common exchanges and opportunities for U.s. waters of the new technologies. I sense our visitors obviously seek-and find­ Right off I should say you may be practice in Europe for regulating the artists and their colleagues from abroad. an increased preoccupation, at least right now in our musemllS; so that its pleased to know that having already veracity of artists' works, it does issue We expect that the site will evolve to rhetorically, with what museums do, as essence is not lost as we move to expressed, a couple of years ago, my identifying numbers tracked by its include other kinds of information opposed to what they are, witich isn't modernize. he International Committee of unhappiness with the academic world's computer for both accepted and rejected related to the committee's activities. the same. It's time, it seems, for art to That essence, we will find, has the the CAA was formed after the persistent flight from the work of art as works. 'There is no standard way of The guiding purpose of the acquire a new wardrobe and to cast work of art as its fulcrum, yet paradoxi- annual conference in San visual phenomenon, today I share some doing [a catalogue raisonne],' observes T International Committee is to help CAA thoughts about museums, around two Pollock chronicler O'Connor, a member Antonio in 1995. Victor Margolin was and its members become involved in themes, mainly. The first deals with of the Catalogue Raisonne Association, appointed the first chair of the commit­ international activities while also what I perceive as a new imbalance in an organization of some 75 scholars tee and was subsequently joined by exploring ways for the organization to museums with the medium begimting to affiliated with the College Art Associa- Judith K. Brodsky as co-chair. Efforts accommodate members from abroad. A have been made to represent all parts of dominate the message, and why this is Ii· on. " good start has been made and new significant; and the second is with the the world, and the committee has projects win develop as more people issue of the new technologies. I should Holland Cotter, The New York Times, members currently residing in or having become active. stress, by the way, that I speak from the February 7, 1997: close contacts with the following -Victor Margolin vantage point of large encyclopedic art "Organized by Robert Rindler and regions: Africa, South Asia, the Middle museums, not of smaller institutions or Deborah Willis and sponsored in part by East, Latin America, and Western and Book Review: Our Creative Diversity: specialized museums such as contempo­ the College Art Association (whlch will Eastern Europe. Report of the World Commission on Culture The International Committee has rary art museums; there is cross-over, of be holding its annual meeting in New and Development. Paris: UNESCO, 1995. course, but major differences as well. Yark next week), the show [Techno­ focused on three areas: the development $40.00 (Available from Bernan Associ­ What you will not hear-impending Seduction] is a minor miracle of thought­ of an international activist agenda, the ates.) millennium or no~is a call for radical ful packaging, from its polished production of the Directory of Interna­ In 1992 Secretary General Boutros change; for change is a commodity I installation to its handsomely designed tional Arts Organizations, and the Boutros-Ghali of tlle United Nations and believe art museums should use with catalogue. But its real value lies in the introduction of the committee on the Director General Federico Mayor of CAA web site initiated by the Commit­ the utmost circumspection. After all, range of sensibilities and ideas-with UNESCO jointly created the World swings in political thlllking and shifts in particular attention to issues of racial tee for Electronic Information. Commission on Culture and Develop­ fashion are the way of the world, so, as and sexual identity-that it embraces. This past summer CAA signed a ment. Its charge was to rethink tlle Letter of Intent with UNESCO to work those who nm art museums respond to If • •• 'Techno-Seduction' at least process of development itself, taking the evolving needs of society and to new gives a solid inkling of what might together, The aim is to identify a into account recent proposals by the thinking, they should also remember happen when artists become techies and demonstration project within a post­ United Nations Development Program what ltistory has shown us: that those vice versa. That alone makes it a conflict developing country that can and other organizations for a broad "swings" carry with them the notion of forward-looking, possibly even bench­ make use of CAA expertise. Discussions concept of human well-being as the aim reversal, as in the action of a pendulum. mark event." toward this end are currently under way of development to replace the more Therefore, the mix of what we do in with UNESCO officials. Both Susan Ban limited focus on economic progress. museums may vary according to the CAA Executive Director Susan Ball, Philippe de Montebello, and CAA President and Jonathan Fineberg represent CAA Our Creative Diversihj, the report times, and should, just as assumptions Leslie King-Hammond at the convocation of the 1997 Annual Conference in this process. The International produced by the commission, was PHOTO: JOAN BEARD

12 CAA NEWS MARCHI APRIL 1997 eM NEWS MARCHI APRIL 1997 cally, art's distinct place and character with these statements. It is good that ful way, it is essential to demystify the we present, who will become repeat finest, in opposition to mediocre-is the certainly an issue, as the rush to and how it demands to be approached is museums should provide a congenial museum-going experience, to let people visitors, the faithful audience we seek­ overarching goal of the art museum, and embrace them indicates. A clue to some too seldom at the center of the discourse environment, but the benign approval know we are not just some stuffy satisfying both our missionary and their contemplation, the main goal of the of the worrisome thinking here may be in our field. And as we add still more of the mall equation suggests a wide­ institutions." De-mystify the museum mercenary ends. visitor. This is not universally shared, I found in the semantics of the discourse; amenities and generate ever more spread acceptance or at least indulgence experience? No: in an increasingly Art museums, unfortunately, are find, and in some circles the notion of this is of concern, because I believe in activities, we should pause and reflect in the notion that museums may be prosaic and materialistic world where not immune from this flight from the great art seems positively threatening. words and their ultimate betrayal of the on the occurrence of an ever so subtle more successful if, as the jargon goes, the factitious holds sway, especially with object as prime communicator, and if, Take the opening last fall of the Tiepolo user's real thoughts or at least inclina­ but real shift in emphasis on the part of they are market rather than mission the growth of the new electronic media, broadly, we can still claim not to have exhibition in Venice; the rhetorical tions. So let's listen to a few words. institution and public alike, from the driven. There need be no conflict it is the mystery, the wonder, the compromised our integrity, it is because contortions the orators went through to Many museums, including the Metro­ work of art to the museum itself as the between the two, and in fact it is by presence of the real that is our singular we have not yet turned ourselves into distance themselves from the art were politan, have web sites providing primary experience. When people say, keeping them in judicious equilibrium distinction and that we should proudly, theme parks. This isn't so far fetched: fascinating. Clearly appearing to enjoy information about exhibitions, educa­ "Let's go to the museum," increasingly that we balance our budgets without joyfully proclaim. Don't we seek great just look at what has happened to the Tiepolo's paintings without some sort of tional programs, membership, and of they mean something rather different compromising the integrity of pro­ works of art in order to live in a wider great armor collection at the Tower of a social agenda would have been course, the collections with a few from "Let's go and look at some grams. One should be practical and not world? It is what makes us different and London. It has been moved to Leeds in political suicide. images, the preferred term in the pictures." This is certainly the case in too pious; commercialism and develop­ removed from daily experience that the depressed North of England with So it was that the first speaker, the electronic media for what are color Paris where, to hear returning travelers, ment activities do help pay the bills that should govern what we promote, not the the aim of invigorating the economy, mayor of Venice, started his speech with reproductions, except without ink. How life under the pyramid seems to have support the primary mission. But with things we do that are ubiquitous and placed in what is called a museum but is the pointed comment that he wasn't easily the medium can get confused been a greater lure than the galleries museums compelled to generate ever that are so often done better elsewhere, essentially a theme park on the Middle there just because of beauty (I guess that with the message, though, is borne out above. Here in this country, aside from more earned income to balance their even if short-term money can be made. Ages; there we have pubs with wenches, would have been too frivolous). He was by the fervor with which people going to special exhibitions, which does budgets, even more art-extraneous A case in point, reported in last jousts and tournaments, costumed there for what the exhibition meant as exclaim, "Now you can visit museums remain a primary motive for the projects are likely to be launched and Thursday's New York Times: a before­ docents, and video screens among the the symbol of the continuing vitality on the web." Sorry, you'll still have to museum visit, the attraction is most actively marketed in the aim of captur­ hours gym class held in the galleries of displays, every ten feet. Now, I'll grant and glory of Venice and as confirmation get yourselves to the front door to visit often some form of activity-it can be a ing larger audiences (as you may know, the American Museum of Natural you every level of meaning carried by of Venice as a major venue for interna­ museums, and this for time immemo­ lecture, a symposium, a guided tour, a income streams are directly linked to History, called "Walk on the Wild Side" these splendid suits of armor will be tionalloan exhibitions. In short, every rial. It is not silly people who say this, concert, having IWlch in the dining the numbers of visitors and what they for contributors of $100 and up. There, provided, with the exception, of course, pretext was okay except for the central by the way, and they don't really mean room, or multiple activities for special spend in the museum). the writer, in jest, makes up such a of their aesthetic qualities, which can be one. As for the president of Italy, that surfing the web is a substitute for groups such as members, or shopping, But here's the rub: in the belief, not program at the Met and calls it "stair­ very high indeed, as anyone knows who Scaliaro, how was he to justify that he seeing a real work of art. What they or meeting friends-and usually it's a altogether unfounded, incidentally, that climbing at the Temple of Dendur." has seen, for example, a piece of Negroli had come all the way from Rome for mean, and in this they are probably healthy mix of the above. All are the "experience of art" as such is still Why does this bother me? After all, the armor made for Charles V. Tiepolo? Easy: "I did not come to right, is that surfing the web is the ultimately conducive to an enriched not that widespread, museums are Metropolitan also schedules events for Those aesthetic qualities, the work celebrate high art or the art of the past; I easiest way now for many people to get experience of the art on view for the likely to examine every other possible revenue generation during nonpublic of art as a manifestation of creative am here to celebrate living art, art for some idea of what museums have to majority of people, and so they are means of enticement for maximum hours, but these are rather more closely genius, are, of course, what art muse­ everyone." As if the art of Tiepolo were offer; but there is lurking, behind this desirable, which is why they're offered. audience generation. Already museums tied to looking at art, I'm happy to say, ums are best equipped and expected to not accessible today; in fact, it is, and rhetorical equation of the virtual with My concern with this shift to the total are marketed as a prime leisure activ­ than gym classes; it bothers me because bring out-yes, complementarily-also precisely so, because of its universality. the real museum visit, somewhere in the museum experience is one of degree not ity-which legitimately they are-but this sort of thing tends to diminish our the context and other levels of meaning. I've now spoken of a creeping consciousness, a troubling acceptance of of nature. That "museum experience," also repeatedly and everywhere as institutions, and even more so, because If I stress this, it is because the aesthetic imbalance in favor of medium over this simulacTItm. the environment if you will, is now so entertainment. How often have we not of what it reveals about increased dimension of works of art is so often message in museums; this tilt is also This is just semantics and we too conspicuous that even the Metropolitan, heard it said that going to a museum acceptance of such meretricious activi­ glossed over-not just in the university, present in the attitude to the new should be indulgent, except that this hardly short on art, has been described should be fun? The trouble is that works ties on the part of people who should you'll be glad to know~but now also in technologies. This subject is pertinent confusion spills over to the written in the press (and not just once) as "Club of art, for the most part, are not fun. In know better. What does a senior museum circles, that is, when it is not today; it will be critical tomorrow, for word. From the title page of a major Met," and museums in general, because fact they can be difficult, challenging, musemn official have to say about those altogether suppressed, as in exhibitions the range of possibilities the electronic museum's web site: "We are a public of their many amenities, have even been even provocative, and they don't yield gym classes in the galleries: "There are where art is called upon to serve as an media can unlock for museums is museum with an evolving mission to equated with suburban malls. their message in the blink of an eye, some who turn up their noses at the illustration to some intellectual argu­ simply phenomenal. And I should say, behave more like a resource and less like Just one such report was an article, which is what is expected by people creative use of museums, and they are menL The result, incidentally, is usually right off, that if the tenor of my remarks a repository." Surely well meaning in its on the front page of The New York Times looking to have fun. Seriousness, uplift, the ones who would like to go back to a bad show. on this subject shows me to be ra ther intent, but to me this suggests a lack of a year or two ago, which described knowledge, and, naturally, pleasure are days of musty cases ... "Well, I beg to This phenomenon goes hand in prudent in my approach, it is in fact so faith in the ability of works of art to museums as "the best entertainment what art museums are meant to differ, and not because I am terminally hand with today's widespread hesi­ only in contrast to the expansive, have an impact relatively tmencum­ bargain for everyone, drawing in people provide. nostalgic, but because I know what is tancy, primarily in academe but also in sometimes wildly expansive rhetoric bered, as in a repository. Actually, who yearn Simply for social contact and And so, correctly judging that meant by "musty cases," and so do you: museums, to make qualitative judg­ used, not out of a lack of enthusiasm. what's wrong with a repository and a safe place to trade ideas" and noted simply inviting our unwary customer it means cases with objects left to their ments. The new Asian galleries at the Indeed to resist the changes brought on why oppose the two, repository and further that "big museums are evolving merely to come in, step into a gallery, own devices. What a lack of faith in our Victoria and Albert Museum, for by the new electronic media would be resource? The first serves as grist for the into a blend of playground, cafe and and look at fine paintings or sculptures very own reason for being! I example, pointedly eschew conveying about as smart, frankly, as to have second, and the sum is what defines a fair, making the experience easy and will not attract the multitudes (some of Even from a purely financial point any notion of possible hierarchies in greeted Gutenberg'S invention by museum. comfortable. In any respects, a well-run us still do plug the art, I must say); other of view, luring people in under false aesthetic merit by displaying strictly locking oneself up in the scriptorium And from the French Ministry of museum is eerily like an upscale strategies are put in place and they aim pretenses will generate only short-lived according to function with the most and sharpening the quills. Culture, a brochure announcing a suburban mall." If I bring this up it is at reassuring our potential visitor that gains. Those who come for such ordinary objects mixed in among the So I find much of the discourse on colloquium on French museums and the because so many people, serious people, going to art museums is not something marginal activities will necessarily turn most refined and accomplished. Granted the new teclmologies untempered and Internet, called: L'invitatiol1 all Musie. were pleased with this piece when it to be dreaded, that it is not so far out to be fickle. They'll eventually move notions of high art, of discrimination, the eagerness to be on the cutting edge Fair enough; but then "Le Musee, c' est came out. I felt it should have been removed from everyday experience. I on, and why not, since they hadn't come may well continue to be somewhat out often ill-advised. "To what end?" is a chez vous, venez voir!" Well now, do greeted, not with a smile of wry quote the director of a major American for the exhibits in the first place. Ob­ of favor; still I hold, and I don't think question too infrequently asked; and we merely invite the visitor to stay amusement, but a shudder of unease. museum: "If we are to tap into the life­ viously, it is the people we draw in to this makes me an apostate, that the "Are we going to exploit the new home and get online to visit the mu­ You see, there is something very wrong beat of the community in any meaning- enjoy the art on view, that which only presentation of the finest works of art- technologies or be led by them?" This is seum?

CAANEWS MARCil/APRIL 1997 CAA NEWS MARCHI APRIL 1997 In the end, this kind of rhetoric can that is now largely restricted. It will take published in November 1995 and has Valentine's only serve to reduce expectations, to some years, for we will first have to get since circulated around the globe and on Thanks to Day Party and depreciate the value of the musetun visit a staggering amount of information into the World Wide Web. In ten chapters, Silent Auction in the public's mind; the same applies to usable electronic form, no small task for followed by an international agenda, it The Valentine's Day Party and Silent ill-chosen words that end up trivializing large museums. No less a challenge will presents a retooling of the development Contributors Auction was a rousing success-the that critical element all have a right to be the concurrent use of the medium for process that includes a range of new combination of ticket sales, auction bids, expect from museums, namely exper­ the dissemination of reproductions of issues such as the rights of women and and corporate contributions helped raise tise. So it's unfortunate that another web works of art, images to be used, not only children, the recognition of indigenous approximately twenty thousand dollars site should proclaim, as it invites as reference but as enticement. Tn which peoples, and the preservation of the for CAA's Professional Development clicking on various works of art: "Now case they'll have to be used more world's cultural heritage. The report Career Fellowship Program for Artists and Art you can be your own curator." Well, if effectively than they are now, and more posits a bold vision of global develop­ Historians. The Benefit Committee there is so little to being a curator, how idiomatically, not just as in most CD­ ment that attends to the needs of many Development exte~ds special thanks to the generous can we argue for the seriousness and ROMS as mere transpositions of books cultural groups. The argument for the Workshops providers of food, beverage, and venue: authority that lie behind what a mu­ with a few added features. The unique autonomy of multiple cultural voices Many thanks to the artists, curators, and Aramark Corporation; Haviland Candy; seum does and that surely give comfort character of the electronic media should presents a significant challenge to art historians who served as mentors for Martin Scott Wines; The New Museum to visitors, comfort that can only come be exploited creatively, and not just by traditional strategies of geopolitics and the career development workshops at of Contemporary Art; Perrier Group of from the conviction that what they see museums, but also artists, to stimulate calls for extended discussions and the annual conference. Organized by America; Spring Street Brewing Com­ the eye as well as the mind. in museums represents the culmination debates on a global scale. The strong Michael Aurbach of Vanderbilt Univer­ pany. of policies born of clarity of purpose and As speed of transmission and populist emphasis in Our Creative sity, these workshops provided more CAA also thanks the contributors authority. image resolution improve on the Diversity is very welcome after years of than three hundred job candidates an of the 102 prizes that were available in We are usually vigilant in print. We Internet and we achieve a level of development studies that focused on opportunity to receive advice from a the silent auction: A.J.'s Niota; Ita Aber; pore over texts and editors check them. outreach undreamed of before----in the large-scale public works and infrastruc­ veteran in their field. The participants Harry N. Abrams; Basil Alkazzi; The new technologies function at such horne, in the classroom, wherever-then ture projects. The commission members were: Michael Aurbach, Vanderbilt American Airlines; The Art Institute of speed and invite such a reductive museums will be contributing to raising affirm the right of every culture, no University; Ron Bechet, Southern Chicago; Bard Graduate Center for approach to most content that clearly we the level of visual proficiency in our matter how smalt to participate in the University; Bruce Bobick, State Univer­ Studies in the Decorative Arts; Judith K. let down our guard. Before we start to largely verbal society. This will help global community. While this vision sity of West Georgia; Diane Canfield Brodsky; Brooklyn Museum of Art; believe in our own electronic sound build the audiences of the future, and in seems optimistic when placed amid the Bywaters, University of Wisconsin­ Diane Burko; Michael Dawkins; Cal's; bites, I suggest we think hard about the the right way. difficulties of mutual understanding and Stevens Point; Laurie Beth Clark, Cambridge University Press; Carnegie consequences of what we do and say, Audiences who will seek the real tolerance that currently pervade the University of Wisconsin-Madison; Museums of Pittsburgh; Chicago Hilton for if we keep talking that simplistically, thing, for objects are and remain the planet, it nonetheless affirms that all Austin Collins, University of Notre and Towers; Chroma; Bradford Collins; our claims will begin to have the ring of exclusive media of museums, or as cultures have integrity and all voices are Dame; Irina Costache, Loyola Univer­ Dallas Museum of Art; Des Moines Art truth with the unhappy consequence Berenson put it, "The work of art is the entitled to be heard. sity; Shelley Fuller, University of Center; Duke University Press; Fine Arts that our institutions may be led to move event." That's been my main thesis For CAA members, whether they be Nebraska-Lincoln; Alison Helm, West Museums of San Francisco; Jonathan too rapidly and without careful thought today, and so if I can leave you with but artists, art historians, curators, or other Virginia University; Dennis Ichiyama, Fineberg; Nancy Friese; G & BArts into very expensive initiatives of one thought, it is Hector's exhortation in professionals, Our Creative Diversity is Purdue University; Carlyle Johnson, International; Gamblin Artists Colors dubious merit, long-term. Shakespeare's Troilus and Cressida: "Tis an invaluable guide to understanding Middle Tennessee State University; Company; Shifra Goldman; Harvard What I do not fear, on the other mad idolatry to make the service greater the centrality of culture within the Ellen Konowitz, Vanderbilt University; University Art Museums; Horne; hand, is that we will lose visitors than the God." process of global development. James Krehbiel, Ohio Wesleyan Univer­ Howard Karno Books; Michi Itami; Kat because the world will stay out there, -Philippe de Montebello sity; Virginia Mecklenburg, National Jurati; Leslie King-Hammond; Hua Lee; glued to reproductions of paintings on Victor Margolin is associate professor of art Museum of American Art; Vivan Mann, Joe Lewis; Arturo Lindsay; Los Angeles their computer screens as a substitute and design history at the University of The Jewish Museum; Megan Marlatt, County Museum of Art; Jill Lynn; for the museum visit. Quite the con­ Illinois, Chicago. He is also a past co-chair of University of Virginia; Bmmie Mitchell, Nancy Macko; The Maine Photographic trary, I am convinced that just as art the College Art Association's International Syracuse University; Clarence Morgan, Workshops; Victor Margolin; Kevin books with handsome color plates Committee. University of Minnesota; Andrea Norris, McCoy; The MenU Collection; Metro­ encourage trips to museums, so will the Spencer Museum of Art, University of politan Museum of Art; Midmarch Arts downloaded image; with this major Kansas; Dewey Mosby, Picker Art Press; Torn Miller; Milwaukee Art difference: that the universe of people Gallery, Colgate University; Arthur Museum; Minneapolis Institute of Arts; who are online, including educated " Okazaki, Tulane University; Robert Museum of Contemporary Art, Chicago; people, statistically those with the Palusky, Hamilton College; Wayne National Museum of American Art; The greatest predisposition to visit art Potratz, University of Minnesota; Newark Museum; New York Hilton and museums, is vast. Clearly this is the Barbara Jo Revelle, University of Towers; Oakford Vineyards; Palio; Penn most compelling argument for museums Florida; Laurence Scholder, Southern State Press; Philbrook Museum of Art; to be on the Internet, and the challenge Methodist University; David Sokol, Phoenix Art Museum; Rita Robillard; will be to think through carefully and University of lllinois-Chicago; Richard Rizzoli International Publications; Royal deliberately what exactly it is we want Thompson, University of Texas-Austin; York Hotet Toronto; Rutgers Center for to have out there. Information? Yes, of Victoria Star Varner, Southwestern Innovative Print and Paper; San course, mundane as it may sound, and University; and Annette Weintraub, City Francisco Hilton; Norie Sato; Miriam the Internet has already shown itself to College, CUNY. Schapiro; Roger Shimomurai .Shin be a perfect medium for this. So in time, Tsudome Hair; Kenneth Silver; Norton scholars and the public alike will benefit Simon Museum; Lowery Stokes Sims; immensely from ready access to much Jeffrey Chipps Smith; Spring Street

CAANEWS MARCH/APRIL 1997 13 CAANEWS MAIKH/APRIL 1997 Brewing Company; St. Martin's Press; mation you wish to share with your Leslie King-Hammond Reacts to 1997 Thames and Hudson; Thorndike Press; elected official in a folder that contains Conference CONTINUED FROM PAGE 1 Annual University of Hawaii Press; University past voting records, material on arts and of New Mexico Press; University of humanities events in your district, and Washington Press; Alan Wallach; Ruth examples of how your organization uses to our colleagues for distinction in art, Conference Weisberg; Whitney Museum of Ameri­ government funding. Kessler also art history, and criticism. Philippe de can Art; Deborah Willis; and Yarka. recommends that CAAAT members mail a Montebello, the eighth director of tlle letter to President Clinton, commending Metropolitan Museum of Art, was the 1997 him for his positive mention of the arts keynote speaker. In his speech, and humanities in his State of the Union "Musings on Museums/' he addressed Address on February 4. the question of museums versus malls Leida Snow emphasized the and contemporary society's increasing importance of establishing relationships appetite for entertainment as opposed to with your elected officials and their culture. legislative assistants and indicated that a The New York conference always Advocacy dialogue maintained throughout the requires a Herculean effort on the parts year is more effective than contact made of all involved: organizers, host commit­ only at times of crisis. It is important not tees, program chairs, CAA staff mem­ only to let your representatives know bers, the scores of student workers, and Artist Sherry Mayo meets with Brian Goldfarb, curator, your opinion on the issues and to give participants. I extend to each of you the during an Artist Portfolio Review session his year's annual conference them feedback on their actions. CAA Board of Directors' appreciation advocacy session titled "How Patrice McDermott reinforced the for all your efforts to make this confer­ T To Be an Effective Advocate" importance of communication with ence a success. provided a forum for CAAAT members to elected officials, citing several success Possibly the most impressive discuss advocacy issues and learn the stories such as the campaign to defeat response to CAA's efforts to support the opinions of advocacy experts. The the Istook Amendment in which Professional Development Grant session featured John Hammer, National constituents made use of e-mail, list program was the large attendance at the Humanities Alliance; Lee Kessler, servs, and faxes to inform their elected Valentine's Day Party and Silent American Arts Alliance; Patrice officials. As the final speaker, Auction event held at the New Museum McDennott, OMB Watch; and Leida McDermott then made an appeal fot in SoHo. The bidding was swift and Snow, arts adviser to US. Representa­ action on the part of arts and humanities competitive as the guests vied for the tive Jerrold Nadler. advocates. chance to acquire great art, books, wine, John Hammer opened the session with a Arts Advocacy Day, scheduled for travel packages, and other delights. discussion of the particular effects that March 10-11 in Washington, D.C., More than one hundred items were the latest elections will have on arts and provided an opportunity to learn more purchased, and the winner of the Faith humanities legislation. He emphasized about effective advocacy techniques. Ringgold/MITiam Shapiro print raffle that the most crucial issue for advocates Organized by Americans for the Arts, was drawn. All in all, it was a festive during the 105th Congress will be the party for a vitally important cause. the two-day event included speeches Valentine's Day Party and Silent Auction reauthorization of the NEA and the and rallies and offered the chance to As plans are now under way for attendees place bids on auction items NEH after three years. meet with elected officials. Mark your Toronto, we would like to hear about ALL PHOTOS: JOAN BEARD Lee Kessler shared tips for making calendars now for Humanities on the your experiences at the New York contact with members of Congress. Hill, scheduled to take place on May 8. conference so that our mandate to make Janet Kaplan (right), executive editor of Art Journal, meets with a prospective contributor Meetings may be arranged in Washing­ the annual conference a valuable service ton or at your local district office. to members can be made more effective. Kessler suggests organizing the infor- Surviving my first year as president of the organization has been an endeavor somewhere between awesome and numbing. With strength, wisdom, cooperation, and lots of prayer, I look forvvard to yet another eventful and productive year for the membership of an organization critical to the very fiber of the intellectual and cultural life of this nation. -CAA President Leslie King-Hammond

John T. Paoletti, editor designate of the Art Bulletin, meets with Panel participants Lee Kessler a prospective author and John Hammer, "How to Be an Miriam Shapiro with CAA President Leslie King-Hammond at the Valentine's Day Effective Advocate" PHOTO: JOAN BEARD Party and Silent Auction MFA Exhibition attendees

14 CAA NEWS MARCH/APRIL 1997 CAA NEWS MARCHI APRIL 1997 15 Marianne Well. L'acajou Restaurant, New York, Mary Sprague. Elliot Smith Contemporary Art, April6-May 3, 1997. Bronze sculptures, reliefs, St. Louis, Mo., January 3-February 16, 1997. and monoprints. Solo Inside Animals. Joel Sternfeld. Art Instihtte of Chicago, December 14, 1996-March 30, 1997. On This Site: SOUTH/ Exhibitions Landscape in Memoriam Photographs by Joel Yuji Hiratsuka. Adair Margo Gallery, El Paso, Sfemfeld. Tex., January 9-February 27, 1997. New work. Deborah Sukenic. Start Gallery, Birmingham, Van Sun. Hayden Museum of American Art, by Artist Mich., January 3-February I, 1997. Shadow Paris, Tex., April I1-May la, 1997. Reflection from Lands, oil paint, wax, and wallpaper on wood Within. and canvas. Therese Zemlin. Catherine J. Smith Gallery, Members Appalachian State UniverSity, Boone, N.C., NORTHEAST/ January 20-February 14, 1997. Only artists who are eAA members are included Terry Adkins. William Benton Museum of Art, in this listing. When submitting infonnation, University of Connecticut, Storrs, January 22- include name afartist, gallery or lIluseum name, March 14, 1997. Teny Adkins: Seamless Robe: city, dates of exhibition, medium, and dimel/sivns. Works 1986-1996. Please indicafe CAA membership. Susan Bee. Granary Books Gallery, New York, Photographs are welcome but will be used only if January IS-February 2S, 1997. Recent paintings space allows. Photographs cannot be returned. and artist's book. Pamela Blum. Gallery at R&F, New York, Amy Dobrian, Anima, monoprint: August 17-September 2S, 1996. Fragilities. lithograph and relief, 20" x 15" Nancy Chunn. Ronald Feldman Fine Arts, New York, January 11-Febn13ry 15, 1997. Front Pages Sam Gilliam. Klein Art Works, Chicago, 1996. February 22-March 29,1997. New Paintings. Nan Hass Feldman. DeCordova Museum ABROAD/ Mary Sprague, Animals Inside, Lynn S. Lourie. Artemesia, Chicago, February School Gallery, Lincoln, Mass., February 14- conte crayon on paper, 22" x 30" Robed Adams. Musee d'Art Moderne, Saint­ 25-March 29, 1997. Recent Work. March 23, 1997. Homage: A'Recent Retrospective of Etienne, France, January 17-March 2, 1997. Our Illfluences. Lives and Our Children. Paul Rinaldi. O'Connor Gallery, Rosary College, John Graham. Julian Scott Memorial Gallery, Susan Schwalb. Perkins Gallery, Striar J.c.c., River Forest, Ill., January 12-31, 1997. New Beth Galston. Chapel Gallery, West Newton, Johnson State College, Johnson, Vt., January 30- Stoughton, Mass., March 23-April20, 1997. The John Bjerklie. Galerie du Tableau, Marseille, Paintings and Photographs. ARC Gallery: Raw Mass., January 8---February 2, 1997. Leaf Dreams: February 23, 1997. Serial Etchings and Other Creation Series. France, December 1996; Ateliers Triangle, La Space, Chicago, April 4-26, 1997. Cairo Tapestry, An Installation, models and photographs. Prillts. Friche de la Belle de Mai, Marseille, December 12- Laurinda Stockwel1. Conde Gallery, New York, mixed media installation and video. 13,1996. Bogdan Grom. LBS Bank, New York, September February S-March 1, 1997. Recent Works. 27-December 1, 1996. Paintings, graphics, Wan Qingli, Museum and Art Gallery, Julius Tobias. Prado View Gallery, New York, sculphtres, and tapestries; Civico Musco University of Hong Kong, December 3, 1996. January 8---February I, 1997. Sculpture, prints, Revoltella, Galleria d' Arte Moderna, Trieste, Paintings and Writing by Wan Qingli. and drawings. Italy, December 12, 1996. Graphics and tapestries from recently published monograph; Therese Zemlin, Three Blue Galaxies MID-ATLANTIC/ TK Gallery, Trieste, December 13-24, 1996. Dia/ogue with Karsf. Edna Andrade. Locks Gallery, Philadelphia, March 1-29, 1997. Paintings and drawings. Cynthia Hawkins. Queens College Art Center, WEST/ Flushing, N.Y., January 29-March 6, 1997. Jan Blacka. Chesapeake Gallery, Bel Air, Md., Cris Bruch. Port Angeles Fine Arts Center, Port Selected Works: 1990-96. January 8--31, 1997. Studies in Abstraction. Angeles, Wash., January 19-March 2, 1997. Prior Christine Holzer. Visual Arts Gallery, County Works, 1989-1996. Jean C. Johnson. GTE Government Systems College of Morris, Randolph, N.J., December 10, Corporation Gallery, Chantilly, Va., January 15- Peggy Cyphers. Haines Gallery, San Francisco, 1996-January 12, 1997. Digital Light Stages. April 12, 1997. Acrylic on aluminum. January 2S-February, 1997. Future Byzantium. Martha Keller. Rosenberg Kaufman Fine Art, Cindi Morrison. Corcoran Gallery, Washington, Jim Goldberg. Los Angeles County Museum of New York, February 12-March IS, 1997. D.c., May 29-July 27, 1996. ArtSites '96. Art, March·6-May IS, 1997. Raised by Wolves: Paintings. Photographs and Document of Runaways. Barbara Ann Watson. Arts Center of Ports­ Leonard Lehrer. Myung Sook Lee Gallery, New mouth Museums, Portsmouth, Va., January 25- John Habka. Spruce Street Forum, San Diego, York, February 4-22, 1997. SOjOIlf11S. February 16, 1997. Nature's Divine Rhythm. February 7-March 21, 1997. Peter D. Lewis. Viridian Artists, New York, Mary Ann Johns. SRO Corridor Gallery, Texas January 14-February I, 1997. Inhale Exhale Tech Gallery, Lubbock, January 16-February 9, MIDWEST/ Desire: Nature and Domesticih). 1997. Painted Photo Imagen). Pamela Blum. Brady Commons Gallery, Eva Lundsager. Jack Tilton Gallery, New York, University of Missouri, Columbia, November Douglas Kenney. Gallery Eight, La Jolla, Calif., January 14-February S, 1997. Paintings. 11-21,1996. Encaustic Works on Paper. January 4-24,1997. Recent ceramic work. Maria R. Lupo. Baird Gallery, Maplewood, N.J., Paula A. Braswell. A.R.c. Gallery, Chicago, Simon Leung. Refusalon, San Francisco, January March I-April 13, 1997. Missing Persons series December 31, 1996-January 25, 1997. Creek II, 2-February 1, 1997. Proposal for SUI! Vietnam, and other works. video and sculptural installation. installation. Kevin Me1chionne. McKinney Arts, New York, Amy Dobrian. ARTS Iowa City Center and Tracy Linder. Beall Park Art Center, Bozeman, January 25-February 22, 1997. Gallery, Iowa City, Iowa, December 3, 199&­ Laurinda Stockwell, Sand Rose, Mont., February 7-March 1, 1997. New works. color photograph January 25,1997. Bloodlilles: Monoprints by Amy Deborah Sukenic, Whitcomb Part I, Dobrian. oil and wood on canvas, 47" x 62"

CAA NEWS MARCI·I/ APRIL 1997 17 16 CAANEWS MARCH/APRIL 1997 and participate in The OObservatory, a perfor­ To Attend Friday, April 18, 1997, at 33 W. 42nd St., New mance installation event situated inside the York. Papers from a variety of disciplines will People in Grants, 15th-century observatory tower at the Univer­ Conferences address notions of accumulation and acquisi­ sity of Vilnius. Her project, "Body of Knowl­ National Council on Education for the Ceramic tion. For information: 212/921-5553 or 212/545- edge," will also take place in the university Arts will hold its 31st arulUal conference, 8128. the News Awards, & library. & Symposia NCECA 1997: Guilty Pleasures, in Las Vegas, Nev., Apri12-5, 1997. Hosted by the University "The Saint-Gaudens Monument to Robert Diane O'Donoghue, professor in the Depart­ of Las Vegas, the conference will consist of Gould Shaw and the Fifty-fourth Massachu­ Honors ment of Visual and Critical Shtdies at the School panel.:; and lectures dealing with varied aspects setts Regiment: History and Meaning," May o( the Museum of Fine Arts at Tufts University, of the ceramic arts: demonstrations, an 28-30, 1997, Boston, Mass. For information: Erin is the 1996-97 Julius Silberger Scholar in international slide forum, a K-12 slide Beatty, Boston National Historical Park, psychoanalytic studies at the Boston Psychoana­ presentation, and kiln and glaze clinics. UNLV Charlestown Navy Yard, Boston, MA 02129; lytic Society and Institute and recipient of a 1997 will also be hosting 2 NCECA-sponsored 617/242-5668; fax 617/241-8650; erin_beatty Cushman Family Faculty Enrichment Grant for Academe Calls for Papers exhibitions, the NCECA 1997 Clay National and @nps.gov. research in the Freud archives, London. the NCECA Juried RegioTh'1l Shtdent Exhibition. Hellmut Hager stepped down as department Additional ceramic exhibitions will be opening American Institute for Conservation of Historic Jane Rohrschneider's master's thesis, "Samuel head of the Deparbnent of Art History at Lea Barton's work has been selected for 22nd Annual Conference of the Society for in the area. For information: Minerva Navarrete, and Artistic Works (AIC) announces its 25th D. Humphrey, Journalist-Photographer: A New Pennsylvania State University. Craig Zabel is inclusion in the Mississippi Museum of Art's Utopian Studies will be held in Memprus, NCECA Conference Planner, 33-25 147th St., annual meeting in San Diego, June 9-15, 1997. Perspective of His Contributions to American now serving as interim department head for the upcoming Mississippi Invitational. Tenn., Odober 16-19,1997. The society is

18 CAANEWS MARCH/APRIL 1997 CAA NEWS MARCH/APRIL 1997 19 student projects from the years 1996-97. Finalists $1,000; second prize: full-color, postcard edition Walters Art Gallery announces 2 3-year post­ the project, ability of the scholar, and the degree Dia Center for the Arts has a web site at http:/ / will be invited to Langenthal, Switzerland, on of artist's work. Send SASE for prospectus to: doctoral curatorial fellowships sponsored by the to which the special strengths of the art www.diacenter.org feahtring images of works Opportunities Saturday, November 2,1997, and prizes will be Slowinski Gallery, futernational Showcase, 215 Andrew W. Mellon Foundation for junior collections and libraries will be utilized. Awards from the permanent collection, program awarded on November 7, 1997. For information: Mulberry St., New York, NY 10012; http:// scholars who wish to pursue curatorial careers are considered for predoctoral as well as schedules, and artists' web projects. Design Prize Switzerland, c/o Design Center, users.aol.com/slowart/slow.htm. in art museums. The fellowships, commencing postdoctoral candidates. Holders of awards are PO Box 1626, CH-4901 Langenthal, Switzerland; Deadline: May 30, 1997. in September 1997, will support scholarly expected to be in continuous residence Echo, http://www.echonyc.com. presents a 4163230333; fax 4163231622; http://www. research related to the collections of the Walters throughout their tenure. Applications are number of art sites and offers publications, designNet.ch. Deadline: April 30, 1997. The Photo Review will reproduce accepted and will provide curatorial training. They are accepted between October 1 and December 15. discussions, and events. entries in its Summer 1997 issue as part of its availablc in the following areas: Ancient Art, For information: Committee on Fellowships, The Free at Last: Expressions of Emancipation in 1997 Photography Competition. $1,000 in cash Medieval Art, Islamic Art, and Manuscripts and Huntington, 1151 Oxford Rd., San Marino, CA Frick Art Reference Library has opened its Award HOItor of Juneteenth, a juried exhibition prizes will be awarded with a $500 purchase Rare Books. Each fellow will be fully integrated 91108. online public access catalogue, FRESCO (Frick commemorating the date that Texas slaves prize for the Philadelphia Museum of Art. Entry into the curatorial division and appropriate Research Catalog Online). ApprOXimately 20% fee: $20 for up to 3 prints or slides; $5 for up to 2 department and will have the opportunity to of its book collection is available online to Toynbee Prize Foundation, a private, not-for­ learned of their freedom, is seeking art that additional prints or slides. Send SASE for work with an individual curator as well as other readers who visit the library and will be profit foundation committed to the advance­ reflects on the question: "How do we express prospectus to: TIle Photo Review, 301 Hill Ave., curatorial, conservation, and education staf£. available to those who wish to access them over ment of the social sciences, seeks nominations that freedom and our own today?" The Langhorne, PA 19047; 215/757-8921. Applicants must have completed Ph.D. within Internship the Internet. for its biermial prize to be awarded fa111997. The exhibition takes place June 7-28, 1997, and is ------" Deadline: May 31, 1997. the last 5 years or have a record of equivalent prize will go to an individual who has open to all U.S. artists working in any media. accomplishment. Fellows will receive a stipend, Getty Art History Infonnation Program, http: significantly influenced our perception of the Entry fee: $20 for up to 3 slides. Send SASE for New Museum of Contemporary Art has an National Juried Exhibition, June 24--July 12, plus benefits and travel allowance. For / /www.ahip.getty.edu/ahip,isaresourcefor human condition. Previous recipients include: E. prospechts to: Free at Last, Central Arts internship program to provide training in arts 1997, at SoHo instihttion. Juror: Eric Brown, information: M. S. Simpson, Walters Art Gallery, learning how to build image databases and the H. Carr, Sir Ralf Dahrendorf, Buckminster Collective, 188 E. Broadway Blvd., Tucson, AZ management and give qualified college and Tibor de Nagy Gallery. Application fee: $25. For 600 N. Charles St., Baltimore, MD 21201-5185. scholarly apparatus needed to bring art­ Fuller, George Kennan, Jean-Paul Sartre. 85701; 520/623-5883. Deadline: April 30, 1997. graduate students and professional individuals prospectus, send #10 envelope to: First Street Deadline: May 1, 1997. historical knowledge into the electronic arena. Nominations, including c.v. and a brief a comprehensive overview of museum Gallery, 560 Broadway, New York, NY 10012. statement, should be sent to: Gina Luria Walker, Custer's Last Stand Festival of the Arts will be operations. New Museum of Contemporary Art, German"American Academic Council International Center of Medieval Art has a web Toynbee Prize FOlmdation, ACLS, 228 E. 45th held June 21-22, 1997, in Evanston, Ill. Open to 583 Broadway, New York, NY 10012. Deadlines: Foundation announces the TransCoop Program site at http://www.MedievalArt.org. St., New York, NY 10017. Deadline: April 1, 1997. all categories of arts and crafts. Booth fee: $100- April 15, 1997 for Summer 1997, and July 15, 1997 $125 for 5' x 12' or 10' x 10' booths. For 1997 for transatlantic research among German, for Fall 1997. information: Custer Street Fair, PO Box 6013, U.S., and/ or Canadian scholars in the fields of Journal of Contemporary Art, http:// Evanston, IL 60204; 847/328-2204; fax 847/328- Calls for Manuscripts humanities, social sciences, economics, and law. www.thing.net/jca.displaysartists.projectsand 2295; [email protected]. Deadline: May 1, 1997. Selected projects can receive up to $60,000; the portfolios and transcripts of discussions among Calls for Entries International Review of Modemism: A Review maximum duration of each project is 3 years. arts professionals regarding contemporary Phoenix Gallery is sponsoring a national juried JOllrnal of Sc1lOlarsltip on the Literature and The grant must be equally matched by funds Online work. competition from July 8-25, 1997. Juror: Laura Culture of Europe, 1890-1939, a journal that will from U.S. and/or Canadian sources. The amount New American Talent: The 13th Exhibition, a Hoptman, Museum of Modern Art. Winners will feahIre short articles, reviews, and extended and sources of the matching funds must be Musee de Louvre has a web site at http:/ / national all-media competition organized by the Amon Carter Museum in Texas has a web site be feahlred in a solo or group show. Send SASE review essays on new books on modernist detailed in the application and confirmed before www.paris.org.:80/Musees/Louvrefeaturing Texas Fine Arts Association, surveys contempo­ at http://cartermuseum.org. The site provides for prospectus to: Phoenix Gallery, 568 literahlre and culhlre, seeks qualified reviewers. funding commences. For information: Deutsch­ images from the collections, floor plans, and a rary 2- and 3-dimensional art by emerging and information on the history of the museum, the Broadway, New York, NY 10012. Editor is especially interested in suggestions for Amerikanisches Akademisches Konzil (DAAK), history of the museum. mid-career artists living in the U.S. TIle collection, special exhibitions, and educational Deadline: May 2, 1997. topics for review essays or short articles. Send TransCoop Program, Jean-Paul-Strasse 9, 0- exhibition will be held fall 1997 at Art Gallery, programs. brief c.v.listing publications and cover letter 53173 Bonn, Germany; 0228 95677 0; fax 0228 National Historical Publications and Records University of North Texas, Denton, and Winter Staten Island Biennial Juried Craft Exhibition, indicating areas, topics, authors, or languages of 9567719; [email protected]. Commission (NHPRC) has established a site at 1998 at TFAA at Center Space in Austin. Five Art Daily is a web newspaper at http:! / sponsored by the Staten Island InstihIte of Arts particular interest to: Leonard Orr, lntemational Deadline: June 30, 1997. http://www.nara.gov/nara/nhprc/ to provide artists will be selected to receive Philip Morris www.artdaily.com/that focuses on art and and Sciences, will run July 25, 1997-January 4, Review of Modernism, Dept. of English, Washing­ culhtre around the world. The site contains information on the commission, its staff, and Juror's Merit Awards of $1,000. Juror: Robert 1998-99 Competition for Fulbright Scholar 1998. Cash awards. For prospectus, send SASE to: ton State University, 100 Sprout Rd., Richland, sections on cultural news, links to sites of programs. The site contains guidelines and Storr, Museum of Modem Art. Send SASE for Awards for U.S. Faculty and Professionals, Staten Island InstihIte of Arts and Sciences, WA 99352; [email protected]. museum.<; and exhibitions, and a chronicle of application forms for prospective applicants, prospectus to: NAT-13, Texas Fine Arts sponsored by the Council for International Dept. CAA, 75 Styvesant Pl., Staten Island, NY arthistorical events. information about funded projects, lists of state Association, 3809-B W. 35th St., Austin, TX archivists, links to archives and documentary 10301-1998. Deadline: 5:00 P.M., May 2,1997. University of Delaware Press announces a new Exchange of Scholars, grants lecturing or 78703; 512/453-5312; fax 512/459-4830. Deadline: editing projects, and publications. series of volumes on 18th-cenrury art and research awards. Basic eligibility requirements Arts Wire, http://www.tmn.com/Artswire/ April 11, 1997. American Craft Council is accepting applica­ culture. Send 2 copies of double-spaced for senior scholar award: U.S. citizenship and www/awfronLhhnl, provides information on tions for its winter events: ACC Craft Fair manuscripts following the Chicago Manual of completion of the Ph.D. or comparable 36th Annual Toronto Outdoor Art Exhibition jobs, grants, and local arts councils. Tampa Bay, Fla., December 5-7, 1997, and ACC ShJle and rehtrn postage to: University of qualifications. Academic administrators as well will be held the second week in July at Toronto Craft Fair, Charlotte, N.C., December 12-14, Delaware Press, 326 Hullihen Hall, Newark, DE as independent scholars, artists, and profession­ City Hall's Nathan Phillips Square. Applicants Artsollrce, http://www.uky.edu/ Artsource/ Publication 1997. Exhibitors may apply to 1 or both events 19716; 302/831-1149; COODMAb"@UCRWCU.RWC. als from the private and public sectors are are screened by a jury of artists, curators, and art general.html, provides links to and listings of art with 1 application form and a set of slides. Fee: UC.EDU or [email protected]. eligible. Openings exist in the arts and dealers. Cash prizes total more than $20,000. historical sites and bibliographies. $20. Screenings for both fairs will be held in humanities, social sciences, natural and applied Archaeological Institute of America (AlA) Registration fees: $200 for artists; $75 for scicnces, and profeSSional fields such as May. For information: American Craft Association of Art Historians has a web site at announces the publication of the 1997 ArcJweo­ shIdents enrolled in recognized art programs. business, journalism, and law. For lechlring Enterprises, 21 S. Eltings Corner Rd., Highland, http://www.gold.ac.uk/aah. It carries logical Fieldwork Opportunities Bulletin (AFOB), a For information: Toronto Outdoor Art awards, university or college teaching experi­ NY 12528; 800/836-3470; fax 914/883-6130. information on the association, its publications, guide to international excavations, field schools, Exhibition, 35 McCaul St., Ste. 201, Toronto, ence is expected; foreign language skills are Deadline: May 5, 1997. Grants and Fellowships forthcoming conferences and events, research and special programs with openings for Ontario, Canada M5T 1 V7;416/408-2754. needed for some countries. For information: queries, job advertisements, as well as links to volunteers, students, and staff. $9 members; $11 Deadline: April 15, 1997. USIA Fulbright Senior Scholar Program, Council ARC Regional IV seeks all media for juried Dedalus Foundation, dedicated to fostering the other sites. Information for inclusion may be nonmembers plus $4 shipping and handling. exhibition. Juror: Ann Sass, Whitney Museum of for International Exchange of Scholars, 3007 Kendall/Hlli1t Publishing Company, Order ARC Gallery is seeking applicants for solo and appreciation of modern art and the principles of sent to: Duncan Branley, 31 Garfield Rd., American Art. Artists must reside in Kentucky, Tilden St., NW, Ste. 5M, Box GNEWS, Washing­ Dept., 4050 Westmark Dr., Dubuque, IA 52002; group exhibitions for the 1997-98 exhibition modernism, announces its Senior Fellowship Plaistow, London, England E13 8EN; aah@ Iowa, lllinois, fudiana, Michigan, or Wisconsin. ton, DC 20008-3009; 202/686-7877; 800/228-0810 or 319/589-1000. year. All media including performance, video, Program 1997. The program supports art gold.ac.uk. Send SASE for prospectus to: ARC Regional IV, [email protected];http://www.cies.org. and film will be considered. For prospectus, historians, critics, and curators. Applicants need ARC Gallery, 1040 W. Huron, Chicago, IL 60622. Deadline: August 1, 1997. send SASE to: ARC Gallery, 1040 W. Huron, not be affiliated with educational institutions or California Museum of Photography, University Deadline: May 21,1997. museums; they may not be candidates for of California, Riverside, has a web site at http:/ / Chicago, IL 60622; 312/733-2787. Henry E. Huntington Library, Art Collections, degrees. Awards will be made for periods of up www.cmp.ucr.edu feahlring representations of Deadline: April 30, 1997. and Botanical Gardens seeks applications for Intemational Showcase 1997, the 3rd annual to 1 year; stipends will vary accordingly, with a historical and contemporary photography international SoHo group exhibition sponsored fellowships to support research in the history of Design Prize Switzerland 1997 is an interna­ maximum of $25,000. To request application: exhibitions. by Slowinski Gallery, is seeking entries in all British and American art. Awards will also be tional competition aimed at promoting new Dedalus Foundation, 555 W. 57th St., Ste. 1222, media. The exhibition -will feahtre multiple considered in the area of Continental European design. Categories: product design, textile New York, NY 10019. Deadline: Apri/l, 1997. works by each artist selected. Grand prize: art. Proposals are judged in terms of the value of design, service design, achievements, and

CAA NEWS MARCHI APRIL 1997 20 CAA NEWS MARCHI APRIL 1997 21 Morgantown, WV 26506-6031; 304/293-4013; fax Wanted: Used Etching Press. Minimum bed Information Wanted 304/293-8755; [email protected]. width 15". Please contact Anne Vaccaro, Edison JUJDIOCIISSETTES IIUlIlUlBl.E Community College; 800/922-3722, ext. 398. Exhibition Opportunities. Summer 1997 at the Recorded Live at the Col/ege Art Association's 1997 Annual Conference. Francis Chapin (1899-1965), Chicago painter. Painting Center, a nonprofit exhibition space REVISIT THE CONFERENCE! Retrospective planned for 1998. Estate seeks devoted to the support of painting, SoHo, NYC. Take advantage and have a second chance to learn from the expert presenters. Listen once again to their motivating work. Contact: Nan Chapin Arcilesi, 116 Duane Send 10 slides, c.v., SASE. We will respond addresses, or hear for the first time a compelling session that you may have missed. With so much vital information, you St., New York, NY 10007; 212/962-1541. quickly with schedule and information about won't want to miss a single session Check the listing below and order your selections today fees, space, etc. The Painting Center, Flanagan, Errata Edward Franklin Fisk (1886-1944), American 52 Greene St., New York, NY 10003. PRICING INFORMATION: All sessions are 2 tapes in length and are $20.00 per set unless noted otherwise and may realist painter from New York City. Museum be ordered individually or" PURCHASE THE COMPLETE CONFERENCE SET FOR $895.00 AND SAVE OVER 20%. seeks information on the location of any works For rent: Furnished I-bedroom aparhnent on top George Alexander Kubler's obituary ("Past Complete package comes in attractive storage albums at no extra charge. for future exhibition. Contact: Rachel Sandinsky, floor of elevator building in Rome. Panoramic CAA Greats, Kubler and Wilson," CAA News, WHEN ORDERING, PLEASE IDENTIFY PROGRAM AS #170212 University of Kentucky Art Museum, Rose SL terraces and washing machine. Walk to Vatican, January/February 1997, pages 1-3) incorrectly and Euclid Ave., Lexington, KY 40506-0241; fax shops, and subway. U.S. $900/month (includes reported that Kubler completed his doctoral 606/323-1994. heat). Long-term rental only. Available work at the Instihtte of Fine Arts in New York. 11.lurelPublic Controversy: Commemorative Monuments, 1870-1930 0310,311 Spiritual Manifestations? Or Just a Hunch? September 1,1997.617/969-8307; roberto@ Althougl{ Kubler did attend seminars at the Discussant J. Wetenhall) o 320,321 Against Commodification (not Interpretation): Strategies in Lesbian and Gay Criti- i the Image: Iconoclasm, vandalism, and Art Censorship cism Slides and biographies of artists that utilize wpi.wpLedu. Institute, he returned to Yale to complete his 0030,031 and Production in the Aestheticist Studio, 1870-1900 0330* Art History Open Session·- African American Art * (single tape - $10.00) doctorate. blood as an element in their artwork or 0040,041 Seeing is Believing 0340,341 Arlists as Readers: Texts as Contexts (Does Not Contain Speaker E. Heisler) Fresco and Scagliola Workshops. Ceri, Italy (40 performance art. Slides and information will be o 050,051 Cyberspace: Trojan Horse or Roman Holiday? A Discussion of Our Electronic Fu­ 0350,351 Beyond Course Content: Addressing the Pedagogical and Structural Imperatives km from Rome), July 31-August 20,1997. Live/ used in papers, lectures, and future publications. 1997 Conference Abstracts Corrections. CAA ture of a Culturally Inclusive Art Department Send to: Dawn Perlmutter, Dept. of Fine Arts, work in an unusual 16th-century palazzo amid would like to extend its apologies to the foll­ 0060,061 Richard Krautheimer's legacy Examined (Does Not Contain Discussant D. Hunter) 0360,361 Europe ca. 1500: Beginnings and Ends in the Visual Arts Box 526, Cheyney University of Pennsylvania, magnificent Etruscan landscape. All aspects of owing speakers whose abstracts were left out of o 070,071 Medievalism, Art, and Art History: Decadent Subversion or Renascent Conserva­ o 370,371 Crossing the Boundaries: Electric Art Within and Without Cheyney, PA 19319. these techniques covered; field trips included. the 85th Annual Conference Abstracts: tism 0380,381 Aphrodite/Amazon: Female Bodybuilding as Aesthetic Discipline (Does Not Con· Write/call for brochure: Academia Caerite, Inc., Christopher L. C. E. Whitcombe, Sweet Briar 0080,081 History, Art, and Copyright tain Speakers H. Foster and N. Gurler) 135 Greene St., New York, NY 10012; 212/473- College, and Janice G. Schimmelman, Oakland o 090,091 Past Is Another Country; Issues of Distance, Memory, and Cultural Transition in o 390,391 Examining Ihe Theoretical and Art Historical Possibilities of Everyday Aesthetics 5657; fax 212/777-7551; or 914/271-3380; fax University ("History, Art, and Copyright"); Studio Art 0400,401 Open Session ~~ Ancient Art (Does Not Conlain Speaker M. Spiro) 914/271-1238; [email protected]. Linda Safran, Department of Greek and Latin, 0100,101 The Vocation of the Artist 0410,411 Whose Story Now? The Artist as Author(ity) 0110,111 Work in Progress: Presentations by CAA Professional Development Fellowship 0420,421 Reconsidering the "End" of Pre-Columbian Art Catholic University of America ("1vIedieval Art Recipients a 430,431 Memory and Commemoration in the Late 20th Century Gay and Lesbian Caucus. For a free copy of and Ethnic Identity"). Classified Ads 0120,121 Music and the Visual Arls: Cross~CUlrents in 19th·CenturyEuropean Cullure (Does 0440,441 The Displacement of the Gods newsletter and membership application: Not Contain Discussants J. Kallberg and K. Champa) o 450,451 Open Session •• 18th·Century Art T11e CAA newsletter accepts classified ads of Jonathan Weinberg, PO Box 208272, New o 130,131 Modern Western Arl and the Art of Thought of India (Does Not Contain Discussant 0460,461 Political History and German Art, 1871~1945 (Does Not Contain Discussant B. Haven, CT 06520-8272; 203/432-2683; jonathan. a professional or semiprofessional nature. M. Robe) McCloskey) [email protected]. 0140,141 Exposing Byzantium on the Occasion of Ihe Metropolilan Exhibition 0470,471 Learning Digitally: Glossy Gadgets or 21st~Century Chalk? (Does Not Contain $1.25/word for members; $2/word for 0150,151 Determining Authenticity and Ihe Implications for Art History (Does Nol Contain Speaker L La Follette) . nonmembers; $15 minimum. All ads must Italy. Rustic Umbrian house. Wonderful views, Datebook Speaker F. O'Connor) 0480,481 Body Politics: Performativity and Poslmodernism be prepaid. quiet. Ideal for painter, writer. $750/month. 0160,161 Restructuring Foundations: Is There a Need for a Common First-Year Program? a 490* Eastern European Emigre Artists in New York City: From the Margins to the Cen­ 408/427-0340. (Does Not Conlain Discussant S. Summer) ter" (single lape - $10.00) 0170,171 Change and Continuity in Asian Arl o 500,501 Mapping Art and the Construction of Political Identity (Does Not Contain Speaker 0180,181 Architectural Prehistory: The Social Construction of Space in Early Cultures M. Facos) Paris-lIe st. Louis. Historic 1 bedroom March 21, 1997 Art Reference Books. If you wish either to 0190* Totalitarian Cullures and Their Audiences (Does Not Contain Speakers D. Crowley 0510,511 Light as Medium, Light as Vehicle overlooking Seine, equipped. Minutes to Deadline for submissions to May /June CAA purchase or sell scholarly books about and F. Dallago)* (single tape - $10.00) 0520* New Lights and Shadows on the last American Fin-de-Siecle (Does Not Conlain libraries. $3,OOO/month, inunediate. Fax 416/ News. illuminated manuscripts and related topics, o 200,201 Artist Cooperatives: Urban, Suburban, or Ghetto Speaker P. Siaiti and Discussant A. Nemerov)" (single lape - $10.00) 961-0162. 0210,211 Images of Africa in African American Art: Between Cullure Memory and Intellec­ 0530,531 Chaos, Damn It! (Does Not Conlain Speaker R. Barris) please contact us for our latest catalogue or an April IS, 1997 tualism (Does Not Conlain Discussanl M. Harris) 0540,541 Artists Who Are Critics/Critics Who Are Artists offer on your collection. Bruce Ferrini, 754 Patina and Bronze Restoration will restore or Deadline for conunents on CONFU guidelines 220,221 The Notions of Progress and Decline in Art History: Their Importance and Their 0550,551 The Politics of Rediscovery: The Monograph in Feminist Art History Kenmore Blvd., Akron, OH 44314;' 330/753-2302; o patina your bronze sculpture. Weil Studio: 516/ Function 0560* Women and Museums * (single tape - $10.00) [email protected]. 323-3851; [email protected]. May 2, 1997 0230,231 Arl Minus Hype: American Art in the 1980s 0570,571 Spain Before "Spain": Cullural Diversity and the Nature of "Spanish" Art Before Deadline for submissions to May Careers. 0240,241 The Potential of Art Imagery for Blind and Visually Impaired Audiences 1492 Art Workshop International, Assisi, Italy. June Robert Beverly Hale on Videotape. Hale's 0250,251 Publishing in the Fine Arts: Bookmaking 0580,581 "The Golden Age Is Not in the Past, It is in the Future": Decadence, Renewal, and 18-July 29, 1997. Live/work in a 12th-century 0260,261 Tourism and the Emergence of Modernism, 1800-1945 Social Activism in Art at the Millennium famous series of 10 original demonstration May 8, 1997 hill town surrounded by the Umbrian land­ o 270,271 Electronic Arts and the Concept of Gesamtkunstwerk (Total Artwork) 0590,591 Removing Ihe Walls, Expanding the Arts: The Future Role of the Artist lectures on artistic anatomy and figure dravvings Humanities on the Hill Day scape. Instructional courses: painting, drawing, 0280,281 Doing(s) in Art History, Criticism, Museum Studies, and the Studio Arts 0600,601 The Roots of Decadence: Mortality and Morbidity in Pre-Raphaelite Art given at the Art Students League, New York 290,291 Teaching Art in Community~Based Programs 0610,611 Visualizing History in Contemporary Native North American Art art making, all media; art history and creative May 10, 1997 o (1976). 14 hours of instruction. JoAn Pictures, 300,301 Consuming Art in an Age of Corporate Decadence 620,621 Curricular Development and Its Relationship to Community Service writing. Independent program for professional/ Deadline for submission of papers to panel o o Ltd., Box 6020 FOR, New York, NY 10150; 212/ 0630,631 Interpreting Titian: Feminist Art History and Philosophies of Art advanced painters/writers. 4, 5, 6 week sessions. chairs for 1998 Annual Conference in Toronto 532-5003. Housing, most meals, shtdio space, critiques, OROE.., lectures, visiting artists. Art Workshop, 463 West Rome Rental. Fully furnished apartment living, ,ri, --iii BY PHONE: With your credit card, please •. BY MAIL, Complete this form, enclose BY FAX, FAX your order form with credit St., 1028 H, New York, NY 10014; 800/835-7454; -0 dining. 2 bedrooms central location near stores, ., call: (SOO) 747-S069; (SlS) 957-0S74· S:30- ".. payment to: Audio Archives Int'I,lnc., ::: ;-i.~~_ card information to: (81S) 957-0876 - 24 http/ /www. vacation-inc.artwurkshop.hhnl. buses, subway. Available July 1997. Security _ _ 4:00 Pacific Time, Monday - Friday 3043 Foothill Blvd., Ste. 2, La --~,-.. hours/day; 7 days/week deposit/references required. 508/877-2139. Crescenta CA 91214 Books on the Fine Arts. We vvish to purchase MAIL OROER FORM - COLLEGE ART ASSOCIATION ' scholarly o.p. books on Western European art All ta~s are (overed by a lifetime guarantee - Defective tapes will be replaced free..ol-charge * fREE CASSHfE STORAGE ALBUM WITH EACH 6 TAPE PURCHASE * All returned tapes after 30 days 1ubjetlto 15% Rome Rental. Fully furnished one bedroom, and architecture; also review copies. Andrew D. EIK, living room, washer, convenient to center, reswdcing fee * We accept VISA, MasterCard, American Expreu, and personal or company checks payable 10 AUDIO ARCHIVES INTERNATIONAL INC. Washton Books, 411 E. 83rd St., New York ,NY American Academy, transportation, shopping. All PRICfI ARE IN U.S. FUNDS 10028; 212/481-0479; fax 212/861-0588. o Ch.ck Enclosed 0 VISA 0 Mast.ICard 0 Am.rican Express Exp. Dat. ____ Available from June. $950/month plus utilities. __Tot~ ·S.lections at $1 0.00 ...... $____ _ Account Number ______Etching and Monoprinting Course in Florence, 718/756-5896. __Total S.lections at $20.00 ...... $____ _ Italy, July 1-23, 1997, with internationally Signature ______Southern France. Painting the dream vacation __Special S.t Packages at $895.00 ...... $____ _ recognized printmaker Sergio Soave. Graduate you'll never forget. 10-day workshop. Extraordi­ Ship to: Nam. ______or undergraduate credit. For information and __Additional 6 tap. storage albums at $4.00 each ...... $____ _ nary medieval home, all levels. 707/823-9663. Company ______application: Extension Service Office, 830 Knapp __Additional 12 tap. storage albums at $6.00 each ...... $____ _ Hall, West Virginia University, PO Box 6031, Address ______Mailing & Handling Per Order...... $_-'$"'4."'OOL-_ City/Stat.lZip ______•• , • foreign Mail/Hand. - ADD $lJtap' to $75 max ...... $____ _ Day tim. Phone Number______AMOUNT DUE ...... ,...... $, ____ 22 CAA NEWS MARCHI APRIL 1997