Tableau

THE DIVISION OF THE HUMANITIES AT THE UNIVERSITY OF CHICAGO

AUTUMN 2006 | WINTER 2007

IN THIS ISSUE | HUMANITIES DAY ’06 | EXCELLENCE IN THE WORLD | ART ON THE SOUTH SIDE Editor’s Corner

riting this note to you in September The range of intellectual programs created by our achieved an elegant design with ample flexibility for I am full of expectation for the debut faculty, our various commitments to community proj- adding news of current projects and programs as they Wof the Division of the Humanities’ ects, and the services provided by the Division have are launched. I hope the calendar of events will be Web site (http://humanities.uchicago.edu/). Since also grown, due to a larger staff and better funding of special interest to our alumni, as it gathers notices November 2005 we have been reflecting on how best from institutional, public, and private sources to sup- of lectures, concerts, exhibitions, and performances to clarify and deepen the narrative of our scholarship port major capital and research projects. from many of our departments. The calendar should and creativity, to share this rich story with a wider Together with presenting our scholarship in a clear provide many reasons for planning a return to campus. audience, and to introduce state-of-the-art design and and welcoming fashion, we wanted the site to cele- Do stop in and say hello! technology. Much has changed within the Humanities brate the unique and compelling reasons for studying since the previous site was designed in 2001. At that at Chicago. To help us achieve these aims, we selected Joanne M. Berens time, prospective students based their first impressions Studio Blue as our designer after reviewing over ninety Editor of Tableau of the University of Chicago on paper brochures and firms. Studio Blue, a Chicago firm established in 1993, Director of Communications submitted paper applications; now these students works exclusively with educational and cultural insti- Division of the Humanities exclusively use the Web site as their gateway to depart- tutions, including the Art Institute of Chicago, the mental sites and the online application procedures. School of the Art Institute, and our Law School. They

contents

1 LETTER FROM THE DEAN FEATURES ON CAMPUS 6 New Leadership in the Arts 16 Honor Roll 2 HERE & NOW Interview with the Directors of Court 19 Alumni Publications Humanities Day, Summer, Inc., Theatre and the David and Castrato as Myth, DEASC Alfred Smart Museum 14 IN MEMORIAM Celebrates Ten Years, A Nonprofit By Kristian C. J. Kerr, English Gwin Kolb, AM 1946, PhD ‘49 Primer, Drawing in Contemporary Art Doctoral Student Joseph O’Gara 8 The Center for Creative and Tikva Frymer-Kensky 7 DONOR PROFILE Performing Arts Placing Excellence in the World: A New Home for the Arts at the 20 PALIMPSEST The Neubauer Family University of Chicago Art and the Art of Scholarship at Presidential Fellowships 10 South Side Story the University of Chicago By Joanne M. Berens, MFA 1993, New Faces and Places for the Arts By David M. Thompson, PhD 1997, Editor of Tableau By Jennifer Carnig, AMRS 2004, and Associate Dean for Planning & Programs Joanne M. Berens, MFA 1993 21 HAPPENINGS

Tableau, Autumn 2006/Winter 2007, Volume 8, Number 2—Tableau is published biannually with Division of the Humanities funds for our alumni and friends. Editor: Joanne M. Berens, MFA 1993; Copy Editor: Kristian C. J. Kerr; English Doctoral Student. To Contact Tableau: The University of Chicago, Division of the Humanities, 1115 East 58th Street, Chicago, Illinois 60637, [email protected] FROM THE DEAN 1

involved in the worlds of contemporary art (visual, musical, theatrical, and textual), whether as practi- tioners, curators, or critics. The versatility of our faculty gives artists an opportunity to work side-by- side with colleagues in their respective departments who devote all of their time to scholarship, and also with scholars who bridge theory and practice. Thomas Pavel, knighted by the French government for his work on the novel, is also a published novelist in France. dear alumni Jennifer Scappettone, a junior scholar of modernism in the English Department, is also an actively pub- and friends lishing poet. And last year Cinema and Media Studies sponsored a lecture by painter William Kentridge in a packed Max Palevsky Theater that got rave reviews LAST SPRING I WROTE TO SAY that in the from scholars and MFA students alike. Humanities art is in the mix now too. This raises a In some cases, the only road to completion of a critical question. How do our arts programs connect scholarly investigation passes through art-making. to our master’s and doctoral programs in the world’s Philip Bohlman, the Mary Werkman Professor of linguistic, literary, and cultural traditions? Music, has been researching midcentury Jewish &After all, although we have had an MFA program cabaret music as well as music written in concen- in visual arts for over three decades and have offered tration camps, and has made significant archival a PhD in music composition since 1933, the Division discoveries. But how to understand the music com- of the Humanities at the University of Chicago is most pletely without ever hearing it? Bohlman started famous as the national leader in critical investigation a cabaret ensemble, the New Budapest Orpheum of the world’s cultural traditions. Our journals, Classical Society, a revival of the longest-running Jewish Philology, Modern Philology, and Critical Inquiry, all cabaret in Vienna, which existed from the 1880s represent scholarly firsts and consistently set the through the end of World War I. They are excellent. standard for humanistic research. Moreover, of the In addition to traveling around the world to lecture, country’s top graduate programs, only the University of Bohlman now also leads his cabaret ensemble for Chicago and Berkeley (not Harvard, not Princeton, not performances in major cities, for instance at the Yale) preserve a commitment to study the humanities Neue Galerie in New York. comprehensively. Our twenty-one degree-granting In this issue you will find stories that underscore programs include “core” programs (that is, those which my central point: at the University of Chicago, where every major institution offers: Art History, Classics, we tackle big problems, we never expect a single Comparative Literature, English, Germanics, Music, disciplinary perspective to solve things entirely on Philosophy, and Romance), as well as “common” its own. Our visual artists, musicians, thespians, programs (those which a majority of major institutions and writers therefore often find themselves working offer: East Asian, Near Eastern, Slavic, and South together to solve problems, whether they are aes- Asian literatures, as well as Linguistics and Visual thetic, technical, critical or even ethical, social, or Arts), and we also mount a remarkable number of new hermeneutic. They work equally well with scholars or interdisciplinary doctoral programs (for instance, —from literary critics to philosophers, from historians Cinema and Media Studies and Jewish Studies). of art and culture to scientists at Argonne National The short answer to how art and scholarship Laboratory. And vice versa. Scholarship is enriched mix is that we hire faculty who merge criticism and through engagement with making. ■ creativity in their own work and thought. There are presently twelve faculty in the Division with arts Sincerely, appointments (three in musical composition, seven in the visual arts, and two in creative writing); we are also lucky to have a remarkable group of lecturers and artists-in-residence. These faculty artists pursue creative projects that fit well with the demands of theory and criticism. For example, the artist Tania Bruguera is at work on a scholarly project about the history of performance art. In addition to these twelve arts faculty, another twenty-eight of the Division’s 170 faculty are actively 2 HERE & NOW

Humanities Day Keynote

Michael Murrin shared his interest in the genres of romance and epic in his keynote address entitled “The Marvelous Real: Marco Polo’s Legacy to European Romance.” Murrin argued that Marco here &now Polo and the other travelers who wrote about the wonders of Asia had a profound and long-lasting effect on European romancers, from popular story- books to the temptations Milton described in Humanities Day Honors Annette Cronin Paradise Lost. He described how European writers still wrote about the land of wonders they imagined For twenty-six years the Division of the Humanities has showcased the wide variety of intellectual in the East long after the Silk Road became inacces- and artistic expression practiced by our faculty at our own Humanities Day (formerly sible—this very inaccessibility would fix the East for centuries to come as a sort known as Humanities Open House). This year, that variety was brought to the fore of spectacular memory. by using the Silk Road as a starting point for considering the larger themes of Michael Murrin is the exploration and cultural exchange. Over thirty-five speakers delivered lecturers, Raymond W. and Martha gave readings, led campus tours, and discussed films throughout Hyde Hilpert Gruner Distinguished Service Professor of English, Park on Saturday, 28 October 2006. Comparative Literature, the Divinity School, and By Stephen Lund, AB 2001 the College. Murrin is also a 2006 inductee into the Humanities Day has long with Michael Murrin’s keynote American Academy of Arts been a part of the Division address, Humanities Day guests also and Sciences. An independent since 1979 when Dean Karl heard doctoral candidate Ilya Yakubo- policy research center, the acad- J. Weintraub, AB ’49, AM ’52, Avich, AM ’03, speak on pre-Islamic emy undertakes studies of complex PhD ’57, inaugurated the day-long marriage rituals across Central Asia and Donald and emerging problems. Its current forum along with Annette Cronin, AM ’88, Harper on occult manuscripts found on the Silk Road. membership includes 170 then Director of the University’s Office of Special Shifting to today’s global culture, Salikoko Mufwene, Nobel laureates and fifty Events, as a way to put the Division’s scholarship on PhD 1979, used the day’s theme to address present-day Pulitzer Prize winners, with display for the public. Mrs. Cronin passed away last language endangerment, while Rochona Majumdar, current research focusing on year at the age of seventy-one, and this year’s event PhD ’03, spoke on the diasporic cinema of “Bollywood.” science and global security, was dedicated to her memory. Her ability to organize Other presentations included Robert Kendrick’s social policy, the humanities discussion of music as depicted in the paintings of and execute large and complicated events, combined and culture, and education. ■ Vermeer, a reading by Mark Slouka, Chair of Creative with her love of the arts as a painter and pianist in

Writing, and from linguist Chris Kennedy, a detailed her own right, was instrumental to the success of Michael Murrin discourse on vagueness. our annual celebration in its earliest years.

PROGRAMS An Experiment in Experiments

By Heidi Coleman

niversity Theater is very happy to announce the inauguration of a summer performance residency program, Summer UInc., designed to promote and develop the creation of new work by providing rehearsal and performance facilities as well as staff and technical support. Our first season was held in summer 2006. During two- to three-week residencies with seven Chicago companies, we fostered a synergetic labo- ratory environment, creating work that will lead to subsequent productions. This year’s groups included TABLEAU 3

SCHOLARSHIP The Castrato as Myth

By Kristian C.J. Kerr, Doctoral Student of English

he scholarship of Martha Feldman, Profes- sor in Music and the College, posits a “dialectical view of the relationship bet- Tween music and culture, not seeing culture apart from the object of music.” This approach — which she brought to her work on Italian opera seria and the changing position of the courtesan as both sign and casualty of historical change—now takes the castrato as its object. She has received numerous fellowships to support her new research, including a Guggenheim Fellowship. “Castrati are endlessly fascinating. They combine 500 Clown, Big Picture Group, Clunk Clown Theater, interdisciplinary collaborations. We are very proud human intervention and natural development, art and Hermit Arts, Opera Cri Dernier, The Shared Ensemble, that two groups, Clunk and Opera Cri Dernier, nature, and the best castrati were the most compell- and Xunesis. represent Chicago’s alumni and current graduate ing singers of their time,” Feldman said. The liminal The Summer Inc. program began out of a desire students. UT’s Summer Drama Workshop final per- and contradictory status of castrati, singing masses to extend University Theater’s nurturing environment formance, which evolved from our six-week session and motets for a church that forbade castration, being to Chicago’s professional performance community. where students age nine to fifteen explore acting, at once objects of desire and repugnance to their Recognizing the importance of hospitality, particularly movement, and technical theater with professional court and operatic audiences, in Feldman’s words, in a moment when the arts are faced with acute teaching artists and Chicago students was included “mediates between fantasies and fears, between economic challenges, when basic expenses make in our performance schedule for Summer Inc., com- a stable self and an alien other.” the creation of new work more of a conceptual wish pleting the diversity of performance. than a pragmatic reality, UC Summer Inc. invited seven The experience for students, for staff, and for companies into our artistic home. Groups typically artists exceeded all of our dreams. Many of the pieces rehearsed eight to ten hours a day, maximizing their developed already have performance dates set for time during each residency. Our theater’s resources the current year, and what began as an experiment were tested as we supported work involving trampo- in experiments has become an anticipated event lines, collapsing scaffolding, and live-feed cameras as we have begun accepting proposals for Summer broadcasting to fifteen video monitors. Happily, the Inc. 2007. extension of our laboratory approach to the arts, con- ducting creative experiments that realize theoretical EDITOR’S NOTE ideas in a three-dimensional reality, combined with University Theater, a co-curricular entity that combines Hyde Park’s restful setting during the summer months, the largest campus student group with a dynamic generated a phenomenally successful experience. theater program offered under Interdisciplinary The seven groups represent the city’s artistic Studies in the Humanities, attracts close to five- The ambiguous social position of castrati, origi- boldness, which was demonstrated through their hundred students in all disciplines through produc- nally tolerated in early Europe, was gradually effaced. summer projects of solo performance, clown adap- tions and courses. Consistent with the mission of “The castrato, once a delightful wonder, mechanically tations, and multimedia work. All of the new work ownership and opportunity, students play pivotal invented and enhanced by artful man, became an developed reflected the University’s commitment to roles in artistic decisions and production support unnatural horror by the turn of the nineteenth century.” for more than thirty-five productions a year. Heidi Feldman describes her project as investigating the Coleman has been Director since 2001 and Director of “underlying cultural logics” that accommodated these Undergraduate Studies for Theater and Performance contradictions, and ultimately led to their rejection. Studies since 2003. Together with Summer Inc., she Once normative codes of heterosexuality and the has focused UT’s School Partnership Program, in nuclear family began to take hold, and morality and which students teach drama in neighborhood schools; verisimilitude became concerns in performance, the increased the number of theater courses; initiated a castrato was edged out of the cultural spotlight. Sum- New Work Week, showcasing student-written work ming up the greater cultural resonance of the project, for performance; and introduced a workshop series Feldman said that castrati, “far from being isolated that brings together students, faculty, and guest oddities on a larger cultural canvas, are taken here to artists, including members of Steppenwolf Theatre index major transformations in the cultural premises and Court Theatre. ■ and apparatus of the old regime as it gave way to new To learn more: visit http://ut.uchicago.edu. forms of mystique focused on human integrity.” ■ 4 HERE & NOW

here &now

“The University of Chicago can be an intimidating This August we embarked on a new partnership place, and Terri and Yolanda helped me understand with the University’s Graham School of General that I was joining a community where the pursuit of knowledge did not have to be solitary nor ruthlessly Studies to offer classes and workshops that competitive.” Because DEASC included students at enhance professional development opportunities all stages of their graduate careers, members shared information about negotiating the progress toward the for the board and staff of local arts groups. degree. Advanced members also schooled younger ones in such things as teaching, organizing confer- To this end, the CKP is offering services to this ences, and participating in workshops. Outar singles large and diverse group of organizations through a out DEASC’s 1998 conference on race and pedagogy program called Enhancing Assets. The goal is to help —which brought together teachers and scholars from organizations develop strategic plans that will sustain a range of Chicago-area institutions — as a moment and strengthen their mission and to encourage bud- STUDENTS that modeled professionalism. ding arts projects to achieve nonprofit status. This DEASC members have enjoyed success on the August we embarked on a new partnership with the DEASC Celebrates job market, obtaining tenure-track positions at such University’s Graham School of General Studies to offer Ten Years institutions as Brandeis, Brown, Chicago, George classes and workshops that enhance professional Washington, Illinois, Michigan, Northwestern, development opportunities for the board and staff of By William Orchard, AM 2002, PhD ‘06 Pennsylvania, Stanford, St. John’s, and Yale; and local arts groups. Five courses were offered, including have published in leading academic journals. As a Nonprofit Leadership Roundtable and the Funda- his year, the Department of English Asso- Warren notes, “In terms of the English Department’s mentals of Fundraising. Instructors hail from within ciation of Students of Color (DEASC, goals of producing scholars of the first rank who the University and from area nonprofit and consult- pronounced “desk”) celebrates its tenth significantly affect the work of the field, DEASC has ing organizations. Elizabeth Milnikel, Director of the Tanniversary. DEASC’s founding members been a big part of our success. Many of the most Law School’s Clinic on Entrepreneurship, taught two —Jee An, PhD ‘03; Pat Chu, AM 1990, PhD ’97; successful students leaving the department in the classes and William Rattner, Executive Director of Ajanae Edwards, PhD ‘03; Terri Francis, AM ’95, last decade have been DEASC members.” ■ Lawyers for the Creative Arts, taught Legal Basics PhD ‘04; Rolland Murray, AM ’95, PhD ‘00; Yolanda for Nonprofits. Another exciting development is the Padilla, PhD ‘04; Xiomara Santamarina, PhD ’98; and Graham School’s support of our program through Jacqueline Stewart, PhD ’99 — all shared a critical tuition remission for their existing nonprofit manage- NEIGHBORHOOD interest in race and literature. This group quickly ment courses and some financial courses. Qualifying turned its critical eye on the English Department as A Nonprofit Primer group members received a 50 percent tuition reduction; the members reflected on how race shaped their CKP offers another 25 percent scholarship through a experiences as graduate students and their profes- New Courses Sustain generous grant from the Chicago Community Trust. In sional futures. DEASC posed hard questions about the Arts on the South Side total, these courses provide both basic and advanced the department’s strategies for recruiting and retain- material on a variety of essential subjects and further ing students of color. According to Kenneth Warren, By Elizabeth Babcock, AM 2004 one of our central aims: to influence positively the the Fairfax M. Cone Distinguished Service Professor broader landscape of art, culture, and the humanities of English and Deputy Provost for Minority Affairs 2004 mapping of city social service, on the South Side of Chicago. ■ and Research, “the kinds of discussions that faculty health, arts, and cultural resources To learn more: http://grahamschool.uchicago.edu regularly had about recruitment changed significantly gave the Civic Knowledge Project /has/subprogram.cfm?subprogramid=532& after the formation of DEASC.” (CKP) key insights into the arts com- A forcredit=0 DEASC’s formation signaled that there was a critical munity on the South Side of Chicago. More arts mass of students of color in the department. In 1996, groups existed than we would have first imagined the year of DEASC’s founding, the National Research (in August 2004, there were just over two hundred). Council reported that students of color accounted for However, many were run through private homes or slightly less than 10 percent of doctorates awarded in the offices of more established organizations, English and American literature. DEASC centered much many did not yet have nonprofit status, and of its energy on recruiting students. Lisa Outar, AM ‘02, few lasted more than two years. As the one of the first recruited by DEASC, regarded her con- office in the Division of the Humanities versations with DEASC members Francis and Padilla designated to enrich community connections, as crucial in her decision to enroll at the University: we recognized immediately the need for support. TABLEAU 5

use of this rich collection, and the museum regularly EXHIBITIONS features prints, drawings, photographs, and paintings on paper and silk in special exhibitions and in the Drawing as Process in Contemporary Art Bernstein Gallery for Works on Paper. Now the museum is also integrating additional small displays of works Since at least the Renaissance, drawing has been a familiar part of the creative process in Western on paper into all of its permanent collection galleries. art. Traditionally, printmakers, painters, and sculptors might dash off sketches to practice technique, Because works on paper are especially light-sensitive, keep notebooks as a way to gather and organize ideas, or draft formal renderings. Today the styles, these displays change frequently: every four months you will find new works in the galleries, ranging from materials, and forms of art have expanded, and drawing has become a vital and self-sufficient art midcentury prints and quirky sketchbooks from the form. However, artists continue to use drawing to brainstorm and experiment. museum’s H.C. Westermann Study Collection to col- lages by the modern master Joseph Cornell to exquisite By Stephanie Smith, Director of Collections and Exhibitions, and Curator of Contemporary Art at the Smart Museum Asian scroll paintings. These focused presentations highlight special loans from private collections and rganized as a series of case studies Other uses of drawing can be found throughout the the museum’s own strengths in modern, contemporary, of artists with connections to the Smart Museum this year, including a wonderfully and Asian art. ■ David and Alfred Smart Museum’s dense “salon-style” presentation of drawings from Ocollections and commissions, 1800 to the present, curated by museum interns and The exhibition builds on the museum’s ongoing Drawing as Process in Contemporary Art (on view Art History PhD candidates Irene Backus and Dawna series of projects that integrate practicing through January 14) offers rich opportunities for Schuld (on view through autumn quarter). This display artists into the University of Chicago’s campus behind-the-scenes examination of the working is part of a broader program to bring visibility to an processes of some of today’s leading artists: Mark important aspect of the Smart Museum’s collection: through residencies, commissions, and Dion, Julia Fish, Carol Jackson, Kerry James Marshall, works on paper. University classes make extensive educational programs. Richard Rezac, Erwin Wurm, and Zhang Huan. The exhibition builds on the museum’s ongoing series of projects that integrate practicing artists into the University of Chicago’s campus through residencies, commissions, and educational programs. In this case, the result was a multilayered collaboration that linked the exhibition, a University course, and the Depart- ment of Visual Art’s (DOVA) visiting artist program. Painter David Schutter, MFA 2003, returned from a Humboldt Fellowship in Berlin to teach an advanced drawing course in conjunction with the exhibition. The course seeks to expand students’ understanding of drawing as medium and to situate drawing within a larger field of contemporary art. Students in Schutter’s autumn quarter course used the works on view at the museum as a resource and had a special opportunity to learn about drawing from two of the exhibiting artists. Mark Dion and Julia Fish each led several classes, giving students intimate access to these artists and their very different approaches to drawing. As DOVA visiting artists, Dion and Fish also gave public talks and critiqued works in progress by MFA students. Through this integrated, collaborative effort, the Smart Museum and Visual Arts are expanding opportunities for students to learn through direct contact with original works of contemporary art and through close interaction with the professional artists who made them.

FROM THE EXHIBITION

Near right: Zhang Huan, Study for his performance piece, My New York, which is documented in the photograph. Far right: Kerry James Marshall, Study for his painting Slow Dance, seen above. All images courtesy of the Smart Museum of Art. 6 FEATURES

CLOSE IN PHYSICAL PROXIMITY AND IN THEIR MISSION to enliven the cultural life of the University by bringing new work, people, and ideas to the campus and projecting the University’s own work to new audiences, the Court Theatre and the David and Alfred Smart Museum of Art both welcomed new directors in 2005. At their one-year anniversary, we engaged Dawn Helsing, Court’s Executive Director, and Anthony Hirschel, the Dana Feitler Director of the Smart, on the relationship between their institutions and the University, their interaction with the wider community, and their aspirations. The discussion reflected the vibrancy of collaboration in both its form and content.

by Kristian C. J. Kerr, Doctoral Student of English New Leadership in the Arts

Giving Scholarship Tangible Forms schools.” Hirschel’s view is echoed by Helsing’s Dreaming Together conception of a dialogue between the University Helsing and Hirschel speak of the synergy, interdisci- and the community: “Professional arts on campus Future projects at the theater and the museum promise plinarity, and excitement that characterizes the rela- serve as a natural open door for people to access to continue in equally collaborative and creative veins. tionship between the University and its professional the University who wouldn’t necessarily feel that “For theaters, one of the things that excites us is to arts organizations. The benefits are mutual. Helsing there was a place for them on campus. At Court we birth something new,” declares Helsing. Combining believes that Court has always done “theater that view the whole process as a dialogue. How much this sentiment with the Court’s mission to stage clas- you want to bring your heart and mind to.” Being part more rich it is if we open the doors to everyone.” sics, the theater has recently received funding from of the University has helped Court cultivate an intel- Helsing observed that the type the Barbara E. and Richard lectually curious audience, allowing the theater to of dialogue that Court encour- J. Franke Foundation to stage productions that might not necessarily achieve ages helps people understand begin commissioning adap- gmainstream success. The University’s proximity also tations and translations of experiences that are not part demands that classics are viewed through new schol- of their own. classic texts that will bring arship, which enlightens the text in the same way as Each institution runs pro- important stories into the the production enlivens thought. For Helsing, “the grams in partnership with South canon of dramatic literature. aliveness of the performance adds a certain element Side schools. The Court works Hirschel is committed to of danger and unpredictability. I think there is an ele- in classrooms at six high cultivating links with local ment of excitement when you incubate something in schools, brings students to spe- and international art institu- the rehearsal hall for weeks and then suddenly a live cial matinee performances at tions through projects that audience is there responding to it in the moment… the theater, and runs after- range from China to Germany It’s an experience that’s happening right there and school ensembles with the help to Scotland. Closer to home, then, so it enlivens not only the play, but all of the of University Theater students. he describes with great verve previous scholarly work about the play.” The Smart Explorers Program an upcoming exhibition of Hirschel observed that confronting a real object in brings fourth and fifth graders Islamic art to be presented in a museum rather than a canonical idea can be a great on museum visits, and, after conjunction with Yo-Yo Ma’s challenge, as well as immensely satisfying: “For me, Silk Road Chicago project university art museums are the places that the kinds further work in (www.silkroadchicago.org). of research that go on at a university, the kinds of the classroom, Participants will include faculty in Music, History, and energy that students bring into the conversation, get holds a presen- Near Eastern Languages and Civilizations, as well as a tangible form.” One way the Smart benefits from tation night on the Oriental Institute and the Art Institute of Chicago. this thought and energy is by encouraging academics which each Both Helsing and Hirschel talk animatedly about to organize exhibitions based upon their current child serves as the growing visibility and richness of the arts on scholarship. Hirschel sees professional cultural insti- docent for their campus and enhancing the accessibility of their tutions on campus as providing opportunities for favorite work institutions. Hirschel speaks of the museum har- faculty to reach an audience broader than those in of art. Entire nessing technology to make the entire collection their immediate fields, fostering interdisciplinarity families come, available online as a complement and contrast to across departments, and evidencing the University’s Hirschel says, selective curatorial displays. Helsing talks about work to the world beyond the quadrangles. “families who’ve lived in the neighborhood all their opening rehearsals to the public in order to let people lives have never been on the University campus, watch art being made. Helsing concluded that “one An Open Door to Dialogue have never had anything to do with us before… The of the ways in which Court and Smart have started “What you do for the university and what you do work the Court and Smart do with children develops to dream together is how we can imagine the foot- for the community does not represent a bifurcated in them a lasting interest that goes far beyond any print of our buildings, how we can combine what we mission,” Hirschel continued, “it’s a continuum. Every- individual program, and it creates a whole new need and want in a public forum for conversation, thing we do at the most rarified intellectual level avenue for expression, for thinking about the rest interaction, and integration and to create that amaz- informs the programs that we do for children in the of their lives.” ing place that screams ‘art is happening here!’” ■ DONOR PROFILE 7

JN: We talked about what we wanted to do for students in the Division of the Humanities. We wanted to do it at the highest level and we didn’t particularly care which part of the Humanities benefited––we let the experts here decide, because we know what we don’t know. The University of Chicago has to be competitive in attracting the best students, and the Neubauer fellowships can make that happen.

JLN: Supporting the education of humanists helps change our world for the better. When the world is in turmoil politically and economically, it is important that every individual knows how to think, knows how to research, knows how to differentiate that which is of value. There are new forms of communication today, such as blogging and people adding entries in online encyclopedias and correcting one another’s mistakes. All these enterprises can be driven towards good by people who take foundational ideas seriously.

JN: Absolutely. It is not just about what is new but about inter- connections. The other thing that we like about the quality of the students in the Humanities Division is how many are international. We are horrified that there are fewer foreign students coming Placing Excellence in the World to American universities, and I think that is a real loss of human capital for the country. Knowing that many of these students may The Neubauer Family Presidential Fellowships not be able to get loans and fellowships is another reason that providing fellowships is very important to us. One of the hallmarks Joseph Neubauer, MBA 1965, has said, “you’ll never see our name on a building,” of the University of Chicago is that foreign students study here in referring to over a decade of supporting the University of Chicago. Instead, he and and then take knowledge back to their home countries. Another thing to understand is that we stay very close to the projects we his wife Jeanette Lerman-Neubauer donated five million dollars to the Division of the support, so we come and spend a day here, every year, to be with Humanities to support graduate fellowships through the Neubauer Family Foundation. the students. That’s our reward.

JLN: It is a day of stimulating talking and thinking. With the t was an auspicious gift for us. Only a third of our endowed Humanities students, it’s fun. They have not really met each funds are dedicated to student aid, and the need to attract other until we come because they are in separate departments. “Our gifts must Ithe best students is great. Their Presidential Fellowships, In the course of hearing them describe what they are doing, one of the University’s most prestigious honors, provide tuition, other Neubauer scholars discover a point of reference that is benefit people. a generous stipend, a summer stipend, and health insurance for applicable to their work. We came to realize in meeting the We look for those the first five years of study. Since 2002 the fellowships have Neubauer fellows how today’s students connect their scholarly helped us attract two of the most promising young humanist endeavors to the real world much more than when either of fulcrum points scholars to the University each year. This year, the number of us were in school. That activist thread is highly appealing. Neubauer Presidential fellows has grown to ten. We wanted where change to learn more about the Neubauers’ philosophy of giving and JN: Both of us believe in investment in the quality of people. had an opportunity talk with them in early June during a visit Being average is not good enough for us. We need the limit can be effected.” to Chicago. — the Editor to be the horizon and what better place to do that than at the University of Chicago. This principle applies to business; JOSEPH NEUBAUER: Everything Jeanette and I have in life, it applies to the humanities. It is important to have scholars we owe to our education. I got a scholarship to the University trained to provide leadership, to set standards of excellence of Chicago’s Business School, and it was an unbelievable expe- around the world. rience that shaped my life. That is why so much of our philan- thropy is about furthering education. JLN: The notion of connecting scholarship to real life and of getting people engaged and speaking to one another is a form JEANETTE LERMAN-NEUBAUER: Chicago gambled on Joe. of democracy. One of the things that appealed to us about We like to reciprocate. Our gifts must benefit people. We look humanities scholars is that excellence in the humanities is the for those fulcrum points where change can be effected. Having ability to express oneself eloquently. By definition humanists a foundation in the humanities gives you a base on which to do demystify a sense of otherness that comes between communi- something significant. A grounding in philosophy and ethics, for ties. Humanists help create pathways for people to exchange example, is needed no matter what field an individual enters, ideas, and out of those exchanges comes the next wonderful whether it is politics or the sciences. humanistic tradition. ■ Photograph by Dan Dry 8 FEATURES

A New Home for the Arts The Center for Creative at the University of Chicago and Performing Arts

IN MAY OF THIS YEAR the University commenced a competition to select an architect to develop a design for the proposed Center for the Creative and Perform- ing Arts. The construction of such a center was one of the goals set forth in “The Future of the Arts at the University of Chicago,” a report prepared in 2001 by a study Cgroup of faculty, staff, and students convened by then-Provost Geoffrey Stone. (A copy of this report is available at http://www.uchicago.edu/artscouncil/.) “The Future of the Arts” recommended that the University construct a facility where students and faculty in music, cinema studies, theater, photography, painting, filmmaking, per- formance, computer animation, installation, and other media will be able to pursue their ideas in a space that supports experimentation, encourages interaction, and attracts as students the pioneering artists of the future.

Idris Goodwin performing In the first stage of the competition, the University York, Morphosis of Los Angeles, Fumihiko Maki and I Have an Agenda. assembled a selection committee composed of members Associates of Tokyo, and Tod Williams Billie Tsien of the Board of Trustees, deans of the College and the Architects of New York. These firms visited campus Division of the Humanities, and several representatives in September for a day of immersion in the culture of the Provost’s Office, Facilities Services, and Develop- of the University, which included tours of campus and ment and Alumni Relations. The committee considered the building site that surrounds the historic Lorado the work of more than sixty internationally acclaimed Taft Midway Studios and Department of Visual Arts architecture firms with demonstrable success in the facilities. The architects discussed the scope of the areas of performing art centers, theaters, museums, planned center with arts faculty and students, deans, expansions to existing cultural buildings, and aca- and senior administrators, and they will return later demic arts facilities. The committee narrowed the in the autumn to present their proposals. A jury field to a group of twenty-six firms, which all received composed of University trustees, faculty, and senior invitations to participate in the competition. Over the administrators will deliberate and select a winning summer five finalists were selected. architect, with an expected announcement in late The firms that have been invited to participate in January. the final phase of the competition are Hans Hollein Please visit the Humanities Web site for more of Vienna, Austria, Studio Daniel Libeskind of New information at http://humanities.uchicago.edu/. TABLEAU 9

Left: Graduate student critiques occur at the end of each quarter in Midway Studios.

Below: A student musical ensemble and the site of the future arts center.

The University asked the architects invited to participate in the competition to devote serious attention to the nature of creativity and artistic col- laboration and to how a space can be configured so as to stimulate and nurture them. At Chicago, an art center should not be a mere performance space that sits dormant whenever audiences are not present, but rather a vibrant laboratory of exper- imentation and conversation. In 1925 President of the University Ernest Dewitt Burton foresaw the

eventual construction of an arts building as a sign that the University had moved into the next phase of its development. “A new university rarely gives first place to the fine arts,” Burton wrote, “Mathematics, history, and the physical sciences come before music and painting.” Burton expressed the hope that very soon, however, the University would move beyond what he called its “materialist period.” He wrote that “idealism flourishes on the shores of Lake Michigan as in few other places in America. The time is near at hand when that spirit ought to find fuller and richer expression in the University.” The Center for the Creative and Performing Arts architect competition currently underway is the Uni- versity’s most substantial step in over half a century toward finding this fuller and richer expression. ■ 1012 FEATURESSOUTH SIDE STORY

South Side Story TABLEAU 1113

The stars have aligned for the arts on the near South Side of Chicago, and the view of the new constellations

is stunning. This academic year, the Division of the Humanities has attracted three internationally acclaimed

artists, helped welcome one of the city’s top arts centers, and, for the first time, brought on board a frontline

manager to connect Hyde Park’s burgeoning arts community, both on campus and off.

New Faces and Places for the Arts

The timing of these events, in concert with the growth Duckworth, a ceramicist trained in England, treated of neighborhood cultural institutions such as Little clay like a sculptor treats stone and effectively took Black Pearl, Muntu Dance Theatre, Experimental ceramics from a fine craft into the modernist canon. In Station, and eta Creative Arts Foundation, has made conversations with Julian Goldsmith, SB 1940, PhD ’47, this a remarkable moment to live, work, and learn on Chair in Geophysical Sciences, Duckworth said she the South Side of Chicago. “There is a sense across wanted to “do big things,” and he gave her that oppor- the South Side, especially among creative people, tunity by commissioning her first large-scale ceramic that this is a hopeful time,” said Elizabeth Babcock, mural for the University of Chicago. Occupying the Executive Director of the Civic Knowledge Project, the walls and ceilings of the narrow foyer of the Henry community connections branch of the Humanities. Hinds Laboratory, her Earth, Water, Sky is a complete Babcock works regularly with small South Side arts cosmology on both microscopic (minute sea forms) and cultural organizations such as Jazz Unites, the and macroscopic (topographic) scales. Duckworth’s Black Theater Arts Alliance, and the Prairie Avenue inspiration began with materials provided by geophysi- Gallery. “There are so many positive changes happen- cists—images of clouds, topographic illustrations ing that people feel like creating and they believe that of Mount Fuji, and NASA photographs. Echoes of Tthe arts are not only possible, but that they are capable this cross-disciplinary inspiration occur in Manglano- of making a difference,” she said. Ovalle’s work on the meteorological transformations Last June, the Department of Visual Arts announced of water. that three internationally known artists have agreed For much of his career, Manglano-Ovalle has been to join the faculty. Cuban artist Tania Bruguera, who fascinated by icebergs and, as evidenced by the 2003 produces political art primarily through video and pieces Oppenheimer and Plumes, clouds. In the video digital media; Spanish artist Iñigo Manglano-Ovalle, Oppenheimer, an actor portrays the director of the a sculptor and installation artist who works in many Manhattan Project in a jungle-like setting, drops of media to explore issues of identity, globalization, and water periodically falling from the sky. The work explores science; and Los Angeles native Catherine Sullivan, pivotal moments in the physicist’s life, from the first a performance artist with a theater background who successful testing of the bomb through the suspen- addresses cultural assimilation and personal behavior, sion of his security clearance by the Atomic Energy are among the newest members of the University Commission for opposing the development of the community. Theaster Gates Jr., the Division’s new hydrogen bomb. In Plumes, a photographic diptych, Coordinator of Arts Programming, observed that what on first look appears to be an atomic explosion these artists “represent a new school in contemporary is actually a desert rain cloud, revealing the imprint art practice.” of catastrophe on the collective mind. In Random Sky, Although working in different media, these three one of the artist’s most recent works, Manglano-Ovalle mid-career artists, born in the 1960s, share a common plays with weather in a wholly different way. The commitment to conceptual art. This theoretical ground- large-scale digital projection uses live weather infor- ing is in keeping with the distinctive manner in which mation taken from a weathervane fixed to the front art has been practiced at the University since at least of the Hyde Park Art Center to determine the motion the 1960s. From 1964 through 1977, for example, Ruth and pattern of the composition. The 2006 installation, Duckworth was affiliated with Midway Studios. the first work to adorn the art center’s new façade,

BY JENNIFER CARNIG, AMRS 2004, AND JOANNE M. BERENS, MFA 1993 12 SOUTH SIDE STORY

growing environmental awareness of the interconnec- an allusion to a suicide ritual that was practiced on tions within the natural world that was current among many Caribbean islands when their inhabitants were intellectuals since Rachel Carson had published Silent faced with the looming threat of the Spanish conquis- Spring in 1962. Manglano-Ovalle has extended the tadores. Instead of resisting, many took their own lives ecological concern with interconnections to his preoc- by eating large quantities of earth. The salt water, cupations with global politics. Water, as manifested in appropriated from Judaic symbolism, represented the clouds or icebergs, becomes for the artist metaphoric tears of the people, while the lamb illustrated what she continents that drift across fixed geopolitical bound- called the passivity of the people being controlled in aries. His dream-like works use visual cues to produce Cuba. The work was performed during a time when memories of past political situations, such as the the nation was in a severe economic depression that thunderheads that evoke an atomic blast, or to suggest received little international attention. Her piece, per- future global crises, such as the sculptural recreation formed in a house that opened to the street, was a of icebergs that reminds us that these vast formations, comment on that silence. Both patrons of the arts and hidden from view as they drift through antipodal seas, people from the neighborhood entered her home to may be this century’s dinosaurs, lost to global warming. watch and experience her performance. For Manglano-Ovalle, his sculptures act as bridges bet- For Catherine Sullivan, a video artist initially trained ween the natural and the political worlds: “Whether for the stage, the human body is also a vehicle of expres- working with DNA samples and genetic engineers, sion and her videos seek to analyze “the body’s capacity low-rider car clubs and custom car stereos, firearms for signification.” Self-consciously adapting film tech- and ballistic engineering, I try to reduce form and niques from 1940s film noir to avant-garde cinema, she content to solid, minimal elements capable of address- asks professional actors to take on equally stylized ing social and political issues.” roles in her films—a recreation of a dramatic scene

“We need to supplement science and the scientific study of all branches of knowledge with the finer arts of music and painting, of sculture and architecture. We owe it to our students... our professors...to our community.” — University President Ernest DeWitt Burton (1856–1925)

brought Manglano-Ovalle into partnership with Mark Tania Bruguera’s art is often compared to that of from Arthur Penn’s 1962 film The Miracle Worker, for Hereld, a scientist and engineer working in the Futures another Cuban artist, Ana Mendieta (1948–85): both example, depicting the childhood of Helen Keller; or Laboratory at the University’s Argonne National Labo- are performance artists who use the female body as actors wearing a character type like a costume, such as ratory, and Rick Gribenas, a Chicago installation and their medium in often ritualized performances con- the Secretary, the Muscle Man, or the Management sound artist. Inspired by Daniel Buren’s abstract minimal- taining elements of Afro-Cuban religious practices Executive. Sullivan calls these scenes of actors imitating ist works from the late 1960s, Random Sky is a digital such as Santería; they both emigrated to the United actors playing roles, “second order drama.” Thus program that generates random calculations in real States and documented their performances for later abstracted from any original or authentic narrative, the time. Projected as oscillating vertical blue and white analysis or artistic reuse. Mendieta, whose most pro- viewer of Sullivan’s work gains a heightened awareness bands across the glass façade, Random Sky shows ductive work was in the decade from 1975-85, was of the conventions of performance, and by extension weather patterns as they happen, as opposed to pre- influenced by second-wave feminist conceptions of the human life. Art critic Roberta Smith has said of Sullivan’s determined narratives. The project is a semi-permanent female body in relation to a natural sacralized world. work: “Extreme emotions are being filtered through installation, literally wired into the building’s physical She sought to establish, as she said, a “dialogue bet- equally extreme stylizations of emotion. Both the strain and digital structure. ween the landscape and to return the female body to and the silliness of artistic effort, as well as the gen- While Manglano-Ovalle’s work asks the viewer to the maternal source.” To envision the female body as uine torment of life itself, are occasionally glimpsed.” explore issues of modernism in relation to the natural primal, Mendieta used mud and other organic materials Sullivan says of her work that “I’m interested in world, Duckworth’s artistic conceptualizations of nature to liken her own body to Paleolithic fertility symbols. issues of cultural regimentation and assimilation as were derived from ecology and a concern for, as she Bruguera, too, has said “my body is my instrument,” it relates to the codification of behavior.” All of the has said, “the health of the planet and how to keep and her earlier works were often homages to Mendieta, new faculty, in fact, see conceptual art on some level it intact.” This situates Duckworth’s work within the but Bruguera has extended the idea of the potency as community based—something that cannot be of the naked female body to comment on the modern passively observed and involves a level of interaction politics of the displaced and the powerful. and collaboration. Whereas Sullivan investigates Bruguera perhaps best demonstrated her conception behavior on the screen, the stage, and in filmed life, of the body as instrument in 1997 during a performance Bruguera and Manglano-Ovalle see a different social in her home in Old Havana, Cuba. Standing before a role for their work. Manglano-Ovalle attempts to draw twenty-foot Cuban flag that she had woven from human different groups into art-making so that other voices hair, Bruguera presented herself with a butchered lamb can be heard, while Bruguera uses visual shock to hanging across her neck. Appearing as if she herself decenter the viewer’s political or cultural ideas. The were a vision of death, Bruguera spent the next forty- practices employed by all three artists contain the five minutes mixing soil with salt water and eating it, potential to take conceptual art out of the gallery and TABLEAU 13

bring it into fresh contact with the viewer, making it artist program is that its mere existence as a program at home in community centers or on Chicago streets. testifies to the strengthening of creative partnerships In preparation for the expansion of faculty in the both within the University and beyond,” Thompson said. visual arts, the Division has been thinking seriously “The selection of these artists is carried out via a group about what role the arts play, not only in the lives of conversation. Thus, the visiting artists arrive to find a artists studying and teaching at Midway Studios, but receptive group of colleagues drawn from a range of also within our neighborhood and beyond. Theaster endeavors—a museum, a community art center, and Gates, who himself is a ceramicist with a degree in several academic units. The possibilities for collabo- urban planning, observed that “during my short time ration are exciting.” in the Humanities Division, I have witnessed a new Within the local community, Little Black Pearl, kind of collaborative art practice; one that is not only Muntu Dance Theatre, the Experimental Station, and interdepartmental, but also moving between student eta Creative Arts Foundation are serving as economic groups and professional ensembles, community groups and cultural anchors as well as models for successful and distinguished professors, private innovative insti- arts groups across the city. Little Black Pearl, a work- tutions and creative students.” shop and arts classroom space, invites youth from the A significant collaboration that has solidified and surrounding neighborhoods to study ceramics, sculp- borne fruit is the new 30,000 square foot home for ture, mosaics, painting, and glassblowing while they the Hyde Park Art Center, which opened in May in a simultaneously cultivate entrepreneurial skills by selling building donated by the University and renovated by their wares. The ten-year-old organization boasts a retail acclaimed architect Doug Garofalo. The Chicago store in a two-year-old, 40,000 square foot center on Tribune said the partnership allows the center to be 47th Street. In July the Little Black Pearl celebrated “better equipped than at any other time in its sixty- another milestone when it opened the Hidden Pearl Art five-year history to fulfill a mission to stimulate and Café, as another way to encourage community inter- sustain the visual arts in Chicago.” Not only did the action with art. Across the street lies the future home University donate the one-million-dollar space, but of the Muntu Dance Theatre, a company that produces technicians work in the productions. The foundation’s the second floor of the building includes seven artists’ both authentic and progressive interpretations of con- community center serves hundreds more with two art studios for our faculty and visiting artists sponsored temporary and ancient African and African American galleries, classrooms, and recreational facilities. by both the University and the art center. The Depart- dance, music, and folklore. The thirty-four-year-old It is fortunate that this resurgence of arts on the ment of Visual Arts will use four, allowing faculty company is following in Little Black Pearl’s footsteps South Side of Chicago coincides with the increase in access to South Side studio space for the first time. by planning to open its own performing arts center in faculty members in the Visual Arts. Together, these “These studios will facilitate our ability to attract and the coming years. The space—designed to include a community and scholarly practices will engage view- retain a strong faculty,” said Laura Letinsky, noted four-hundred-seat theater, a library concentrating on ers (and more kinds of viewers) in the contemporary photographer and Chair of Visual Arts. “This is analo- the African diaspora, and space for community groups arts. As Letinsky observed: “Art is understood today gous to having a library for faculty in other departments. to use—is intended to serve as yet another stitch in to encompass a much wider set of objects and expe- It’s basic. Given that we want active, practicing artists, the fabric of arts development efforts that are already riences than outmoded notions that viewed art and its this is something we need. So this is a wonderful step taking place on the South Side. reception as a somewhat passive form of pleasure, forward.” The rest of the art center’s studio spaces will Experimental Station, the creative vision of alumnus entertainment, and moral, even cultural, betterment. be used by visiting artists. The Center for the Study Dan Peterman, MFA 1986, continues to flourish south As cultural producers, artists reflect, comment upon, of Race, Politics, and Culture, which hosts a visiting of the Midway at the corner of 61st Street and South critique, and advance culture and society. The three artist every school year, can now offer studio space Blackstone Avenue. Still rebuilding from a fire that faculty members hired this year are evidence of this as part of its incentive package and therefore open ravaged the building in 2001, temporarily halting all long-fermenting change. They promise to raise the up the program to artists outside Chicago. sorts of South Side arts activities, the Experimental profile of the Department of Visual Arts substantially The two additional studios will become home to Station is home to a community organic garden, the within the University as well as for those seeking to ArtsWork, a joint program between the Humanities and Blackstone Bicycle Works, and the cultural criticism study at both the undergraduate and graduate level.” the center that will bring two visiting artists to the journal The Baffler, edited by fellow alumnus Tom Frank, It is hoped, too, that they will draw added local and University for ten-month residencies. Slated to start AM ‘89, PhD ’94. Against the odds, Peterman has turned national attention to the kinds of conceptual and in September 2007, the program promises to attract the gutted building into a center for projects and instal- material commitments that have deep roots in artists from around the world to the South Side. The lations that focus on issues of wealth, consumer waste, Midway Studios. ■ process of selecting artists for ArtsWork signals another ecological destruction, and homelessness. forum for collaboration between the two institutions. Further south, at 75th Street and South Chicago The selection committee will include representatives Avenue, lies the eta Creative Arts Foundation. Formed from the art center, the Humanities, Art History, Visual in 1971, eta is today recognized as one of Chicago’s Arts, and the David and Alfred Smart Museum of Art. leading cultural arts institutions having produced more But perhaps most importantly, this broad-based panel than 180 main stage productions of works by African promotes cooperation among various constituencies American writers, the vast majority of which are world inside the University, said David Thompson, Associate premieres. Annually, more than 350 students, children, Dean for Planning & Programs in the Humanities. “One teenagers, and adults are enrolled in the professional particularly interesting characteristic of the visiting training program, while two-hundred performers and 14 IN MEMORIAM

in 1956. “He had the ability to beautifully communicate his sense of love for his subject,” Bevington added. As befits a scholar whose primary interest was in a lexicog- rapher, Kolb was known as an incisive textual editor and critic. He was a member of the General Editorial Committee of the Yale Edition of the Works of Samuel Johnson for more than thirty years and edited vol. XVI Samuel Johnson’s Rasselas and Other Tales (1990) and coedited vol. XVIII, Johnson on the English Language (2005), with Robert DeMaria Jr. These volumes were described as “nothing less than a work for the ages” by Bruce Redford, Professor of Art History and English at Boston University. Kolb became, in his own terms, “hooked” on Johnson in high school and rose to become the “leading authority in the world on the subject,” in DeMaria’s words. At Chicago his work and personality touched the students he taught, advised on book- collecting, and lived with as Residential Master with his wife Ruth in the Burton-Judson Courts residence. Kolb died in Hyde Park on 3 April 2006. His family, who survive him, were closely involved with the University and also with language: Ruth Godbold Kolb worked for many years in the Office of Career Counseling and Placement; his son Jack followed IN MEMORIAM him into academia; Alma Dean Kolb, AB ‘72, is an editor at the University of Chicago Press; he is also survived by two grand- daughters. “Gwin personified the Gwin J. Kolb 1919–2006 humanity in the humanities and the finest ideals of the University win Kolb, the Chester D. Tripp Professor Emeritus of Chicago,” said Redford. “He was in Humanities and English, would traditionally a gentle man and a gentleman.” ■ begin his introductory class on Samuel Johnson Gwith one of his subject’s eminently quotable dicta: “No man but a blockhead ever wrote, except for money.” The Joseph T. O’Gara 1914–2006 same could not be said for Kolb himself, who devoted more than half a century to Chicago as graduate student, scholar, and admin- oe O’Gara was described in the Chicago Tribune’s istrator. Colleagues in the Department of English speak of his obituary of 5 February 2006 as “one of Chicago’s pre- charm, wit, generosity, and describe him as a “gentleman scholar.” eminent booksellers and a Hyde Park icon.” He began His son Jack Kolb, AB 1967, Associate Professor of English at Jcollecting and selling used books on the North Side in UCLA, ascribes his father’s love of Johnson to an interest “in 1937, moved to 57th Street in the 1960s, and in 1979 went into language itself, and in the way that language evolved,” as well partnership with Douglas Wilson to found O’Gara and Wilson as being “captivated by Johnson’s personality.” Of Kolb’s nine Booksellers, which is billed as the oldest bookshop in Chicago books, six were on some aspect of “the dictionary man,” as he and a true Hyde Park institution. called Johnson. A precise ear for language and great charisma O’Gara’s critical eye for the cultural and historical significance were qualities shared equally by scholar and subject. of scholarly texts, antique books, and ancient magazines made Born in Aberdeen, Miss., Kolb graduated from Millsaps his shop a treasure for members of the University and neighbor- College in Jackson in 1941, and came to the University of Chicago hood alike. Wilson speaks of O’Gara’s death as “the passing of in 1945 after serving with the U.S. Navy. He earned his master’s an age” since the type of direct and personal communication with degree in 1946 and his doctorate in 1949, whereupon he became customers and the old habits of cataloguing books by hand have a professor in the English department, serving as chairman from all but passed away in twenty-first-century bookselling. Of 1963 to 1972. “He was utterly loyal, and a genteel, caring person, O’Gara’s interaction with customers Wilson says, “Sometimes taking on unglamorous administrative responsibilities, housing he would be talking with great assurance on a subject with needs, teaching assignments, whatever it was that needed to somebody who turned out to be the world expert in it… Joe be done to keep people feeling welcome and appreciated,” said would stand there with his pipe and his opinions, and he was David Bevington, the Phyllis Fay Horton Distinguished Service very free with both of them.” As well as taking on its faculty, Professor Emeritus in the Humanities and English. His commit- O’Gara also employed a succession of University students in his ment to undergraduate teaching earned him the Quantrell Award store, nurturing the bookselling talents of one Michael Powell, in 1955 and his scholarship won him a Guggenheim Fellowship then a political science graduate student, who became his TABLEAU 15

apprentice in 1970 and went on to found the largest independent Tikva Frymer-Kensky 1943–2006 new and used bookstore in the world. O’Gara retired in 1996 at the age of eighty-one and spent ikva Frymer-Kensky, Professor of Hebrew Bible his retirement with the books he hadn’t had time to read. and the History of Judaism in the Divinity School, He died on 10 January 2006. Paul D. Young, AM 1991, PhD ‘98, the Committee on Jewish Studies, remembers O’Gara: the Law School, and the Program in “Joseph O’Gara was one of the most generous souls I have T the Ancient Mediterranean World, died at home ever met. I loved him for his wit, his curmudgeonly attraction 31 August 2006 after a four-year battle against to arguing, his affection for (not to mention his knowledge of) breast cancer. She was 62. books for their own sake, his spiky temper, and his surprisingly Frymer-Kensky earned a bachelor’s degree in soft and forgiving heart. Working for him and his partner, Doug ancient world studies from the City College of New Wilson, from 1992 until 1998 taught me much about books and York in 1965, a bachelor’s in Hebrew literature in fields (including my own fields, English and cinema studies), Bible-Talmud from the Jewish Theological Seminary how to eject problem customers with arctic-island bluntness, in 1965, a master’s in West Semitics from Yale and how to treat one’s associates as people, as friends. When University in 1967, and a doctorate in Assyriology I developed Hodgkin’s disease in 1994 and could not work during and Sumerology from Yale University in 1977. But it surgery and treatment, Joe and Doug instantly informed me was not until years later that the scholar said she that I would receive my full weekly pay for as long as I needed found her true mission: “I realized that my years of it, and when I did come by “to check on the store,” as my fellow academic study of the ancient world could have employees (many of whom were fellow English grad students practical applications and my knowledge of ancient too) and I would say, the gruffness of his speech didn’t need cultures, religions, and languages could be of use to match the look in his eyes; the latter’s message of affection in my own modern world. This sense of vocation sustained me.” and concern came across regardless. Joe was not a saint, he Frymer-Kensky was named one of the Jewish Chicagoans didn’t care to be, and he didn’t have to be. He never seemed of the Year in 2005 by the Chicago Jewish News. In 2006 she to doubt where he stood with his fellows and his God, and that earned another distinction when the Jewish Publication Society was good enough for him and I daresay for anyone. He was a published a collection of her articles, Studies in Bible and great Chicago bookman, and I suspect he wanted to be remem- Feminist Criticism, as part of its Scholar of Distinction series. bered just that way.” ■ She is the first woman to have her work included in the series. Earlier honors include a Koret Vreni Naess, AB 1961, Jewish Book Award in 2002 and administrator for a National Jewish Book Award in Germanic Studies, and 2003 for her Reading the Women Peter Dembowski, of the Bible. Distinguished Service “She was unique. I don’t know Professor of Romance of another scholar in the world Languages and Litera- who combined, as she did, mastery tures, in the original of Assyriology with sustained atten- 57th Street location of tion to feminist readings in the Joe O’Gara’s book shop. service of biblical theology,” said JANUARY ’91 © JIM WRIGHT Divinity School Dean Richard Rosengarten. “Hers was a capacious intellect, and all her work was inflamed by her deep passion for the material both in its original context and in ours. This combination made her a remarkably compelling scholar and teacher, and one whose absence is deeply felt already.” Frymer-Kensky is survived by her husband of thirty-one years, Allan Kensky, rabbi of the Beth Hillel Congregation Bnai Emunah in Wilmette, Illinois; son Eitan Kensky, LAB 2002; and daughter Meira Kensky, AM ‘01, a doctoral candidate in biblical studies at the Divinity School. ■

A longer version of Frymer-Kensky’s obituary appeared in The University of Chicago Chronicle on 5 September 2006. 16 HONOR ROLL

The Division of the Humanities gratefully acknowledges the alumni, friends, and organizations who so generously contributed cash gifts during the 2005– 6 fiscal year (July 1, 2005, through June 30, 2006). While space limitations restrict us to listing cumulative giving of one hundred dollars or more, we extend our sincere thanks to all those who support the work of the Division. We also want to make certain that we acknowledge the generosity of our sup- porters appropriately. Please accept our apologies for any errors, and do bring them to our attention by contacting

the Division’s Office of Development, 1115 East 58th Street, Chicago, IL 60637, or [email protected]. 2005– 2006 the honor roll

$25,000 + Mr. Stanley M. Freehling• Mary S. Lawton• Mrs. E. G. Kronewitter Patricia Brett Erens• Richard• and Mary L.• Gray Dr. William G. Lycan Dorothy and Paul Lakner John Evrard Lauren Beznos Dennis R. Irvin Thomas G. MacCracken Dr. and Mrs. Stephen P. Landauer Gerald Falk • • Maurice J.• and Lois R.• Beznos Elmer W. Johnson Holly and John Madigan Laura Litten Eleanor B. Frew • • Harold J. Carroll Ivan P. and Kathy R. Kane Richard and Judy Marcus Alex and Carol Machaskee Carolyn O. Frost • • The Chicago Community Trust Gerald M. Kowarsky Mrs. Robert B. Mayer Barbara F. Marshall Dewey and Carol Ganzel • • • The Donnelley Foundation Desmond R. and Jeanne B. Tom McCormick and Janis Kanter Jane and Arthur Mason Dr. Janet Wolter Grip • • • Mr.• and Mrs.• Robert Feitler La Place Alfred L. and Nancy Lauter Mary M. McDonald Lester Guttman • Jack W. Fuller• and Luso-American Development McDougal Paula and Herbert Molner Joel L. Handelman • • Debra Moskovits Foundation Charles H. 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Sclafani Don and Carol Randel Scott and Rebecca Lehmann • The Karla Scherer• Foundation Peter L. Sheldon Draga Shillinglaw-Kellick David and Jennifer Rhind Nancy L. Maull • Earl• and Brenda• Shapiro Allen M. Turner Lore Silberman and Bernard H. Leona Zweig Rosenberg J. David McCracken Jeffrey Skelton• Nancy E. Warner, MD Wilson Kenneth and Beatrice A. Schubert Ruth H. Melville • • Smart Family Foundation Helen and Samuel Zell Sarah D. Solotaroff Cheryl Seaman, MD Stephen Miller • The Spencer Foundation Gay and John Stanek Serbian Academic Club Dr. James R. and Mrs. Al Svirmickas $2,000–$4,999 Nell Johnston Stone Serbian American Medical Ichiko T. Morita • Mrs. Giles Whiting Foundation Janice Trimble and Dental Society Helen E. Moritz Dr. Willard E. White Mary Rose Shaughnessy Camilla J. Nilles Dr. Matthew A. Zuckerbraun• Michael Alper• Jane Wright• David F. Shutack James O’Hara III Marilynn Alsdorf• Gerald and Constance Slawecki David M. Olster and Alice T. Christ $10,000–$24,999 Mrs. Edwin A. Bergman• Susan Stein• Robert and Mary Pendleton Robert Bergman• and $1,000–$1,999 Doris F. Sternberg• Dr. Henry A. Ploegstra Marie Krane Bergman Randy L.• and Melvin R. Berlin Milan Teofilovich Michael Pownall John H. Bryan• Andrew Abbott Mr.• and Mrs. Robert A. Brawer Bryan Traubert• and Penny Pritzker Katherine and Peter Rossiter Paul and Jean Burtness Katherine A. Abelson• Elizabeth F. Cheney Foundation Marija and Gradimir Vuckovic Peter and Mira Samardzija Michael Carey* Danielle Allen Lorna C. Ferguson Karen G. Wilson• Elizabeth E. Sengupta, MD Patricia G. Cleek Frieda Applebaum Mr. and Mrs.• F. Conrad Fischer David Byron Smith Jr. Phyllis Gordon Cohen• and Michael Baker David C. Hildebrand• Diane W. Smith Barton J. Cohen Rev. David W. Beaubien $500-$999 Gayle H. Jensen• Timothy J. Standring and Walter J. and Mary Dickie Joel• and Carole Bernstein Max Kade Foundation Susan Tamulonis James R. Donnelley Mary O. Bishop Diane Adams Julius Lewis• Suzanne Stetkevych Mr.• and Mrs. Robert G. Donnelley Mrs. Kenneth A. Bro• Mark Auburn T. S. Ma and Gioh Fang Ma James• and Ellen Stirling Alexandra Earle• John A. Bross• Georgia C. Baird Margaret McKenzie Philip Stucky Robert Emmett• and Alan Cravitz• and Shashi Caudill Peter J. H. Bentley• Ann Therese and Robert Palmer Robert Sullivan Kristine Kasselman• Stephanie Endy Harry H. Bernbaum Steven J. Phillips• Margaretta Tobias Barry F. Preston• Darlene R. Farr Dr. and Mrs. Edward D. Fahrmeier Mr. and Mrs. Ted Bloch • • Dr. Arnold Tobin and The Rhoades Foundation Emily Huggins Fine Christopher and Ann Frautschi Beata B. Boodell • • • Dr. Eva F. Lichtenberg George Rosenbaum• Isak V. and Nancy Hopkins Gerson Mr. and Mrs. Maurice F. Fulton Wayne C. Booth • Alison Weirick Edelstein The Ida and William Rosenthal Mrs. Willard Gidwitz Liliana V. Gaynor Janet Borggren • • William and Theda White Foundation, Inc. John Glier Jean and Steven Goldman Robert Bowers • • Rose and Seck L. Wong Dr. Anneliese Sinn Joan W. Harris Philip and Suzanne Gossett T. Kimball Brooker • • Yasue Takebe Mrs. Harold H. Hines Jr. Dr. Thomas Grassey Sara Chaffetz Mrs. Leonard J. Horwich• Dr. Susan Griffin and James Chandler and $250–$499 Robert S. Ingersoll Douglas Sharps Elizabeth O’Connor Chandler $5,000–$9,999 Joukowsky Family Foundation Robert Haselkorn Tim Child Nabil Lotfy Abu-Assal Kanter Family Foundation Nina S. Hellerstein Dr. Wendell V. Clausen Duffie A. Adelson• Roger O.• and Barbara Brown Danette G. Kauffman David• and Celia Hilliard Nancy E. Connell John R. Alison Mr. and Mrs. Bruce E.• Clinton Barbara and Lawrence Kerslake Carrie K. Huff Robert D. Corey Annice M. Alt Katharine P.• and Peter H. Darrow Mrs. Robert D. Kestnbaum• Stephanie Angele Kalfayan Dorothy and David Crabb Robert D. Appelbaum Jonathan E. Dedmon• Punita Khanna and Geoffrey Mark Cox Dr. Adam M. Dubin Rev. David P. Backus Vlade Divac Julie Klassen Charles A. Kelly• Kent Dymak Reed M. Badgley• Harve A. Ferrill Mr.• and Mrs. William J. Lawlor III Dr. Sally L. Kitch Ronald and Belle Elving Dr. Herbert L. Baird Jr. TABLEAU 17

Carla and R. Stephen Berry Margaret Philipsborn Jennifer Braun Dr. Valerie Fargo and Dr. Robert D. Jollay Jr. Constance and Robert Bouchard David Roos Mauda Bregoli-Russo John A. Roper III Dr. Edward Jones III Marilyn L. Buehler Mrs. Ludwig Rosenberger• Dr. Richard Hart Brewer and Dr. James Douglas Farquhar Borko Jovanovic Allan E. Bulley III• Donald and M. Patricia Ross Mary Ann Schwartz Dr. Sharon B. Feiman-Nemser D. Carroll Joynes Dr. William M. Calder III Mr. and Mrs. Jeremy S. Roth Bernard O. Brown Dr. Robert and Mrs. Gerald E. Kadish Dr. Daniel and Mrs. Janet Calhoun Mrs. Edwin A. Rothschild Carol R. Brown Elizabeth Fernea Katherine Kadish Dr. Jeremiah Cameron Nancy L. Sack Anthony Bruck Wayne D. Fields Ada P. Kahn• Elsa Charlston Nabil Saleh Elizabeth Bruner Solveig G. Fisher Clive and Judith W. Kamins Dr. Rolf H. Charlston Marjorie Schaffner Christina Brungardt Anne and Burton Fishman Drs. Michael and Maureen F. Kaplan Dr. Fredric L. Coe Jeffrey Schamis and Eva M. Eves Luanne Buchanan and Dr. Alston Fitts III Eugene J. Kasper Barbara Flynn Currie and Dr. Elaine Schapker Michael Hoffheimer Robert D. Fitzgerald Patricia L. Kassebaum David P. Currie Barry P. Scherr Michael D. Buckner Lola Flamm Kumi Kato Matthew Dolbow Margaret Scheyer Lynda Bundtzen Bradford Fletcher and Anne Harris Calvin and Fern Katter Dr. Randa Duvick and Mr. James A. Serritella and J. Peter Burkholder Charles W. Fornara Mark Steven Katz David Grosnick Ms. Ruby A. Amoroso Jill Vance Buroker Dr. Samuel and Mrs. Beverly Fox Ruth Kauffmann and Brian Roots John Q. Easton Marion R. Shortino Charlene H. Byrd Alexander L. Francis Hannah Kaye Dr. John H. Erickson Joseph P. Shure• Dr. Calvin S. Byre Dr. Sarah W. Freedman Dr. Brooks M. Kelley Sheila Fitzpatrick Dr. David P. Silverman Susan M. Camillo Mrs. Paul E. Freehling Gail Oman King Anna and Kenneth Freund Christine O’Neill Singer and Jeanny Canby Mr. and Mrs. James W. Friedman Robert H. Kirschner, MD James Ginsburg• Paul Singer Gloria Ann Capik Joan Friedman Deborah and J. Christoph Klasing Burton and Adrienne Glazov Valerie Sloan Mr. and Mrs. LeRoy T. Carlson Rev. and Mrs. Yoshiaki Fujitani Dr. Roger C. Klein Dr. Jacqueline Glomski Smith Barney Charitable Trust, Inc. Frank Carotenuto and Charles Ganelin Dr. Scott A. Kleiner Paula and Samuel Golden Fred E. Stafford Sheila Griffin Peter Gataric Karla M. and Dr. Eric Klinger Eugene Goldwasser Kathryn Stearns Edward Carr Dr. Arthur I. Geffen Terese E. Klinger Robert Gomer Mrs. Jerome Frank Strauss Jr. Gloria Carrig Martin Gellen Dr. Kenneth and Mrs. Amy Knoespel Michele and Gene Gragg Yoshiko Tagashira John Chaimov Asher and Gloria Gerecht Augustus Kolich George W. Gross Raymond D. Tindel and Cedric and Judy Chernick Steven Gerrard B. Brae Korin Anne Marcus Hamada Gretel Braidwood Drs. Sharon and Charles Cherry Nancy Gidwitz Achilles and Snezana Kornaros Miriam Hansen Edward Turkington Jill Gardiner Chessman Ralph W. Gidwitz Martin Kreiswirth Mrs. Roger P. Hansen Norma W. Van der Meulen Max L. Chill Dr. Robert and Mrs. Lt. Col. Thomas Warren Krise Robert B. Hartfield Tom Walkowiak Hubert Joseph Cloke Margaret Gladish Anthony Kuester Dr. Phillip Harth Cole Werble Rev. Francis Xavier Clooney, SJ Dr. John and Mrs. Elisabeth Gleason Spasoje Kuljanin and Dusanka Mary Jackson Harvey Bruce and Patricia Williams Peter Starbuck Coffrin Terry F. Godlove Jr. Zelenovic Kuljanin Mary S. Hawker Richard Wolf Jeffrey and Kimberly Cohen Melba L. Gold Rev. Robert J. Kurtz, CR Terry L. Heller Richard R. Wotkun Laurie Cohen Howard and Natalie Goldberg Michael and Catherine La Plante Heather C. Henry Herbert Zarov John and Christine Colley Suzanne Golubski Drs. Ryan and Carol LaHurd Douglas Hoffman David M. Zesmer Jane and John Colman Robert L. Goodman Dante Lanzetta Jr. Mr. and Mrs. Douglas F. Hofmeister Claire Concannon Richard M. Grayson Gary Larson Dale Hollis Hoiberg $100–$249 Edwin Conger Dr. Mary Elizabeth Green Susan Larson John and Hollis H. Hudak Dr. Jerrold S. Cooper Dr. Samuel and Mrs. Rosemary M. Laughlin Susan C. Hull Ronald and Rose Ann Cope Lesha Greengus Dr. John C. Lavezzi Dale and Nancy Huse 21st District Police Explorers Claire D. Corbett David A. Grossberg Dr. Donald L. Lawler Jeffrey L. Kallberg Geoffrey Adams Douglas D. Corbitt Andrew Grove Judith Lee Mrs. Thomas Kallen Dr. Charles Martin Adelman Dr. Humphrey H. Cordes Jr. James Grunebaum Bruce and Mary Leep Emile Karafiol• Clifford and Nancy Adelman Joan Kuzma Costello Ida Hagman Kenneth Leonard Barry D. Karl Constance Adelman L. William Countryman Morris Halle Dr. Seth Lerer Mari Katsunuma Elizabeth M. Adkins John M. Cowan Jack Halpern Susan M. Leshnower Claire Kelleher Ahmad Ali Al-Haidar Dr. Thomas J. Cox Edward and Stacey Hamburg Dr. Barry Lesht Anne Blackmon Kenny-Urban Mary Allan Clayton Crawford Robert A. Hamburger Jr. William Leverence and Michael F. Kerr James and Susan Allen Mrs. James R. Cronin Janice and R. Dickey Hamilton Margaret K. Horn Peter J. Klarfeld Lizabeth Anderson Rebecca M. Culbertson Kristen Hamilton Dr. David and Mrs. Veda K. Levin Peter J. Kountz Richard J. Anderson Dr. Halina Czarnocka J. Albert Harrill Alice Levine and Paul Weissman Roberta L. Kovitz Jerry Dale Andrews, PhD Robert Daily Kip K. Harris Donald Levine Raymond and Alma Kuby Lyle Angene Anita Straub Darrow• Dr. Karelisa V. Hartigan Sher-Shiueh Li and Jing-Hwa Lin Frances and Joseph Leek Dr. Hudson T. Armerding Mr. and Mrs. Mark David Robert Haverkamp David Lieb Ruth D. Lenser Anna Arnar Dr. Richard C. De Armond Judith and Matthew Hayes Robert B. Lifton and Carol Rosofsky Richard H. Levin Marie K. Asbury Janet H. De Koven Thomas and Joan Hedin Carol E. Lin Ramsey E. Lewis Jr.• and Jan Lewis Robert L. Ashenhurst Mark Roe De Lancey Richard H. Helmholz Jicheng Lin Stephen Lewis Jr. Theodore M. Asner Richard Lynn De Remer Marilu Henner Sara Jean Lindholm Dr. Peter Li Calvert and Ann Audrain Maria Del Valle-Fatum Cadmus M. Hicks Jr. Joanna Lipking Richard C. Longworth Charles-Jame N. Bailey Dale Delsing James M. Hicks Barbara Lloyd David P. Manfredi Richard C. Baker Dr. Robert D. Denham Dr. Roscoe E. Hill Dr. Brandon C. Look Dr. Naomi E. Margolis Mrs. Morton J. Barnard David L. Derus Yukari Hirata Maynard and Judith F. Louis Gordon Marsh Bernadine and Harry Barr Jane Desforges Barbara Hirschfeld Julie Lovins Craig Mason Maxim C. Bartko Joseph and Helen Diamond Sandra and Don Hockenbury Dr. Robert F. Lucid Mrs. Frank D. Mayer Dr. Allan C. Bates Helma Dik Joan Bentley Hoffman Earl A. Ludman John P. McGuinness Katharine P. Beals Michael Dinges Marvin Hoffman Carolyn B. Lyon Mark McLaughlin Thomas Bebbington Pamela Dister Robert I. Holst Hugh C. MacFarlane Jr. Dr. Daniel C. Meerson Nicole Been-Siskind Paul Djurisic Kenneth Holum Jr. and Elizabeth Macken Lynette Melnar Thomas Bergman Mrs. John Donaho Dr. Marsha Rozenblit David Maddox The Meyers Fund Jessica Schiff Berman Paul F. Donovan Diane Homan Frederick R. Maravilla Dr. Ernest Mond Charles E. Bidwell Peter Dorman Dr. Robert Horick McKim Marriott Charles A. Moore Margaret Binford Pauline Douglas Mr. and Mrs. Christopher J. Horsch Stephanie Mayer Harry Moroz Charles Biro and Mala Adiga Dr. Kathleen Doyle John S. Howe Jr. Judith McBroom Suzy Moser Drs. Henry and Pamela Bischoff Dr. Donald and Mrs. Helen Dyer Sara A. Hudson Anne D. McCausland Gwynne and Lee W. Movius Dr. Fred E. Bisshopp Judith and Henry Dykema John Hughes Mark McColley Dr. Robert D. Narveson Mr. and Mrs. Matthew R. Blackall Rose Dyrud Joseph Hughes Jane N. McDaniels Dr. Horace Newcomb Jr. and Bonnie J. Blackburn Patricia Echols Richard R. Hulefeld Mary and William T. McGrath Mrs. Sara Newcomb Dr. Ellen A. Blais Linda Edmunds Cheryl L. Iverson Dr. William T. and Mrs. Eric W. Nye Dr. Lincoln and Mrs. Barbara Blake Richard Eldridge and Salvatore A. Ivone Elizabeth McKibben Mrs. Harold Patinkin Dr. Virginia Blanford Joan Vandegrift Philip W. Jackson Jeffrey McMahon Nicholas and Marla Patinkin Elaine N. Blass David B. Ellis• Catherine Jaffe George P. E. Meese Irene H. Patner• John R. Boatright William Epes Kineret S. Jaffe Lenore B. Melzer Marjorie A. Pearson Mrs. George V. Bobrinskoy Jr. Dr. Millard and Mrs. Mary Lynn Jahnke Jack W. Mendelsohn Dr. and Mrs. Lee A. Pederson Charlotte W. Bode Virginia Erickson Mrs. Stanley A. Jashemski John and Mary Louise Petrik James M. Borders Mary Erler Stephen Jeselson Jr. Dr. Vesna Petronic-Rosic William and Phyllis Brace Dr. Salvador J. Fajardo Eric W. Johnson • Visiting Committees Anthony Pfannkuche Donald F. Brannan Dr. Ahmed and Mrs. Houreya Fareed Mark A. Johnson and Judith Wright to the Division during 2005–6 18 HONOR ROLL

Dr. Charles Meyers III and Juliette Richman Dr. Johan Carl Thom Gifts in Honor of Individuals Patrcia Henry Dr. Amy W. Meyers Dr. Kristine Rogers Mr. and Mrs. Creath S. Thorne Jr. Jane and Roger Hildebrand Basia Miller Dr. and Mrs. Michael W. Rogers Nina Thorp Nila Ann Baker Adrienne and Edward Kolb Dr. and Mrs. Margaret R. Miller Judith Seidel Roin Lisa Tilton-Levine In honor of Harrie Vanderstappen Douglas and Betsy Lake Marcia K. Moen Dr. Dionisia A. Rola Elisa A. Tinsley Martyl Langsdorf Beverly Momoi Nicholas R. Rome Frank P. Tirro Peter Lewis Allen Betty Lewis Viola Moore Karen Anne Rondestvedt Dr. Glenn Evan Tisdale Jr. in honor of Priscilla and Gary and Carla Lindemann P. Victor Morgan Jr. Dr. Raymond P. Roos Barbara N. Titel Anthony C. Yu Lloyd and Kathleen Maday John Morillo Dr. Signe A. Rooth E. Gary Toffolo Frieda Appelbaum Dr. John B. Martin Mr. and Mrs. Walter R. Morris Jr. Mary Beth Rose Marian and Edgar A. Towne in honor of the birthday of G. David and Nobuko B. McNeill John M. Morriss Pier Rosellini Sharon Traeger Jerry Beznos Sidney Nagel Nancy J. Moser Gerson M. Rosenthal Jr. Jean Treese Yoichiro and Chieko Nambu Judith Moses Michael Rosenthal Dr. Warren C. Trenchard Jennifer Kadlec Natural Resources Group Patricio Moxey Bennett Roth Donald H. Tritschler in honor of Carolyn Bernstein Carol Orr John W. Muirhead Sr. James E. Rottsolk Dr. and Mrs. Eugene A. Troxell Betsey Nodler Pinkert Niesje and Eugene Parker Alice and Jay Mulberry David T. Roy John and Carmen Tucker in honor of Danielle Allen Boro and Maria Perisa Christine and Michael Murray James R. Royse Keith Tuma James and Carla Pilcher Robert Nachman Manfred D. Ruddat Marguerite J. Turner Dr. Erica Reiner Vreni Naess Robert Rush Dr. Robert Y. Turner Gifts in Memoriam George and Virginia Reynolds Shankar Nair Kathryn Russell Russell H. Tuttle Mr. and Mrs. Edward W. Rosenheim Yuka Nakajima Craig Rustici Douglas and Annette L. Twells We offer special thanks to all David Saltzberg Karl Narveson Deborah Ruth John and Lori Lynn Twombly those whose gifts to the Division Melvyn and Sheila Shochet Simo Nedeljkovic Michelle Ruvolo Patrick Underwood of the Humanities honored the Gloria and William Sinclair Paul E. Nelson Arthur J. Sable Jane S. Upin memory of individuals during the Stewart and Norma Smith Donna Neuberg Esther Santana Thomas G. and Mary C. Urban 2005–2006 year. Dr. Donald F. Steiner Dr. Elmer and Mrs. LaVera Neufeld John Schaal Dr. Robert B. Uretz Richard G. Stern and Alane Rollings J. Michael and Lynne F. Schatz Mr. and Mrs. W. Robert Usellis Carolyn Bernstein Universities Research Associates Charlotte A. Newberger Dr. Lawrence J. Scheff Elsa S. Vaintzettel in memory of David Kadlec Warden, Kelley, Allen & Opfer David A. Nicklas Allan Schindler Edward J. Valauskas Alan and Sue Watson Henry Barron Niles II Dr. Arthur B. Schneider Dr. John F. Van Ingen Robert J. Greenebaum Trevor and Ann Weekes Rev. Paula Beth Nordhem and G. R. and Veva J. Schreiber Dr. Timothy J. Vance in memory of Ned Rosenheim Bruce and Joan Winstein James H. Calkins Rev. William F. Schulz III and Dr. Edward P. Vargo, SVD Charles H. Kadlec S. Courtenay Wright and Dr. Douglas A. and Mrs. Rev. Beth Graham Ivan Vasic in memory of David Kadlec Sara N. Paretsky Lynn Northrop David E. Schwalm Billy K. Vaughn Tokonatsu Yamamoto Kathleen and Michael D. O’Connor Marshall R. Schwartz Richard A. Vayhinger Julie A. Klassen Enrique Zas Craig O’Donnell Todd D. H. Schwebel E. Cynthia Verba in memory of Hanno Klassen Dr. Karen Olsen Mrs. Stasha F. Seaton Phillip Vitali Norman Miller Matching Gift Companies Jeffrey Olson and Prof. Sally Sedgwick Jack Vogel in memory of Carol Golden Miller Christina Wadsworth Mr. William K. Sellers Don L. Voss The following companies and Dr. Nils Olsson Dr. Peter H. Selz Gregory B. Votaw Ellen Victoria Nerenberg foundations generously matched Theodore A. O’Neill Judith L. Sensibar Dr. Jack E. Wallace in memory of David Kadlec gifts made to the Division of Henry and Ilene Ordower Laurie Shannon Kathryn Walsh and Esther Schwartz the Humanities during the Gary M. Ossewaarde Dr. Susan Ellen Shapiro Wesley Romansky in memory of Ruth Watkin 2005–2006 year. Fredrick Ostmann Ms. Ilene Warshawsky Shaw William F. Walsh Diane Slawin Peter J. Page Timothy and Marcia Sherry Richard and Vanya Wang in memory of Ralph Shapey Abbott Laboratories Fund William and Judith Page Dr. Byron L. Sherwin William A. Weber Anheuser-Busch Foundation Vivian and Irving Paley David Shields Dr. Michael V. Wedin Teresa M. Srajer David L. Babson & Company Dorothy J. Parkander Trudy Shoch Nathalie Weil in memory of Ruth Watkin Bank of America Foundation Gail Parry Roberta R. Siegel Sheila L. Weiner Ruth E. Ultmann Bank of New York Maria Paul Michael Silverstein Olga Weiss and George Honig in memory of John Ultmann Caterpillar Foundation Donald Pease Jr. John L. Simons Jr. Dr. Raymond L. Weiss Fannie Mae Foundation Sam and Nancy Peltzman T. McNider Simpson III Richard E. Weiss Wendy and John Whaley First Midwest Bancorp, Inc. Barbara and Dale E. Pemberton Dr. Veronica L. Skinner Robert and Wanda Mae Welles in memory of Ned Rosenheim General Electric Foundation Curtis J. Peplau Patricia Skora Laverne H. Wenzelman Global Impact Paul Peppis and Dr. Laura Anne Skosey Zofia J. Werchun Gifts in Memory of Annette Cronin International Business Elizabeth Wadsworth Kenneth H. Small Diana Churchill White Machines Corporation Morris K. Perinchief Louise K. Smith Howard White Barbara Alpert and J. P. Morgan Chase Foundation James Perlman Dr. Rochelle Smith and Dr. Roberta H. and Richard B. White Michael Kaufman John D. and Catherine T. Michel Perrault Dr. Jeremy Drelich Robert F. Wider Fernando Arqueros MacArthur Foundation Anthony Philips Helen Snow Ian K. Williams Maximo D. Ave Pernas McCormick Tribune Foundation Dr. Louis Philipson Lee L. Snyder Dr. Mariana Williams Barbara Bella & Associates McGraw-Hill Companies, Inc. Dr. Frank G. Pickel Warren Soiffer Phillip E. Wilson Alexandra Bellow Motorola Foundation Kathleen Picken Robert D. Solotaroff Mr. James D. Wing Bentz, Maddock & Mandel Northwestern Mutual Foundation Stanley Pierre-Louis• Hugo F. and Elizabeth Sonnenschein Irene J. Winter Spencer J. and Lesley Bloch Nuveen Investments Sandra L. Potter Galen R. South Jacqueline B. Winter Kenneth Arthur Bloom PepsiCo Foundation Marty G. Price William and Mary Ann Sparer Dr. James R. Wiseman Dr. Donald and Mrs. Linda Brown The Washington Post Dr. John E. Priestley Dr. Judith Spikes Maynard and Elaine Wishner Arlene M. and R. C. Camp Wells Fargo Community Frances Pritchett Jonathan Squires Grace and Rabbi Arnold Wolf Michael Carroll Support Campaign Sally Promey and Roger D. Fallot Dominic P. Staniulis Dr.• and Mrs. Edward A. Wolpert Charles and Martha Carroll Xerox Corporation, U.S.A. Elizabeth Putnam Hilde Staniulis• James and Susan Woolley Kathy Conner and Jeff Oberman Sheila W. R. Putzel Elizabeth Start Mary Alice Wright Francis and Richard Conner Mrs. Herbert Quick Kate Steinway Ruth Young Cathryn C. Cranston Gifts from Estates I. Carmen Quintana Dr. John C. Stevens Paul E. Zimansky The Cranston Family Michael Rabieh Scott Stevenson Dr. Ellen Zimmerman Sheila Ann Crespi and We are grateful to all those who Dr. Smilja Rabinowitz Julie Stewart A. C. Zucaro Andrew Sparks make a provision for the Division Hildegund and James M. Ratcliffe Dr. James F. Stottlar James W. Cronin of the Humanities in their wills. David Read Ralph and Bernita Sundquist Kenneth W. Dam During the 2005-2006 year, gifts Linda D. Reed Gary Supanich and Louise Stein Brian and Ianna Fick were received from the estates of Sally Reynolds Diane Svenonius Val L. Fitch the following alumni and friends. Richard Rhodes Sr. and John F. Swanson Peter G. O. Freund Mary Anne Rhodes Dr. Ronald F. G. Sweet Priscilla and Henry J. Frisch Ronald N. Anderson Stuart A. Rice and Ruth O’Brien Catherine Sweitzer David W. Grainger Mary Elizabeth Caroline Bartlet Duel A. Richardson Martha O. and Michael Swisher Raymond and Daphne Grew Walter Blair Michael Syrimis Emily Cronin Grothe Julia M. DeYoung Heather and Edwin Taylor John and Carol Grunsfeld Robert E. Moore • Visiting Committees Dr. Milton Teichman Mr. and Mrs. Robert M. Halperin Elizabeth Oppenheim to the Division during 2005–6 Marvin Tetenbaum Harvard Business School Publishing Chester D. Tripp TABLEAU 19

We have received notice of recent Dan Russek “Ekphrasis and the David C. Hanson, “Precocity and History of Culture publications (books and chapters Contest of Representations in the Economy of the Evangelical in edited volumes) and exhibitions La novela de Perón by Tomás Eloy Self in John Ruskin’s Juvenilia,” Tanya Augsburg, Joanna Frueh: (one-person shows) from you. Martínez” and “Literature and The Child Writer from Austen A Retrospective (Reno: Nevada Have we missed you? Please let Photography: Parallel Crafts. to Woolf, eds. Christine Alexander Museum of Art, 2005) us know of your accomplishments: An Interview with Elena Poniatowska,” and Juliet McMaster (Cambridge: [email protected]. Double Exposure: Photography and Cambridge University Press, 2005) Joanna Frueh, Embracing Joanna Literature in Latin America, eds. (retrospective of performance work), Adam Lowenstein, Shocking Art History Marcy Schwartz and Mary Beth Sheppard Fine Arts Gallery, University Tierney-Tello (Albuquerque: University Representation: Historical Trauma, of Nevada, Reno, 2005 National Cinema, and the Modern Erica Rand, The Ellis Island Snow of New Mexico Press, 2006) Horror Film (New York: Columbia Germanic Studies Globe (Durham, N.C.: Duke University University Press, 2005) Press, 2005) East Asian Languages 2005–6 & Civilizations Stacey Margolis, The Public Life Katja Garloff, Words from Abroad: Britt Salvesen, Harry Callahan: The of Privacy in Nineteenth-Century Trauma and Displacement in Postwar | Photographer at Work (New Haven, Alisa Freedman, trans. of Yasunari American Literature (Durham, N.C.: German Jewish Writers (Detroit, humanities alumni humanities Conn.: Yale University Press, 2006) Kawabata’s The Scarlet Gang of Duke University Press, 2005) Mich.: Wayne State University Press, Asakusa (Berkeley and Los Angeles: 2005) Elizabeth Siegel, Photo-Respiration: Rolland Murray, Our Living University of California Press, 2005) Tokihiro Sato Photographs (Chicago: Manhood: Literature, Black Power, Near East Languages Art Institute of Chicago, 2005) and the Limits of Masculine & Civilizations English Ideologies (Philadelphia: University Comparative Literature of Pennsylvania Press, 2005) Elizabeth Arnold, Civilization Camron M. Amin, Benjamin C. Lise Shapiro Sanders, Consuming Hulya Adak, “Who Is Afraid of (Chicago: Flood Editions, 2006) Fortna, and Elizabeth B. Frierson, Fantasies: Labor, Leisure, and the Dr. Rïza Nur’s Autobiography?” eds., The Modern Middle East: James Chandler and Kevin London Shopgirl, 1880–1920 Autobiographical Negotiations: Self A Sourcebook for History (Oxford: Gilmartin, eds., Romantic (Columbus: Ohio State University and Community in Turkish Literature, Oxford University Press, 2006) Metropolis: The Urban Scene Press, 2006) eds. B. Sagaster and O. Akyïldïz, of British Culture, 1780–1840 Aaron A. Burke (and Stephen (Würzburg: Ergon Verlag, 2006) (Cambridge: Cambridge University Xiomara Santamarina, Belabored Batiuk), “The Tell Atchana Mapping Professions: Narratives of African Rosana Kohl Bines, “Cotejando Press, 2005) and GIS Project,” The Amuq Valley American Working Womanhood a dor: narrativas da barbarie,” Regional Project: Volume I, ed. K. A. Patricia Chu, “Modernist (Chapel Hill: University of North Literatura e Comparativismo, ed. Yener (Chicago: Oriental Institute (Pre)Occupations: Haiti, Primitivism, Carolina Press, 2005) Ana Lucia de Souza Henriques Press, 2005) and Anti-Colonial Nationalism,” (Rio de Janeiro: Eduerj, 2005) Geomodernisms: Race, Modernism, Jacqueline Najuma Stewart, Paul M. Cobb, Usama ibn Munqidh: Migrating to the Movies: Cinema Peter Bornedal, On the Beginnings Modernity, eds. Laura Doyle and Warrior-Poet of the Age of Crusades and Black Urban Modernity (Berkeley of Theory: Deconstructing Broken Laura Winkiel (Bloomington: Indiana (Oxford: Oneworld, 2005) and Los Angeles: University of IN PRINT & IN PUBLIC IN PRINT & PUBLIC Logic in Grice, Habermas, and University Press, 2005) California Press, 2005) François Gaudard, Codex Advisory Stuart Mill (Lanham, Md.: Rowman Brad Evans, Before Cultures: The Board on The Gospel of Judas from and Littlefield, 2006) Ethnographic Imagination in American Cynthia Sunderberg Wall, Codex Tchacos, ed. Rodolphe Kasser The Prose of Things: Transformations Marc Falkenberg, “Rethinking the Literature, 1865–1920 (Chicago: et al. (Washington, DC: National of Description in the Eighteenth Uncanny in Hoffmann and Tieck,” University of Chicago Press, 2005) Geographic, 2006) Century (Chicago: University Studies in Modern German Literature, Kevin Gilmartin, Writing against of Chicago Press, 2006) ed. Peter Brown (Oxford: Peter CONTINUED ON BACK PAGE Revolution: Literary Conservatism in Lang, 2005) Britain, 1790–1832 (Cambridge: Paul Young, The Cinema Dreams Its Rivals: Media Fantasy Films from John Fawell, The Art of Sergio Cambridge University Press, 2006) Radio to the Internet (Minneapolis: Leone’s Once Upon a Time in the West: University of Minnesota Press, 2005) A Critical Appreciation (Jefferson, N.C.: McFarland Press 2005) 20 PALIMPSEST

Art and the Art of Scholarship at the University of Chicago

by David M. Thompson, PhD 1997

The study of art began at the University of Chicago, precise verbal descriptions of just those aspects of as it did at many other universities, in a bit of a paintings that we apprehend only through the phe- muddle. For one thing, the discipline began to be nomenology of sight. In describing The Triumph of practiced in the United States before “art” had quite Venus, painted by François Boucher in 1748, for declared itself as an independent object of inquiry, example, Taylor tells us that “the path of movement and thus this country’s earliest art historians were is like a swirling spiral that fades and reappears as not in fact trained as such. The first professor of it lures us through the sun-shot atmosphere,” and art history was the philosopher and Latinist Allan he contrasts this with Jacques-Louis David’s attempt, Marquand, who was persuaded (with a little help in paintings like The Oath of the Horatii of 1785, “to from an endowment provided by his uncle) to become impose on the forms of the material world itself the professor in the Department of Art and Archaeology rational clarity and order that some reserve for a at Princeton just after the department itself was utopian dream” (pp. 141, 145). Taylor manages to founded in 1883. art via some alternative to history, culture, and reli- translate into few words what these paintings con- The great art historian and theorist Erwin Panofsky gion was always twinned with an urge to approach jure in their adroitly structured array of relationships noted that art history was a more diverse discipline art as a particular means for thinking about these among forms. in the United States precisely because of the hybrid things. As we discuss building a Center for Creative Given his interest in the special communication origins of American scholars at the turn of the century. and Performing Arts here at Chicago, it is these twin of objects, it is no surprise that Taylor eventually left He observed that these scholars “were not products urges that we seek to acknowledge and to explore. the University (in 1970) to spend the final decade of of an established tradition but had come from clas- One illustrious representative of this insistence his career directing the Smithsonian’s National Museum sical philology, theology and philosophy, literature, on art’s singularity as a form of thought is Joshua of American Art. He joined other Chicago colleagues architecture, or just collecting” (“Three Decades of Taylor, who joined Chicago’s Department of Art who had left the University for the world of museums, Art History in the United States: Impressions of a History in 1949 and was for four years the chairman among them Peter Selz, AM 1949, PhD ’54, who became Transplanted European,” Meaning in the Visual of the College’s first-year humanities course. In the curator in the Department of Painting and Sculpture Arts [1955], p. 324). As late as 1912 E. Baldwin Smith 1957 book that he published based on this course, at New York’s Museum of Modern Art; Alan Fern, revealed, in an informative report entitled The Study Learning to Look: A Handbook for the Visual Arts, AB ‘50, AM ’54, PhD ’60, who directed the National of the History of Art in the Colleges and Universities Taylor’s prose is beautifully attentive to the objects Portrait Gallery; and Bates Lowry, PhB ‘46, AM ’52, of the United States, that of the 14,434 instructors in that he describes. One wonders whether this is in PhD ’56, who directed the National Building Museum. the country who taught courses related to art, only 117, part because of lessons he learned working as a In a commencement address that he would have or less than 1 percent, taught art history exclusively. designer for ballet and theater groups while an under- delivered in May 1981, but for his death only a Chicago was not particularly different in this regard. graduate in Oregon. When Taylor came to the Univer- month earlier, Taylor asked that artists “remain con- Indeed, although the University did establish a Depart- sity of Chicago, he came as an art instructor (after sciously and continuously aware of the testimony ment of the History of Art in 1905, this department a medal-winning stint in World War II) and did not of their senses, not simply because this testimony had only three faculty members in the year of Smith’s begin his graduate studies in art history until later. informs them about the materials with which they study. The situation was quite different by 1924, when Although Taylor rightly denied that “a verbal express their ideas, but because their sensuous the department changed its name to the Department description could be the exact equivalent of a painting” responsiveness forms part of the substance of the of Art. In their thoughtful essay accompanying the (2d ed., p. 51), he nonetheless produced perceptively ideas themselves.” ■ Smart Museum’s 1996 exhibition Looking to Learn: Visual Pedagogy at the University of Chicago, Linda Seidel and Katherine Taylor point to this name change David M. Thompson considers aspects of divisional history in this regular column for Tableau. as “signaling a shift in emphasis from the study of art’s Our image is the lobby of the George C. Walker Museum, circa 1893, designed by architect Henry relation to historical, primarily classical, traditions to Ives Cobb as a geological museum. The collections seen in the photograph were transferred to the visual analysis of artifacts” (p. 34). An additional the Field Museum of Chicago in 1953 and the museum is now the home of the Division of the force at work in this shift was the growing interest in Humanities. Courtesy Archival Photofiles (apf2– 08324), Special Collections Research Center, art as a practice and a discourse that could be under- University of Chicago Library. taken in the classroom. At Chicago, then, approaching > Learn > Look > Listen

The 2006–7 Presidential Fellows Presidential Fellow Anne Bogart’s As part of the yearlong Silk Road in the Arts Series opened with two innovative dramatization of Joseph Project (www.silkroadchicago.org), public events in early November. Cornell’s life and art Hotel Cassiopeia in November the University brought Internationally acclaimed writer, film runs at the Court Theatre until together Azerbaijani vocalist and Liv- director, and producer Atom Egoyan December 10 (www.courttheatre.org). ing National Treasure Alim Qasimov discussed his work after a screening The season continues with Anton and other Azeri instrumentalists with at the Max Palevsky Theater. Anne Chekhov’s Uncle Vanya (January 11– the Middle East Music Ensemble Bogart, chair of the graduate direct- February 11), and Ron OJ Parson returns (www.geocities.com/memeuofc/index ing program at Columbia University, to direct Flyin’ West, Pearl Cleage’s .html), directed by Issa Boulos, for delivered a lecture entitled “The Role exploration of African-American woman a concert, student workshops, and of a Theater Artist on the World Stage.” pioneers at the end of the nineteenth a composer’s forum. The Presidential Fellows will also century (March 8–April 8). work with students in more intimate In November, Chicago Review settings: Egoyan will teach a class in At the Hyde Park Art Center (humanities.uchicago.edu/orgs/review/) Cinema & Media Studies and Bogart (www.hydeparkart.org), Jennifer and Poem Present (poempresent. will conduct workshops with members Greenburg, MFA 2001, exhibited her uchicago.edu) sponsored a reading of the University Theater. photographs of the Rockabilly sub- and lecture by Canadian poet Lisa culture last summer. In 2007, explore Robertson, whose poetry offers sen- Richard Martin, Professor of Classics the Chicago years of jazz composer, suous and intrepid meditations on art, at Stanford University, gave the eigh- mystic, philosopher, and Afro-Futurist rhetoric, and feminism. (Last spring, teenth George B. Walsh Lecture Sun Ra; Angela Lee’s “Marking the Robertson was the subject of a spe- on November 11 entitled “Euripides: Body” examines body art in various cial feature in Chicago Review.) Her The First Hellenistic Poet?” The annual cultures and societies; and a new media visit to campus marked the first in a memorial lecture brings a speaker to opera by Max King Cap questions series of events celebrating the sixtieth campus whose scholarship exhibits the conditions of our shared humanity anniversary of the magazine. This joint the restlessness and excellence and compassion. series continues April 5–6 when four characteristic of George B. Walsh’s British poets will visit the University own work. George Walsh (AB ’67) On October 7 Critical Inquiry (http: for readings and lectures. These poets was an associate professor in the //www.uchicago.edu/research/jnl- —Andrea Brady, Chris Goode, Peter Department of Classics. crit-inq/) and the David and Alfred Manson, and Keston Sutherland— represent a new moment in Anglo- phone poetry: one that fuses the poetic traditions of Cambridge University with the ambition and dexterity of the recent avant-garde. The visit will coincide with a special issue of Chicago Review on British poetry.

University of Chicago Presents (chicagopresents.uchicago.edu) continues its season of professional concerts by local and international musicians ranging from the chamber music of the Pacifica Quartet to solo performances to a recital by the A Selection of Hilliard Ensemble in Rockefeller Chapel on January 26. Past, Present, and Hear live music and poetry at the The Franke Insitute for the Smart Museum of Art (smartmuseum Spoken Word Café (4655 S. King Humanities (hum.uchicago.edu/ .uchicago.edu) harnessed creativity Future Events on Drive, 773/373-2233). Sip the house frankeinstitute/) presents the and scholarship with a workshop latte “Bronzeville Blues” by the fire- Chicago Humanities Forum. entitled ‘Drawing in Practice, Drawing Campus and in the place and enjoy the self-proclaimed Established in 1999, the series invites in Theory.’ Exhibiting artist Kerry “smooth jazz vibe.” In late October, humanities scholars to lecture pub- James Marshall led a hands-on Neighborhood artist Hasan Salaam celebrated his licly throughout the academic year at class and W. J. T. Mitchell, Gaylord first independent release Paradise the University’s downtown Gleacher Donnelley Distinguished Service Lost. Check with the café for future Center. In the autumn, Janice Knight, Professor in English and Art History, performances. Associate Professor of English, spoke delivered a lecture on the relationship on “The Devil in the Damsel: Reading between drawing and desire. Currently Women and the Bible” and Richard at the Smart: Robert Heinecken: Upper left: Jennifer Greenburg, Vivien, 2006, Chromogenic Print, Theodore Neer, Associate Profes- Magazines considers the provocative 20 x 24 inches. sor of Art History, delivered “Brilliant series of reconfigured magazines, laden Bodies, Diaphanous Robes: Surface with highly charged content, which Lower left: Issa Boula, Director of the Middle East Music Ensemble, happenings and Depth in Ancient Greek Scuplture.” the artist then put surreptitiously back playing an ud. You still have the chance to hear into circulation in the 1960s (December Center: TaRon Patton as Sophie in Philip Bohlman, the Mary Werkman 16–March 11). The museum will cohost Flyin’ West. Professor of Music, on “The Silence a symposium with the Art Institute of Photograph by Michael Brosilow of Genocide” on February 7. Chicago in conjunction with the exhi- bition, Cosmophilia: Islamic Art from the David Collection, Copen- hagen (February 1–March 20). 22 IN PRINT & IN PUBLIC

———, El Parnaso español: Canon, mecenazgo Jennifer Greenburg, Recalling Americana y propaganda en la poesía del Siglo de Oro (photographs), Hyde Park Art Center, Chicago, (Madrid: Visor Libros, 2006) 2006

Farida Hughes, Findings (paintings), McGuffey South Asian Languages Art Center, Charlottesville, Virginia, 2005 & Civilizations Miriam Kley, Sculptures, Lane Community Vinay Lal, Introducing Hinduism (London: Icon College, Eugene, Oregon, 2006 Books, 2005) Martina Nehrling, Tangle: Recent Paintings, ———, Hinduismo Para Todos, trans. Yolanda Z G Gallery, Chicago, 2006 Fontal (Barcelona, Ediciones Paidós, 2006) Brian Smith, New Paintings, R. Duane Reed John E. Llewellyn, ed., Defining Hinduism: Gallery, St. Louis, Missouri, 2006 A Reader (New York: Routledge, 2006) Buzz Spector, Redux: Drawings and Wordworks, Daniel Veidlinger, Spreading the Dhamma: 1975-2005, Zolla-Lieberman Gallery, Chicago, Writing, Orality, and Textual Transmission in 2005 Buddhist Northern Thailand (Honolulu: University ———, “meViews: Four artists review their own of Hawaii Press, 2006) exhibitions,” Art on Paper 10:6 (July/August 2006) Romance Languages & Literatures Slavic

2005–6 Olivia Maciel Edelman, Sombra en plata Malynne M. Sternstein, The Will to Chance:

| (Shadow in Silver), trans. Kelly Austin (Chicago: Necessity and Arbitrariness in the Czech Avant-

humanities alumni humanities Swan Isle Press, 2005) Garde from Poetism to Surrealism (Bloomington, Indiana, Slavica Publishers, 2006) Ana Valverde Osan, trans. of Francisca Aguirre’s Ithaca (Rochester, N.Y.: Visual Arts (One-Person Exhibitions) BOA Editions, 2005)

Eric Touya, Musique et Poétique à l’Age du Sara Black and John Preus, 12 x 12: Symbolisme: Variations sur Wagner, Baudelaire, Material Exchange (site specific), Museum of Mallarmé, Claudel, Valéry (Paris: Editions Contemporary Art, Chicago, 2006 L’Harmattan, 2005) Bob Gottlieb, Doe Glow: New Work by Her Son Julio Vélez-Sainz, Francisco de Quevedo (mixed media), Reel Pizza Cinerama, Bar Harbor, (Madrid: Ediciones Eneida, 2005) Maine, 2006

IN PRINT & IN PUBLIC IN PRINT & PUBLIC ON THE COVER Boundary Troubles 8, 2004, 18.5 x 17 inches, Embroidery | By Karen Reimer, MFA 1989 | Collection of Pat Swanson In her series “Boundary Troubles,” Karen Reimer plays off the implied endlessness of pattern by embroidering the figures of one fabric onto another. Pieces of fabric whose patterns have differing, sometimes conflicting, cultural associations of class, taste, gender, and fashion era are sewn together. The competing logics of the patterns can be read as metaphors of infection or invasion, or as attempts to make wholes out of disparate parts. In any case, the results are inevitably incomplete and unresolved rather than neat coherent syntheses, and, as with much of Reimer’s work, the amount of labor invested raises the question of whether such attempts are misguided or optimistic. Karen Reimer is represented by Monique Meloche, Chicago.

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