newsletter Volume 13, Number 3 Fall 1988 nominations for CAA board of directors The 1988 Nominating Committee has submitted its initial slate of nine State Building; Art Bank-Dept of State; and numerous college/uni­ nominees to serve on the CAA board of directors from 1989 to 1993. versity and corporate collections. AWARDS: NEA fellowship grant; The slate of candidates has been chosen with an eye to representation Louis Comfort Tiffany grant; Illinois Arts Council fellowship grant; based on region and discipline (artists, academic art historians, muse­ Senior Fulbright Scholar Australia. PROFESSIONAL ACTIVlTIES: NEA um professionals). The nominating committee asks that voters take juror; Mid-America Art Alliance/ NEA juror. cAA ACTIVITIES: annual such distribution into account in making their selection of candidates. meeting panelist, 1988. The current elected board of directors is composed of: eight artists There is an ongoing need to evaluate amongst ourselves the qualt~y (32%), twelve academically-affiliated art historians (48%), and five and type oj education undergraduate and graduate programs are pro­ museum professionals (20%). Of those, eight are men (32%) and viding. It is no longer enough to simply teach "how to. " The art world seventeen are women (68%); sixteen represent the northeast and mid­ continues to demand more theoretical and critical dialogue as the em­ Atlantic (64%), four represent the midwest (16%), two represent the phasis on content and context accelerates. Furthermore, Jewer west (8%), one represents the southeast (4%), and two represent the academic opportunities are juxtaposed with student cynicism about southwest (8%). This compares to the following breakdown of the the art world and how to "make it big out there." I see a needJorJac­ membership: artists 43%; academically-affiliated art historians 44%; ulty to inJuse their art programs with a renewed commitment to integ­ museum professionals 11 %; male 46%; female 54%; northeast/mid­ rity, authentic~~y, social responsibility and depth of ideas. Providing Atlantic 45%; midwest 20%; west 15%; southwest 8%; southeast art students with a keen awareness not only oj the world as it was . 12%. In trying to make a balanced selection, please keep in mind that but also AS IT IS. The CAA should continue to provide guidance and the makeup of the board will also be affected by those whose terms are dialogue, challenging art programs to be relevant andJunctional in a expiring: two artists, two art historians, two men, two women, three critical yet indifferent world. from the northeast/mid-Atlantic and one from the midwest. Six names will be selected by the nominating committee as its final slate and formally proposed for election at the annual members busi­ WILLIAM A. CAMFIELD ness meeting to be held in San Francisco on February 16, 1989. CAA Rice University members are asked to submit a ballot indicating their six choices for the final slate; the results of the preferential ballot serve as a guide to BA Princeton Univ, 1957; MA, PhD Yale Univ, the nominating committee in fulfilling its mandate to present a final, 1964. POSITIONS: asst prof to assoc prof, Univof balanced slate. St. Thomas, Houston, 1964-69; assoc prof to The- preferential ballot is in the form of a prepaid business reply full prof, Rice Univ, 1969-, chair 1970-72. card and is being mailed separately. Please return it promptly: ballots PUBLICATIONS: ''Juan Gris and The Golden Sec­ must be postmarked no later than I November. In the event of un­ tion," The Art Bulletin, 1966; Solomon R. foreseen postal delays, late ballots will be counted. Guggenheim Museum, Francis Picabia, 1970; 1988 NOMINATING COMMITTEE: David Pease, Yale Univ, chair; Francis Picabia: His Art, Life and Times, Richard Haas, NYC; Moira Roth, Mills College: Beatrice Sanchez, Princeton, 1979; Kunsthalle Berne (also Paris, Philadelphia, Hou­ Kansas City Art Institute; Harvey Stahl, Univ California, Berkeley; ston), Tabu-Dada:}ean Crotti and Suzanne Duchamp, 1983; Frank- . Charles Talbot, Trinity Univ, San Antonio. furter Kunstverein and Museum of Fine Ans, Houston, New Art Jrom a New City, 1983; Farish Gallery, Rice Univ, Michael Heizer, "45°, 90°, l800," 1985; Menil Collection, Houston, Marcel Duchamp PHYLLIS BRAMSON "Fountain," 1988. AWARDS: Phi Beta Kappa, American Philosophical University of Illinois, Chicago Society grant; ACLS fellowship; NEH fellowship; Brown Foundation grant: Guggenheim fellowship; several summer grants from the Univ BFA Univ Illinois, Urbana, 1963; MA Univ of St Thomas and Rice Univ. PROFESSIONAL ACTIVITIES: founding mem­ Wisconsin, Madison, 1964; MFA School of the ber, Association International pour l'Etude de Dada et du SUITeal­ Art Institute of Chicago, 1974. POSITIONS: win­ isme; co-founder, Texas Conference of Art Historians; trustee, dow designer, Marshall Field & Co., 1967-69; Museum of Fine Arts, Houston. CAA ACTIVITIES: presented paper at an­ instructor, Chicago Academy of Fine Arts, nual meeting, 1972; member of nominating committee. 1972-73. 1969-74; adjunct faculty, Columbia College, 1972-82; adjunct asst prof and adjunct assoc I accepted nomination to the Board ofDirectors without an agenda, prof, Univ of Illinois at Chicago, 1984 and but bearing instead a general, longstanding sense oj gratitude for the 1985; assoc prof, Univ Illinois, Chicago 1985-. SOLO EXHIBITIONS: work ofCAA and a desire to "pay my dues" in service as well as dollars. Artemisia Gallery, Chicago; Monique Knowlton Gallery, NYC; Mari­ Although I am an art historian with a highly-focused specialty, my anne Deson Gallery, Chicago; Gallerie Farideh Cadot, Paris; Dart proJessional experience and interests are much broader. I take delight Gallery, Chicago; Marilyn Butler Gallery, Scottsdale, Ariz; Seigfried in the entire scope oj art history, and my specialized research becomes Gallery, Univ Ohio, Athens; Hewlett Gallery, Carnegie-Mellon Univ, intertwined with larger social and intellectual issues. I work with plea­ Pittsburgh; Joseph Gross Gallery, Univ Arizona, Tucson; The Renais­ sure in a combined art/art historical department, and I write about sance Society at The Univ Chicago; Brody's Gallery, Washington, DC; and collect (modestly) contemporary art. I have been both guest cura~ Merwin Gallery, Illinois Wesleyan Univ, Bloomington. COLLECTIONS: tor and trustee for museums. A ccordingly, I have some concernfor the Hirshhorn Museum; Museum of Contemporary Art: Art Institute of whole constituency ofCAA. If elected, I will strive to become better in­ Chicago; Illinois State Museum; Lakeside Museum of Art & Science; formed about l~S work and responsive to its needs. Madison Art Center; Palm Springs Museum; Musee de Toulon, France; Dept of the Interior; Milwaukee Art Museum, Illinois Center Continued on p. 2, col. 1 Inominations for CAA board of directors Inominations for CAA board of directors WHITNEY CHADWICK Museum of Arts Award; Cassandra Foundation; NEA fellowship; San Francisco State University CAPS Sculpture Award; Guggenheim Foundation fellowship; NJ 1987; co-editor, "Survey of Women and Persons of Color in Post-sec­ balance in programs and publicat~·ons for all of the manyjz"elds found State Arts Council; GSA Sculpture Commission for Jamaica, Queens ondary Photographic Education," Exposure, 1988; "What Becomes a within the membershtp. I also am conscious ofthe necessity of making BA Middlebury, 1965; MA, PhD Pennsylvania Social Security. PROFESSIONAL ACTIVITIES: chair, sculpture jury for Legend Most: The Short Sad Career of Diane Arbus," The Contest of the CAA truly representational of the w~·de geographic and interest State Univ, 1968, 1975. POSITIONS: lecturer to l.I.E. Fulbright Grant; panelist, juror and consultant several times, Meaning: Critical Histories of Photography, 1989. AWARDS: State groups it must embrace. Cooperatz've and mutually reinforcing rela­ asst prof to assoc prof, M. I. T., 1972-77; assoc NEA; juror and panelist, NY State Council on the Arts and NYC com­ Council on the Arts video criticism fellowship. PROFESSIONAL ACTIV­ tionsh~ps will benejz"t all involved in the arts since interests must and prof to full prof, San Francisco State Univ, munity development program, Art and Community organizations; ITIES: representative and founding member, Women's Caucus of the should overlap. At a time in which university administrators often 1978-. PUBLICATIONS: Women, Art, and Soci­ National Consortium, NYC; consultant and juror, Rockefeller Center Society for Photographic Education; board of directors, Gay and Les­ tend to equate faculty productivity with tncome-generating six-jz"gure ety, 1989; Women Artists and the Surrealist exhibition, Johnson-Atelier, Princeton; panelist, several NJ Arts bian Media Coalition; exhibitions committee, Los Angeles Institute of grants and technological research, I beb·eve the CAA must seek more Movement, 1985; Myth and Surrealist Paint­ Council programs and NJ Dept of Environmental Protection Liberty Contemporary Art; advisory board, Long Beach State Dept of Art; effective and persuasive means by which to make the case for the ing, 1929-1939, 1980; "Toyen and the Surreal­ State Park Sculpture; panelist, Massachusetts Commission on Arts; member, NASAD; various panels, lectures and consultancies. CAA liberal and creatt've arts. ist Movement in Czechoslovakia," Sympost'um, 1988; "Women Artists panelist, Ohio State Individual Grant; panelist, Chicago Art Expo on ACTIVITIES: annual meeting panelist, 1985, 1987. and the Politics of Representation," Feminist Art CTt'ticism,