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Warm greetings from the School of Art andArt History. I returned in January from myfall developmental assignment to find theSchool flourishing. John Scott, Head ofthe Art History Division, served as InterimDirector in my absence and did a wonder-ful job.

New Members of the SchoolFour new faculty members joined theSchool this year: Rob Bork (Medieval art)and Julie Hochstrasser (Northern Ba-roque) in Art History, Laurel Farrin inPainting, and Ebon Fisher who hascreated our new program in Digital Worlds.You can read more about these excitingnew faculty members and their work in thepages of this newsletter. We have certainlyappreciated the energy and enthusiasmthey have brought to the School and theirfresh perspectives have infused all of uswith a renewed vitality. We also welcomethis year our new Chief Curator of theoffice of visual materials, Eric Dean, whocomes to us from the University of Michi-gan. Eric brings an extraordinary range ofadministrative skills and seasoned experi-ence combined with a strong vision ofwhere the OVM is headed in the 21stcentury as we move from slide to digitaltechnology. He is busy working withCurator Julie Hausman on many newinitiatives. You will find details in thesection on the Office of Visual Materials.

The School also has a new AdministrativeAssistant, Diane Schaeffer, whose calmdemeanor and warm smile have helped tosmooth many a ruffled feather in the MainOffice. Diane comes to us with many yearsof University experience and we have allquickly come to depend upon her know-how.

Faculty and StudentsThe faculty this year have been busierthan ever with exciting creative andscholarly research, new teaching initia-tives and developments and plans for the21st century, many of which involve thenew art building and renovations of ourcurrent structures. The newsletter will alsobring you up-to-date on our exceptionalstudents who continue to win awards,national and international scholarshipsand fellowships and distinctive venues fortheir work. I wanted to announce that wehave a new category this year for under-graduate and graduate support and recog-nition provided by the School—theAlumni Scholarship Fund. Thanks to thegenerous support of our alumni we havebeen able to use this new fund to providesupport for undergraduate students andgraduate students.

EquipmentThis was the best year yet for equipmentfunding. Combined funds from the Collegeand the Student Computing Fees enabledus to provide desperately needed comput-ers and related technologies for GraphicDesign, Digital Worlds and Photography aswell as the Office of Visual Materials.Almost all of our instructional equipmentrequests were filled in all Areas for thisyear and we are very hopeful that nextyear will bring the additional funding thatwe need.

New Art BuildingWe have very exciting news to report inthis domain. Last fall we hired world-renowned architect Steven Holl to designour new art building and to overseerenovations of our current structures.Steven Holl is one of the most excitingarchitects today. He is very enthusiasticabout creating a building that unitesartists and art historians. He captivatedthe search committee and the faculty with

Inside this Issue

Studio Divisionpp.3-16

Center for the Bookp.16

Art Educationp.17

Art History Divisionpp.18-23

Administrative Officep.24

Obituaryp.25

Announcementspp.26-27

Greetingsfrom

DorothyJohnson,Director

T h e U n i v e r s i t y o f I o w a

Art

School of

Volume 2 November 1999

N E W S L E T T E R

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his vision of the new art building, one inwhich an environment of beautiful yetfunctional space and light would bringtogether all the diverse units of theSchool. The building will be located on thegentle slope across Riverside Drive fromthe Museum and former Alumni Center andwill be integrated through landscapingwith the pond and the bluff (Steven Hollwas especially excited by these naturalfeatures). He plans to link thematicallythe new building with the beautiful designof our current structures.

The new art building will house a splendidgallery for the exhibition of student workbut will also make possible the exhibitionof work in many spaces, including corri-dors and our communal space at theentrance which will house an arts cafethat will be accessible to the entire finearts campus on our side of the river. Wewill finally have an informal space inwhich faculty, students and visitors canmeet, chat and exchange ideas.

You can read more about the new artbuilding in the pages of this newsletter.

A Final NoteThe CAA breakfast in Los Angeles was atremendous success. It was delightful tosee well-known friendly faces as well as tomeet alumni who live in the West andusually do not make it to the CAA in NewYork. The CAA is being held in New Yorkonce again next February and we hope tosee you there!

I also wanted to mention that I waselected to the Board of Directors of theCAA and will serve until 2003. I lookforward to representing the School in thisnew capacity into the early years of the21st century.

Steven Holl Architects,New York, Selected forNew Art Building Project

Kiasma Museum of Contemporary Art, Helsinki,Finland, designed by Steven Holl Architects ofNew York, 1998. Holl has been commissionedto design the new 40,000+ square-foot centerfor the study and practice of the visual arts inthe School of Art & Art History complex on theUniversity of Iowa Arts Campus. (copyrightSteven Holl Architects)

Kiasma Museum of Contemporary Art, Helsinki,Finland, Steven Holl Architects, New York,1998. View of entrance foyer. (copyrightSteven Holl Architects)

A new center for thehistory and practice ofthe visual arts is nowat an advanced stageof planning. The40,000 square-footstructure will belocated in the lotacross Riverside Drivefrom the UniversityMuseum of Art. Thefacility will represent asignificant net gain ofspace serving theexpanding needs of theSchool’s faculty, staff,and students. Otherbuildings in the Schoolcomplex, in particularthe historic old ArtBuilding from the1930s, will be restoredas part of the project.Freeing the space inthe old building wherethe Art Library is nowlocated and restoringto it the originalfunction as a largeexhibition gallery isone of the majoranticipated achieve-ments of the project. Asecond gallery will alsobe programmed intothe new building. TheArt Library and theOffice of Visual Materi-als, now suffering fromexceptionally seriousspace problems, are toreceive state-of-the-artfacilities.

School faculty andUniversity administra-tors determined thatthe new buildingshould fulfill the manynew curricular needs ofthe unit and shouldalso be a showpiece ofdesign appropriate tothe history and statureof the institution. Itwas felt that thisbuilding should reflectthe latest trends in

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contemporary architecture as alreadyrepresented on campus with facilitiesdesigned by Frank Gehry and CharlesGwathmey. To that end a committee ofSchool faculty and University administra-tors interviewed six finalists from a list ofnational architectural firms. Steven HollArchitects of New York received thecommission for the project. Holl’s recentwork at the University of Seattle’s St.Ignatius Chapel, a major wing for theSaarinen-designed Cranbrook Institute ofScience, and, especially, the KiasmaMuseum of Contemporary Art in Helsinki,Finland, has put him in the top ranks ofarchitects now designing innovativebuildings in Europe and the U.S. His workshave been widely published and receivedmuch praise internationally. During hisinitial visit to campus, Mr. Holl expressedhis excitement about the possibilities ofthe project and its site, especially inconnection with topographical featuressuch as the lagoon and limestone bluffadjacent to the lot for the building. Healso praised the old Art Building for itsdistinguished design and indicated hishope for reviving its former glory. Notingthe proud inscription above the originalriver façade entrance—ARS LONGA VITABREVIS EST—Holl said this should be thethematic starting point for the entireproject.

Stud

io D

ivis

ion The Studio Division’s fall semester was

highlighted by the 1998 edition of theFaculty Exhibition at the UI Museum ofArt. Thirty-one faculty participated,including nine faculty new to the Divisionsince the last show in the spring of 1997.All areas and media were represented inthis exhibition which continues to providea valuable opportunity for the regionalaudience to see the diverse outcomes ofour faculty’s visual research. Most of ourfaculty exhibit nationally and internation-ally, but not often locally, so this is anespecially important chance for ourstudents to see the work of their instruc-tors. Kathleen Edwards, in her first seasonas Curator of Prints, Drawings and Photo-graphs at the Museum, acted as coordina-tor with the faculty for the exhibition. Sheis already developing plans with us for thenext faculty show to be held in the springof 2001.

Working in concert with the Director forthe past two years, the Studio Division hasbeen developing a plan for a new adminis-trative structure designed to augment theefforts of the Director and the Area Heads.This past year, three faculty were desig-nated as Studio Division Coordinators withresponsibilities in the areas of GraduateAdvising, Curriculum Coordination andFaculty Coordination. With full facultyparticipation, significant progress wasmade in the Division towards increasingdivision-wide perspectives, creating newcollaborative initiatives and facilitatingbetter communication links betweenfaculty, students and administration.

Among the new initiatives developed andapproved for implementation next year inthe Studio Division are comprehensiveplans for undergraduate academic advis-ing, undergraduate outcomes assessmentand a revised review procedure for gradu-ate students entering the MFA programupon completion of the MA. The under-graduate advising program will includeannual update training sessions for allfaculty and provide the mechanismsnecessary to insure that all studentsmajoring in the Division receive regularadvising by faculty during their junior andsenior years.

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The new undergraduateoutcomes assessmentplan underscores theDivision’s commitmentto strong undergradu-ate education andmonitored transition topostgraduate life. Theplan begins with anenhanced BFA Clear-ance procedure in thejunior year and tracksstudent progress andoutcome through 5years following gradua-tion. Important com-ponents include anannual BFA Exhibitionand a new SeniorSeminar course focus-ing on contemporarystudio art issues andtransition to profes-sional practice.

Interest in interdisci-plinary study andcollaborative teachinginitiatives resulted inthe development ofanother new courseawaiting approval fromthe Board of Regents.Titled “Inter AreaTopics,” the courseprovides a long-neededmechanism for teamteaching within theSchool. This proposal-based course enablestwo or more faculty toengage students inspecial cross-media orcross-disciplinarytopics at the advancedundergraduate andgraduate level.

Ceramics AreaBunny McBrideProfessor McBride has been invited toparticipate in “Suited to a Tea,” a springexhibition at the Sioux City Art Center,Sioux City, Iowa and “A Tisket a Tasket aBountiful Basket,” a fall exhibition at theNative Soil Gallery, Evanston, Illinois.

In July, McBride presented a five dayworkshop and slide lecture at the Univer-sity of Alaska, Juneau.

McBride will serve as curator for theAlumni Ceramic Exhibition to be held inconjunction with the International WoodFire Conference “Different Stokes” Septem-ber 29 through October 2, 1999. Alumniworks will be installed in the new exhibi-tion space at the Levitt Center for Univer-sity Advancement.

Design AreaHung-Shu HuImmediately after completing and attend-ing the opening ceremony of his“D Forever” sculpture for the Levitt Centerin May 1998, Professor Hung-shu Hutraveled to Beijing, China. While in China,he gave a one-month Basic Design work-shop at the Central Academy of Arts andDesigns in Beijing and also gave lecturesat Nanjing University and EastsouthUniversity in Nanjing.

During the fall of 1998, Professor Hu hadan article “The right for M.F.A. degree”published in Modern Art Bimonthly byTaipei Fine Arts Museum in Taiwan. InJanuary 1999, another article, “Hu Hung-shu’s Public Art,” was published in Art andDesign by the Central Academy of Art andDesign in Beijing to introduce his publicartworks in the U.S.

In February 1999, Hu finished a hangingsculpture, “Twinkle, Twinkle” for IowaMethodist Medical Center in Des Moines,Iowa. During the spring break of 1999, hewas invited to Taipei to do a sculpture in anew railroad station near Taipei. In lateMay Professor Hu returned to Taiwanwhere two of his sculptures were chosenand collected in the building of TaipeiEducation TV Station. He then traveled toChina to give invited lectures at SuzhouUniversity and Nanjing University, beforereturning to Taiwan to give workshops forthe National Tainan Art College.

Ab GratamaIn the Spring Semester 1999, GraphicDesign was able to establish its owncomputer lab with funding from theCollege of Liberal Arts and ITS (StudentComputer Fees). Graphic Design has now atotal of 15 Macintosh G3 workstations,scanners, a color printer and a LCD dataprojector. Teaching, demonstrations andsharing of ideas have been greatly en-hanced. Students are now able to work ontheir projects in class and share themthrough projection. This creates strongerand more collaborative relationships.

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Digital WorldsThe School of Art & Art History hasenlisted New York media artist EbonFisher to organize a new digital studio.With the technical support of researchassistant Adam Brown, Fisher has beenorchestrating a laboratory full ofMacintosh computers, plants, and treesinto a “digital garden.” Classes in digitalimaging, interactive media, and virtualworld creation are being offered.

One of the first instructors at MIT’s MediaLab, Fisher approaches computers andtheir evolving software as an organicextension of culture: “It may not be toopeculiar to characterize the digital realmas an evolutionary spinoff of our collectivenervous system. Since the invention of theprinting press we have been rapidlyevolving communication systems—andcomputers, because of their programmabil-ity, are the most evolvable inheritors ofthat process. Immersing oneself in thedigital realm is like jumping into a ragingriver of constant change.” Adam Brown,who is the systems engineer for the laband provides technical instruction, puts itthis way: “Digital Worlds is trying to de-mystify the computer as an object which isalien from culture and encouraging its useas an organic offshoot of the creativeprocess.”

Fisher uses the term “Digital Worlds” tosuggest the integration of all the arts intocoherent realms of experience. “If you canforgive a Wagnerian indulgence,” he says,“I’m a sucker for a good cyberneticgesamtkuntswerk. We’re working towardsthe possibility of wrapping the senses in acomplete digital dream.” According toFisher Digital Worlds is committed todeveloping psychologically complex formsof virtual reality to create “antidotes tothe hyper-violent games industry.” Helikens the experimental side of digitalculture to independent film and popmusic:

“The personal computer is allowing manymore artists to become independentmedia creators. A lot more reflection,compassion, and soul can enter thepopular media than the large mediaproducers have supported in the past.The electronic equivalent of bold, truth-

Ab Gratama traveled tothe Netherlands duringthe summer of ’98 andvisited several ArtAcademies. He dis-cussed possibilities forstudent and/or facultyexchange. The RoyalAcademies of Art &Design in The Hagueand Den Bosch, andthe St. Joost Academyin Breda were veryinterested. During thesummer of ‘99 Gratamafurther investigatedthe various options.

In November 1998,Gratama traveled witha number of studentsto the CranbrookAcademy of Art inBloomfield Hills,Michigan to attend thedesign symposium“Whereishere” inconjunction with thedesign exhibition“Behind the Scene:Studio Dumbar.” It wasan inspiring andstimulating experiencefor all.

In November ’98Gratama was invited toexhibit his design workat the Viterbo CollegeGalleries, La Crosse,Wis. He also wasinvolved in the Groupexhibition “each child’sstory illuminates theothers,” organized byArts Iowa City, IowaCity, Iowa.

For his “contributionto the quality ofteaching at The Uni-versity of Iowa” AbGratama received theCollegiate TeachingAward for 1998-99.

seeking poetry is being born. I’d like tosee Digital Worlds come to terms with theemerging potential of independent mediaand become not only a hub in itsdiscourse, but an incubator of greatdigital visions.”

Fisher has spent the last decade studyingthe dynamics between people and ma-chines. In Williamsburg, Brooklyn, heinitiated a series of “media rituals” toexplore these “bionic relationships,”including 1993’s “Web Jam,” a collabora-tion which drew over 2,000 people to anabandoned mustard factory in a 15-hourmultimedia jam. Currently Fisher has beencreating his own digital world, The AlulADimension, which presents allegories forhuman-machine ecosystems. In connectionwith such ecosystems he is developing aseries of essays on the possibilities of“ecological subjectivity” which he calls“Wigglism.” Last summer Fisher’s essay,“The Future of Wiggling Things,” was thecover article for the London-based journal,“Digital Creativity.” ArtByte will be pub-lishing an interview with him this Springin which he discusses Wigglism and DigitalWorlds.

Fisher’s work has been discussed in numer-ous media including Japanese television,Wired Magazine, Domus, FlashArt, TheDrama Review, and he has been quotedtwice in the New York Times. He haspresented his creations at Boston’s Insti-tute for Contemporary Art, The KrannertArt Museum at the University of Illinois,and The Kitchen and Exit Art in New YorkCity. His “soft ethics for cyberspace”project, the Bionic Codes, have appearedin the Wall Street Journal and are cur-rently presented by the GuggenheimMuseum through its website.

The Digital Worlds website is currentlyunder construction by three students,Sophie Canade, Laura Watral and CarriePollack. Ebon Fisher’s website can be foundat: www.interport.net/~alula

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Drawing AreaVisiting faculty members for the 98-99academic year, Sarah Mast and KellySpalding, added to the diversity of theprogram. We give them our thanks andbest wishes.

TA’s in Basic Drawing continue to provideengaged and solid teaching to students intheir foundation drawing class. We allbenefit as these students progress throughsubsequent courses with noticeableattentiveness and enthusiasm. The weeklyMezzanine Gallery exhibitions from each ofthe sections of Basic Drawing are varied,stimulating, and good examples for exhibi-tors and viewers alike. Thanks this year toa great roster of TA’s: Hamlett Dobbins,Karen Doten, Joe D’Uva, Jessica Fuller, WesLockwood, Helen Neumann, MichaelPittard, Rebecca Roberts, Gene Romero,David Tallitsch, and Noah Williams.

TA’s in general drawing classes make life abit easier for the teachers and students byhiring the models, making the setups,keeping the rooms in order, and offering acritical word of advice. For the fall theywere Aaron Holst and David Tallitsch, andin the spring Justin Nostrala and LeighLandry.

Media of Drawing allows the faculty theopportunity to teach classes with desig-nated topics of their own strengths and ofspecial interest to students. This yearDavid Dunlap offered a course focused oncollaborative drawing and Joe Patrick oneon drawing the human head.

The Mezzanine Gallery continues to offerevery class a week’s opportunity to showwhat is going on in the program. It’s anessential teaching and learning tool, andwe put it to good and constant use.

Thanks to equipment funding next year wewill see a large new mirror reflectingeverything in life drawing classes in roomW205, and new track lighting will high-light the drawings that get displayed onthe walls in Basic Drawing classes in roomW200.

Joseph PatrickPatrick returned from a Spring 1998semester research leave spent in Oaxaca,Mexico to his last full year of teaching.Next year he will begin a phased retire-ment appointment which will see himteaching only during the fall terms. Thetermination of his responsibilities asProfessor-in-Charge of Drawing will see theend of an era. For Joe and his studentsthis period has been exemplified byenthusiasms they have shared for theprocesses and discoveries of perceptualdrawing. Joe has consistently refused towrite a syllabus for his classes, contendingthat he can only outline broad objectives,but that day-by-day events must respondto the dynamics of interaction among thestudents, the teacher, the models, and allthe visual stimuli which unfold. This keepseveryone alert, intuitive, inventive, andless likely to rely on predictable precon-ceptions.

This spring Joe has taught a Media ofDrawing class, restricting its topic to“Heads.” He was surprised by the interestthe offering generated and ended uphaving to turn students away after theclass reached an enrollment of 20. He waspleased that he was able to take them on afield trip to an invitational exhibition, TheFigure Confirmed, at Augustana College inRock Island, Illinois in which his own workwas included. Joe had an installation of 42drawings of heads of students, mountedunframed and unglazed, an inch apartfrom each other, on a 25 foot long wall.There were three groups, each comprisedof students during a different semester,including some of those on the field trip.

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Painting AreaThe faculty in the Painting area for the1998-1999 year were Ronald Cohen, JohnDilg, David Dunlap, Laurel Farrin, SueHettmansperger, Sara Mast, MaggieRochelle, Kelly Spalding and GelsyVerna. Visiting Assistant Professors SaraMast and Kelly Spalding brought theenergy and insight that visitors can bring.We thank them for their contribution.Assistant Professor Gelsy Verna returnedfrom her year-long residency Fellowship atthe Fine Arts Work Center in ProvincetownMA. She will be on developmental leave inthe Fall of 1999. Professor SueHettmansperger completed the secondsemester of her three semester FacultyScholars Award during the Fall of 1998.She will complete her third semester inthe Fall of 1999. Associate ProfessorRonald Cohen continued his joint appoint-ment in the Painting Area and Elements.He taught during the Fall semester thisyear and will do the same next year.

At the beginning of the Fall semester,1998 Laurel Farrin joined the faculty asan Assistant Professor in Painting. MaggieRochelle continues to serve as a Lecturerin the Painting Area.

The Painting Area faculty congratulateHamlett Dobbins, Karen Doten, AaronHolst, Leigh Landry, Wes Lockwood, JustinNostrala, Nathaniel Parsons, MichaelPittard and Gene Romero who will receivetheir MFA degrees in May of 1999. Wethank them for their contributions.

Ronald CohenIn March of 1998, a one-person exhibitionof Ronald Cohen’s work was on view at theLyons-Weir Gallery in Chicago. His workwas also represented in the gallery’s boothat the Navy Pier exhibition in May. In Julyof the same year his art was represented in“The Water Show” at the Anton Gallery inWashington D.C. Fifteen of his paintingsand numerous studies may be seen at theQuincy Art Center in Quincy, Illinois thisJuly. Additionally, this summer Cohen willteach a multidisciplinary graduate seminarentitled “Vision, Voice and Process” at theMaryland Institute College of Art inBaltimore, Maryland.

John DilgJohn Dilg was on leave during the fallsemester, 1998-1999. In October, hepresented a lecture at the Midwest PrintCouncil Conference in Cincinnati, Ohio, on“The American Trade Card: Form andNarrative in the 19th Century AdvertisingPrint.” In the summer-fall, 1998, Dilg tookpart in the Ragdale Foundation’s “AlumniExhibition,” and also had a drawingincluded in “Artemesia Gallery-25thAnniversary Exhibition,” both occuring inChicago. This June-July, l999, he will havework in the exhibition, “On the Verge ofAbstraction,” at the Center for CreativeStudies in Detroit, Michigan, and curatedby Dennis Nawrocki. A catalog on Dilg’swork, John Dilg, Paintings 1994-1998,with an essay by Jo-Ann Conklin, Directorof the Bell Gallery at Brown University,was funded by the University of Iowa’sSupport Program for the Arts and Humani-ties, and published in July, 1998. Thiscatalog is available from Dilg and will besent without charge to any alumni of theSchool of Art & Art History requesting it.

David DunlapDavid Dunlap, in collaboration withHamlett Dobbins, Ingell Doyle, PeterFeldstein, Gerald Gomez, Ab Gratama,Sarah Kirk, Gwen Oulman and JeffreyPegram, presented the second of a two-part installation at Arts Iowa, Iowa Cityfrom December, 1998 through January,1999. These two installations were orga-nized around the commemoration of themurder of Laura Van Whye and the humanrights issues that are directly or indirectlyassociated with this murder.

On October 25, 1996 Laura Van Whye wasfound, critically injured, by the side of theroad in northern Missouri. She was takento the nearest hospital in Quincy, Illinoiswhere she died the next morning. For thisreason, the first installation, in collabora-tion with Sarah Kirk, Laura’s sister, waspresented at the Quincy Art Center inJanuary of 1998. Both of these installa-tions took place during the celebration ofMartin Luther King’s birthday and bothincluded this celebration as part of theinstallations. At the Arts Iowa installationthis included a parade. Both the paradeand the installation were part of theUniversity’s “Global Focus: Human Rights98.”

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Laurel FarrinLaurel Farrin joined the School of Art andArt History as Assistant Professor inPainting / Drawing in August 1998. In Mayof 1998 she exhibited an installationentitled “Linked/Longing” in Baltimore,Maryland at School 33. Her work was alsoseen in the show “Art Sites 1998” at theCorcoran Gallery of Art in Washington, D.C.

A one-person exhibition of Farrin’s workwas shown last October at Anton Gallery inWashington D.C. This summer her work hasbeen included in the “Iowa Artists 1999”exhibition at the Des Moines Art Center.

Sue HettmanspergerDuring her second Faculty Scholar semes-ter assignment this Fall (1998), ProfessorSue Hettmansperger continued to work onpaintings and drawings which referencedideas of nature, culture and art. Sheconcentrated her time between NewMexico and Iowa City while producingwork for an upcoming major show. Acomponent of the project was gatheringinformation in New York City on historicaland contemporary precedents, in order toincorporate that material into teaching.While in New York she exhibited a paintingin a group Affiliate Members show atA.I.R. Gallery. Last year she also partici-pated in the 25th Anniversary Invitationalat A.I.R., which has been recorded by theArchives of American Art, SmithsonianInstitution, New York Center. ProfessorHettmansperger was recently listed in theSan Francisco based Women EnvironmentalArtists Directory and was interviewed forthe Iowa Women Artists Oral HistoryProject (to be archived in the UI Librarysystem). She has given lectures on herwork this year at Tyler School of Art inPhiladelphia and the University of Ne-braska, Lincoln. An upcoming one-personexhibition of her work will take place Fallof 1999 at A.I.R. Gallery in New York andwill be accompanied by a catalogue.

Sara MastSara Mast, a Visiting Assistant Professorfor 1998-99, received a Montana ArtsCouncil Individual Artist Fellowship for1998. Most recent group exhibitionsinclude: The Art Museum of Missoula, MT,Bridge Street Gallery, Bigfork, MT, FreshPaint Gallery, Culver City, CA, and Dragon-

fly Gallery, Martha’s Vineyard, MA. A two-person exhibition at Flanders Contempo-rary Gallery in Minneapolis, MN, was heldJuly 10-September 1, 1999.

Maggie RochelleLecturer in Painting and Drawing in theSchool of Art and Art History, MaggieRochelle, was a guest at Yaddo artist’scommunity in Saratoga Springs, New Yorkin May/June of 1998.

Kelly SpaldingVisiting Assistant Professor Kelly Spaldingparticipated at Brandeis University in TheRose Art Museum’s annual survey ofBoston-based contemporary painters. Thisyear’s exhibition was entitled a “QuietRevolution” and featured thirteen ofSpalding’s small works, many painted inIowa City last fall. Concurrently, Spalding’swork could be seen in a group exhibitionat the Genovese Gallery in Boston throughMarch. The artist has collaborated withartists and dealers in Boston in support ofan organization called Abstraction MadeElementary, engendering art awareness inpublic schools, and will participate in anexhibition at the Harvard School of Educa-tion in May called “Pattern Pop andLayer.”

Gelsy VernaGelsy Verna returned from the Fine ArtsWork Center in Provincetown residency.The residency was a great opportunitybecause it allowed Verna not only toconcentrate on her work, but to be intro-duced to a number of people in the arts inNew York and to participate in a numberof exhibitions on the east coast.

Verna had a solo exhibition at the HudsonD. Walker gallery in Provincetown, MA, atArtemisia Gallery in Chicago, and a soloexhibition is in the works at the PorterTroupe gallery in San Diego. Verna wasinvited to participate in a number ofgroup exhibitions, namely in Hamburg(Germany), Boston, MA, and New York forthe most recent exhibit, at The Stroke atExit Art Gallery (an overview of contempo-rary painting practices from the perspec-tives of nine painters), for which the artistKerry Marshall chose Verna’s work. Verna’swork was included in a group exhibition atPorter Troupe Gallery in July.

In the last year, Vernahas been a visitingartist at the followinginstitutions: the RhodeIsland School of Design(R.I.S.D.), Fisk Univer-sity (Nashville, TN),and the School of theArt Institute of Chi-cago (S.A.I.C.). Vernahas a developmentalleave for the FallSemester of 1999.

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Intermedia & Video ArtThe Intermedia Area of The University ofIowa’s School of Art and Art History wascreated in 1968 and has been directed,since then, by Hans Breder. In fact, theUniversity of Iowa was the first Universityto grant the MFA in Intermedia. Threedecades later, the Intermedia Area at TheUniversity of Iowa continues to highlightexperimental, interdisciplinary and inter-cultural modes of art making. Last sum-mer, Professor Breder was designated aGambrinus Fellow by the University ofDortmund. He and some of his studentswere invited to spend a month at theUniversity collaborating on site-specificinstallations which explored “Places ofDesire.” By juxtaposing installations andperformances in a medieval cathedral, therubble of a brewery shot up in WWII and acontemporary pedestrian mall, Places ofDesire became a collective meditation onthe historical and urban development ofthe city of Dortmund. During a reciprocalvisit, 10 art students and their professorspent a month in Iowa City collaboratingwith The University of Iowa’s intermediastudents. These collaborations—mostlydigital, video and performance works—revolved around the concept Rites ofIdentity.

It is also worth noting some of the awardsand opportunities granted to individualstudents who major in Intermedia. On anindividual level, several students receivedawards which allowed them to work inother countries. The students doingintercultural work include Cherie Sampsonwho has just returned from Finland wherea Fulbright Fellowship allowed her tocollaborate with Finnish artists in thecreation of site-specific sculptures. Herwork was exhibited at the prestigious PoriMuseum of Contemporary Art. Li-Hua Leiwas invited to Skowhegan. Gretchen Beckaccepted a position as Chair of the ArtDepartment at Concordia University,Irvine, California.

Hans BrederHans Breder, whose work has been in-cluded in three Whitney Biennial Exhibi-tions, was commissioned last year by theInternational Association for Philosophyand Literature to produce a high-tech

intermedia perfor-mance for their annualmeeting entitled“Interrogating Images”at the University ofCalifornia at Irvine inMay, l998.

This year, in contextwith the Global Focus:Human Rights ‘98conference he pro-duced an intermediaevent entitled BlondeShadow. The BlondeShadow performance isconceptually complexand formally daring.The work consists ofmultiple layers ofinterwoven text, imageand sound, creating across media, immersiveenvironment whichutilizes the latestdigital applications. Asan act of historical-political memory,Blonde Shadow bearswitness, in the mannerof an ethical or politi-cal act, for today andfor tomorrow. Theevent will travel hereand abroad.

Metalsmithing andJewelry AreaThe Metalsmithing and Jewelry Program’smajor exhibition “30 Years of Inspiration:Works of Chunghi Choo with her Formerand Current Students” was held at StudioloGallery in Iowa City from May 1 to 30,1999. In order to give graduating studentsa well-rounded and broad range of careeroptions, the Metalsmithing and Jewelrycourse work also emphasizes designingand making prototype pieces for multi-production art works. Some of the gradu-ate students’ art works have been pro-duced in multiples by industries for themarket place. More students are learningand taking 3-D computer modeling coursesand creating their designs in digitalimages. 2-D wire frame designs of theirdigital images are converted into 3-Dplastic forms through Rapid Prototyping atthe University of Iowa Department ofEngineering. The plastic forms are thentransformed to metal by casting or electro-forming at the metals studio or using theplastic form as is.

Metals students continue to work withoutboundaries of media and have beenproducing diverse, innovative art works.They have been actively entering theirwork at major national and internationalcompetitive exhibitions, working towardprofessional goals. Some of the currentgraduate students’ accomplishments from1998 to present include:

Sean DoyleSean was one of two recipients in theUnited States to be awarded the EducationFoundation Scholarship for 1998 - 99, fromthe Manufacturing Jewelers and Silver-smiths of America of Providence, RI andfive other scholarships and grants at theUniversity of Iowa. In 1998, his workswere accepted into eleven national andinternational competitive exhibitionsincluding “International Competition ofTwo and Three Dimentional Art” atLafayette Art Gallery, Lafayette, LA. Hereceived the Joanne Rapp Juror’s ChoiceAward at the “Wearable Expressions,” anational show, in Rancho Palos Verdes, CA.In 1999, Sean’s works were accepted intofour national competitive exhibitions

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including “Materials: Hard and Soft” atGreater Denton Arts Council, Denton, TX,juried by Michael Monroe. He receivedHonorable Mention in “Metal Works:1999,” a national juried exhibition at ArtsIowa City Art Center.

Este HartIn 1998, all four of Este’s entries wereaccepted into the national, juried exhibi-tion, “Vessels for the Journey,” Angels’Gate Cultural Center, San Pedro, CA; “Bestof 1998” national, juried show, Ohio CraftMuseum, Columbus, OH and “Aesthetics’98" national, juried exhibition, SandzenGallery, Lindsborg, Kansas.

Louise RauhEvery year, Louise’ works have beenaccepted into many national, competitiveexhibitions and her works have beenreviewed or illustrated in various publica-tions including American Craft and twicein Metalsmith. In 1998, her work wasaccepted into “Sheen of Silver, Weight ofAir: Aluminum in Art, History and De-sign,” a traveling exhibition sponsored bythe Museum of History and and Industry,Seattle, WA. This year, two pieces of herworks were chosen by the University ofIowa Studio Art faculty to represent theUniversity of Iowa at the Big Ten Confer-ence Room in Chicago.

Dean SpencerDean received Faculty Honorable Mentionfor his Fountain, a digital image, and thePeople’s Choice Award for his Tea ServingSet, another digital image. His work wasaccepted into “Crafts National 32” at PennState University’s Zoller Gallery, StateCollege, PA. He gave a workshop andshowed his work at the invitational show“Metalsmiths” at Gallery 100 in CapeGirardeau, MO and he was featured withhis work in Southeast Missourian newspa-per, October 3, 1998.

Sung Hee YoonSung Hee’s works were exhibited at twoinvitationals and won a First Place at the“1998 Lois Jecklin Flatware Competition”at the University of Iowa, an award shealso won in the previous year.

Justine ZimmerJustine’s works have been accepted intoalmost all major, national and interna-

tional juried exhibitions since she enrolledin the graduate program. In 1998, shereceived an Invitational Award at “Art Fairon the Square” in Madison, WI. Presently,Justine is involved in research and experi-mentation with patinas and surfacetreatments of steel and explorations ofpainting, etching and drawing on steel.

Chunghi ChooChunghi Choo’s work took a new directionduring her Developmental Assignment inthe Fall of 1998, producing sculptures,mostly using the industrial computernumerical control equipment. She alsocompleted a series of designs for func-tional and non-functional objects andjewelry, some to be produced in multiplesusing various advanced industrial tech-nologies.

Some of Chunghi Choo’s activities sinceJune, 1998, include: gold jewelry piecesshown at the invitational exhibition “EastMeets West - Ewha Metal Artists BiennialInternational Exchange,” jewelry fromGermany and Korea at Craft SpaceMokkumto, Seoul, Korea and at Galerie inDrediger, Schwabisch Gmund, Germany.Her functional and non-functional vesselforms were shown at the invitationalexhibition, “Benchmarkers: Women inMetal,” which was opened at the NationalOrnamental Metal Museum, Memphis, TNand is now showing at Schick Art Gallery,Skidmore College, Saratoga Springs, NYuntil June, 1999. This exhibition wascurated by Rosanne Raab Associates ofNew York, and “Benchmarkers” celebratesthe achievements of 31 women who havesucceeded in the metals field in Americaduring the past 50 years. Three“Benchmarkers” are from the University ofIowa Metals Program: Choo and twograduates.

Chunghi Choo’s works were shown in theacquisition section of American Craft,June/July issue, 1998, and a featurearticle, “Of Silver and Soul,” on Choo andher work by Elsebeth WedervangMathiesen in the Iowa Alumni Quarterly,summer issue, 1998. At the 1998 Societyof North American Goldsmiths Conferencein Seattle, Washington, Choo and herworks were presented in the slide lecture,“Asian Roots, Western Soil: Visual Poetryin Metal” by Dawn Nakanishi. Choo and

Metalsmith Marilyn daSilva were the jurorsfor the NationalCompetitive Exhibi-tion, “Metal Works:1999” sponsored by theIowa Arts Council.

Choo has been workingwith graduates on acatalogue of thecreative work ofapproximately 50artists, University ofIowa former andcurrent metalsmithingstudents, includingChoo. This cataloguewill cover work pro-duced during the 30years Choo has beenteaching at the Univer-sity of Iowa. A part ofthe funds for produc-ing this catalogue willcome from the discre-tionary fund from thebequest awarded toChoo upon her receiv-ing the F. WendellMiller DistinguishedProfessorship.

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Photography AreaThe Photography Area continues to offer abroad sequence of courses designed tointroduce students to the theory andpractice of photography both as a fine artmedium and as a cultural phenomenon.Courses emphasize visual literacy andencourage students to develop and articu-late a critical self-awareness of their workwhile recognizing photography’s changingrelationship to other media and its ever-increasing impact on society. In additionto its conventional film-based curriculumwhich includes courses in black and white,color, large format, and graphic arts,Photography also offers a digital compo-nent in several of its advanced courses.With the recent acquisition of some keycomputer equipment, Photography willoffer a digital imaging course in the Fall of1999.

Like many other studio areas, Photographyis anxiously awaiting improved facilities inthe new art building. Until then, we havesecured additional studio space for ourgraduate students and are sharing acomputer classroom with Graphic Design.

There are currently seven graduate stu-dents in the program, each working in adistinct manner and medium, from viewcamera to digital imaging to video installa-tion. This past year, the graduate studentsorganized an exhibition of their work andgave a gallery talk at Indiana University inSouth Bend. In the Fall Semester, thePhotography Area hosted two visitingartists—Deborah Goldman from theUniversity of Denver and Patrick Nagatanifrom the University of New Mexico. Recentgraduates of the program continue toexhibit regionally and nationally andmany have secured jobs in the field,including teaching positions throughoutthe country. Sarah Smelser (MFA 97) beganteaching at Pasadena City College this pastFall Semester and Deb Golden (MFA 94) iscurrently teaching at the University ofNorthern Iowa in Cedar Falls. RobbieSteinbach (MFA 92) published “Lifeworks:Portraits of Iowa Women Artists,” theculmination of a long-term photographicproject which she began in graduateschool.

Peter FeldsteinPeter Feldstein had four of his cliché verreprints published as photogravures byGalamander Press in New York. One ofthese was purchased for the collection atthe Fogg Museum in Cambridge. This yearGalamander Press is planning to publishanother suite of photogravure prints.Gottheimer, Ltd. Contemporary Art, a printdealer in St. Louis, has also been repre-senting Peter’s photogravures and he isalso represented by Guild.com on theInternet. Ricco/Maresca Gallery in NewYork has also taken some of his largecliché verres. Last June Peter’s house andstudio were the victims of a mezzo-cyclone, though they didn’t receive asmuch damage as the building in between,the American Legion. Peter bought the4800 sq. ft. building for $10 to rescue itfrom demolition and has been restoring itever since.

Jim SnitzerJim Snitzer has continued his work inphotographic tableaux and offset printedartist’s books. His current photographicwork, which has been exhibited bothregionally and nationally, humorouslyinvestigates the culture’s often ambivalentrelationship to the landscape. Under theauspices of the University’s Center for theBook, he is planning to produce an artist’sbook next Spring Semester with EsterParada, a Chicago-based photographer. Heis currently serving as Chair of the Photog-raphy Area.

Margaret StrattonMargaret Stratton is a professor of photog-raphy. Her main interests lie within therealm of large format photography, whichis reflected in both her personal work andher teaching. Margaret specializes in theblack and white fine art print. She teaches4 x 5 and studio lighting as well as a 3-week intensive fine print class everysummer.

This year Margaret’s photographs ofprisons, Sentencing the Sentence:America’s Abandoned Prisons, will befeatured in the June 1999 issue of ContactSheet published by Lightwork in Syracuse,New York. Her work is currently featuredin an exhibition of Swanstock Photographsat the Kodak Image Bank in New York City.

In addition Margaret’sarchitectural studies ofNew York made whileon leave for herFaculty Scholar awardhave been successfullymarketed in Berlin,Germany and SanFrancisco, California.

Margaret is in the finalstages of completingher videotape, ExceptA Miracle, whichchronicles her journeyto articulate why themiracles of the VirginMary have made suchan enormous impact onwomen of all faithsover time. She isbeginning research forher next video work,which will investigatehow media interpreta-tions of prison lifereconstruct our socialattitudes towardincarcerated popula-tions.

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Printmaking AreaKeith Achepohl1999 was the 5th year Keith Achepohldirected the University of Iowa Summer inVenice program. Fifteen people fromdifferent parts of the United States par-ticipated in the one-month (July) sessionheld at the facilities of the InternationalSchool for Graphic Art in Venice. UsingVenice as a source for ideas for drawingand printmaking the program proved againto be a successful means of getting toknow an incomparable city and its gloriouspast, but also a means to meet and knowartists from other parts of the world.

The weekly trips to Padua (Giotto), Verona(opera in the Roman Arena and the great,Giusti garden), and Vicenza (Palloddio)add to a further knowledge of the Veneto.The biennale this year gave a great incen-tive to the group to come up with our ownproposals for art works or projects forwhen the call comes to fill one of thoseglorious spaces allotted artists participat-ing in the biennale. A great way to gobeyond usual works on paper. Some reallyinventive ideas were seen.

We keep working enthusiastically with theschool in Venice to expand our connec-tion, and we hope in the future to takeadvantage of their offerings on a yearlybasis. Our almost decade-long relationshipwith Venice keeps being very fruitful, andas they expand their facilities in the nearfuture we hope to add to their interna-tional connection. Plans are well underway for summer 2000 in Venice.

Turkey is the other country Achepohlkeeps revisiting. A University of IowaCIFRE grant for research funded travel tosouthern Turkey this spring to videotapenomads who are part of the weavingtraditions Achepohl has been working withsince a Fulbright grant took him to Turkeyfifteen years ago to teach in Ankara. Atthat time, the abundance of extraordinaryweavings coming on the market provided ameans of discovery of a tradition thatcould be dying out as the containers forfamily goods became replaced by tin andplastic.

This 12th trip was to videotape nomads ornow semi-nomads who may well be thelast of a tradition of weavers who weavefor personal use. Achepohl and ProfessorRon Marchese from Minneapolis (a fellowFulbrighter) put together a show of nomadweaving, organized by former Iowan CraigSubler and UMKC gallery in Kansas Cityalmost a decade ago. That show was seenat the University of Iowa. Achepohl is busyreorganizing that show and adding piecesacquired recently to begin travelling to anumber of museums starting in the Fall of2000. Current research involves visitingcompounds of shepherds, videotaping inyurts, tents and the semi-nomadic villagesto assess the state of weaving now. Littleis made to be kept by the weaver. Virtuallynothing is woven for storage use. Since inthe past a good deal of time was spent atthe loom, much in the way of communica-tion has been lost. The videotape underway hopes to explore some of the vitalquestions concerning the great lossessuffered when traditions die.

The weaving includes the great kilims ofthe past, as well as knotted rugs. All tellstories since each piece contained sym-bolic design. Gathering information andprocess has been fascinating, especiallysince it seemed obvious the generationweaving now may be the last of its kind.Hopefully one more trip to southeasternTurkey will yield more information andvisual material for taping.

One of the great pleasures of travel inTurkey over the years has been getting toknow perceptive dealers who are aware ofthe great treasures to be found of unor-thodox variety such as felt pieces—thefirst use of animal fur as comfort material.The show currently being curated willbring together these pieces with others toshow the great variety in nomad use of theanimal. It may be that the tan thatAchepohl seems to always be sporting isreally tea stain acquired through years oflooking at or talking about weavings withone person or another over the ubiquitoustulip-shaped glass of tea.

The past 12 or more trips to Turkey haveyielded a great deal of visual material forwork in the studio. From mosaics toarchitectural forms to decorative weaving,

from landscape tomnemonic responses toplaces visited, 15 yearsof response haveproduced a lot ofdrawings, prints,paintings, some donein Turkey, most in thestudio in Iowa City.

Shows of some of thiswork have been seenin the past year at theMorgan Gallery inKansas City and atGallery 72 in Omaha.Prints this year wereincluded in the BradleyNational, and Achepohlrepresented Iowa inthe Colorprint USAshow. Achepohl wasone of 5 Americansselected for the PremioInternazionale perl’incisione at Biella inItaly this past summer.56 countries with 180artists participated.That show is to travelto other parts of Italythis year and next.Invitationals alsoinclude two in Michi-gan in winter of 1999-2000 at Grand ValleyUniversity and theMuskegon Museum ofArt, and a showcelebrating the LoessHills area of Iowa in2000. Preparations arealso under way for atravelling show ofwatercolor of shellsfrom the Venice Lidofor 2000 and 2001.

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Robert GlasgowAssociate Professor Robert Glasgow’screative research continues to involve amixed media working method which caninclude all of the print and paper media.Interested in both edition and uniqueprinted works, Glasgow’s recent focus hasbeen with the grey area in between, serialmonoprinting, which draws upon theinherent capability of the printing matrixto produce exactly repeatable, variant,serial, cognate and uniquely inked impres-sions. Results often take the form ofpolyptychs for two ongoing series. CalvinTime is an autobiographical narrativeseries based on the abstract depiction ofevents, people and sites experiencedduring childhood visits to a family farm inCalvin, Pennsylvania. The Family GroupSeries is based on the genre of portraiturewith subjects represented by distilled,somewhat calligraphic symbols, ratherthan physical likenesses. Each portrait isan attempt to imbue an abstract form witha tangible aspect of human personalitywith little or no recognizable informationpresent.Glasgow’s prints, paperworks andmixed media combinations have beenincluded in a number of invitationalexhibitions in the past year: “The Midweston the Rio” Robert Glasgow, Karen Kuncand T.L. Solien at the University of Texas-El Paso; “Paper at the Edge,” at theKatherine E. Nash Gallery, University ofMinnesota; and “Rock and Roller,” atXavier University, a national juried exhibi-tion of lithographs for which he served asjuror. Glasgow’s work was also included inthe following recent national and interna-tional juried exhibitions: the “27th Brad-ley National Print and Drawing Exhibi-tion,” Heuser Art Center, Bradley Univer-sity; “Printmaker’s ‘98,” Pittsburgh Centerfor the Arts, Pennsylvania; “Pressed andPulled VII,” Blackbridge Hall Gallery,Georgia College & State University; “Con-tents and Contexts: Lithography After 200Years,” International Exhibition of Con-temporary Lithographs, Academy ArtCenter Gallery, Honolulu Academy of theArts; and the “1998 Juried MembersExhibition of the Mid America PrintCouncil” shown at the Art Academy ofCincinnati. A two-person show withProfessor John Dilg is being planned fornext year at Bradley University. ProfessorGlasgow was a visiting artist and lecturerthis spring at Grinnell College where he

conducted a lithographic workshop andalso served as a consultant during the pastyear in the establishment of a new lithog-raphy facility. In March, he also lecturedand conducted serial monoprinting dem-onstrations involving lithographic, inta-glio and relief processes during a resi-dency at the University of Texas – El Paso.At “Pressing Issues,” the 3rd BiennialConference of the Mid America PrintCouncil held in Cincinnati in October,Glasgow presented “The Monoprint Matrix:A Conceptual Catalyst for Mixed Media” onthe panel, “Mixed Media Printmaking.” Hewill make another presentation, “BeyondEditioning: Rediscovering the PrintmakingMatrix” for the panel, “The Impact ofTheoretical Structures and ContextualPractice,” during the IMPACT UK Confer-ence at the University of the West ofEngland in September, 1999. This year, incollaboration with Professor James Snitzer,Glasgow secured an Instructional Improve-ment Award which contributed to theacquisition of a sophisticated new com-puting and scanning workstation to beused jointly between Printmaking andPhotography. This new equipment furtherenhances each Area’s capability to offerincreasingly specific methodologies tostudents interested in creating digitalimage files for translation to traditionalprint production processes.

Our M.F.A. graduates continue to seek andgain professional affiliations within andoutside academia. This year some of ourrecent graduates are employed as follows:Edwin Jager (MFA 98), Visiting AssistantProfessor, University of Wisconsin-Oshkosh; Gesine Janzen (MFA 98) GalleryAssistant, Dolphin Gallery, Kansas City;Tom Reed (MFA 98), Printer, Big Cat Pressand Landfall Press, Chicago; Sarah Smelser(MFA 97), Visiting Assistant Professor,Pasadena City College; Carlos Ferguson(MFA 97), Visiting Assistant Professor,Ithaca College and assuming position asAssistant Professor, College of William andMary next year; Michael Barnes (MFA 96),Assistant Professor, University of NorthernIllinois; Gene Flores (MFA 96), GalleryDirector and Assistant Professor, Univer-sity of Texas-El Paso; and John Martinekand Doug Russell who returns from Turkeyafter two years teaching English andPrintmaking.

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Virginia MyersWork on the new book on foil stamping isin process at The University of Iowa Press.The “blue cover manual,” “Creating Origi-nal Prints with Hot Stamped Foil and TheIowa Foil Printer,” 1993, is being revised,updated and typed in manuscript form.New information, written by undergradu-ate and graduate students in article orthesis form since 1993, is being edited forinclusion with appropriate by-lines in thenew book. Because the aesthetic andtechnical research accomplished by thestudents has gone beyond printmaking,the tentative title for the new book isCreating Original Fine Art with HotStamped Foil and The Iowa Foil Printer. Weare grateful for the contributions bygenerous donors supporting publication ofthe books. The Iowa Foil Print Fund ismaintained by the University of IowaFoundation.

The invention of the Iowa Foil Printer“received rave reviews from the selectioncommittee and was one of three finalistschosen,” in a University-wide competitionand “forwarded to President Mary SueColeman,” for consideration in the “FirstAnnual Competition for the President’saward for Technology and Innovation,”September, 1998.

The Foil Stamping curriculum, raising thelevel of foil stamping from craft to fineart, proceeds apace. The prints of SungheeChoo Yoon, graduate Metalsmithing major,celebrated her research with foil stampingin her April, 1999, Honors Exhibition inthe E-109 Gallery in the Art Building.These works dramatized her successdevising highly sophisticated textures andcolor relationships while stamping vibrantand fascinating surfaces over wire meshand other non-traditional surfaces. Shebenefited greatly by studying the MAThesis by Louise Rauh, “Creating ThreeDimensional Forms Using Roll Leaf Foil,”1997. Rauh succeeded with research whichdefined a basic aesthetic and technicalfoundation for stamping foil over copperwire mesh. Sunghee has added to thisbody of information.

The 1997-98 Academic year was high-lighted when a record number of HonorsExhibitions in Foil Stamping were pre-

sented in the E-109 Gallery by undergradu-ate and graduate students: Barbara K.Nwacha, graduate Design major, presentedthe 4th Honors Exhibition, August-Septem-ber, 1997. She used Barbie Dolls as “recur-ring subject matter” in the development ofher prints, “as a communicator, messagemaker, and artist.” Her exhibition was amajor stepping stone towards finalizationof her MFA written and illustrated thesistitled “Arcana Barbie,” July 1998. Sheskillfully and sensitively combined foilstamping, screening, and digital imagingto create an outstanding series ofeditioned prints.

Becky Lamphier, undergraduate, BFAPrintmaking, December 1999, presentedher exhibition of foil stamped prints,November, 1997. Her images and portraitswere revelations of penetrating insightinto personalities and county fair experi-ences gleaned from her Iowa background.The show was characterized by memorableand brilliant touches of humor while risingabove the level of cartoons.

Gek Choo Yeo, graduate Printmaking majorfrom Singapore, hung her Honors Exhibi-tion, March 1998. By combining elementsfrom ancient Chinese calligraphy withhuman figures and the luminosity of foiland roll leaf, she presented an unusualtableau which, while remaining true to herAsian heritage, graciously incorporatedaesthetic aspects of Western civilization.

“Perceptions Past and Present” was thetitle of Louis Wiederrecht Fink’s HonorsExhibition, April 1998. Her strong compo-sitions were illuminated with layeredapplications of metalized, pearlescent, andtransparent foils. These imparted intrigu-ing dimensions for changing light andcolor not found in other printmakingmedia. Her landscape compositions wereespecially noteworthy.

Eugene Malone, graduate majoring in ArtEducation, presented the 8th HonorsExhibition titled, “Moonlight,” April 1998.By manipulating a variety of foil surfaceswith alcohol and steel wool, an extendedseries of sensitive luminous images ofheavenly bodies was created.

The ninth annual Intensive SummerWorkshop in Foil Stamping was offered in

the Print Department,June 7-25, 1999, usingthe Patented, UL ListedIowa Foil Printer unitsnow available foracquisition by privateindividuals or schools.

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Sculpture AreaThe Sculpture Area continues to grow. Wenow have a very strong undergraduatemajor and BFA program. This can continueto be attributed to faculty stability in thearea and the fact that undergraduates nowhave studios in the mezzanine of theundergraduate area, W161. We are proudto announce that a BFA candidate KateDengler won the “Best in Show” prize inthe 17th Annual Student Art Exhibitsponsored by the Fine Arts Council.Congratulations Kate!

The Graduate Program has also met withsuccess. Last year Pat Boutelle, of FacilitiesPlanning, located and organized thedelivery of a double-wide trailer to beplaced in the sculpture courtyard in frontof the foundry. This has created studiospace for four graduate students, a class-room area and a new exhibition spacecalled “Trailer Space.” This building makesthe Graduate Program more attractive toprospective students and has created newspace for students who are currentlyenrolled in the program. Three graduatestudents, second year MA candidates MattLowe and David Boelter, and first year MAcandidate Olabayo Olaniyi, won Beall andBodine Scholarships in this year’s school-wide scholarship competition. MichelleAcuff, a first year MA candidate, won twoscholarships, the Len Everert Scholarshipand Art Guild of Burlington Scholarshipand a Paula Patton Graham Scholarship.The graduate students have also beenactive in showing their work and doingresearch: Michele Acuff exhibited hersculpture and drawings in: “CorporealEvidence” at Arts Iowa City and in the23rd Rock Island Fine Arts Exhibition.Olabayo Olaniyi recently returned fromNigeria, where he studied Epa masks.Christopher Whittington showed his workat Coe College in an exhibition of GraduateStudents from the University of Iowa. Thescholarship committee of the School of Artand Art History also awarded incominggraduate Sculpture student MichaelBaggarly from Western Kentucky Univer-sity an Iowa Arts Fellowship for the Fall of1999.

Visiting Artists in the Sculpture Area forthe 1998-1999 school year have been:Pamela Blotner, sculptor from the San

Francisco Bay Area and professor at theSan Francisco Art Institute and PixArtStudios, Laurie Palmer, sculptor/installa-tion artist from Chicago Art Institute andmember of the “Ha-Ha Group” and ChrisBerti, a stone carver from Illinois, gavelectures, critiques and demonstrations inthe Spring 1999 semester.

Tom AprileTom Aprile traveled to Wisconsin this pastsummer in search of folk art sites. Guidedby the book, Self -Made Worlds, VisionaryFolk Art Environments, by Mark Sloan andRoger Manley, he and his wife LauraYoung, adjunct on the School Art and ArtHistory Faculty in the Elements Area, andseveral friends, charted a course into thesouthwest of Wisconsin. Starting inDickeyville with the legendary Grotto,they visited several folk art sites including“Sid’s Sculpture Yard” in Madison, Dr.Evermore’s “The Force of Fancy”(Forevertron) in Baraboo and “Grandview”in Hollendale. This summer he and hisfriends plan to go further north to see therenovated Wisconsin Concrete Park by FredSmith in Phillips, Wisconsin.

This year Tom was awarded a FlexibleResearch Leave for the Fall of 1999 and aCentral Investment Fund for ResearchEnhancement (CIFRE) Grant. While onleave he plans to create a new body ofwork and pursue galleries in New York andSan Francisco. The CIFRE grant has pro-vided him with the funds to produce atwenty-four page color catalog of hissculpture and drawings for his one-personshow at the Evanston Art Center held inJune 1999. The catalog essay is written byHarriet Zinnes, New York poet and artcritic for the Philadelphia Inquirer and theforward is by Allan Frumkin, well-knownart dealer from New York.

In addition to his one-person show inEvanston, he has shown and is currentlyshowing in several national juried andinvited exhibitions, including: The 33rdNational Drawing and Small SculptureShow at Delmar College in Corpus Christi,Texas and The International Juried Exhibi-tion 1999 at the New Jersey Center for theVisual Arts, juried by Lisa Dennison,Deputy Director and Chief Curator of theSolomon Guggenheim Museum, New York.He was invited to show in the followingexhibitions: “Drawn Together,” Annual

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Exhibition of Distinguished Alumni Art,Cleveland Institute of Art, Cleveland, Ohioand “IN/FORM 5,” Saint Louis, Missouri.This spring he passed his third-yearreview, and is enthusiastic about continu-ing to help the Sculpture Area grow andachieve national recognition in the future.

Isabel BarbuzzaIn the Summer, 1997 Isabel Barbuzzareceived an Old Gold Research Fellowshipfrom the University of Iowa to work ondirect metal techniques in Mendoza,Argentina. She was invited to a SummerResidency at the Taller Eliana Molinelli andpresented lectures at the UniversidadNacional de Cuyo, in Mendoza, Argentina.A direct result of the Old Gold Fellowshipwas an instructional video on the tech-nique of metal hammering. The workproduced in Argentina concentrated onthe body as a site for the exploration ofpersonal, social and political issues andwas included in “The Fragmented Body,Violence or Identity?” exhibition at theKellog University Art Gallery, at CaliforniaState Polytechnic University in Pomona,California. During the past year her workwas also exhibited in “El Arte de los Librosde Artista” exposición internacional at theCentro Fotográfico Manuel Alvarez Bravo,Oaxaca, Mexico and traveled to theBiblioteca Nacional de México, México City,México, where she has been invited toparticipate in an upcoming panel. Atraveling exhibition, “Women BeyondBorders,” was shown in Nepal, Croatia, andthe Museo de Arte Contemporáneo inOaxaca, Mexico. This exhibit is scheduledto travel through 2000 in galleries andmuseums in Canada, Japan, Australia,Vietnam, Singapore, England and Greece.

Center for the BookTimothy BarrettTimothy Barrett and his paper researchand production shop manager Lynn Amliehave been commissioned by the NationalArchives and Research Administration todevelop a special handmade paper to beused in the rehousing of the “Charters ofFreedom.” These documents, the Declara-tion of Independence, the Bill of Rightsand the Constitution, together comprise 7separate leaves of parchment. Each leafwill be encased in its own special enclo-sure, resting on paper made at the Univer-sity of Iowa. The paper is necessary tohelp stabilize the humidity in the specialargon gas atmosphere that will surroundthe documents. Paper made by Barrett andco-workers was selected over other alter-natives because of the UI reputation forexpertise in the production of papersspecially designed for use in the care andconservation of rare books and works ofart on paper.

When Tim isn’t busy with paper researchor production, or teaching the history andtechnique of papermaking, he is very busywith administrative duties in his capacityas Director of the UI Center for the Book.Tim’s position as Director was recentlyrenewed for another three years. TheCenter for the Book is committed todirecting resources to students, facultyand departments with strong interests increative book production or the study ofthe book in culture. The Center’s end goalis an internationally known interdisciplin-ary program in Book Studies. For moreinformation on Tim or the Center for theBook, contact the Center at 335-0438.

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Art EducationArt Education has a new faculty member!Rachel Williams-Northway, a graduate ofFlorida State University with an MFA inpainting and a PhD in Art Education,began her tenure-track position at theUniversity of Iowa this Fall, 1999. Rachel’sresearch is on the production of art bywomen incarcerated in prison.

The first group of students to composeelectronic portfolios alongside the comple-tion of Art Teacher Certification graduatesthis May, 1999. These portfolios, accom-plished as web pages, example and docu-ment extended practicum teaching experi-ences and “student teaching.” Upongraduation students who choose to do socan have their portfolios uploaded on theArt Education web page. Emily Paulos, whograduated in May with her MA, has doneterrific work over the past two years withstudents to bring to fruition students’electronic portfolios.

Emily’s work as a digital artist and artteacher resulted in a very successful MAthesis. Emily was the first University ofIowa student whose digital work wasarchived, as the work itself, through theGraduate College’s pilot program, “Elec-tronic Theses and Dissertations.”

Connie Bethards and Wen-Shu Lai, bothdoctoral students, presented their researchthis year at the National Art EducationAssociation Conference, Seminar forResearch in Art Education, in Washington,D.C. Their presentations will be publishedin Marilyn Zurmuehlen’s Working Papers inArt Education.

Steve Thunder-McGuire continued histravels this year telling stories, recently inMontreal, Canada at Concordia University,and he is currently working on setting upa tour in North America in which he willwork on recording “Images Are Demand-ing.” He began teaching a new course thisyear through Literature, Science and TheArts, “What Is Storytelling For?” Thissummer he will be riding around theperimeter of the state stopping at seniorcenters and public libraries to tell andcollect stories, as part of “1,000 Miles ofIowa Stories.” Steve plans to produce acorresponding CD of collected Iowa stories,

told by Iowa seniors. Look for his itineraryon the Art Education Program web page,and, look for a documentary, “1,000 Milesof Iowa Stories” on IPTV. The recent book,Issues and Approaches To Art For Childrenwith Special Needs, published by theNational Art Education Association,includes a chapter written by Steve,“Narrative Accounts of Context, Meaningand Purpose.” An essay, “CompletingImages That Are Demanding,” will appearthis Spring in Visual Arts Research.

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The 1998-1999 academic year in the ArtHistory Division of the School opened witha well-attended annual reception forfaculty and graduate students at the homeof Professor Joni Kinsey, Interim Head ofArt History. Two new faculty members anda group of eight entering graduate stu-dents were welcomed to the program.Assistant Professor Julie Hochstrasser(University of California at Berkeley,Ph.D.) teaches seventeenth-centuryNorthern European art and AssistantProfessor Robert Bork (Princeton, Ph.D.)offers courses in the field of Medieval artand architecture.

The faculty was saddened to learn of thedeath of Emeritus Professor RobertAlexander on August 14, 1998. He was 78.Professor Cuttler delivered the eulogy atthe memorial service, the text of which isprinted below.

The Art History Faculty/Graduate StudentColloquium series continued this year. Awide range of presentation topics anddiscussions took place in the three meet-ings of the Fall Semester colloquiumseries: human rights and art history,“minor” monuments and the shaping ofthe canon of art history, and the signifi-cance of interdisciplinary exchange in thefield. The Spring Semester topics includedpresentations on restoration ethics in thereconstruction of damaged monuments,seventeenth-century still-life painting andDutch material culture, and publishing inthe field of ancient art and archaeology.

Our distinguished visiting lecturer seriesalso continued this year with lectures byRobert Rosenblum (New York University),Jacques De Caso (University of California-Berkeley), and alumnus Mark Rosenthal(Guggenheim Museum of Art). Dr.Rosenthal was invited by the Dean of theCollege of Liberal Arts, Linda Maxson, tocome to campus to lecture and be recog-nized as an exceptionally accomplishedalumnus of the School and the graduateprogram in Art History. He was one of ahandful of College alumni to be so hon-ored.

Three students successfully defended theirdissertations in the Art History Divisionduring the 1998-1999 academic year.Cynthia Finlayson’s dissertation examinedfemale funeral portraiture in ancient

Palmyra. Annette Lermack’s topic focusedon the fourteenth-century illuminatedprayer book of Bonne of Luxembourg nowin the collection of the MetropolitanMuseum of Art, New York. David Caccioli’sdissertation examined elements ofRomanization in Etruscan banquet scenes.

A number of advanced graduate studentswon highly competitive and prestigiousuniversity, national, and internationalresearch grants this year: Aida Audeh (AdaLouise Ballard Dissertation Year Fellow-ship, Gerald and Iris Cantor Foundation,and Chateaubriand Fellowship will researchRodin’s Gates of Hell in Paris; CurtGermundson’s year in Germany to studythe work of Kurt Schwitters is funded by aDAAD (German Academic Exchange Ser-vice) grant; Karen Milbourne will continueher study of kingship among the Lozipeople of Zambia with support provided bya Hays-Fulbright Fellowship; and JessicaLocheed will research Degas’ sculpturewith a T. Anne Cleary Fellowship and anAlumni Fellowship.

Curt Germundson also represented theSchool at the annual Art Institute ofChicago Graduate Student Seminar. Hepresented his work on Schwitters’ idea ofthe cathedral in early twentieth-centuryGermany. The Art Institute event bringstogether every year representatives of thebest graduate work being done at themajor art history Ph.D.-granting institu-tions of the Midwest region.

A major technological initiative of the ArtHistory Division came to fruition this pastFall semester with the installation of thefull range equipment for the delivery ofelectronic imagery in one of the mainlecture rooms. Visual materials can now bepresented not only in the form of colorslides but also, CD-ROM, video, video disk,and overhead projection of book andphotograph illustrations. We hope to havesimilar equipment in place in one othermedium-size room and, especially, in theauditorium as soon as funding becomesavailable.

These and many other initiatives essentialto the enhancement of the programs in arthistory will continue next academic yearas Professor Kinsey assumes duties as Headof Art History.

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Robert BorkRobert Bork, currently completing his firstyear teaching Medieval art in the depart-ment, is looking forward to a summerunclouded by the need to move his entirehousehold from state to state, as he hashad to do for the previous several years.Having been hired in March 1998, Borkspent most of this past summer in Franceon an NEH Seminar, an opportunity thatpermitted him to scrutinize and measurethe late Gothic portions of Metz cathedral,one of the largest but least studied ofGothic churches. The results of this surveywere summarized in a talk at the Interna-tional Medieval Congress at Kalamazoo inMay of 1999. At this time Bork alsoparticipated in the annual governancemeeting of AVISTA, an association dedi-cated to the study of medieval art andscience to the board of which he waselected last year. In the summer of 1999,Bork will return to Metz briefly to photo-graph certain zones of the cathedral thatneed to be illustrated for the article on thebuilding that he is preparing. In addition,Bork will attend the International Medi-eval Congress in Leeds, England, where hewill chair a series of three sessions onintegrated approaches to the history oflate Gothic architecture. With participantschosen from a wide variety of Europeancountries as well as from the U.S., thesesessions will hopefully provide a forum inwhich the somewhat fragmented field oflate Gothic studies can begin to cometogether. Similarly, Bork was pleased tolearn recently that his proposal to chair aseries of sessions on the taxonomy andclassification of medieval architecture atthe Society of Architectural Historiansannual meeting in the summer of 2000had also been accepted. Last but not least,Bork is working to revise the work onGothic spires that originally comprised hisdissertation. One portion of this material,dealing with the openwork spires ofCologne and Freiburg-im-Breisgau, shouldsoon be completed as an article, whilework proceeds on the revision of the largermanuscript in which the whole history ofthe medieval spire-building phenomenon isoutlined.

Richard De PumaDuring the past academic year Professor DePuma was invited to lecture on variousaspects of Etruscan art at the Minneapolis

Institute of Arts (where he gave fourlectures on Etruscan jewelry), New YorkUniversity, Montclair State University (NJ),and the Scarsdale (NY) archaeologicalsociety. The NYU lecture was a specialhonor because he was selected to inaugu-rate a new lecture series in honor ofVartan Gregorian. Research projects tookDe Puma to Boston, Philadelphia, Phoenix,Madison, and Barcelona, Spain. He at-tended conferences in Washington, LosAngeles, and New York. De Puma has alsobeen awarded an NEH Summer Stipend.

The summer of 1999 was almost as busy,but with less emphasis on academicpursuits. He attended the wedding of hisson Julian, now a computer animator, toKatie Swanson, a mathematician whoworks for Boeing, in Seattle. But beforethat he visited family in Pennsylvania forhis niece’s wedding and went hiking in theSierra Nevada.

De Puma is looking forward to a semesterresearch leave that he will spend in Italyduring the Fall Semester, 1999. He isworking on a book on the history ofItalian forgeries of Etruscan art. His mostrecent article appeared in Etruscan Studies5 (Dec. 1998) and his next book, CorpusVasorum Antiquorum: Etruscan PaintedPottery, is now in press and will be pub-lished by the Getty Museum probably in2000.

Stephen FosterStephen Foster has had another productiveyear. The Crisis and the Arts: A History ofDada, for which Foster is the GeneralEditor (funded by the Getty Grant Programand published by G.K. Hall/Macmillan) sawthe publication of its fourth volume in theSpring of 1998: The Eastern Dada Orbit:Russia, Georgia, the Ukraine, CentralEurope and Japan, Gerald Janeck, editor.Volumes V and VI are expected out in late1999 and the remaining three volumes areslated for 2001.

One of the most exciting outgrowths of theCrisis and the Arts: A History of Dada seriesthis year is a two-hour national PBSdocumentary on Dada that Foster isauthoring in collaboration with producerJan Legnitto (Media Frontiers).

A new project that Foster has launched

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this year is a comprehensive Franz Klinecatalogue raisonné. This ambitious under-taking will consolidate, for the first time,the complete work of this importantAmerican artist. Due to the enormity ofthe task, this extensive monograph isforecast for publication in the year 2003.

The coming months will see Foster on thelecture circuit. He will be presenting at aninternational conference on the historyand theory of the avant-garde inOsnabruk, Germany and will be giving alecture at a Kurt Schwitters conference inRamsbottom, England. Also, look forFoster at the CAA conference in February2000 where he will be giving a paperentitled “Harold Rosenberg and theHistorical Individual.”

Julie HochstrasserThis year Julie Hochstrasser will see theculmination of several years’ work on theCommittee of Advisors and Authors for amajor exhibition of Netherlandish still lifepaintings that will open at theRijksmuseum in Amsterdam June 18 andproceed to the Cleveland Museum of Art inOctober. She was one of only two Americanart historians also invited to submit anessay for the catalogue of the show, co-authored primarily by Dutch colleagues.This past semester Dr. Hochstrasser hasbeen participating in an interdisciplinaryworkgroup on material culture withfaculty from anthropology, history, En-glish, Native American studies, and severalmuseums. She submitted a paper to thegroup based in part on research sheconducted in February at the ProvenanceIndex of the Getty Art History InformationProject. She also shared this work in adepartmental Colloquium with Art Historyfaculty and graduate students. This springDr. Hochstrasser received an nTitle grantfor computer training to get her large GERcourses on the Web, and an Old GoldFellowship for summer research. She willtravel to the Netherlands for further workon still life in relation to Dutch materialculture, and to Istanbul, Turkey, to inves-tigate Dutch trade in Oriental carpets thatappear in seventeenth-century still lifepaintings.

Dorothy JohnsonDorothy Johnson traveled to Paris for herdevelopmental assignment in the summer

and fall. In addition to her continuedresearch for her book on Romantic Helle-nism in French Art, she was researching anessay she was asked to write for theCambridge Companion to Delacroix entitled“Delacroix’s Dialogue with the ClassicalTradition”. 1998 marked the bicentennialof Delacroix’s birth and Dorothy was luckyenough to be in Paris for the celebrationswhich included several significantDelacroix exhibits and a major retrospec-tive show of the artist’s works. During herleave she completed an essay on Jacques-Louis David for the Oxford Encyclopedia ofthe Enlightenment and is currently workingon an essay entitled “Painting in theEnlightenment” for the same series.Dorothy is under contract from the Univer-sity of California Press to translate, editand annotate The Published Writings ofJacques-Louis David for which she willwrite accompanying essays. Her bookchapter, “The Origins of Romantic Mythol-ogy in French Art,” appeared this summerin a volume of essays on ComparativeRomanticism published by Monash Univer-sity Press. Dorothy has the honor of beingthe only art historian invited to contrib-ute to this book which consists primarilyof essays on comparative literature.

This July Dorothy is giving a lecture,“Girodet’s Sleep of Endymion and theRenascence of Mythology” at the TenthInternational Congress of the Enlighten-ment in Dublin. She has been invited togive a talk on the early 19th-centuryhistory painter, Sophie Frémiet, at aninternational conference on “Women inLiterature and Art” to be held at IndianaUniversity in September.

Last fall Dorothy was elected to the Boardof Directors of the College Art Associationand will serve until 2003.

Joni KinseyJoni Kinsey (Associate Professor, AmericanArt History) served as Head of Art Historythis past fall and will again this fall. Shehas recently seen her third book in print,The Majesty of the Grand Canyon: 150 Yearsin Art (First Glance Books) and has takenthe first semester this spring of herFaculty Scholar Award to begin researchinganother, E Pluribus Unum: Polyptychs inAmerican Art.

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Robert RorexRobert Rorex served once again as InterimDirector of the School during the summerleave of Director Dorothy Johnson in 1998and during the 1999 Summer Session aswell.

Rorex was invited to write a review of aone-person exhibition, held in the UI ArtMuseum, of art jewelry by Visiting ArtistDonald Friedlich (March 6-April 8, 1998).The review was published in the journalAmerican Craft. Rorex also wrote an essayon the work of another Visiting Artist, theKorean metalsmith Hong Kyung-Hee, whowas also honored with a one-person showin the UI Art Museum (April 10-May 17,1998). The essay was published in abrochure which accompanied the show.Rorex is currently working on a review,intended for American Craft, of anotherexhibition of jewelry and other work, heldat Iowa City’s Studiolo Gallery in May of1999. This show centered on the School’sMetalsmithing area and featured work byMetalsmithing’s Professor Chunghi Chooand also by a cross-section of her currentand former students. This event celebratedProfessor Choo’s thirty years of teaching atIowa.

Rorex offered the course Chinese NarrativePainting during the Spring Semester of1999 as part of a project which willeventuate in a book examining aspects ofChinese scrolls and albums as book for-mats, concentrating on those incorporat-ing pictorial elements. He will continuework on this project during a ResearchLeave in the Spring Semester of 2000.

Christopher RoyChristopher Roy has been marketing theCD-ROM he created with funding from theNEH and the Department of Education. Theprogram is titled “Art and Life in Africa:Recontextualizing African Art in the Cycleof Life.” We trained 100 Iowa K-12 teach-ers to use it last summer, and have plansto train a large number of Washington DCteachers this summer. Schools, universi-ties, museums and individuals all over theworld have been ordering copies at $50each. You can find out about it on our website http://www.uiowa.edu/~africart.Chris’ large exhibition of African art titled“Kilengi: African Art from the BareissFamily Collection” opened at the Univer-

sity of Iowa Museum of Art on March 26.The exhibition includes 220 African artpieces, many from eastern and southernAfrica. The exhibition was organized bythe Kestner Gesellschaft in Hanover,Germany, then traveled to the Museum furAngewandte Kunst in Vienna, and theKunstbau Lehnbachhaus, Munich. FromIowa it travels to the Neuberger Museum atSUNY Purchase, where it opens September25, 1999.

John Beldon ScottJohn Beldon Scott received funding fromthe University’s Support Program in theArts and Humanities to carry out on-siteresearch in Turin, Italy, and Chambéry,France, last summer. There he examinedtwo chapels that once housed the Shroudof Turin. The chapel in Turin was severelydamaged by fire two years ago and is nowbeing studied to determine how to ap-proach restoration. The devastating firerevealed many new aspects of this unusualbuilding’s structure, which nearly col-lapsed following the disaster. The materialgained from this trip will appear in Scott’sbook Architecture of the Shroud: Relic andRitual in Early Modern Turin.

Two of Scott’s studies have recentlyappeared in print. He contributed achapter to the memorial volume publishedin Rome on the last hundred years ofhistorical and scientific research on theShroud of Turin. His contribution focuseson Guarino Guarini’s late-Baroque ShroudChapel in Turin. This is a study of archi-tectural patronage and the importance ofritual in the design of the chapel. Anotherrecent article is the published text ofScott’s presentation at the internationalconference on the Roman Baroque painterPietro da Cortona and has been issued inthe volume, published in Milan, of theconference proceedings. This study exam-ines the painter in the context of patron-client affiliation in seventeenth-centuryRome.

Scott has been named Senior Fellow at theStanford Humanities Center for the 1999-2000 academic year. There he will initiatework on a new research project. This willbe part of a larger project to result in abook on the social history of architecturein early modern Rome, which will focus onlittle-studied but important utilitarian

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buildings such as prisons, hospitals,orphanages, and schools. In particular,this sociological approach to the study ofarchitecture will analyze the buildings’floorplans and how room function revealssocietal concerns about criminals, the ill,the insane, and the homeless.

During the Fall Semester 1998 Scott servedas Interim Director of the School and, inthe Spring 1999, resumed his duties asHead of Art History. In service to theprofession, he continued in his position asmember of the Board of Directors of theSociety of Architectural Historians.

Wallace J. TomasiniWallace Tomasini requested that thefollowing statement by him be printed: “Iwant to thank again those of you whohave been keeping me informed of youractivities. I promise that I will soon beginresponding. I thought that I would do sothis year, but the Fall Semester had meout-of-town almost every weekend lectur-ing, and then in late January I enjoyedthe surprising new experience of a heartattack which did interfere a bit with myplans. I missed only four classes andreturned to teaching insisting that the‘The Show must go on.’ However, I doregret that my hospital visit did preventme from attending our CAA Iowa Reunionin Los Angeles.

“Besides taking pills, exercising, andteaching, most of my time is spent withthe research project for which I received aDevelopmental Leave for the Spring of2000. This project is an outgrowth of mywork on Haviland/Limoges Porcelain andconcerns the reconstruction of the artcollection of C.E.Haviland, the CEO ofHaviland & Co., an American citizen and aQuaker who spent all but two years of hislong life in France. He was an early patronof the Impressionists and a major collectorof Japanese art. After his death in 1922,his collection was the largest art collectionauctioned in Paris in the 20th century. Theproject does tell us much about collectingand the last half of the 19th century.”

EmeritusFacultyProfessor EmeritusCharles D. Cuttler1. Attended 26th

annual Midwest ArtHistory Societymeeting, Detroit,Cranbrook, Toledo,as a board andfounding member.

2. Attended MedievalInstitute,Kalamazoo, May 5-9.

3. Scheduled to lectureon Bosch’s Lisbon“Temptation of St.Anthony” at St.Louis UniversityNov. 6 in program inhonor of FatherMcNamee, S.J.

4. A book on Boschcompleted and nowunder considerationfor publication.

AlumniPatricia AlbersIn April, Patricia Albers (Studio Art MajorBA 1971) published Shadows, Fire, Snow:The Life of Tina Modotti (Clarkson N.Potter, New York), a biography of theItalian-born photographer.

Stan Brodsky (MFA 1950)The University Gallery at the University ofBridgeport has been awarded a grant fromthe Richard Florsheim Art Fund in StanBrodsky’s honor. The award will assistedthe gallery to stage an exhibition andproduce a catalog. The University Gallerypresented a retrospective of Brodsky’swork (70’s, 80’s and 90’s), while the JuneKelly Gallery featured “Layered Light: NewPainting.” Brodsky was Professor of Art atC.W. Post Campus of Long Island UniversityBrookville, NY from 1959-1991. He has 8one-man shows in NYC—still going—andhas been to artist residencies at Yaddo(twice), Virginia Center for Creative Arts (3times), and MacDowell (once).

Henry Edwin ColemanHenry Coleman retired after 35 years ofteaching at the College of William andMary. He has participated in over 50invitational and juried exhibits in theUnited States and abroad plus 8 soloshows. His drawings and paintings are heldin many private collections from Missourito Virginia. Five of his drawings wererecently purchased by curator for thePresident’s Collection at William and Mary.He served as the juror for many local andregional exhibits, served as departmentchair from 1987-90, and on numerouscollege-wide and departmental committeesincluding initial and later expansioncommittees for Muscarelle Museum of Art.Locally he served on Yorktown Arts Foun-dation, appointed by city council to theWilliamsburg Arts Commission (7 years)and presently is serving a second term onthe Williamsburg Architectural ReviewBoard. His replacement at William andMary is Carlos Ferguson, a recent MFA fromThe University of Iowa!

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Office of Visual MaterialsThe School of Art and Art History Office ofVisual Materials is an instructional re-source of over 270,000 35mm slidesdocumenting major works in the fields ofAfrican, Asian, European, and Americanart. The collection is used by faculty andgraduate students to present visual infor-mation in the classroom as well as forresearch. At the present time the resourcesof the Office of Visual Materials are notavailable to undergraduate students forindividual study. To remedy this andextend substantially the usability of ourvast image resource, we are in the processof creating a Web-based database ofimages and descriptive textual data insupport of undergraduate courses in theSchool of Art and Art History.

The Digital Image Library (working title)will make images available in the sameorder as they were presented in class.Images will also be available through arandom access interface with title, artist,subject and keyword searching usingBoolean operators. These search strategieswill allow students to review materialshown in class and to explore beyond thelimitations of their prescribed course-work. The process of memorization andidentification will become one of realunderstanding and interpretation throughthe individual review of images. TheDigital Image Library will become a paral-lel text for many classes.

The Digital Image Library has the potentialto impact positively the learning experi-ence of every student at the University ofIowa. Initially, the project will focus onsupporting entry-level courses in theSchool of Art and Art History. We willcontinue to add material and eventuallyprovide support for all courses in theSchool of Art and Art History with thefinal goal of including the entire Office ofVisual Material collection. Other depart-ments including History, Foreign Lan-guage, English, Philosophy, Anthropology,Music, Theater, and Religion use the slidecollection regularly and would greatlybenefit by having this material availableon-line.

Application design will include an extraor-dinarily user friendly and self-evidentweb-based interface requiring virtually nouser training. Instructions will be includedin class materials for participating courses.A proven system of intellectual propertyright protection will be an integral part ofthe application design.

Our new Chief Curator of Visual Materials,Eric Dean, will administer the project. EricDean comes to the University of Iowa fromthe University of Michigan where heworked as the Curator of Visual Resourcesfor the Media Union. Prior to the Univer-sity of Michigan Mr. Dean was the Curatorof the Visual Resources Collection in theCollege of Design at Iowa State Universitywhere he created a similar project called“Plato’s Cave.” With 15,000 images on-linesupporting six classes per semester “Plato’sCave” was receiving over 1.2 millionrequests in its first full year. One facultymember noted that “Plato’s Cave” freedhim and allowed him to concentrate onteaching ideas and concepts, others notedgeneral improvements in student perfor-mance.

We received initial funding for the projectthrough the College of Liberal Arts equip-ment fund and a grant from the StudentComputer Fee pool. The equipment is onorder and we should receive it during theFall Semester 99. Our goal is to providedigital image support for the undergradu-ate class “Western Art and Culture” in theFall Semester of 1999 and to continue toincrease the number of classes supportedeach successive semester.

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SuZanne HoofnagleSuZanne Hoofnagle, in addition to attend-ing to the School’s material and budgetaryneeds, is a licensed wildlife rehabilitatorand also provides a halfway house forhomeless and abused ferrets as a memberof the Eastern Iowa Ferret Association.Recovering at her home again this year isa threatened species, an ornate box turtlenamed “Speedbump,” that was run over bya car and is wired and fiberglassed backtogether. SuZanne has discovered throughher experience with Speedbump thatturtles heal very slowly indeed.

Marlo JackMarlo Jack can now be found in the backcorner of the School’s administrativeoffice, although she has been seen lurkingaround the “front” desk—it’s really hardto break old habits! Even though her jobnow, among other things, is to juggle theDirector’s schedule, make posters for guestartists and lecturers, organize and expe-dite scholarships, and schedule theDrewelowe and Checkered Space, she willhelp with all other office matters when-ever possible. A pleasant hello and anoccasional thank you will fuel her produc-tivity and are always welcomed.

Laura JorgensenLaura Jorgensen is the Academic Secretaryfor the School. She helps the graduatestudents from application to graduation,preparing paperwork, setting up meetings,acting as liaison for them between faculty,Graduate Admissions, Graduate College andFinancial Aid. She keeps statistics on boththe undergraduates and graduates. Sheloves her cats, Winnie the Pooh, chocolate,raptors and her friends, but not necessar-ily in that order. She’ll listen to anyonewho needs a friendly ear. And she missesthe students she’s gotten to know whohave come and gone through the School inthe past seven years.

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Diane SchaefferIn January, Diane Schaeffer joined theSchool as the new Administrative Assis-tant. After working with engineers at boththe Institute of Hydraulic Research andthe Department of Civil & EnvironmentalEngineering for nearly ten years, Diane isenjoying familiarizing herself with theworld of art. Diane holds a Bachelor’sdegree in Business Administration fromthe University of Iowa.

When not at the School, Diane’s threechildren keep her entertained with band,choir, track, softball, t-ball, soccer, volley-ball, etc. She also enjoys perennial garden-ing—the kind where the weeds provide alovely array of “au natural” foliage as abackdrop to the few hardy flowers thatsurvive Diane’s low-maintenance tech-niques!

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In MemoriamRobert AlexanderProfessor Emeritus Robert L. Alexander, University of Iowa, born in New York, a graduateof Queens College’s first class, died in Iowa City, Iowa, August 14, 1998. His wife, Marga-ret Ames Alexander, a fellow Ph.D. of NYU’s Institute of Fine Arts, preceded him in deathin 1996. He served in the Army from 1942-44, was a Teaching Assistant at Queens College1944-45, an Instructor at RISD 1947-48, returned to tutor at Queens College 1945-51,was an Instructor 1952-58 at the University of Pittsburgh, an Assistant Professor from1958-61 at Pennsylvania State University, and moved to the University of Iowa in 1961,the year he received his Ph.D., where he rose to Professor in 1969 and retired in 1987,continuing to publish (but not exclusively) in two fields of expertise, the Hittite art ofAnatolia and Baltimore architecture of the early decades of the 19th Century.He was the author of three monographs, The Architecture of Maximilian Godefroy, Balti-more, the Johns Hopkins Press, 1974; The Architecture of Russell Warren, Charleston, SCHistorical Society, 1979; The Sculpture and Sculptors of Yazilikaya, Associated UniversityPresses, London, Toronto, 1986. Both editor and writer, he also published thirty-fivearticles in seventeen scholarly journals, among them, the Art Bulletin, Anatolica, and theJournal of Anatolian Studies (separately and with Hans G. Guterbock of the OrientalInstitute, Chicago) and the Journal of the Society of Architectural Historians; also contri-butions to joint studies, biographies, festschrift articles, and book reviews. His primaryinterest was always in the work of art as such.Several academic years were spent in Turkey on research fellowships and numerous tripswere made to North Africa in assisting his wife on her work on the Corpus des MosaiquesAnciennes de Tunisie. He generously turned to the task of completing the volume she leftbehind at her demise despite the onset of the brain tumor from which he died.He was an active member of ten scholarly organizations, a director 1960-63 of the Societyof Architectural Historians, a founding member of the Midwest Art History Society, and hegave papers at all of them. His research on the late 18th, early 19th Century Frenchengineer and architect Joseph François Mangin, designer of new York Harbor fortifica-tions and work on architectural projects that included the Wall St. Presbyterian Church,Old St. Patrick’s, and City Hall in New York City, is almost completed and will be submit-ted for publication in the near future to the Winterthur Portfolio as he wished.A dedicated and well-loved teacher, open and helpful, he inspired majors and non-majorsin art history; as a result he supervised many advanced degrees. A man with a wonderfulsense of humor, generous, with the gift of making friends readily, supportive of highstandards of scholarship, he was widely respected by his colleagues, and eminent teach-ers and scholars, such as Henry Russell Hitchcock, Richard Krautheimer, and ErnstKitzinger. (Submitted by Prof. Emeritus Charles D. Cuttler)

We Want To Hear From YOU!In the next issue of our Newsletter, we will begin including moreinformation on the accomplishments of our alumni. To get thissection off the ground, we need your help. Please use the formbelow to send us information about career changes, recognitionreceived, and other news you would like to share with your formerclassmates, friends, and professors. Just complete this form andreturn it to the address provided and we will include it in a futureissues of the newsletter. Clip and mail to:

Diane Schaeffer, School of Art and Art History,The University of Iowa, E100 AB, Iowa City, IA 52242

Or E-mail information to: diane-schaeffer@uiowa.edu

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