art/history vol 3 newsletter vol 3.pdf&art history warm greetings from the school of art and art...

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NEWSLETTER & History Art Warm greetings from the School of Art and Art History! After one of the coldest and harshest winters on record here we enjoyed a magnificent spring (although we are all keeping an eye on the river which is getting higher every day). As the spring semester draws to a close we are looking forward to the M.F.A. show in the Museum of Art and are still enjoying the faculty show at the Museum which is one of the largest and most diverse we have seen. This year, thanks to the generosity of the College, the Vice President for Research and the University Foundation, we are going to have a catalogue of the faculty exhibit in full color. Farewells This is also the time of year for farewells. Hans Breder and Stephen Foster are both retiring after decades of teaching and will be greatly missed. As most of you remember, Hans founded our Intermedia Area and helped to create and define this field. He will be busy on his latest time-based art projects and also on establishing an intermedia program for the University of Dortmund. Stephen, who is completing his multi-volume history of DADA, among many other projects, will be returning to the east coast where he embarks on new endeavors in the art world. Hans and Stephen leave big shoes to fill, but we are working hard to ensure the continuity of intermedia and our 20th-century art programs. New Members This year we welcomed several new faculty members. In Painting and Drawing Will Mentor and Susan White joined us, adding even greater diversity and breadth to this flourishing area. Kee-ho Yuen came aboard as associate professor of metalsmithing and has joined Chunghi- Choo, thereby doubling the already high energy level of that program. Sarah Adams, who taught contemporary African art with us this spring will be joining us as an assistant professor of art history this fall. Over the next few weeks we expect to add a faculty member in graphic design and several visitors in art and art history for the next academic year. Growth & Development The School continues to grow every year. The numbers of our faculty members increase as we try to keep up with ever- growing enrollments at the undergraduate and graduate levels. This year we have well over 700 undergraduate majors and over 200 graduate students. In addition, we serve thousands of non-majors, espe- cially in our General Education classes in art history. We also now have several GE classes in studio—in Ceramics, Sculpture and Elements of Art. The faculty are working overtime to keep pace with new technologies—especially in digital art which is fast becoming a component of most of our areas. Our wonderful chief curator of the Office of Visual Materials, Eric Dean, has begun a Digital Image Library which faculty and students in many of our classes are already using. Another exciting development that we are seeing in the School is cross-disciplinary and interdisciplinary teaching and cur- ricular development. Faculty in the School are working together to develop new courses along interdisciplinary lines as the spirit of cooperation among for- merly disparate fields increasingly be- comes the national norm. Honors I also wanted to let you know, as you will see in the following pages, that our students and faculty continue to win honors and awards as they make wonder- ful contributions to their fields. The College bestowed high and much-deserved honors this year on Keith Achepohl and Inside this Issue Studio Division pp. 2-13 Obituaries pp. 9, 17 Center for the Book p. 13 Art Education p. 13 Art History Division pp. 14-17 Administrative Office p. 18 Notes from Alumni pp. 19-22 Announcements pp. 23-24 Greetings from Dorothy Johnson, Director The University of Iowa Art School of Volume 3 Spring/Summer 2001 NEWSLETTER

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Warm greetings from the School of Art andArt History! After one of the coldest andharshest winters on record here weenjoyed a magnificent spring (although weare all keeping an eye on the river whichis getting higher every day). As thespring semester draws to a close we arelooking forward to the M.F.A. show in theMuseum of Art and are still enjoying thefaculty show at the Museum which is oneof the largest and most diverse we haveseen. This year, thanks to the generosityof the College, the Vice President forResearch and the University Foundation,we are going to have a catalogue of thefaculty exhibit in full color.

FarewellsThis is also the time of year for farewells.Hans Breder and Stephen Foster areboth retiring after decades of teachingand will be greatly missed. As most ofyou remember, Hans founded ourIntermedia Area and helped to create anddefine this field. He will be busy on hislatest time-based art projects and also onestablishing an intermedia program forthe University of Dortmund. Stephen,who is completing his multi-volumehistory of DADA, among many otherprojects, will be returning to the eastcoast where he embarks on new endeavorsin the art world. Hans and Stephen leavebig shoes to fill, but we are working hardto ensure the continuity of intermediaand our 20th-century art programs.

New MembersThis year we welcomed several new facultymembers. In Painting and Drawing WillMentor and Susan White joined us,adding even greater diversity and breadthto this flourishing area. Kee-ho Yuencame aboard as associate professor ofmetalsmithing and has joined Chunghi-Choo, thereby doubling the already highenergy level of that program. Sarah

Adams, who taught contemporary Africanart with us this spring will be joining usas an assistant professor of art history thisfall. Over the next few weeks we expectto add a faculty member in graphic designand several visitors in art and art historyfor the next academic year.

Growth & DevelopmentThe School continues to grow every year.The numbers of our faculty membersincrease as we try to keep up with ever-growing enrollments at the undergraduateand graduate levels. This year we havewell over 700 undergraduate majors andover 200 graduate students. In addition,we serve thousands of non-majors, espe-cially in our General Education classes inart history. We also now have several GEclasses in studio—in Ceramics, Sculptureand Elements of Art. The faculty areworking overtime to keep pace with newtechnologies—especially in digital artwhich is fast becoming a component ofmost of our areas. Our wonderful chiefcurator of the Office of Visual Materials,Eric Dean, has begun a Digital ImageLibrary which faculty and students inmany of our classes are already using.Another exciting development that we areseeing in the School is cross-disciplinaryand interdisciplinary teaching and cur-ricular development. Faculty in theSchool are working together to developnew courses along interdisciplinary linesas the spirit of cooperation among for-merly disparate fields increasingly be-comes the national norm.

HonorsI also wanted to let you know, as you willsee in the following pages, that ourstudents and faculty continue to winhonors and awards as they make wonder-ful contributions to their fields. TheCollege bestowed high and much-deservedhonors this year on Keith Achepohl and

Inside this Issue

Studio Divisionpp. 2-13

Obituariespp. 9, 17

Center for the Bookp. 13

Art Educationp. 13

Art History Divisionpp. 14-17

AdministrativeOfficep. 18

Notes from Alumnipp. 19-22

Announcementspp. 23-24

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 3 Spring/Summer 2001

N E W S L E T T E R

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Richard De Puma. Keith became our firstElisabeth M. Stanley Professor of the FineArts and Richard was named F. WendellMiller Professor. You will find moreinformation as you read along.

New Art BuildingThe changes in the size, diversity andinteractivity of all components of theSchool come at a time when we areentering the final planning stages for ournew Art Building. Next year will be filledwith great excitement as we work togetheron the programming for the new artbuilding with our architect, Steven Holl.The final phases of the building’s designwill be completed next year as well. Inour next newsletter I will update you onthe latest developments and hope toinclude the plans for this great newbuilding.

A Final NoteIn this issue we are including an expandedsection on news from our alumni. It iswonderful to hear from our alums who aredoing such exciting things around thecountry. Please send in your news for ournext issue. It was great seeing so many ofyou at our CAA breakfast in Chicago lastMarch. Next year the CAA will be inPhiladelphia and I hope many of you willbe able to attend our annual CAA event.

LossesIt is with deep regret that I announce theloss of two distinguished emeriti, JohnSchulze and Stephen Prokopoff. Pleasesee the In Memoriam sections underPhotography and Art History.

Ceramics AreaBunny McBrideBunny McBride received an AHI Grantfrom the University to research AncientChinese Kiln sites and existing ones andto document them on a CD Rom that willbe utilized for class study in Ceramicsclasses. This was a Collaborative Grantwith Professor Henry Serenco who teachesat The University of Nebraska at Omaha.They traveled to China for six weeks inMay, June, and July for a very successfulstudy. Mr. McBride has been invited backto China to present a paper at a Sympo-sium in Shanghai at the Shanghai CeramicInstitute fall of 2001. In the spring of2001, Bunny received a Semester ResearchLeave in which to compose the kilnresearch CD Rom.

Chuck HindesChuck Hindes had a busy 2000-2001season. His work was exhibited in numer-ous shows, including:“Suited to a Tea” (invitational), SiouxCity Art Center, Sioux City;Woodfired Ceramics (invitational), TheSignature Gallery, Atlanta;“Ten Years in Retrospect” (invitational),Northern Clay Center Gallery, Minneapolis,Minnesota;“Paper Pots”(invitational drawing show),John Elder Gallery, New York, New York;“Great Teachers:Great Legacies” (invita-tional), W.D.O. Gallery, North Carolina(held in conjunction with the AnnualNational Council on Education for Ceram-ics Arts conference);“A Ceramic Continuum:Fifty Years of theArchie Bray Influence”, Holter Museum ofArt, Helena, Montana;“American Shino” (invitational), BabcockGallery, New York;“Faculty Choice” (invitational), VictoriaH. Myhren Gallery, University of Denver,Denver, Colorado.Professor Hindes also participated inseveral workshops; “Yuma Symposium21”, Yuma, Arizona, and woodfire work-shops at University of Missouri, Columbia,and University of North Texas, Denton.He was featured as guest artist at Ander-son Ranch Center for the Arts inSnowmass Village, Colorado andArrowmont School of Arts and Crafts inGatlinburg, Tennessee.

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Design AreaHu Hung-ShuAfter Professor Hu’s serious sickness andwith one year of sick leave to recover, heis planning to be back for full-timeteaching in fall 2001. During this recov-ery period, he had finished one public artwork in Taipei, Taiwan and he is one ofthe finalists for the art commission for theGreat Fire of Jacksonville of 1901 commis-sion, Jacksonville, Florida. Hu had an oilpainting in a group show at Chi-ZenGallery in Kao-Hsiung, Taiwan in October2000 and also had an oil painting in agroup show at “Grands et jeunesd’aujourd’hui,” Paris, France in November2000. This painting was selected withother elite art works for the travelingshow for the 2002 World Cup.

Hu was invited as a keynote speaker atthe Thirty-Ninth Annual Iowa JuniorScience and Humanities Symposiumsponsored by the Iowa JSHS of the Univer-sity of Iowa on February 23, 2001. Thestudents and teachers commented on theevaluation forms how much they enjoyedProfessor Hu’s talk.

Professor Hu will give a speech at ChinaNational Industrial Conference in Tsing-Hua University in Beijing, China in June2001.

Ab GratamaDuring the Spring Semester 2000, AbGratama travelled to Germany and visitedwith Dr. Michael Erlhoff, Dean of theUniversity of Cologne School of Design(Fachhochschule Köln/Fachbereich De-sign). Discussions centered around par-ticular graduate and postgraduate designcurricula, and possibilities for some formalcooperation and exchange of faculty and/or students.

While in the Netherlands, similar discus-sions were held with the Chair of the Post-graduate Graphic Design program of theSt. Joost Akademie in Breda.

Presently Ab is working on the design ofan “anthology” on Paul van Vliet, afamous Dutch comedian and entertainer.The book will contain van Vliet’s songsand texts, and many designs of postersand programs Ab created in relation to the

national and interna-tional theater showsby van Vliet since1963. In 2001, thebook will be publishedin the Netherlands.

Recently, a re-designedand streamlinedwebsite for the Schoolof Art & Art Historywas presented to thefaculty. The design wasmade by a graduatestudent in graphicdesign, Andres Salinas.It is anticipated thatthe new website willsoon be made opera-tional.

Over the last numberof years graphic designstudents graduatingfrom the designprogram with M.F.A.degrees have beenextremely successful interms of receivingoffers for universityteaching positions.Graphic Design isfortunate to have beenable to create its own“in-class” computercluster in answer tothe inevitable andnecessary growingneed for digital tech-nology.

Digital WorldsDigital Worlds began its third year ofactivity, providing an imaging "garden,”web access, a new bluescreen structure,and classes to the art community. We areproud to announce that professor Fisher'sresearch assistant, Adam Brown, has beenhired by the University of Oklahoma as anassistant professor. Adam, who receivedhis Masters of Fine Art in Intermedia, willbe starting his own digital arts program.

John Freyer, a graduate student in pho-tography, has come on board as our newresearch assistant. John brings welcomeexperience running a community mediacenter at the nationally acclaimed LightWork in upstate New York. His digitalfortitude is underscored by his currenteffort to orchestrate a dramatic satire onUS consumer culture using the internetauction house, eBay. John'sallmylifeforsale.com launched in Novem-ber, 2000. The response by the media hasbeen phenomenal: major media, fromNational Public Radio to the AssociatedPress to the New York Times, picked up onJohn's internet event. Even the TodayShow broadcast a live interview with Johnfrom his Iowa City Apartment.

Since the last newsletter, many featureshave been added to the Digital Worlds"garden,” including digital video editing,new 3D modelling software, and newdigital cameras and lighting equipment. Abluescreen area with curved walls wasbuilt into the classroom. Students havebegun to digitize figures against a seam-less backdrop which could then be"dropped out" electronically. Environ-ments, shot at the University of Iowa'sNatural History Museum, were theninserted behind each subject.

"Where Stephen Spielberg could float livehuman beings in front of digital dino-saurs,” remarked Ebon Fisher, coordinatorof Digital Worlds, "this generation ofindependent world creators will now beable to do something along the same lines,although with more imaginative freedom.We may not have the budget for a two-hour juggernaut of highly detailed,drooling pterodactyls, but our indepen-dence as artists permits us to take thetechnology somewhere far more subtle and

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presented by theEncyclopediaBritannica as one oftheir "Best of theWeb." His Zoacodes, asystem of evolvingethics for cyberspace,have made appearancesthis year at the P.S.1Museum (now part ofthe Museum of ModernArt) and at a new netart exhibit for theSouth by SouthwestFestival in Austin,Texas. Fisher's workalso appeared inJonathan Fineberg's2000 edition of his arthistory textbook, "ArtSince 1940: Strategiesof Being," published byPrentice Hall.

probing. We've had some amazingstudents passing through here who arebeginning to tap the poetic potentialof this new medium."

Mr. Fisher has been introducing hisstudents to a method of world creationwhich not only involves 2D and 3Dsoftware, but also a heightened orien-tation to feedback from peers and awider world audience. "In this age ofnetworks and continuously evolvingmedia systems," says Mr. Fisher, "itseems appropriate to cultivate a livingmedia space which evolves in concertwith its technological, social andenvironmental supportstructures." Fisher's green aesthetic,which he dubs "wigglism,” delves intosuch issues as artificial life-forms andsubjective ecology.

Ebon FisherPart of Fisher's own digital world,OlulO.net, was broadcast in video to alive audience in Venice for the VeniceGuggenheim Museum last Spring,accompanied by a panel discussionwith Mr. Fisher and Ralph Abraham, apioneer of chaos mathematics. Mr.Fisher's website has recently been

Drawing AreaContinuing faculty who taught in the areathis past year were David Dunlap, LaurelFarrin, Sue Hettmansperger, JosephPatrick, Gelsy Verna, and MargaretRochelle, Lecturer. We also enjoyed thecontributions of the two new faculty hiredin the Drawing and Painting areas, WillMentor and Susan Chrysler White, whojoined us in the Fall of 2000.

The TA’s in the Basic Drawing classescontinue to devote much effort andresponsible guidance to the undergraduateBFA students enrolled in their classes. Weappreciate the contributions of this pastyears’ TA’s : Peter Axelson, ChristineBuckton, Hilary Ciment, Melissa Furness,Carianne Mack, Jiha Moon, Heidi Neff,Dawn Roberts, Andy Rosen, JeredSprecher, and Steven Vickers. Manythanks also are due to the TA’s assistingfaculty with a broad range of drawingclasses in the Fall and Spring. They wereJoshua Huyser, Jiha Moon, and Abel Ortiz.

2000 saw continuing school-wide discus-sion and planning for allocated spaceassignment in the proposed new buildingand in the existing art building oncerenovations are made. Plans were putforth for locating two classrooms to houseBasic Drawing sections, with adjacentstorage space for props and materials.This long-term plan would free the exist-ing second floor drawing rooms for sched-uling the full roster of upper divisiondrawing classes, such as Media of Drawing,Life Drawing I, II, III, Graduate Drawing,as well as Undergraduate Seminar inDrawing and Painting and the Methodsand Media course. There is increasingdemand for all classes in our regularprogram, as well as the Saturday andEvening course offerings in Drawing. Wecurrently fill twice as many sections ofBasic Drawing as were offered a few yearsago.

Students in the Digital Worlds “Garden” hit the start button.Research Assistant John Freyer is at right.

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world. The Universityof Iowa, CranbrookAcademy of Art, TheSchool of the ArtInstitute of Chicago,and The University ofCalifornia at Berkeleywere selected tocontribute statements.In addition, 36 addi-tional M.F.A. candi-dates were chosen for“The M.F.A. Annual”online exhibition(www.newamericanpaintings.com) andthree of these werealso from the Univer-sity of Iowa: MelissaFurness, Carrie Pollack,and Mary Sanders.

Other recent accom-plishments by formergraduate students inpainting include thetenure-track facultyappointments of AnneBeffel (M.F.A.,’98) toSyracuse Universityand of Mille Guldbeck(M.F.A.,’96) to BowlingGreen State University;the awarding of majorgrants from the Pol-lock-Krasner Founda-tion to Colin Brant(M.F.A.,’95) andHamlett Dobbins(M.F.A.,’99); thereception by MarkTakamichi Miller(M.F.A.,’91) of TheBehnke Foundation’s2001 Neddy ArtistFellowship, “estab-lished to identify,acknowledge andsupport an especiallyvisionary artist in thefield of Painting”, andthe inclusion of JonHaddock (M.F.A.,’91) inthe spring, 2001,“Bitstreams” exhibi-tion at The WhitneyMuseum of AmericanArt, New York.

Painting AreaThe last two academic years have seen thedevelopment of new studio spaces for boththe graduate and undergraduate programs.In the fall of 1999, painting was presentedwith the opportunity to move its graduatestudios from the east side of the river to asite that would place them within theexisting art complex and directly besidethe proposed location for the new artbuilding. This was welcomed as an oppor-tunity to be included in the generalactivities and discussions that take placein the larger graduate community. Thenew graduate painting building is locatedat 109 River Street, across the street andup the hill from the Museum of Art. It is avery large, former fraternity building andhas studios for approximately 20 students.The main floor has a wonderful, largespace for critiques and seminars, andanother space that houses a gallery. In thefall of 2000, renovations took place thatincreased the size of 6 main studios. Thenew studios are both large and gracious asworking spaces.

The beginning of the fall semester alsosaw the undergraduate painting programmoved from Seashore Hall to North Hall. Itnow exists in a beautiful room overlookingthe Iowa River. It has two complete wallsof windows and space for classes ofapproximately twelve students.

The graduate painting program washonored in the spring-summer of 2000, inhaving three of its students, PeterAxelsen, Jered Sprecher, and ChristopherThomas, included in the first “M.F.A.Annual,” published by Open Studios Pressof Wellesley, Massachusetts. The Press hasbeen publishing regional catalogs of “NewAmerican Painting”, juried by significantarts professionals, for approximately sixyears. This was the first time for both anational edition and one focused oncurrent graduate students in painting. Thejuror for this competition was KlausKertess, independent curator and writer.Over 650 students from 122 schoolsparticipated. From these, 25 were selectedfor inclusion. The chairs or heads ofpainting from “four prominent institu-tions” were asked to comment on theirschool’s philosophy and the role of gradu-ate art programs in the contemporary art

Finally, the Painting and Drawing Areasculminated a successful search this pastyear in the hiring of two new facultymembers who began teaching in the fall of2000. The areas feel very fortunate tohave Will Mentor and Susan ChryslerWhite join the faculty. Both have substan-tial teaching experience and their workhas been exhibited widely with represen-tation in New York and Los Angeles.

Ronald CohenRonald Cohen chaired a panel discussionat this year’s CAA entitled “The Art of theFigure in Contemporary Art.” He is nowexhibiting with the Tatistcheff Gallery inNew York.

John DilgJohn Dilg’s paintings were the subject of aone-person exhibition last spring at LuiseRoss Gallery, in New York, 24 February - 1April 2000. He was also a visiting artistand gave a public lecture in February, atthe University of Pennsylvania. Dilg’swork was part of a two-person show inApril - May, 2000, at Bradley University,with colleague Robert Glasgow. Fivepaintings were included in the “IowaArtists 2000” exhibition, curated bySenior Curator Jeff Fleming at the DesMoines Art Center, August-October, 2000.A print by Dilg is traveling at present aspart of the Normal Editions Workshop’sretrospective of contemporary printspublished since the workshop’s inceptionin 1976. The exhibition is titled “A PrintRetrospective” and is being circulatedthrough the Illinois Arts Council ArtstourProgram. In January, 2001, a one-personexhibition of Dilg’s paintings opened atGallery 210 of the University of Missouri,St. Louis. He gave a public lecture on hiswork and made a lithograph in conjunc-tion with this show. Dilg’s work wasincluded in “Patient Process” at FaulconerGallery, Grinnell College this spring, fromFebruary - April, 2001. This show wascurated by Lesley Wright, Director andDonald Doe, Curator, whose essays areincluded in the excellent catalog thataccompanies the exhibition. This fall, Dilgwill have two one-person exhibitions. Thefirst will be at the Art Academy of Cincin-nati in Ohio, from 27 September - 26October. The other will take place atLuise Ross Gallery in New York, NY, fromNovember 2001 to January 2002.

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Laurel FarrinLaurel Farrin was a visiting artist inDecember 1999 at St. Mary’s College, St.Mary’s City, MD in conjunction with agroup show, Reclamation, at the BoydenGallery, St. Mary’s College.In April 2000, Farrin had a solo exhibitionat Anton Gallery in Washington, DC.Farrin Participated in an invitational printworkshop in June 2000, funded by a non-profit organization, Celadon Inc., atVirginia Commonwealth University. Hermonoprints will be exhibited in thecoming year at the Anderson Museum,VCU and the Richmond Museum of Art.

Sue HettmanspergerCompleting her last semester of theFaculty Scholar Award in the fall of ‘99,Professor Hettmansperger mounted a oneperson exhibition of her work at A.I.R.Gallery in New York City. A catalogueaccompanied the show, which was held inOctober. She also participated in aninvitational show, “Generations II” in thesame venue, and “Pa D’ Angel,” U.S.Convida a L’Exposicio, artistes d’ aqui i d’alla’, Article 26, Carer de Ferlandina,Barcelona, Spain. Curated by KatherineSlusher, this invitational also produced acatalogue at its traveling venue in Athens,Greece. Currently Prof. Hettmansperger isworking on a UI Arts and HumanitiesInitiative grant, collaborating with Profes-sors in Music and Mathematics to producea digital multimedia work for videoprojection and eight channel sound.During the Spring Semester of 2000Professor Hettmansperger served as Headof Drawing.

Will MentorWill Mentor joined the School of Art andArt History as Assistant Professor inPainting and Drawing in August 2000. Hehad a one-person show in New York Cityat PPOW Gallery that opened November 21and ran through Christmas.

Gelsy VernaGelsy Verna was awarded a departmentalleave for the fall 1999 semester. TheUniversity of Illinois purchased one of herpaintings for the Hospital’s new MedicalCenter. The Chambers Hotel in New Yorkpurchased a number of drawings and laserprints for its permanent collection. Vernawas visiting artist at Syracuse Universityin February 2000.

She was part of several group exhibitionsincluding: “Iowa Artists 2000” at the DesMoines Art Center (curated by JeffFleming, chief curator) and the “2000Rockford-Midwestern Exhibition” at theRockford Museum in Rockford, Illinois(juror: James Yood, Northwestern Univer-sity, Evanston, Illinois); December 1999,January 2000, “12 Attitudes, part II” atthe Porter Troupe Gallery in San Diego andCount Down group exhibition at theBucheon gallery in San Francisco, anexhibition curated by Sheila Cohen andLeslie Wilkes; in November 1999, theBucheon gallery from San Franciscopresented her work at the First AustrotelContemporary Art Fair in Vienna, Austria;October 1999, group show “Sketchbooks”curated by Hamlett Dobbins at theMarshall Arts gallery in Memphis;in September 1999, her work was includedin the 17th September Competition at theAlexandria Museum in Alexandria, LA. Theexhibition was curated by Beth Handler,an assistant curator at the MOMA in NewYork.

Susan Chrysler WhiteSusan Chrysler White joined the School ofArt and Art History as Assistant Professorin Painting and Drawing in August 2000.She has previously taught at The CooperUnion School of Art and Architecture,Tyler School of Art both in Philadelphiaand in Rome, and at Carnegie MellonUniversity.

In July, she exhibited her new series ofpaintings in a two person exhibition atDavis and Hall Gallery in Hudson, NewYork. In September 2000, she developed aseries of paintings that were featuredduring the Hispanic Heritage Awards atKennedy Center in Washington, D.C. Shehas been commissioned to create originalart for this televised event on an annualbasis.

The artistic cooperatives she developed inMexico in 1998 continue to thrive. Shewill be visiting the project in December tohelp reorganize the groups and developmore distribution for the women’s work.She is currently working on her upcomingone person exhibition at the Kim FosterGallery in NYC in 2001. A catalogue isbeing published in conjunction with theexhibit.

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Jewelry and Metal ArtsKee-ho YuenThe Jewelry and Metal Arts Program isvery happy and fortunate to have anadditional instructor, Kee-ho Yuen. Hereceived a B.A. from the Chinese Univer-sity of Hong Kong and an M.F.A. from theUniversity of Iowa. Kee-ho Yuen taughtat the University of Northern Iowa for thepast ten years. Kee-ho joins the UI as anAssociate Professor of the Jewelry andMetals Arts program last fall. He teachesbeginning, advanced and graduate work-shop courses. Kee-ho’s work has beenshown at numerous international andnational invitational group and soloexhibitions, as well as competitive exhibi-tions, including those at the GoldsmithHall in London, England; Museum FürKunst und Gewerbe in Hamburg, Germany;American Craft Museum in New York Cityand Aaron Faber Gallery in New York City;Mobilia Gallery in Massachusetts; PionineGallery in Taipei, Taiwan; Seattle ArtMuseum in Seattle, Washington; Museumof Art at the Chinese University of HongKong; Fortunoff in New York City, andmany times at the National OrnamentalMetal Museum in Memphis, TN. Kee-ho’swork is included in the collections of theAmerican Craft Museum in New York City;the Museum of Art, Chinese University ofHong Kong; the University of Iowa Mu-seum of Art, and other places. Mostrecently, the Smithsonian Renwick Galleryof National Museum of American Art is inthe process of acquiring one of his works.Among his awards and honors is theCertificate of Excellence and OutstandingAchievement in Metal Work at the presti-gious Artitude International Art Competi-tions in New York City. At the 1998national conference of the Society ofNorth American Goldsmith, ProfessorYuen’s works were chosen to be presentedin Dawn Nakanishi’s lecture titled “AsianRoots, Western Soil: Visual Poetry inMetal.” Kee-ho is currently organizing aninternational metalwork exhibition thatwill travel to Korea, Hong Kong, Taiwan,Japan, United States and China. Thissummer he is invited to give presentationsin the Art Center in Hong Kong andNanjing and Beijing Universities of China,and will teach a one-week course at theAppalachian Center for Crafts in Tennes-see. Kee-ho is presented with photo-

graphs and a review of his work in:Contemporary Silver, by Benton SeymourRabinovitch and Helen Clifford, MerrellPublishers; and The Metalsmith’s Books ofBoxes and Lockets by Tim McCreight, HandBooks Press.

The following new courses have beenadded: Mixed Media Workshop, and Ad-vanced Jewelry and Metal Arts in whichbasic 3-D computer modeling is part of thecurriculum. For more information aboutour program, please visit our web site:http://www.uiowa.edu/~art/metals

In spring semester, 2001, the programestablished its own computer lab in thegraduate studio. The funding is from theCollege of Liberal Arts Educational Com-puting Grant awarded to the graduatestudents for their proposal. As a result,the studio is equipped with a 3-D CADsystem and a variety of current hardwareand software (4-axis desktop millingmachine, PC, slide scanner, digital camera,flatbed scanner, printer). With this newequipment and close collaboration withindustry, students are able to exploreprogressive concepts with unlimitedtechnical possibilities.

ScholarshipsThanks to our 130 private donors, theprogram continues to provide all of our 8to 10 graduate students and outstandingundergraduates with full or partial tuitionscholarships and material scholarshipsfrom its own funds. Because of thesedonations, the students are able to freelyexplore their creativity without worry ofmaterial costs and tuition bills. All of thestudents have been researching the use ofnew and unconventional materials, suchas rubber, carbon fiber, use of foil stamp-ing with metal, plastics, paper, andvarious pigments to be applied to metal.

Student accomplishmentsIn 2000-2001, outstanding works of ourgraduate students, Cody Bush, Beth Reilly,Rachel Lundberg, Sunghee Yoon, and JulieSwanson, have been accepted into manymajor competitive national exhibitions forprofessionals, including “Materials: Hardand Soft,” at the Greater Denton ArtsCouncil in Denton, TX, “Metalsmiths 2001”at Arts Iowa City in Iowa City, IA, whereSunghee Yoon received an Honorable

Mention, “Force andFire: Old Techniques/New Technologies, atthe Worchester Centerfor Crafts, Worchester,MA, “Art in Boxes:Hers and His Stories”at the Noyes Museumof Art in Oceanville,NJ, “The Third Na-tional Juried ArtExhibition” at theBaker Arts Center inLiberal, KS, “NorthernNational Art Competi-tion” at LRC Gallery inRhinelander, WI,“ContemporaryMetalsmiths 2000” atthe Young &Constantin Gallery inWilmington, VT, “NewMetal, Emerging Views”at the ContemporaryCrafts Gallery inPortland, OR, and“Fine Art of Craft” atthe Maryland Federa-tion of Art Gallery andthe Mitchell Gallery inAnnapolis, MD. Theyalso continue to beaccepted into nationalstudent competitions,such as the “SNAG(Society of NorthAmerican Goldsmiths)National StudentJuried Exhibition andSlide Show,” and “2001NICHE StudentAwards.” Each studentwas also accepted intomany other exhibi-tions.

In the summer of2000, Cody Bush wasselected for an intern-ship at GM, in whichhe and five otherinterns from differentcountries designed andmade a one-third-scalemodel of a conceptCadillac. Also, BethReilly had paintedstained glass windows

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installed at a United Methodist Church inFairfield, IA, a Catholic cathedral in SanFrancisco, CA and in other churches andpublic buildings across the U.S. Beth hasbeen selected by Henry Dunay to be anapprentice in his jewelry industry in NewYork City this summer.

Visiting artists programMost recent visitors include Kenneth R.Trapp, Curator-in-Charge of theSmithsonian Renwick Gallery of theNational Museum of American Art, whocame to review student work and lecturedon “Collecting for the Nation.” We thank amajor supporter, Mark Ginsberg, forsponsoring Henry Dunay, a distinguishedone-of-a-kind and commercial jeweler whogave a workshop about marketing jewelry.Other visiting artists include ProfessorSarah Perkins of Southwest MissouriUniversity who gave an workshop inenameling.

Chunghi ChooIn January, 2001, Chunghi had the honorof being invited by the SmithsonianArchives of American Art for a two-hourinterview about her life story for theirOral History program. They also invitedher to leave her personal papers to theSmithsonian Archives of American Art.

During 2000-2001, Chunghi’s silver hol-lowware pieces were exhibited in “Defin-ing Craft” at the American Craft Museumin New York City, and in “Women Design-ers in the USA 1900-2000: Diversity andDifference” at the Bard Graduate Centerfor Studies in the Decorative Arts, Designand Culture, in New York City; her jewelrypieces were exhibited at the Ewha’sTraveling Exhibition at Gallery Wooduck,in Seoul, Korea, and the Wacoal Ginza ArtSpace, in Tokyo, Japan; her textile panelwas exhibited in “A Century of Design,Part III: 1950-1975,” Metropolitan Museumof Art, New York City; nonfunctionalmixed media Basketry were exhibited in“Sheen of Silver, Weight of Air” at theSchnider Museum of Art, Ashland, Oregon,and in “Asian Roots, Western Soil: VisualPoetry in Metal” at the Gabrillo CollegeGallery, Aptos, California.

In the summer of 2000 Chunghi wasinvited to give a two week workshop on“Silent Metal Forming” at the Haystack

Mountain School ofCrafts in Deer Isle,Maine, where sheexhibited her work andgave slide presenta-tions on UI Students’work and her ownwork. In December1999, she was invitedto the Seoul Interna-tional Metal ArtistsSeminars and Work-shop, where she gave aworkshop in FormingMetal primarily byhand, with minimaluse of tools. There,she gave slide presen-tations on the techni-cal innovations of theUI Metals program, andher students’ and herown work. Her mixedmedia piece wasexhibited with otherinternational metalartists’ work at theSeoul Arts Center inKorea.

Citations and reviewswith photographs ofChunghi’s work wererecently published intwo books: WomenDesigners in the USA1900-2000, Diversityand Difference, PatKirkham, editor, YaleUniversity Press; andContemporary Silver, byBenton SeymourRabinovitch and HelenClifford, Merrell Pub-lishers; among otherpublications.

Multimedia and Video ArtThe Intermedia (Multimedia and VideoArt) Area, founded by Professor HansBreder in 1968, is devoted to experimentaland interdisciplinary art forms. In exist-ence now for over 30 years, the program iswell-known for being on the cutting edgeof aesthetic thought and practice. HansBreder’s early work in intermedia, perfor-mance-oriented work and later in videoart, led to the creation of the Center forthe New Performing Arts (CNPA) in 1970,which was supported by the RockefellerFoundation (1970-1975). Since 1976,Intermedia has emphasized a VisitingArtists Program which brought in notableartists early in their careers. To mention afew: Robert Wilson developed “DeafmanGlance” here in 1970; Viro Acconci, IdaApplebroog, and Karen Finley, amongothers, also spent time in Iowa City.Additional participants include well-known artists and critics such as DonaldKuspit, Dennis Ooppenheim, Nam JunePaik, Lucy Lippard, and RoseLee Goldberg.Three decades later, the Intermedia Areacontinues to highlight experimental,interdisciplinary and intercultural modesof art making. Hans Breder has conducteda number of intermedia workshops inMexico, Italy, and The Netherlands since1973. Last May, he returned to theUniversity of Dortmund, Germany, toconduct another intensive intermediaperformance workshop.

It is also worth noting some of the activi-ties of former Intermedia students whohave kept in touch. Please see the alumniinformation at the end of the newsletter.

Hans BrederHans Breder, F. Wendell Miller Distin-guished Professor of Art, continues towork in a variety of media. His CD-ROMinstallation The Nazi-Loop has recentlybeen shown at Hobart and William SmithColleges, Geneva, NY; Centro de la Imagen,Cuidad de Mexico; Virginia Film Festival,Charlottesville, VA; Dallas Video Festivaland The Museum of Contemporary Art, LosAngeles, CA. In 1999, Breder’s paintingsand digital photographs were exhibited atthe Hachmeister Galerie, Munster, Ger-many in a one-artist exhibition. Breder,whose work has been included in threeWhitney Biennial Exhibitions, premiered

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his performance Opera for Suitcases atExperimental Intermedia, New York. Hisphoto documentation from the late sixtieswas presented by the Mitchell algusGallery, New York at the Armory Show2000. This May, commissioned by theUniversity of Dortmund, Germany, hepremiered a major intermedia performancework Mass in A-minor for Suitcases at theSt. Petri Church in the City of Dortmundaccompanied by intermedia artists RussNordman and Scott Siegling.

Photography Area

In MemoriamJohn Schulze

A year ago last fall, the Photo area wassaddened to learn of the death of EmeritusProfessor John Schulze. Initially trainedas a painter, John studied and taughtDesign at Iowa before turning to themedium of photography. As a foundingmember of the Society of PhotographicEducation in the early 1960s, John estab-lished what would become one of thelargest creative photography programs inthe country. At that time, there were veryfew such programs, and John provided anenvironment for students to investigatethe expressive potential of the medium.He also founded Refocus, the annual filmand photography festival that helpedestablish Iowa as a leading program in the1970s. John was a dedicated teacher whoinspired hundreds of loyal students formore than 30 years. In 1985, John’slifelong contribution to teaching wasacknowledged when he received theHonored Educator’s Award from the Soci-ety for Photographic Education. John’swork, which ranged from evocative andtransformative studies of light to uniquephotomontages, was shown and collectedinternationally. Upon his retirement in1985, a retrospective exhibition of hiswork was shown at the University of IowaMuseum of Art, The Museum of Contempo-rary Photography at Columbia College inChicago and The Photo Center Gallery-Tisch School of Art at New York University.A portfolio of his images, with an intro-duction by Marvin Bell, is in the SpecialCollections Department at the MainLibrary.

The Photo area today, though muchsmaller, continues John’s vision of encour-aging students to explore the vast poten-tial of the medium. The rapidly changingtechnology makes this a challenge forboth faculty and students alike. Cur-rently, students are working in a range ofmedia, from traditional, large format,silver prints to digital, on-line magazines.While we are building up the digitalcomponent in many of our course offer-

ings, we recognize theimpact that thetraditional, cameraderived image haswithin both the finearts and the culture atlarge. The new build-ing will offer extensivenew digital facilitiesand the renovation ofthe old building willprovide both expandedconventional facilitiesand the opportunityfor the Photographyclassroom to moveabove ground. In themeantime the Collegeof Liberal Arts hasgenerously provided asignificant equipmentfunding initiative toexpand our digitalfacilities.

This past Spring, wewere pleased that twoof our students re-ceived school-widerecognition in theform of scholarships.Carol Carter, an M.A.student fromBurlington, Iowareceived both a LenEverett and a PaulaPatton Grahame, andJen Moon, a B.F.A.student, received theIowa Center for theArts UndergraduateScholarship. Congratu-lations also go toLincoln Phillips(M.F.A. ’99) who is inhis second year ofteaching at the Com-munity College ofDenver where he isheading up the Multi-media Design Area.

Vito Acconci and Hans BrederIntermedia Studio, 1973

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Hugunin on represen-tations of prisons,which will be accompa-nied by a group exhibi-tion. Last summerMargaret made photo-graphs of Hooker HallMuseum of History inWeiser, ID (part of anongoing series depict-ing endangered Land-mark buildings), andlearned digital videoediting. Finally herwork was added to thecollection of theGeorge Eastman Housein Rochester, New York.She was a visitingartist at the Universityof Miami in Florida andwas promoted to therank of full professorthis spring.

Jim SnitzerJim Snitzer is currently head of thePhotography Area and is also one of threeStudio Division coordinators. He hascontinued his work in a series of photo-graphic tableaux which investigate theculture’s perception of the landscape.Last spring he received a juror’s award atthe Philadelphia Print Center’s 74thInternational Competition. This year hiswork was exhibited in a two-person showat Hollins College in Virginia and in agroup show entitled “Is Seeing Believing”at the North Carolina Museum of Art inRaleigh.

Peter FeldsteinPeter Feldstein had heart valve replace-ment surgery last summer. Although therecovery took longer than anticipated, hewas involved in an exhibit at the BaylyArt Museum at the University of Virginiawith William Klein, Duane Michaels, NancyBurson, Tina Barney, Abelardo Morell,John Pfahl, and James Welling.

Margaret StrattonMargaret Stratton had a particularly busyyear. She finished the last semester of herFaculty Scholar Award and was an artist inresidence at Villa Montalvo in Saratoga,California, where she began production ona video comparing actual prison condi-tions with the fictional accounts intelevision and film. She worked closelywith Elmwood Correctional Institute’s drugrehabilitation for women in Milpitas, CA,lectured at San Jose State University, andpublished an article about video andpedagogy in Exposure, a Journal of theSociety of Photographic Education.Margaret’s work on abandoned prisons willbe featured in a book published by Centerfor American Places in 2002. Her workwas included in an exhibition aboutimmigration at The Southeastern Museumof Photography in Florida and Iowa Artists2000 at the Des Moines Art Center. Addi-tional venues include two solo exhibi-tions, one at Worrell Studio in New York,and an invitational show at the RobertMenschel Photography Gallery throughLight Work in Syracuse, which will includea catalogue. Her photograph of a barberchair at Eastern State Penitentiary is partof Light Work’s Fine Print Program. Marga-ret is also in the process of co-editing aspecial issue of U-Turn with James

Printmaking AreaIt has been a very active year for thegraduate printmaking students. Severalstudents attended the Southern GraphicsPrint Council Conference in Austin, Texasand participated in the print exchange.Other print exchanges included theCoralville Express Exchange, which will beshown in St. Joseph, Missouri, at NorthernIllinois University and at the Kansas CityArt Institute.

Student work was chosen for a number ofregional and national shows this yearincluding The Bradley National Print andDrawing Exhibition, Delta National SmallPrint Exhibition, Los Angeles Print SocietyShow, Pacific Rim International in Hilo,Hawaii, Boston Printmakers North Ameri-can Print Exhibition, Baltimore Museum ofArt “Winners Circle” exhibit, and IowaPrintmakers at Wellesley college. Thework of three graduate students has beenjuried into the Tallinn International PrintTriennial in Estonia this fall.

Thanks to grants and fellowships, gradu-ate students Nathan Haenlain and JasonUrban are visiting Poland and the Balticsthis summer to meet printmakers andinvestigate workshops. Robert Tillman’s“Popomo,” the Journal of the Post PostModern, was one of several graduatestudent projects funded by an Iowa ArtFellowship. An Iowa printmaking under-graduate has been chosen by BucknellUniversity as intern fellow for the year.

Keith AchepohlProfessor Achepohl accompanied 15students from the University and otherschools to Italy in July 2000 for TheUniversity of Iowa’s Summer in VeniceProgram held at the International Schoolfor Graphic Art. Trips to Verona, Paduaand Vicenza gave students a look at otherparts of the Veneto. 2001 is a Bienaleyear and they plan to observe artisans ofVenice as they engage in puppet making,mask making, papermaking, and frameconstruction and gilding.

Achepohl’s Turkish weaving projects werepart of the fall 2000 opening of FamilyHoldings, Turkish Nomad Weavings, at theElmhurst Art Museum west of Chicago.The show goes to the Dubuque Art Mu-

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seum in summer 2001. Achepohl gave alecture entitled “From family holdings - alook at embellished necessities in theTurkish nomad tent” at the Textile Mu-seum in Washington, DC in October 2000during the rug convention devoted to theweaving of Anatolia. A videotape is inthe works. In May of 2000, Achepohl wasvisiting artist at the University ofOsnabruck, Germany, accompanied by anexhibit of current work by Universityprintmaking graduate students andfaculty. A print by Achepohl received ajuror’s award this year in the Pacific StatesBienale Print Exhibit in Hawaii. Anotherprint was juried into the Mid-AmericanPrint Council Members Exhibit in Cincin-nati. Also, a print edition was completedto be part of “The Big Portfolio,” a collec-tion of work by instructors and graduatestudents from five universities.

Achepohl became addicted to opera whileliving in Italy from 1962-64 and recentlyaccepted the challenge to get activelyinvolved in opera production. He de-signed the sets for the Cedar Rapids OperaCompany’s production of Rigoletto whichwas performed in January 2001, the 100year anniversary of Verdi’s death.

This year, Achepohl was appointed Eliza-beth M. Stanley Professor of Fine Arts.

Robert GlasgowDuring the Spring 2000 semester, Associ-ate Professor Robert Glasgow received adevelopmental assignment to focus atten-tion on serial monoprinting. He had aone-person exhibition, Calvin Time andFamily Group, at the Apex Gallery, Collegeof Interdisciplinary Studies, South DakotaSchool of Mines and Technology, RapidCity, South Dakota, followed by a two-person exhibition with colleague JohnDilg, Sojourns: the Art of John Dilg andRobert Glasgow, at the Hueser Art Center,Bradley University, Peoria, Illinois. Anessay entitled, “Memory and Meaning inthe Art of John Dilg and Robert Glasgow,”by exhibition curator Catherine Clader, isforthcoming. One of Glasgow’s lithographswas also included in the invitationalexhibition, Wash Images – Tusch and Tonerat the 28th Southern Graphics CouncilConference at the University of Miami. Atthat same conference, Glasgow was aninvited moderator and presenter on a

three-person panel “The Esthetics ofLithographic Washes – A Conversation,”organized by Juergen Strunck from theUniversity of Dallas.

At the 88th Annual Conference, CAA, inNew York, Glasgow presented, “The Matrixand Serial Monoprinting: Marking Time,Space and Change,” on the panel session“Reflections of the Past/Intimations of theFuture: Printmaking at the Millennium.”This slide talk included the work of fourother artists whose interests merge serial-ity with monoprinting processes. In April,Glasgow had a visiting artist residency atBradley University resulting in the publi-cation of a mixed media edition print andaccompanying monoprints by the ArtDepartment’s Cradle Oak Press. Iowagraduate students Joe D’Uva and Joel Peckwere also contracted by Cradle Oak to bein residence for three days to print thelithographic components of the project.Glasgow’s work was included in Digital:Revolutions in Printmaking at the Brook-lyn Museum of Art.

Virginia MyersThe major priority for the Foil StampingProgram today is publication of thesecond definitive book on foil stamping asan art form. Titled Creating Fine Art withHot Stamped Foil and The Iowa Foil Printer,it has gone to press and will be availablefor purchase this fall. More than 40undergraduate and graduate students willsee their written aesthetic and technicalcontributions acknowledged with by-lines.Many color reproductions of foil stampedwork are planned. Publication is expectedin 2001. We are grateful to those who aremaking this book possible by their gener-ous contributions to the Iowa Foil PrintFund for the books at The University ofIowa Foundation.

The Foil Stamping program in thePrintmaking Department continues togrow. The Journal of the Print World, aquarterly publication with national andinternational circulation, published a full-page article in its Spring 2000 issue, “FoilStamping Initiative at The University ofIowa Expands”. It cited an earlier article,“Foil Stamping as an Art Form”, Fall 1993,by William Benson (M.F.A., Printmaking -1962 - and Professor Emeritus, Universityof Wisconsin-Eau Claire).

The years which haveelapsed betweenpublication of thesetwo major articles haveseen significantdevelopments in theFoil Stamping Program.Two traveling shows offoil stamped prints bystudents enrolled infoil stamping classeshave been shown atmore than 30 exhibi-tion sites as far east asNorth Carolina and asfar west as Colorado.The invention of theIowa Foil Printerreceived a listing fromUnderwriters Laborato-ries, May 7, 1998.Graduate and under-graduate studentsmajoring in studio artcontinue to makemajor contributions tothe aesthetic andtechnical foundationfor a new art form.Also, the essentialroutines for manufac-ture of the Iowa FoilPrinter are in place,making it available toartists and educationalinstitutions.

On June 5, 2000, aGala Celebration andReception, markingthe 10th Anniversary ofthe annual IntensiveSummer Workshops inFoil Stamping, waswelcomed by over 150visitors. On exhibit inthe E109 Gallery andthe Print Departmentwere more than 75 foilstamped works createdduring these work-shops. The recordenrollment of 19students for the 10th

Annual SummerWorkshop included fiveout-of-state partici-pants.

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Sculpture AreaThe energy in the Sculpture Area contin-ues to build. We have eight graduatestudents; four new students from acrossthe country and four returning studentsin their second and third years. Most aresupported by teaching assistantships andscholarship money, and we are proud tohave one on an Iowa Arts Fellowship. SixBFA candidates are preparing portfolios toenter M.F.A. programs next fall, and 70undergraduates have enrolled in sculptureclasses. This fall, several students wrotethe charter for a university-recognizedstudent organization called “Armature.”They will receive funding for visitingartists and field trips.

Our facilities continue to improve. Lastsemester, our ceramic shell facility becamefully operable, and the addition of adouble wide trailer given to us by Facili-ties Planning has increased our graduatestudio spaces and provided a new class-room and gallery space. Our lab techni-cian, Tony Sutowski, has been a great helpin reorganizing the studio areas andequipment.

With the support of the University of IowaFoundation, the UI Museum of Art and UISpeaker’s Bureau, sculpture professors TomAprile and Isabel Barbuzza collaborated inbringing renowned artist and U of Ialumnus Charles Ray to the SculptureArea. He presented a fascinating lectureto students, faculty and the arts commu-nity as well as conducting seminars forstudents. In the spring, sculptor AndyYoder visited from New York for a publiclecture and critiques.

Last spring we received the wonderfulnews that graduate students David Boelterand Michelle Acuff had won the “Out-standing Student Award” from the Inter-national Sculpture Center and SculptureMagazine. This entitled them to a freesubscription, registration to the 2000International Sculpture Conference inHouston and a photograph of their win-ning sculptures in the October 2000 issueof the magazine. They also representedthe U of I last fall in the “OutstandingStudent Exhibition” at Grounds for Sculp-ture in Hamilton ,NJ. Both of thesestudents were recently hired for teaching

positions. Michelletaught sculpture atGrinnell College thisspring, and David willbe teaching at hisundergraduate almamater, Buena VistaUniversity in StormLake, Iowa, thiscoming fall 2001.Congratulations,Michelle and David!Grad student EliseKendrot was awarded asummer research grantfrom the UI StudentGovernment andchosen for an “Out-standing TeachingAssistant Award”. Gradstudent Allison Bushwon third place in the“25th Annual RockIsland Fine Arts Exhibi-tion”, and grad stu-dents Matt Milden,Elise Kendrot andAllison Bush wereselected to be in theNational Society ofArts and Lettersregional competition,“Small Sculpture 2001”at the Leedy-VoulkosArt Center in KansasCity. UndergraduateSue Pak helped tocreate the welded steelcomponents for the“demon horse” for arecent production of“Equus” at RiversideTheatre. She alsobuilds sets for Univer-sity Theatre and Operaproductions.

Some recent graduatesnews: Eric Ouren isteaching sculpture and3D design full time atMinnesota StateUniversity in Mankato.Last summer, hefinished a commissionpiece for BethanyCollege of a life-sizechess and checker set.

Tom AprileTom Aprile had an exciting and productiveyear. During his research leave in the fallof 1999, he produced the sculpture anddrawings for his solo exhibition at SoniaZaks Gallery in Chicago. The work in theshow is a continuation of his interest inchains that was seeded from his 1992-93Fulbright experience in Nigeria, with theaddition of narrative elements, foundobjects and a cryptic alphabet he has beendeveloping since last fall. The exhibitionwas reviewed in the March 2001 issue ofSculpture Magazine by the art and culturecritic of the Chicago Reader, Jeff Huebner.This spring Aprile was in a group show at“16 Patton Gallery” in Asheville, NC. Hereceived a grant for his summer 2001residency at Yaddo in Saratoga Springs,NY, which will fund his work for upcom-ing solo shows at Monmouth College inIllinois, University of Minnesota, Mankato,and Sonia Zaks Gallery.

Last spring, Aprile made a proposal for anIda Beam Distinguished Scholar Award incollaboration with Pam Trimpe, curator ofpainting and sculpture at the UI Museumof Art; Mike Stutzer, professor of financeat the Henry J. Tippie School of Business;and David Hensley, director of the Entre-preneurial Center, to bring noted Chicagoand New York art dealer Allan Frumkin tocampus. Mr. Frumkin and his wife JeanMartin Frumkin, U.S. book editor of thescholarly publication The Art Book, wereon campus for a week. He gave a publiclecture on the “History of the FrumkinGallery” and gave critiques in sculpture,painting and printmaking classes. At thebusiness school he conducted seminars on“Starting an Art Business” in the Entre-preneurial New Business and InternationalBusiness classes. Mr. Frumkin also partici-pated on a panel at the UI Museum of Artwith Aprile, Trimpe and Stutzer, moder-ated by Serena Stier.

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Isabel BarbuzzaIsabel Barbuzza participated in two groupshows: “Latin American Artists”, at theVorpal Gallery in San Francisco, California,and in November of 1999, “VeredasArgentinas/Argentinean Pathways”, at TheLatino Museum of Art, History and Culturein Los Angeles, California. Her groupproject, Women Beyond Borders, wasexhibited in Akino Fuku Museum. Tenryu,Japan; Gallery One, Tokyo, Japan; NewportCommunity Center, Newport Co., Mayo,Ireland; Tinsheds Gallery - University ofSydney, Sydney, Australia; The BoralTimber Gallery -University of Sydney;Faculty of Architecture, Sydney, Australia;Manly Art Gallery and Museum, Sydney,Australia and Broken Hill City Art Gallery,Broken, Australia. There was also a BenefitExhibition at the Contemporary ArtsForum in Santa Barbara, CA in 2000. Sheis presently preparing for a solo exhibitionat Vorpal Gallery in San Francisco forJanuary 2002.

In 1999/2000 Isabel Barbuzza wroteentries for The New Encyclopedia of Con-temporary Latin American Culture, pub-lished by Routledge and Taylor and FrancisGroup. UK. Entries included Contempo-rary Latin American Sculpture, Experimen-tal Theater, Happenings, Kitsch, ArtPeriodicals, Furniture Design, and BKFFurniture.

Center for the BookTimothy BarrettSAAH Adjunct Associate Professor TimBarrett, and UI Center for the Book PaperFacility Manager Lynn Amlie worked withstudents to make 100 sheets of handmadepaper for the National Archives andRecords Administration last year. Thespecial 100% cotton paper is being used torehouse the Charters of Freedom (TheDeclaration of Independence, The Bill ofRights, and The Constitution) in new stateof the art enclosures. The paper serves asa cushion under the documents and alsohelps regulate the moisture content inthe inert gas atmosphere inside theprotective cases. In addition to teachingclasses in papermaking history andtechnique, Barrett also serves as theDirector of the UI Center for the Book.

Art EducationSteve Thunder-McGuireFrom August through October 2000, SteveThunder-McGuire performed and con-ducted workshops at several universitiesincluding the University of Illinois,Indiana University, Arkansas State Univer-sity, Colorado State University, and theUniversity of Missouri as part of hisstorytelling research project “AddingSomething Known to Something Seen.”

She was awarded aflexible leave semesterassignment to work onher project “Inquiryinto Terror” whichdeals with the historyof Argentina from1973-1984. She wasalso awarded an Artsand HumanitiesInitiative Grant for her“Art/Book Project” anda CIFRE grant tocontinue her researchon Argentina. She wasawarded two residen-cies: Sculpture Space,Inc. in Utica, NewYork, a funded twomonths of residency,and Djerassi ArtistResidency Program inWoodland Hills, Cali-fornia.

Tom Aprile (right) and Alan Frumkin atthe opening of Aprile’s recent solo showat Sonia Zaks Gallery in Chicago.

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Richard De PumaRichard De Puma spent the fall semester1999 doing research in Rome at theAmerican Academy, the German Archaeo-logical Institute, and the Finnish Insti-tute. He had an NEH grant and is workingon a book about Etruscan forgeries.During the spring semester he taught aseminar on Thracians, Scythians andCelts, and chaired the art history divisionin Joni Kinsey’s absence. He spent anexciting summer (2000) visiting a numberof Etruscan museums and archaeologicalsites in Tuscany, Umbria and Lazio, thensettled down to work on writing at home.There was a brief vacation to Santa Bar-bara to attend the annual orchid exhibi-tion there and to visit the Hearst Castle.

In early July he was surprised and de-lighted to learn that he has been made F.Wendell Miller Distinguished Professor, anhonor for himself and the School. Decem-ber break was spent in Rome working atthe Soprintendenza Archeologica where hehad an office in a courtyard designed byMichelangelo. Prof. De Puma’s latestarticle is “Francesco Martinetti and theCista Pasinati: Some Observations on theEnhancement of Ancient Bronzes” inSOURCE 20 (2000). His most recent book,Etruscan Painted Pottery, was published bythe J. Paul Getty Museum in late Decem-ber, 2000. During the summer he will beexcavating with a team of Italian archae-ologists at Crustumerium, an archaic sitejust north of Rome.

Stephen FosterProfessor Stephen C. Foster is currentlyfinalizing plans for a large exhibitionentitled Excavating Abstract Expressionismwhich will open in late fall 2001 at theMuseum of Contemporary Art in Santiagode Compostela, Spain. The exhibition,which will be accompanied by a booklength catalogue/monograph, is the firstcomprehensive exhibition of the AbstractExpressionists to be mounted in Spain.Professor Foster is also in the process ofbeginning work on a series of threeexhibitions for the National Museum ofFine Arts in Buenos Aires. Along with hiscuratorial work, Professor Foster alsocontinues to progress on the Franz Klinecatalogue raisonné as well as his tenvolume monograph entitled Crisis and theArts: The History of Dada. Volumes on the

Art H

isto

ry D

ivis

ion Dada movement in New York, Paris and

Berlin are due to go to press before theend of this year. In addition to hispublication work and teaching schedule,Professor Foster is also involved in a seriesof three coordinated conferences atOsnabruck, Yale and Edinburgh dedicatedto re-defining the concept of “avant-garde.” At the first he presented “DadaGlobal: Avantgardistische Destruktion-Dekonstruktion der Avantgarde” whichwas subsequently published in the Avant-Garde Critical Studies by Rodopi Verlag inAmsterdam. At Yale he presented hispaper, “Dada and the Constitution ofCulture: (Re-) Conceptualizing the Avant-Garde” which is currently at press withthe same publisher. Professor Foster isscheduled to deliver a paper at the thirdconference in the Fall of 2001. He de-cided to take early retirement this June.

Julie HochstrasserIn September 2000 Julie Hochstrasserpresented a paper in London at thethirtieth International Congress of theHistory of Art, “Time: Art History for theMillennium.” Entitled “Goede DingenNemen Tijdt (Good Things Take Time):Time as Meditation on Painting in 17th-century Dutch Still-life Painting,” hercontribution was also invited for publica-tion with selected proceeds; the book,Symbols of Time, is presently in press withBrepols International. Several otherarticles by Hochstrasser have just recentlyappeared: “Seen and Unseen in the VisualCulture of Trade: the Conquest of Pepper,”in The Low Countries and the NewWorld(s): Travel, Discovery, Early Relations,from University Press in 2000, and“Imag(in)ing Prosperity: Painting andMaterial Culture in the Seventeenth-century Dutch Household,” in The Cultureof Home in the Netherlands, c. 1400-1800,from Waanders Uitgevers in 2001. InDecember Hochstrasser delivered a talk“Global Vision? Learning from Dutch Art,”to President Coleman and other distin-guished guests at the Oakdale PresidentialSeminar. She gave another talk at CAA inChicago in February: “Let Us Now PraiseAnonymous Men: Pieter van Anraadt’s StillLife with Tobacco and Beer,” for thesession “Still Life in Motion.” In Marchshe spoke at the Blanden Memorial ArtMuseum in Fort Dodge on “Four Artists,Four Objects, Ten Centuries,” in conjunc-

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Dorothy JohnsonThis year saw the publication of ProfessorJohnson’s essay, “Delacroix and the FrenchClassical Tradition,” published as a chap-ter in the Cambridge Companion toDelacroix. The book she is editing and co-authors, The Cambridge Companion toDavid, was accepted this spring for publi-cation. She contributes the introductoryessay and a chapter on “David and Napole-onic Painting”. This summer she contin-ues work on her translation of David’spublished writings for the University ofCalifornia Press and on her book-in-progress, Romantic Hellenism in French Artfrom David to Delacroix. ProfessorJohnson most recently presented researchfrom this latter book in a lecture entitled“Girodet’s Two Danae,“ given at theAmerican Society for Eighteenth-CenturyStudies that met in New Orleans in April.Last year she gave lectures on Girodet atthe University of Virginia, the Universityof Kentucky and the University of Cincin-nati. She also gave a paper at the CAAthis year on “David’s Symbiotic Pendants:The Death of Socrates and the Loves ofParis and Helen.”As a member of the Board of Directors ofthe CAA, Professor Johnson serves onseveral national committees, including thecommittee for Women in the Arts. She co-chaired a session at this year’s CAAsponsored by this committee entitled,“Playing the Odds: the Prospects forEmployment in the Visual Arts.”

Joni L. KinseyProfessor Kinsey took the second semesterof her Faculty Scholar leave in the springof 2000, working on a book about thehistory of polyptych imagery in theUnited States. She also gave birth to herfirst child, a daughter named Ellen Louise,in January 2000. In addition to a numberof book reviews, in the past year she haspublished three essays: “Through Succes-sive Stages of the Beautiful,”(in TheEssential Aldo Leopold: Quotations andCommentaries, edited by Curt D. Meineand Richard Knight, Wisconsin, 1999),and “Ending Up and Landing Out in thePrairie,” (in The Iowa Review), and acatalogue on the work of Harold Gregor(for the Gerald Peters Gallery in Santa Fe).Another, entitled “Prairie Prospects: theAesthetics of Plainness,” which she wrotewith Robert Sayre and Rebecca Roberts,was republished in an anthology, Recover-ing the Prairie (Wisconsin, 1999). Shepresented lectures this year at the FrickArt and Historical Center, Hendrix College,and the Dubuque Art Museum, and hasplans for another at the Joslyn Museum ofArt. She acted as head of the Art Historydivision in fall of 2000.

Robert RorexRobert Rorex was on leave during thespring semester of 2000 and was granted aResearch Leave for the fall. He is continu-ing research into topics in Chinese narra-tive painting (texts and pictures and theirinterrelationships). He is also continuingwork on East Asian influences in Europeanand American decorative arts during thelater 19th century. Two articles in thissecond series have been published in theHaviland Collectors Internationale Founda-tion Newsletter, and a third is in press.

Rorex assisted Professor Wallace Tomasiniin curating an exhibition of 19th centuryFrench porcelains, “Dining with Flowers,”held June-August in the University ofIowa Art Museum. A publication alsotitled “Dining with Flowers” and based onthe exhibition includes a text written byRorex. It was sponsored jointly by theMuseum and by the Haviland CollectorsInternationale Educational Foundation.

Rorex continues to serve as InterimDirector of the U.I. School of Art and ArtHistory during the summer Research Leave

of its regular Director,Professor DorothyJohnson.

tion with a still-life exhibition there. Shehelped to organize the Obermann sympo-sium “Fleeting Objects: Assessing theAllure of Material Culture” at the Univer-sity of Iowa in April, which hosted aninternational and interdisciplinary gather-ing of scholars, speaking herself on“Memory, Emotion, Consciousness: HowStill Life Speaks,” and also coordinatinggraduate student involvement in theconference. This summer she travels tothe Netherlands with funding from Inter-national Programs, for a workshop inMaastricht on “The Painter’s Palette,” inpreparation to team-teach a new coursewith painting professor Maggie Rochelle:“Inside Baroque,” a hands-on introductionto Baroque painting techniques incorpo-rating both studio and art history compo-nents.

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John Beldon ScottFor the academic year 1999-2000 JohnBeldon Scott was appointed Marta SuttonWeeks Fellow at the Stanford HumanitiesCenter, Stanford University. During thisperiod he also received external fundingfrom the Graham Foundation for AdvancedStudies in the Visual Arts for on-siteresearch in the architectural history ofseventeenth century institutions of socialwelfare in Rome. A Sabbatical fellowshipfrom the American Philosophical Societysupports the continued research on thistopic at the American Academy in Romeduring the fall semester of 2000.

Professor Scott presented lectures atStanford and at the International Congresson the History of Art in London. He co-chaired a session on architectural patron-age at the College Art Association meetingin Los Angeles and will chair a session onthe social history of architecture at theupcoming meeting of the Society ofArchitectural Historians in Toronto in thespring of 2001.

His article on Guarino Guarini’s lateseventeenth-century Chapel of the HolyShroud in Turin appeared in the Italianjournal Sindon last year. A study ofurbanism in Baroque Turin is to appearlater this year in the Acts of the ThirdInternational Congress on the Study ofthe Shroud. His book, Architecture for theShroud: Relic and Ritual in Turin, 1578-2000, will be published in 2001 by theUniversity of Chicago Press.

Professor Scott has recently been ap-pointed to the U.S. National Committeefor the International Congress on theHistory of Art.

Wallace TomasiniProfessor Tomasini was on a FacultyResearch Development Leave during thefall semester completing his research onthe art of collecting and the art collectionof an American entrepreneur and industri-alist, Charles Edward Haviland (1840-1921), who was a resident of France foralmost his entire life. His diverse andsignificant collection was the largest to beauctioned in Paris during the twentiethcentury. Mr. Haviland was one of theearliest patrons of the Impressionists andone of the world’s major early collectors of

Japanese prints. Prof. Tomasini’s majoractivity last Spring was curating thesummer exhibition at the university ofIowa Museum of Art: Dining with Flowers:Haviland Porcelain from 1860-1910. He wasresponsible for the exhibition cataloguethat contained an essay by Associate.Prof. Robert A. Rorex. Prof. Tomasini alsowas responsible for the catalogue pub-lished for the same museum’s exhibitionof the paintings of Gretchen Caraccas. Healso completed two other catalogues ofthe paintings of two Iowa alumnae formuseum exhibitions elsewhere. Prof.Tomasini continues to work on a projectedbook on the history of the visual arts atthe University of Iowa and is interested ininterviewing or receiving from alumni orformer faculty any information, remem-brances, comments, or opinions that willassist him in this endeavor.

Sarah AdamsSarah Adams, visiting assistant professorfor African art, has worked with LyneiseWilliams and Barbaro Martinez-Ruiz on anexhibition titled, “Call and Response:Journeys of African Art” which was ondisplay at the Yale University Art Galleryfrom December 15-March 25, 2001. Sarahcontributed two essays to the catalogpublished in conjunction with the exhibi-tion. Wellesley College awarded her aHorton-Hallowell Fellowship and YaleUniversity gave her a Mellon grant to doresearch in Nigeria related to the exhibi-tion and her doctoral research. Because ofthese generous grants, Sarah was able topurchase equipment and create a digitalvideo installation for part of the exhibi-tion. Overall she found it to be an incred-ibly satisfying experience, and the exhibi-tion was favorably reviewed in the NewYork Times. There was also a featureabout the exhibition that aired on Con-necticut Public Television. At this year’smeeting of the College Art Association,she presented a paper titled, “The DividedMarket: Uri Body Painting in Arochukwu.”Sarah is currently working with VickiRovine, the curator of African Art at theUniversity of Iowa Museum Art, to puttogether a conference for next year onthemes of dress, personal adornment andthe body. Ms. Adams will be joining thefaculty in the fall as assistant professor ofArt History.

GraduateStudentsGitti Salami has beenawarded a Fulbright-Hays DissertationGrant ($31,465 total)for her work in Nigerianext year. Gitti taughtat Southern MethodistUniversity in Dallasthis spring.

EmeritusFacultyProf. Charles D.Cuttler, Emeritus, ArtHistory, prepared areview for TheSixteenth CenturyJournal, lectured onBosch “inhouse,”attended the CAA inChicago (briefly,particularly the IowaBreakfast), andparticipated in theBoard and Member’smeetings during theMidwest Art HistorySociety meeting inMinneapolis in earlyApril. Further work onBosch is inpreparation.

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In MemoriamStephan Prokopoff (1930-2001)

Stephan Prokopoff, who died on March 28in Iowa City of non-Hodgkin’s lymphoma,was a unique individual who as Director ofthe University of Iowa Museum of Art(1992-1999) made a tremendous contribu-tion to the University and to the School ofArt and Art History by raising the profes-sional level and standards of the Museum.His death deprived us of a friend, advo-cate, and supporter of the arts, theMuseum, the School, and the University.The depth of his training in both thevisual arts and music as scholar, artist,and performer particularly enriched hisintellectual and critical understanding ofthe arts. His judgement, taste, andperceptive insights were formed by histraining and practice as a painter, as aperforming violinist, and as an art histo-rian. His almost forty year career in themuseum field especially benefited fromthe diversity of his training and therichness and perceptual sensitivity of hisintellect.

Stephen Prokopoff’s training in art andmusic began at the University of Califor-nia-Berkeley. A Fulbright grant (1956)provided further advanced training inpainting in Paris while not neglectingmore experience on the violin. While inEurope he enjoyed also the rare privilegeof two invitational exhibitions of hispainting. When he returned to the UnitedStates, however, his intellectual proclivi-ties encouraged him to further his arthistorical studies. He earned the Ph.D.degree in art history from New YorkUniversity’s Institute of Fine Arts (1962).While teaching at Skidmore College (1961-1967) he realized his future lifelong careerinterest, that of directing a gallery/museum and curating exhibitions. Theconceptual and creative aspects of educat-ing the public through curating selectiveexhibitions became his life endeavor.Beginning with the part-time work direct-ing Skidmore’s Hathorn Gallery, he thendirected the Institute of Contemporary Artin Philadelphia (1967-1971); the Museumof Contemporary Art in Chicago (1971-1977); the Institute of Contemporary Artin Boston (1977-1981); the Krannert ArtMuseum at the University of Illinois atChampaign-Urbana (1982-1992); and,

finally, the University of Iowa Museum ofArt (1992-1999). Throughout his careerhe combined his museum work withteaching at the Universities of Pennsylva-nia, Chicago, Boston University, Illinois,and Iowa, where he held a tenured facultyappointment.

Perhaps more indicative of StephenProkopoff’s contribution and significanceas scholar and artist is a perusal of a listof some of the exhibitions which heconceived and curated throughout hiscareer. These exhibitions include those ofLucas Samara, Will Insley, Robert Indiana,Robert Irwin, Jim Nutt, Joel Shapiro,Richard Artschwager, Manierre Dawson,Lee Bontecou, George Platt Lynes, FlorineStettheimer, the architect EleanorRaymond, Hans Bellmer, Fred Sandback, aswell as an exhibition of Chinese Contem-porary Painting, and that of the PrinzhornCollection of Outsider Art. In additionthere were the numerous exhibitions atIowa, and particularly the retrospectiveexhibition which introduced the outsiderartist Henry Darger to a larger audience.Internationally, he will be remembered forthe Chicago Imagists exhibition he curatedas co-commissioner of the Americansection of the São Paulo Biennale in Brazil(1974).

Stephen Prokopoff brought to Iowa aprofessionalism that demonstrated hisability to direct a museum efficiently andcreatively. Introducing a vigorous anddiverse schedule of exhibitions in allmedia and historical periods, he workedwell with faculty and supported theirinterests in exhibitions of national impor-tance. He assisted and encouraged hiscurators as well as the faculty to apply forgrants from both public and privatefoundations to assist in creating exhibi-tions, and in this, the Museum was moresuccessful than it had ever been before.He encouraged and supported the effortsto conceive and manage traveling exhibi-tions and work with other museums in amore active participatory manner than theMuseum had in the past. Collaborativeexhibitions include those with theSmithsonian Institution, the Royal Acad-emy of Art in London, and the FrickCollection and the Museum of AmericanFolk Art in New York City.

In addition to his wife,Lois Craig, StephenProkopoff is survivedby his father, Stephen,of Sacramento; twosons from his firstmarriage, Alexander, ofChicago, and Ilya, ofSan Francisco; threestepchildren, StephenCraig of Chicago,Carolyn Craig of Davis,California, and Jenni-fer Craig of Woodland,California, and onegrandchild.

- Submitted byWallace Tomasini

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Office of Visual Materials

It has been a productive and busy year inthe Office of Visual Materials. We produced7,701 new slides which are labeled and inthe collection ready to use. Over the pastyear we circulated 66,721 slides, 139videos, and 520 pieces of equipment.

Chief Curator, Eric Dean, completeddevelopment work on the Digital ImageLibrary and it went online this fall sup-porting four courses. We supported ninecourses this spring semester. There were392,337 requests for images by studentsstudying for their classes over the pastacademic year. Over 6,000 slides werescanned and 4,357 slides were dataentered in support of the Digital ImageLibrary.

On August 2, 2000 we celebrated BetseyKosier’s first anniversary with the Officeof Visual Materials. Her efforts have had amajor impact on the increased productiv-ity of the OVM. Curator, Julie Hausmanis currently on a leave of absence. Wewere able to hire art history graduatestudents Mike Dooley, Shannon Codyand Gitti Salami as part-time temporaryadditions to the staff in Julie’s absence.Gitti was only able to work for us for abrief time, while Mike and Shannon’sappointments continued throughout theyear. Both Mike, Shannon and Gitti havemade significant contributions throughcataloging numerous slides.

The Art Building auditorium underwentmajor changes last summer. AssistantProfessor, Julie Hochstrasser received astudent computer fee grant to upgrade theaudio visual systems. The auditorium hasbeen outfitted with a VHS video player, aDVD player, an overhead projector, and acomputer with internet access, all ofwhich are projected through a new digitalvideo projector. A new screen, soundsystem, and podium complete the modifi-cations.

Administrative Office

Diane Schaeffer, Administrative Assistantfor the School, has overseen severalchanges in the administrative officeduring the past year, including sayinggood-bye to SuZanne Hoofnagle after 12years of service to the school. SuZanneaccepted a promotion and moved to theDepartment of Microbiology in September.Kevin McGlynn joined the office as thenew account clerk for the school. Kevinhad been working for the Travel office atthe University and has quickly made theadjustment to the variety of work pro-cessed at the departmental level.Annette Niebuhr, the School’s reception-ist, not only greets visitors with a pleas-ant smile, and kind (often witty) word,but also has been able to use her com-puter skills in designing notices forupcoming events at the school. MarloJack as the Director’s Secretary stays busymanaging the Director’s and the School’scalendars, processes scholarship applica-tions, maintains faculty and staff searchrecords, and other correspondence for theSchool. Laura Jorgensen is the AcademicSecretary for the graduate students at theSchool. She conducts tours for thoseinterested in graduate school and answersquestions from applicants, students andfaculty. She takes care of most paperworkfor the graduates, from application tograduation. In an effort to better serveour more than 750 undergraduate stu-dents, the School added a new permanentstaff position of Undergraduate AcademicAdviser last fall. Evelyn Acosta-Weirich,joined the School on November 1. Evelynis currently preparing for the early advis-ing period for the Summer and Fall semes-ter. Evelyn has been working with severaloffices across campus to fine-tune ouradvising procedures. She has been instru-mental in assisting students and faculty inthe interpretation of the degree evalua-tion forms. With the addition of thisposition, we look forward to better com-munications with our undergraduatepopulation regarding their progressiontoward completing their degree program.

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REGGIE AMOSGraduated 1985/IntermediaSenior Project Designer with the George P.Johnson Company, Los Angeles, an inter-national integrated marketing firm. Overthe last 10 years Mr. Amos has designedlarge scale public exhibits for Xerox, Inteland IBM. Last year he established the“Reggie Amos Project Grant for IntermediaDevelopment” for the Intermedia Area atthe School of Art & Art History.

SARA BELLMFA 1995/PaintingSara's show, BOX OF STARS, was shown atthe Sioux City Art Center, Waterloo Mu-seum of Art and St. Ambrose University.This body of work deals with variousaspects of constellations. Her solo show atthe Cedar Rapids Museum of Art, NEARAND FAR, dealt with the passage of timeand combined aspects of the Iowa land-scape with stillifes of various artifacts. AtQuad City Arts Center, in Rock IslandIllinois, her show KINDERSPIEL (child'sgame) was an installation which includedpaintings, children's games, and otherartifacts. There was an interactive match-ing game book for children.Group shows include the Keny Galleries inColumbus Ohio, Iowa Artists at the DesMoines Art Center, and the Bi-StateExhibit at the Davenport Museum of Art.Sara's paintings have been included inNew American Painting in September,1999, and on the cover of the ChristianScience Journal in May 2000.Her next show will be with her husbandLeslie Bell at the Quad City Art Center inRock Island in February. This show will bebased on antique game boards and in-structional materials such as dot-to-dotand how to draw books and vintageadvertising of children's products. She willalso be featured in a two-person show atthe Quincy Art Center with WesternIllinois University Professor JulieMahoney. Her photographs will be in-cluded in the DNR traveling exhibit ofIowa Landscapes.

ANDREW WILLIAM BERNERBA 1992/Art, CommunicationsReceived MFA in 1995 from Milton AveryGraduate School of the Arts at BardCollege, Annandale-on-Hudson, NY. I nowmanage all publications and public rela-tions for the Ackland Art Museum at theUniversity of North Carolina at Chapel

Hill, am refurbishing a 1945 brick home,and am trying to keep up with my two-year-old son, Will.

RICHARD BLOESGraduated 1977/IntermediaRepresented by Feature Gallery, NY, wherehe is scheduled for an one-artist exhibi-tion this coming October. In 1995, he wasthe recipient of a Guggenheim Fellowship.

SANDRA G. CHARLSONMA 1988/Art HistoryI’ve been a lecturer in Art History in theSchool of Art & Design at Southern IllinoisUniversity, Carbondale since January 1989,teaching courses in Tribal Arts, AfricanArt and Pre-Colombian Art. Teachingpart-time allows me to spend time withmy husband, Chris Lant (Ph.D. Geography,UI 1988) and daughters Hannah (born1991) and Helen (born 1995).

WAYNE C. CLOSEGraduated 1985/StudioI saw in your newsletter that you wantinfo on alums, so here goes. I’m a studioarts grad from 1975. I retired from theIllinois Air National Guard last year at therank of Lt. Colonel and am now enrolledin my second year of grad school atUniversity of Illinois at Chicago majoringin art history. I have a GPA of 4.5 andplan to do my thesis on Gothic architec-ture. I am also the webmaster for thedepartment and plan the work with artwebsites after I graduate. Dr. De Puma andDr. Cuttler were both very influential inmy decision to pursue art history and Iwant to thank them both for their inspira-tion.

DONALD COLEGraduated 1963/PaintingHad shows at the Jeffrey Moose Gallery inSeattle, Washington February 1, 2001-March 17, 2001 and the Foster/WhiteGallery in Seattle March 1-April 1, 2001.

HENRY COLEMANMA 1963/StudioRetired after 35 years teaching at Collegeof William and Mary in Williamsburg,Virginia. Participated in over 50 invita-tional and juried exhibits in U.S. andabroad plus eight solo shows. Drawingsand paintings are in many private collec-tions from Missouri to Virginia. Recentlyhad five drawings purchased by a curator

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for the university president’scollection at College of William andMary. Served as juror for manylocal and regional exhibits; servedas department chair from ‘78-’90and on numerous college-wide anddepartmental committees, includinginitial and later expansion commit-tees for Muscarelle Museum of Art.Locally served on Yorktown Artsfoundation; appointed by citycouncil to the Williamsburg ArtsCommission and presently servingsecond term on the WilliamsburgArchitectural Review Board. Myreplacement in a tenure-trackposition is Carlos Ferguson, a recentMFA from the University of Iowa.

LYNN CURTISMFA 1988/PaintingStarted new job as Assistant Profes-sor of Art at Providence College(Rhode Island) in September 1998teaching drawing and painting.Recent shows at Providence Collegeand at Full Circle Gallery in Provi-dence.

KATHY DEEBFA 1986/Drawing, MA 1989/PaintingI have been residing in Albuquer-que, New Mexico since 1991. Thisplace is crawling with artists—which, of course, does NOT meanthat everyone is a good artist; butit’s not considered suspect oranything. I remember one of myteachers told a group of us graduat-ing seniors that our art degree plusa quarter might buy us a cup ofcoffee! Well I’m here to tell youthat my art degree from Iowa haspurchased me an ocean full ofcoffee, and it’s the best thing I everdid for myself.Armed with my Art degree, alongwith teacher certification thanks toSteve Thunder-McGuire and com-pany, I’ve been busy teaching at alocal middle school for a number ofyears. I also own my own businesscalled Albuquerque Caricatures.This job is not only loads of fun butalso quite lucrative. I have JoePatrick to thank for drilling usrelentlessly in the art of quick andfluid sketching. And thanks toDavid Dunlap who always supported

me, faithfully validating my effortstowards developing the whimsical,cartoonish aspect of my work.I continue to paint, mostly becauseI love to. I’ve also continued towrite music, and I’m scheduled tocut a CD of some of my originalsongs. I’ve also recently becomeengaged to the greatest guy in theworld. Art is long, and Life isshort—but GOOD! Believe it.

MICHELLE EDWARDSMA, MFA 1984/PrintmakingWorking as a children’s book au-thor/illustrator. Seventh andnewest book, Pa Lia’s First Day, isthe first book in a new series calledjackson Friends. Is published byHarcourt Brace and is a JuniorLibrary Guild selection. Originals ofother books were included in anexhibit of Children’s Book Art at theNational Museum of AmericanJewish History in Philadelphia andmaybe be viewed online at themuseum’s website. Married andmother of three daughters.

LEANN ADELE ERICKSONMFA 1992/IntermediaIn fall 1999 accepted a position asan Associate Professor in theDepartment of Film and Media Artsat Temple University in Philadel-phia, PA. I’m doing well at Temple,am chairing the Technology Plan-ning Committee where I get tooversee spending $8 million oncomputer-based equipment-defi-nitely a fun job! I wrote twoarticles – one for the spring issue ofAfterimage, profiling film/videofests surviving without governmentmoney (which features UI’s ownTHAW fest); the other article was inspring in Arts Around Bostonmagazine and features RunningArts, Inc., a Boston-based companywhich programs/curates indepen-dent film theaters and festivals. Ifinished an experimental video inMay 1999, titled “hours, minutes,seconds, frame”, and it’s doing wellin festivals internationally. I’mcurrently working on an animationpiece which I’ve received somegrant funding for. So things arejust peachy here with me and my

family.

DOUGLAS A. FAIRFIELDMFA 1978/Art HistoryEarned Ph.D. in Art History fromThe University of New Mexico(1997) and is currently associateprofessor of Art History at NewMexico Highlands University in LasVegas.

JOHN FILLWALKGraduated 1990/IntermediaHas taken a position at Ball StateUniversity where he is developingthe curriculum and facilities for anew Electronic Arts degree. Priorto his current position, he chairedthe Film and Video Department atMinneapolis College.

KELLY (MURRAY) FRIGARDGraduated 1997/IntermediaTeaching art at McPherson Collegein Kansas, received grant fromAmerican Scandinavian Foundationfor study of contemporary andtraditional fiber art in Sweden,summer 2000. In September 2000was guest artist at the AmericanSwedish Museum in Philadelphiaand showed work, “The Land, thePath, the Stitches Back.”

CINDY L. GOULDGraduated 1998/DesignHired as tenure-track assistantprofessor in August of 1999 at thedepartment of Art & Design at IowaState University. Recent exhibitionawards include “Best In Show”,1999 On/Off Paper National Compe-tition Chowan College,Murfreesboro, NC: “Award of Excel-lence”, 24th Annual Juried Exhibi-tion, Bloomington Art Museum,Bloomington, MN, “2nd Place 2DVisual Arts”, Design Educator’sNational Exhibition, OklahomaState University, Stillwater, OK. In1999 received research grants fromthe Iowa Arts Council and from theISU Institute for Design Researchand Outreach.

MILLE GULDBECKGraduated 1995/PaintingIn 1999 accepted position asassistant professor at Bowling Green

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State University; recipient ofRagdale Foundation residency; soloshow at Knox College in Illinois.

KAREN GUNDERSONGraduated 1968/IntermediaRepresented by Donahue/SosinskiArt, New York. Long active in theNew York art world, she recentlyexhibited paintings and drawingsentitled “Moral courage DuringWorld War II: Denmark and Bul-garia” at The Hebrew Union College,New York.

SHELLY HAVENMA, MFA 1978/PrintmakingWas a resident artist at the VirginiaCenter for the Creative Arts in 1998and the Constance SaltonstallFoundation for the Arts in 1999 andwas the recipient of a summer 1999scholarship at the ManhattanGraphic Center. She had a show ofmonoprints, etchings and pastels atShakespeare’s Sister Gallery inBrooklyn, March 16-April 15, 2001,and a show of pastels at Pfizer IncWorld Headquarters in New YorkCity, March-early summer 2001.She has been selected to exhibitwork at the Maude Kerns Art Centerin Eugene, Oregon in April 2002.Her work is in public and privatecollections in the U.S. and abroad.

TONYA HERBER-KEHOEMA 1995/Art EducationArt specialist at McKinley MiddleSchool-Program of the Arts in CedarRapids, Iowa.

MOSES HOSKINSBFA 1981/PaintingHas had several recent showsincluding a multi-cultural groupexhibit at Doral Bank in New Yorkin January-May 2000, a solo showof paintings at Show Walls in NewYork, February-March 2000, and ashow of collages at O.K. HarrisGallery in New York, February-March2000.

MARK ELISON HOVERSTEN, ASLA, AICPMFA 1983/PaintingAs Associate Professor & Coordinatorof Landscape Architecture & Plan-ning at University of Nevada, Las

Vegas, I am doing the planning anddesign of a research and interpre-tive center for the original springsfrom which Las Vegas takes itsname. The project is dedicated topreserving, managing and interpret-ing the wildlife habitat, prehistoricand historic cultural record of this180 acre site in urban Las Vegas. Itis also dedicated to encouragingenvironmentally sound living in theMojave Desert. It will feature amuseum and visitor center, desertliving center, botanical garden,constructed wetlands, interpretivetrails, and desert restoration.A second major project is thealumni walk at UNLV featuring arock garden, a wind garden, a watergarden and an amphitheater.Nine years ago I founded a land-scape architecture and planningdepartment at UNLV. Since then mydesigns have won several awardsfrom the American Society ofLandscape Architects and otherorganizations.With a background in painting anddrawing I was faced with the needto make a living in landscapearchitecture, which turned out tobe a blessing, for it forced me toincorporate landscape design,painting and sculpture into thebuilt environment. Oh yes, I stilldraw and paint and belong to CAA.

COLIN IVESGraduated 1994/IntermediaIs an assistant professor of Imagingand Digital Arts at the University ofMaryland, Baltimore County. Hiswork is part of the HechingerCollection, recently displayed at theNational Building Museum inWashington, DC. He was alsoselected for the Delaware ArtMuseum’s Biennial and is currentlyin an exhibit entitled “Sci-Art:Extensions of Being.”

LEON JOHNSONGraduated 1994/IntermediaHas been promoted to AssociateProfessor in the art department,School of Architecture and AlliedArts at the University of Oregon.Last summer Leon toured theUnited Kingdom with his

intermedia performance “Faust/Faustus: A Duet for Devils.” In1998 he was selected for the ErstedAward for Distinguished Teaching bythe University of Oregon.

TRUDY SHIMKO KAWAMIMA 1969/Art HistoryReceived MFA Ph.D. from ColumbiaUniversity in 1983. Author of“Monumental Art of the ParthianPeriod” (Brill;Heiden, 1987) and“Ancient Iranian Ceramics from theArthur M. Sackler Collections”(Abrams 1993). Curator of “Wit andWine: Ancient Iranian CeramicsFrom the Arthur M. Sackler Founda-tion” which was at the Krannert ArtMuseum, University of Illinois,Champaign-Urbana, February 14-December 14, 2000.

ANN MARIE KENNEDYMFA 1978/IntermediaCurrently employed at PenlandSchool of Crafts, Penland, NC(located in the Blue Ridge Moun-tains) as studio coordinator of Book& Paper, Printmaking, Photographyand Drawing. Exhibits include:Quad City Arts, Quad Cities, Iowa inMarch 2000 and Artspace, Raleigh,NC in November 2000.

MARGO KRENGraduated 1979/PaintingProfessor at Kansas State University.Five paintings were reproduced inthe book “Le Blues Braillant” (theBlues Cryin’), poems by BeverlyMatherne (Cross Cultural Communi-cations New York/Krakow, 1999).Four person show at Olson LarsonGalleries, West Des Moines, Iowa,March 2000. Will begin phasedretirement in May 2000 in order towork more in the studio.

MUNIO T. MAKUUCHIMA 1963/IntaglioTaught as associate chair at theUniversity of Wisconsin atJanesville, Wisconsin for four yearsand seven years at the University ofIfe, Ile Ife in Nigeria, Africa. Men-tioned in Yellow Light by Amy Lingand in University of Wisconsin,Madison alumni magazine “OnWisconsin” (with photos).

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MOLLY MASONMFA 1976/Ceramics & SculptureHer works are found in manypublic, corporate and privatecollections across the U.S. and inother countries. She taught atmajor universities for 16 yearsincluding the State University ofNew York at Stony Brook, TulaneUniversity and the University ofNew Mexico and was the recipientof a Fulbright Senior Researchprofessorship in Japan. She had asolo museum exhibit, “Sun andShadow”, at the James A. MichenerArt Museum in Doylestown, Penn-sylvania, September 26, 1998-March14, 1999, and a public sculpturecommissioned for West Palm Beach,Florida, was dedicated in 1999.

GAIL JONES MCCLELLANMA 1978/Art HistoryAfter receiving my degree, I movedto Los Angeles where I received anMBA from UCLA’s Anderson Schoolof Management in 1981. Since thenI’ve worked in the entertainmentindustry, and am now the Directorof Corporate Planning and NewBusiness Development for E! Enter-tainment, an entertainment-oriented cable channel based in LosAngeles.

RICH MCKOWNMA 1971, MFA 1972/PhotographyIn the late ‘60’s I began my longassociation with the Provincetownartists’ community. The notedartist Richard Florsheim became mymentor during that time. In theearly 1980’s, I began volunteeringwith the Fine Arts Work Center inProvincetown. In 1984, I studiedporcelain enameling with ClaudeJensen, to complete a large muralfor Southeast Bank in Florida.After Jensen’s death, I took overthe task of fabricating historicalplaques for the town. I haveexhibited his work in over thirtyone-person shows and 180 groupexhibitions around the UnitedStates and in Europe.I am represented in the collectionsof Chemical Bank of New York, ThePrudential, The Putnam Companies,

Mass Financial Services, FidelityInvestments and McDonald’s Corpo-ration, among others. My work hasbeen seen at the Drawing Center,the International Center for Photog-raphy, and the Hudson River Mu-seum in New York. In 2000, mypaintings were featured inProvincetown’s Silas-Kenyon Galleryat the Schoolhouse Center. In 1994,I completed a documentary videoentitled “A History of AmericanLandscape Photography.” I havebeen writing reviews for Art NewEngland since 1994. My book ofphotocollages, Outer Cape Journal -a Cape Cod Book of Hours is beingreviewed for publication.I currently teach photography,electronic imaging, painting anddrawing, as well as issues in con-temporary art, at Middlesex Commu-nity College in Massachusetts and atRivier College in New Hampshire. Iam represented by galleries inBoston, New York, Chicago, NewOrleans, and in Provincetown andWellfleet on Cape Cod.

PHILIP DOUGLAS PORTOGHESEMFA 1993/SculptureLiving in New York as an artistdoing painting and sculpture.

JOLENE REYNOLDSMFA 1991/PaintingCurrent Positions:1) Art Instructor, CommunityCollege of Vermont, Painting andDrawing2) Art Instructor, BurlingtonCollege, Painting and Drawing3) Student Loan Counselor, VermontStudent Assistance Corp.

CONRAD ROSSGraduated 1959/PrintmakingEmeritus professor of art, AuburnUniversity, Auburn, Alabama, 1997.Recent exhibitions: “Conrad Ross:China Colles”, Montgomery Museumof Fine Arts, Montgomery Alabama,June/July 1999. “EnvisioningSpace Technology: Ten AlabamaPrintmakers”, Huntsville Museum ofArt, Huntsville, Alabama, June/August 1999. Owner/manager ofWycross Press, an experimental

print shop producing folios ofartists and printmakers.

CHERIE SAMPSONGraduated 1997/IntermediaWas awarded a Fulbright Fellowshipto Finland in 1998 where she didresearch on vernacular art andarchitecture. She is teachingDigital Art at Maharishi Universityin Fairfield, Iowa.

SARAH SMELSERMFA 1997/PrintmakingI am currently an Assistant Profes-sor (teaching printmaking anddrawing) at West Virginia Universityin Morgantown. I had a solo showin the Laurua Mesaros Gallery atWVU (January 2000) and hadanother solo show at Bridgewater/Lustberg & Blumenfeld in New YorkCity in May. My show was verygenerously reviewed in a journalcalled Art On Paper (the Sept/Oct2000 issue).

SATRE STUELKEGraduated 1988/PhotographyI received a Maryland State ArtsCouncil grant and started out theyear 2000 with shows and auctionsof my work through Sotheby’s in TelAviv, Israel; Vienna, Austria; andChicago. My work can be seen atwww.artlink2000.net/main.htm inthe Virtual Studios section.

JOHN A. STEFANIKMFA 1973/PaintingI have been teaching for ten yearsnow (1990-2000) at Suffolk Commu-nity College in the field of photog-raphy. As of last August, studentscan receive their two-year Associatedegree in photography. Since I livevery near the Atlantic Ocean andmany bays, all my photographs areof water and the interaction oflight. Long Island is a great placefor photographers.

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THANKS for the Great Response - We Want to Hear More!

We will continue to report alumni news. Please send us your name, year graduated and area of major along withinformation about career changes, recognition received, and other news you would like to share with yourformer classmates, friends, and professors (we do not publish addresses, phone numbers or email addresses in thenewsletter but you may send them for our alumni records). Send to the address below and we will include it ina future issue of the newsletter. Or, E-mail information to: [email protected]

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Gifts to the UI Foundation qualify ascharitable conditions to an IRSSec, 501(c)(3) organization for federalincome, estate, and gift tax purposes.You can become a member of theCollege of Liberal Arts Dean’s Club withgift support of $1,000 or moreannually to any area of the college.

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The University of Iowa FoundationPO Box 4550Iowa City, IA 52244-4550

&Non-Profit Organization

U.S. Postage

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School ofThe University of Iow

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Iowa City, IA 52242-1706

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