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47. Women who are menstruating or in afterbirth cannot make bread. Until recent times they could not enter a church. 48. Tiberiu Alexa, personal communication, Baia Mare, April 1996. 49. Balas, ibid., p. 36. 50. “Customs and meanings of Easter,” Siua, May 4, 2002 (tr. G. Tillman) 51. Shanes, ibid., pp. 74-76. 52. Jack Burnham, Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century (New York: George Braziller, 1968), p. 86: “As early as 1912 the critic Jacques Doucet realized that the subtlety of these near egg forms by Brâncu_i was accentuated by slight impressions and textures that interrupted otherwise symmetrical surfaces. If the ovoid form, polished and gleaming, is the perfect collector of light, then any imperfection on its surface would act as a premonition, a visual hint of the forces of internal organization harbored within.” 53. Tismana monastery, founded in 1375, the oldest monastery in Romania, is located very near Brâncu_i home village of Hobi_a (Dan Richardson and Tim Burford, Romania : The Rough Guide, 1995, p. 101). The frescos, extant in Brâncu_i’s childhood on the walls of the church, have been removed and are now part of a little museum display ina separate building on the grounds of the monastery. 54. Brâncu_i applied for French citizenship, giving up his Romanian passport, a few months after the Academy of the Popular Republic of Romania rejected the artist’ offer to donate to the “ . . . Art Museum of the Republic of the works by the sculptor Brâncu_i, around whom are gathered all the anti-democrats in the field of arts” (Brezianu, ibid, pp. 12). 55. c. 1948, according to, Brezianu, ibid., pp. 12: “Ten years after making this present to his country—the communist regime, through its handymen, offended him repeatedly, beginning with the unsuccessful attempt of the major of Tirgu Jiu to pull down the Column, inorder to be melted . . . . “ In a lengthy interview with Claudia Ploscu (published in Adevarul Literar si Artistic, nr. 570, June 6, 2001), Plscu collects more horror stories about Brâncu_i scholarship in Romania, quoting Bogdan: “Our Traditionalists and nationalists of all stripes, and laster on Communist dogmatists rejected Brânsu_i, counting him a foreign body, an eccentric Western product, a status that, in general, discontinued at the threshold of the sculptor’s final years.” 56. Brezianu, ibid,. p. 13. 57. See, for example, Catalina Bogdan-Mateescu, Brâncu_i ‘s Targu Jiu Monument: An Interpretation (Bucharest: Romanian Cultureal Foundation, 1995)j; Barbu Brezianu, Brâncu_i in Romania (1974; rev. ed., 1999); and Dan Grigorescu, Brâncu_i (1977). The year 2001 was declared “Brâncu_i Year in Romania” by the national government. 58. Please note: the Romanian studies are often translated and simultaneously published in English and French by Romanian publishers. See, for example: Paul Rezeanu, Bråncu_i la Craiova (Bucharest: Editura Arc 2000, 2001. The text is in Romanian, French, and English. A number of Western studies also acknowledge the Romanian folkloric context of Brâncu_i’s work, including, for example: Eric Shanes, Brâncu_i (New York: Abbeville Press, 1989.) One of the better studies is: Edith Balas, Brâncu_i and Romanian Folk Traditions (Boulder, Colorado: East European Monographs, 1987). None, however, re exhaustive. 59. “The Brancusian Universe in an exceptional exhibition at the Sibiu Village Museum,” Romania Libera, July 20, 2001 (tr. G. Tillman): “The organizers at Sibiu present objects of great heritage value . . . the whole constituting an essay on the relationship of Brâncu_i creations to Romanian folklore traditions, a relationship whose authenticity is found as 17
much in the artist’ lifestyle, temperament, and thinking, as in the entire Brancusian oeuvre.” 60. “The Eye of the Artist: Constantin Brâncu_i photographed his own works,” Romania Libera, August 8, 2001 (tr. G. Tillman). 61. Alexandru Istra_i and Natalia Dumitrescu, identified in Brezianu, ibid., p. 55: “At the suggestion of Sonia Delaunay, and of Jean Cassou, Brâncu_i bequeaths in his will to the Musée National d’Art Moderne all the works and objects in the studios fromImpasse Ronsisn, on condition that the studios will be reconstructed. The painters Alexandru Istrati and Natalia Dumitrescu are nominated universal heirs and Professor Dr. Pascu Atanasiu as testamentary executor.” 18
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SECTION 1: Keynote Address Undoing
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THE SCHOOL OF VISUAL ARTS NATIONAL
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[Both please.] There’s another pa
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actually this mountain on top is an
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detail. This is from a digital high
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that those religious mysteries whic
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scream into clarity and the effect
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a nutshell our conflicted attitude
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Dr. Stafford: Well, I’m trying re
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CROSS DISCIPLINARY STRATEGIES TO RE
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layering of dissonant imagery of th
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TRANSLATIONS OF MEMORY: PERSONAL ES
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When I asked my students to write p
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FACE VALUE: PORTRAITS AND MEMORY Da
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emotional expression in the human f
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A first step might be a rejection i
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THE ART OF THE NAME OR THE NAME OF
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“ST. JOHN THE EVANGELIST,” OR
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elationship with Jesus than does Pe
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There are several different philoso
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has not been explicitly named by th
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THE ROLE OF MEMORY IN CULTURE Rapha
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Dreaming without lucidity of any ki
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imitative learning. Grazio Fiorito
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ain organization, hormone-disruptin
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once, but most of the time it is a
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species evolving objectivity and lo
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institutional frameworks and laws t
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Memories of the intellectual past s
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But an important variable is being
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surfaced again and continues to ass
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In an abstract of an article entitl
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cognition in more or less dominance
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This is a description of some 4 mil
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complex semantic and syntax with wh
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monkey only correspond to the much
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primitive ceremonial burial of some
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BOXES OF REMEMBRANCES: THE JEWISH R
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are as beautifully and precisely ma
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IV. BINDING AND PRAYING: THE TEFILL
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Symbolic as these words are, they b
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8. The Eternal Present, the Beginni
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Concordance to Tent of Meeting and
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Tefillin of the Head (Shel Rosh) Th
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optimally-sized for processing spee
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movement can be seen to take on ren
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THEIR FACES BRIEF AS PHOTOS (John B
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in the Ghetto’s orphanages and ch
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A small man with glasses with a gen
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Wiesel Elie. Night. New York: Banta
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photographs have helped us to grasp
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only in the degree of ingenious sev
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SEWING PLANTS: THE INTERTWINED HIST
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colleges for women. And there were
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While Grierson’s needlework in pi
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Lang, L. (2001, January/February).
Page 114 and 115: difficult to find a full reconcilia
Page 116 and 117: 6. COLLABORATION Quite by accident
Page 118 and 119: and Amsterdam. But the focus is on
Page 120 and 121: EXHIBITING 9-11: A HISTORIOGRAPHY L
Page 122 and 123: Batchen also points out that many m
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Page 126 and 127: PHOTOGRAPHY THROUGH DOCUMENTATION A
Page 128 and 129: Representation” in the late 1990s
Page 130 and 131: MERITORIOUS OR MERETRICIOUS Jacquel
Page 132 and 133: Images which once glimpsed pierce o
Page 134 and 135: humans who sometimes against great
Page 136 and 137: However, when an artist placed the
Page 138 and 139: national and international exhibiti
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Page 142 and 143: REMEMBERING RABINDRANATH TAGORE Mar
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Page 146 and 147: Let me conclude with two poems from
Page 148 and 149: MONUMENTS IN MINIMALISM: SAFELY UNI
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Page 152 and 153: At the height of the Minimalist mov
Page 154 and 155: horribly immediate manner. There is
Page 156 and 157: ead. 8 Only when the beautiful soul
Page 158 and 159: Brâncu_i, too, preferred to carve
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Page 166 and 167: MOURNING, ABSENCE, AND TRAUMA: REPR
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Page 176 and 177: The only way out of the building is
Page 178 and 179: WITH A PEN AS HIS WORD AND ME AS HI
Page 180 and 181: FROM IDEALISM TO TOTALITARIANISM: T
Page 182 and 183: embodiment of the age of enlightenm
Page 184 and 185: Yale University Press, 1986), p. 10
Page 186 and 187: “yes well, to be sure they all mi
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Page 192 and 193: There are those who would dismiss s
Page 194 and 195: TEACHING ART EDUCATION IN A STUDIO
Page 196 and 197: artworks motivate and inspire stude
Page 198 and 199: VERS COLLAGE: THE REMEMBRANCE WORK
Page 200 and 201: On that day when the wall is breach
Page 202 and 203: often enough to become a social tru
Page 204 and 205: define his identity and function in
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SECTION 1 - via - School of Visual Arts

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