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Yale University Press, 1986), p. 10. 3. Brandon Taylor, “History Painting West and East,” in David Green and Peter Seddon, eds. History Painting Reassessed: The Representation of History in Contemporary Art (Manchester: Manchester University Press, 2000), p. 66. 4. Mark Thistlethwaite, in William H. Gerdts and Mark Thistlethwaite, Grand Illusions: History Painting in America (Fort Worth: Amon Carter Museum of Western Art, 1988), pp. 35 and 39. 5. There were very few professional female artists in this period. 6. Discourse Seven (December 10, 1776); reprinted in Joshua Reynolds, Discourses on Art (New York: Collier Books, 1966), p. 116. 7. Discourse Four (December 10, 1771), reprinted in Ibid. pp. 57-58. 8. Brookner, p. 38. 9. Quoted in Warren Roberts, Jacques-Louis David, Revolutionary Artist: Art, Politics, and the French Revolution (Chapel Hill: University of North Carolina Press, 1989), p. 19. 10. Roberts, in Ibid. p. 32. 11 . Thistlethwaite, p. 20. 12 . Thomas Crow, Emulation: Making Artists for Revolutionary France (New Haven: Yale University Press, 1995), p. 35. 13. My discussion of these paintings has borrowed heavily from Todd Porterfield’s excellent study, The Allure of Empire: Art in the Service of French Imperialism, 1798-1836 (Princeton: Princeton University Press, 1998). 14. Ibid., p. 69. BIBLIOGRAPHY Barrell, John. The Political Theory of Painting from Reynolds to Hazlitt (New Haven: Yale University Press, 1986). Brookner, Anita. Jacques-Louis David (London: Thames and Hudson, 1980). Crow, Thomas. Emulation: Making Artists for Revolutionary France (New Haven: Yale University Press, 1995). Gerdts, William H. and Mark Thistlethwaite, Grand Illusions: History Painting in America (Fort Worth: Amon Carter Museum of Western Art, 1988). Porterfield, Todd. The Allure of Empire: Art in the Service of French Imperialism, 1798-1836 (Princeton: Princeton University Press, 1998). Reynolds, Joshua. Discourses on Art (New York: Collier Books, 1966). Roberts, Warren. Jacques-Louis David, Revolutionary Artist: Art, Politics, and the French Revolution (Chapel Hill: University of North Carolina Press, 1989). Said, Edward W. Orientalism (New York: Vintage Books, 1979). Taylor, Brandon. “History Painting West and East,” in David Green and Peter Seddon, eds., History Painting Reassessed: The Representation of History in Contemporary Art (Manchester: Manchester University Press, 2000), pp. 66-81. 7
INHUMANE HUMANITIES: COLLEGES OF EDUCATION IN RETREAT FROM THE HUMAN EXPERIENCE James E. Nowlin Montana State University-Billings THE METAPHOR In the eleventh century a rich young gentleman named Francesco Bernadone found himself in the throes of a bit of a religious epiphany. One day when fitting himself into his finest medieval clothing and about to undertake a “chivalrous campaign” he happened upon a gentleman whose earthly needs seemed to be more pronounced than his own. So, Francesco gave him his coat. That very night Francesco dreamed that he was being called to rebuild the “Celestial City”. He heeded this calling to such an extent that he literally began to give away everything he owned. In fact, he gave so liberally that his father, a rich businessman in the Italian town of Assisi, was moved to disown him. At this point Francesco took off all of his clothing and said that from this point forward, he would possess nothing, absolutely nothing! The Bishop of Assisi “loaned” him a cloak, whereupon Francesco wandered off into the woods singing a French song. True to his calling, Francesco spent the next years in abject poverty. He looked after lepers. He began to rebuild crumbling, abandoned churches with his own hands (Francesco seems to have taken his dream of rebuilding the “Celestial City” quite literally), and in general gave himself totally to the notion of helping his fellow human beings. He devoted his entire life to the idea that it was “discourteous” to be in the company of anyone poorer than himself. In 1226, St Francis of Assisi, for so is he now called, died. He died at the age of 43 absolutely worn out by his labors on this earth. True to his character, on his deathbed he asked forgiveness of poor brother donkey (his body) for the hardships he had wrought upon it. Two years after his death little Francesco was canonized. Immediately after that his “followers” began to build a great basilica in his honor. It soon became the richest and most evocative church in all of Italy (Clark, 1969). “A strange memorial to the poor little man whose favorite saying was, ‘Foxes have holes, and the birds of the air have nests; but the Son of Man hath not where to lay his head”‘ (Clark, 1969, p. 77). Even without a personal theology, it is metaphorically easy for one to get an image of St. Francis wandering through the afterlife (and he at least certainly believed there was such a thing) saying to those “followers” and anyone else willing to listen, “wait, wait, you missed the point, you missed the point”! The point was about a quality of life, not about great basilicas. The point was about a state of being, not an unrelated state of doing. The point was about inner riches, not external wealth. At some point in time in this metaphorical afterlife, St. Francis will run into a deceased professor from a college of education (St. Francis will first want to make sure that the professor is definitely dead—the line marking “deceased” from “not deceased” is not always clearly delineated in many education professors) and begin to relate his “they missed the point “ tale of woe. The professor will listen for a bit and then say condescendingly, “well, I see your problem, you didn’t have a series of methods classes.” No doubt St. Francis will then look at him quizzically and mutter, 8
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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).
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difficult to find a full reconcilia
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6. COLLABORATION Quite by accident
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and Amsterdam. But the focus is on
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EXHIBITING 9-11: A HISTORIOGRAPHY L
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Batchen also points out that many m
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access to ground zero has not only
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PHOTOGRAPHY THROUGH DOCUMENTATION A
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Representation” in the late 1990s
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MERITORIOUS OR MERETRICIOUS Jacquel
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Images which once glimpsed pierce o
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Page 142 and 143: REMEMBERING RABINDRANATH TAGORE Mar
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