At the Getty: The Grand Manner on Paper
Press release from the Getty:
Printing the Grand Manner: Charles Le Brun and Monumental Prints in the Age of Louis XIV
The Getty Research Institute at the Getty Center, Los Angeles, 18 May — 17 October 2010
Gérard Edelinck (1640–1707), after Charles Le Brun (1619–1690), "Queens of Persia at the Feet of Alexander from the Battles of Alexander," ca. 1675 Etching and engraving 26 9/16 x 35 5/16 in. Research Library, The Getty Research Institute, Los Angeles, California (2003.PR.42)
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Printing the Grand Manner: Charles Le Brun and Monumental Prints in the Age of Louis XIV explores a little-known facet of late 17th-century reproductive engravings. The exhibition examines the prints’ rich vocabulary and illuminates the context in which they were made between the mid-1660s and the mid-1680s. While it focuses on the relationship between Charles Le Brun (French, 1619–90) and the printmakers who reproduced his compositions, the exhibition also interprets the prints and their inscriptions in light of Le Brun’s ambitions and struggles as a court painter, designer, and print publisher in the highly competitive atmosphere surrounding Louis XIV.
Catalogue by Louis Marchesano and Christian Michel (Getty Research Institute, 2010) ISBN: 978-0892369805, $50
The works in this exhibition and related catalog reproduce Le Brun’s narrative compositions in the Grand Manner, the genre in which a heroic protagonist engages in a morally significant action—a battle to be won, a victory to be celebrated, or a vice to be avoided. By disseminating these subjects in printed form, Le Brun presented to both collectors and artists his mastery of the most complex type of art. In turn, the quality and size of these prints allowed him to demonstrate the unprecedented authority over the fine arts in France.
The eleven large prints featured in Printing the Grand Manner were clearly intended to evoke the grandeur of Le Brun’s large-scale paintings and tapestry designs that illustrate events from the exemplary lives of ancient rulers such as Alexander the Great and Constantine the Great. A prodigious artist and designer, now best known for his work at Versailles, Le Brun was Louis XIV’s principal painter, leader of the Académie royale de peinture et de sculpture, and director of the huge royal manufactory at the Hôtel des Gobelins, the integrated workshops where hundreds of artists and craftsmen produced the fine objects that gave the age of Louis XIV its veneer of splendor and grandeur.
Gérard Edelinck (1640–1707), after Charles Le Brun (1619–1690), "Queens of Persia at the Feet of Alexander from the Battles of Alexander," detail, ca. 1675
“Le Brun used prints strategically to promote his agenda. Naturally, he wanted the best printmakers to reproduce his compositions and to disseminate them in the best possible light. As a painter and leader of the arts who experienced the power of prints in his own career, he was able to encourage the development of printmaking in France,” says Louis Marchesano, the Getty Research Institute’s curator of prints and drawings. “In retrospect, we know Le Brun’s own interventions in the field of prints paid off because the material and stylistic excellence of the large prints whet the appetites of collectors and critics well into the 19th-century.”
Le Brun was most successful at the height of his power in the 1670s, when he oversaw the publication of the Battles of Alexander, a suite of five images comprising his Persian and Indian campaigns. With his reputation and authority at stake, he convinced the Crown to spare no expense on the quality of the paper and the size of the impressions. Pulled from 15 copper plates, large printed sheets had to be assembled into a suite of five separate images. The Alexander suite was made by two of the best artists at Le Brun’s disposal, Gérard Edelinck and Gérard Audran. Showcasing Audran’s astonishing mixed etching and engraving technique, the four prints by him were judged to be the epitome of printmaking, in part because they appeared to improve upon Le Brun’s original paintings, a rather unusual judgment in favor of prints. (more…)
Call for Papers: BSECS Meeting in January 2011
BSECS 40th Annual Conference — ‘Emotions’
St Hugh’s College, Oxford, 5-7 January 2011
Proposals due by 30 September 2010
The annual meeting of the British Society for Eighteenth-Century Studies is Europe’s largest and most prestigious annual conference dealing with all aspects of the history, literature, and culture of the long eighteenth century. We invite proposals for papers and sessions dealing with any aspect of the long eighteenth century, not only in Britain, but also throughout Europe, North America, and the wider world. Proposals are invited for fully comprised panels of three or four papers, for roundtable sessions of up to five speakers, for individual papers, and for ‘alternative format’ sessions of your devising.
While proposals on all and any eighteenth-century topics are very welcome, this year the conference theme will be ‘Emotions’. We would thus particularly welcome proposals for panels and papers that address eighteenth-century understandings, and consequences, of the emotions, broadly conceived, and the role of the passions, feelings, and sentiment throughout the long eighteenth century, at all levels of society, and in any part of the world. These might include, but will not be confined to: the meanings and significance given to the emotions and feelings of all kinds, from affection to xenophobia, including fear, hatred, love and sensibility, and in all fields from history, politics and religion, to the arts, literature, and philosophy; gender and the emotions; ‘affect’; the relationship between reason, thought and feeling; and controlling emotions.
The deadline for submission of papers and panel proposals is Thursday 30th September 2010. You will be notified by Sunday 31st October as to whether your proposal has been accepted. If you are travelling from outside the UK and need an earlier decision, please mention this in your proposal and we shall endeavour to reach a decision earlier. (more…)
Interview with Jay Clarke by Nina Dubin
While most of the postings featured here at Enfilade originate elsewhere (calls for papers, announcements about conferences, exhibitions, &c.), plans for more original content are in the works. Special thanks to Nina Dubin and Jay Clarke for this informative interview.
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Jay A. Clarke is Manton Curator of Prints, Drawings, and Photographs at the Sterling and Francine Clark Art Institute. She received her Ph.D. from Brown University in 1999 and served as a curator at the Art Institute of Chicago from 1997 through 2009. Author of Becoming Edvard Munch: Influence, Anxiety, and Myth (Yale, 2009), she has also published on the critical reception of Käthe Kollwitz and Max Beckmann, Munch’s use of repetition, and Julius Meier-Graefe as an art dealer. Jay has received numerous grants and awards from such institutions as the NEA, the American-Scandinavian Foundation, the Marshall Fund, the DAAD, and the College of the Holy Cross, which recently honored her with a Sanctae Crucis Award for Outstanding Professional Achievement. Clarke’s research and teaching focus on late nineteenth-century reception theory, market forces, historiography, and the social significance of printmaking processes and their matrices. She taught graduate courses at the School of the Art Institute of Chicago from 2001 through 2008 on critical theory, methodology, and the history of art history and is currently a lecturer in the Williams College Graduate Program in the History of Art.
Nina L. Dubin is Assistant Professor of Art History at the University of Illinois at Chicago. Her book, Futures & Ruins: Eighteenth-Century Paris and the Art of Hubert Robert, is forthcoming from the Getty Research Institute in September, 2010.
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ND: Last spring, you were appointed Manton Curator of Prints, Drawings, and Photographs at the Sterling and Francine Clark Art Institute—a position endowed by the Manton Foundation. I understand that this past fall, you gathered a group of historians of eighteenth- and nineteenth-century British art to discuss the collection and re-imagine different possibilities for what a collection catalogue might be. What came out of this colloquium, and what are your plans for the collection?
Thomas Girtin (English, 1775-1802), "The Gatehouse of Battle Abbey, Sussex," c. 1794. Watercolor, ink and pencil on paper, 10 3/4 x 9 1/4 in. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. Gift of the Manton Art Foundation in memory of Sir Edwin and Lady Manton, 2007.8.84 (Photo by Michael Agee)
JC: In 2007, the Manton Foundation donated an outstanding collection of over two hundred eighteenth- and nineteenth-century British paintings, drawings, oil sketches, and prints to the Sterling and Francine Clark Art Institute. The Clark will publish a catalogue of this collection in 2012, and we are in the process of considering its shape and methodology.
For the colloquium, we invited a small group of scholars with diverse interests and areas of expertise to help us ask fundamental questions about how we could present this material in a scholarly, methodologically-aware, and engaging way and how we could make the collection both visible and vital. The majority of the Manton Collection was carefully documented and catalogued in four privately published volumes between 1994 and 2001 wherein each work was described with full exhibition history, literature, and an accompanying textual entry. That this important foundational work has been done provides us the opportunity to envision a very different kind of collection catalogue. Given recent discussions about the future of collection catalogues and how the basic formula is in need of reconsideration, we asked for the expertise of the visiting scholars, editors, and
publishers to further explore these issues in light of the Manton gift.
The colloquium participants first looked at the collection as a whole to assess its breadth. Then we had a series of discussions about the possible contents of the catalogue, given that we are free to approach the material in a variety of ways. At first the group had a hard time “thinking outside the box,” as such publications are usually under considerable constraints. However, because the Manton Foundation supports not only the Clark’s collection and the museum program but also our lively research and academic program, we felt strongly that the final publication should embrace new ways of approaching what might otherwise be familiar material. In the end, the group came to a consensus that the publication should address both recent theoretical approaches to British art and materially-based inquiry. The book will begin with an essay about the Mantons as collectors, which will be followed by short chapters that explore specific objects and artists from the collection using a range of scholarly approaches by several leading specialists in the field of eighteenth- and early-nineteenth-century studies. The catalogue will include an on-line component that can be updated after the book is printed.
What are some of the highlights of the Manton collection that scholars of the long eighteenth century should know about?
John Constable (English, 1776-1837), "The Wheatfield," 1816. Oil on canvas, 21 1/8 x 30 3/8 in. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. Gift of the Manton Art Foundation in memory of Sir Edwin and Lady Manton, 2007.8.27 (Photo by Michael Agee)
Particular strengths include seventeen Turner watercolors, several Gainsborough drawings, Constable oil sketches, and singular sheets by Girtin, Palmer, and Rowlandson. The entire collection can be viewed on-line at: www.clarkart.edu/exhibitions/manton/manton-pages.cfm. In addition to many of the acclaimed “greatest hits” such as Constable’s oil painting The Wheatfield (1816) and several of his cloud studies, there are important pockets of lesser-known works, such as Rowlandon’s small-scale rustic landscapes in watercolor and vermilion ink.
Are there upcoming programs at the Clark that HECAA members should plan to attend?
This fall’s Clark Conference brings together creative writers, publishers, art historians and historians to discuss the many and complex relationships between art writing and creative writing. We will consider fiction as an alternative to art history, art history as fodder for fiction, the various ways in which art history needs and creates narratives, and the use of fiction and fictional devices by critics and contemporary artists. Speakers will include Paul Barolsky, Thomas Crow, Gloria Kury, Maria Loh, Alex Nemerov, Joanna Scott, Ed Snow, Marianne Torgovnick, and Marina Warner. The Conference is convened by Mark Ledbury and Michael Hatt. Program details and registration Fforms will be available at the Clark’s website from late May 2010.
You left a position as Associate Curator of prints and drawings at the Art Institute of Chicago, where you curated such blockbuster exhibitions as Becoming Edvard Munch. What were the enticements of relocating to the Clark, and how has your job description changed?
I have great fondness for the Art Institute of Chicago, where I worked for eighteen years and began my career. It is an unparalleled collection with immensely talented curators and I miss the art and my former colleagues. But it was time for a change, time to assume the direction of a department, and time to extend my scholarly range into photography. Whereas at the AIC I was responsible for nineteenth-and early twentieth-century European prints and drawings, here I deal with the history of art from the fifteenth through the early twentieth century, in addition to overseeing the Clark’s significant collection of nineteenth-century photographs. In Chicago I was both a curator and a part-time faculty member at the School of the Art Institute of Chicago where I generally taught critical theory and methodology seminars at the graduate level. But the teaching at SAIC was more of an evening job and, although the faculty there were very welcoming, I felt quite separate. Here I am a lecturer at Williams (the Williams College Graduate Program in the History of Art is offered in collaboration with and housed at the Clark) but now my courses are deeply embedded within the Clark’s dynamic academic program that hosts symposia, colloquia, and lectures led and attended by an ever-changing roster of fellows, students, and visiting professors, and that is a big bonus. The Clark has a dual mission, part museum and part research and academic institute, which creates an exciting intellectual environment I missed in Chicago or had to work hard to find. Here I can experience this dual mission on a daily basis. In many ways, I am doing the same kind of work but in a more flexible, intellectually charged environment.
You spent most of your career in Chicago. Tell us about the perks of living in Williamstown.
There are many perks to living in Williamstown and, although I was born and raised in the Midwest and worked there for most of my career thus far, I went to high school, college, and graduate school in New England, so I was very glad to return. First and foremost, there are deer and fox in our backyard instead of rats and pigeons, and the three-minute commute to work cannot be beat. I am married to a former professional skier so we enjoy all that the winter months have to offer. Being in a college town with three art museums in close proximity, I find I do more here in terms of attending lectures than I did in Chicago. Our director Michael Conforti says there are more art historians here per capita than anywhere else in the country so that’s a plus. The Clark is in many ways a New York City-oriented museum (we are just a few miles from the New York state border) and I am there about once a month. So, when I need my city fix, it’s just a train ride away.
Recent Work from Sarah Cohen on Chardin and the Animal Psyche
The Ninth Annual Bloomington Eighteenth-Century Studies Workshop
Forms of Life in the Eighteenth-Century
Indiana University, Bloomington, 12-14 May 2010
Sarah Cohen speaks on Chardin’s work on Thursday, 13 May. The full schedule for this invitation event can be found here»
Jean-Siméon Chardin, "The Ray," 1728 (Paris: Louvre)
Sarah Cohen (History of Art, SUNY Albany), “Chardin’s Vitalist Still Lifes” — This paper addresses four paintings by Jean-Siméon Chardin that feature a calico cat marauding recently killed or butchered creatures within an array of objects laid out for the preparation of a human meal. Although Chardin drew generally from Flemish still life traditions, I argue that early vitalist theories of animal life offer a compelling means of assessing the action of his cats, who paw, snatch, and prepare to spring at the inanimate matter of their fallen fellow creatures. I propose that Chardin’s still lives are vitalist not through any direct link between the science and the art, but through a deeper commonality of aims and means: his cats show us, through their tactile explorations of animal
bodies, what it feels like to be alive.
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In addition, Cohen’s article, “Searching the Animal Psyche with Charles Le Brun,” will appear in a special issue of Annals of Science 76 (July 2010), dedicated to the representation of animals in the seventeenth century. The issue is edited by Domenico Bertoloni Meli and Anita Guerrini.
John Yenn’s Architectural Drawings
In the Library Print Room of the Royal Academy of Arts, there’s currently a lovely small exhibition on display of architectural drawings by John Yenn. The following text is excerpted from the handout and checklist that accompanies the show. The exhibition was selected by Nick Savage, Curator of Prints and Drawings and Head of the Collections. Neil Bingham researched and wrote all catalogue entries. On Tuesday, 1 June, at 3:30, the drawings will be the subject of a Royal Academy Curator’s Talk.
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John Yenn R.A.: Pioneer of the Architectural Exhibition Drawing
Royal Academy of Arts Library, London, 9 March — 9 July 2010
John Yenn RA, "Design for a Doric garden seat pavilion in Surrey: elevation," 1775 © Royal Academy of Arts, London; photographer M. Slingsby
The present exhibition of mostly theoretical, unexecuted architectural designs by John Yenn R.A. (1750-1821) is drawn entirely from the contents of ‘two boxes of watercolour drawings &c.’ presented to the Royal Academy by Mrs. Augusta Thackeray, the architect’s last surviving daughter, on 21 June 1865. On the first occasion that any of them had been exhibited since the eighteenth century (John Yenn, Draughtsman Extraordinary, RIBA Heinz Gallery, 3 September — 19 October 1973), the then Curator of the RIBA Drawings Collection, John Harris, hailed them as ‘supreme examples’ of the genre, ‘excelled by none in the whole history of British architectural rendering’, a revelation which at a stroke evleated their author ‘to the status of the finest draughtsman of the century’. Furthermore, the discovery in many of these ideal designs of a ‘rogue’ architectural imagination at play, mischievously undermining and subverting Palladian orthodoxy, revealed a previously unsuspected originality that seems, for whatever reason, to have evaporated when Yenn came to design real buildings.
Although it is tempting to let Yenn bask in the warmth of this praise, like so much in his career as an architect it is undeniable that everything that is distinctive about his drawings in terms of technique, presentation, and design content . . . is directly attributable to the advanced, continental-based training he had received in the office of his great mentor Sir William Chambers RA (1723-1796) . . . .
Tome Tweet Tome?
From the Editor
An admission: I’ve never tweeted, nor regularly followed anyone who does. I’m hardly opposed to Twitter on principle, and as someone who stresses to my students the importance of tightly-edited writing, I think there could be immense value in forcing individuals to communicate with just 140 characters at a time. Still, I’ve yet to be persuaded it’s for me. Nonetheless, the following pieces at least have me thinking about it (given that the text up to this point weighs in at 428 characters, I clearly have a long way to go).
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Jon Lackman, the editor of The Art History Newsletter, kindly sent me a link to this story, “Twitter Updates, the 18th-Century Edition,” posted at The Wall Street Journal by Jennifer Valentino-DeVries:
There aren’t too many things more 21st century than Twitter. But it turns out that the way people share information on Twitter bears some similarities to the way they shared it more than 200 years before the service was created in 2006, according to Cornell professor Lee Humphreys, who has been comparing messages from Twitter and those from diaries in the 18th and 19th centuries. A quick look at a few of the entries from several diaries shows that Twitter’s famous 140-character limit wouldn’t have been a problem for these writers:
April 27, 1770: Made Mead. At the assembly.
May 14, 1770: Mrs. Mascarene here and Mrs. Cownsheild. Taken very ill. The Doctor bled me. Took an anodyne.
Sept. 7, 1792: Fidelia Mirick here a visiting to-day.
Jan. 26, 1873: Cold disagreeable day. Felt very badly all day long and lay on the sofa all day. Nothing took place worth noting.
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Writing for The New York Times (30 April 2010), Randall Stross notes that today’s millions of tweets may in fact be the stuff of primary source material for future historians.
. . . Not a few are pure drivel. But, taken together, they are likely to be of considerable value to future historians. They contain more observations, recorded at the same times by more people, than ever preserved in any medium before.
“Twitter is tens of millions of active users. There is no archive with tens of millions of diaries,” said Daniel J. Cohen, an associate professor of history at George Mason University and co-author of a 2006 book, “Digital History.” What’s more, he said, “Twitter is of the moment; it’s where people are the most honest.”
Last month, Twitter announced that it would donate its archive of public messages to the Library of Congress, and supply it with continuous updates. . . .
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And if anyone’s looking for examples of art historical tweets, the following list of “100 Excellent Twitter Feeds for Art Scholars,” might be useful.
All the same, at this point, I’ve no immediate plans to tweet for Enfilade. Yet, if any HECAA members feel strongly that we’re missing out on something, I certainly am open to offers from interested volunteers. . . Or just your own sense of Twitter’s scholarly or institutional value. -C.H.
Quilts at the V&A
From the V&A’s website:
Quilts: 1700-2010
The Victoria & Albert Museum, London, 20 March — 4 July 2010
Bishops Court quilt, 1690-1700 (V&A no. T.201-1984)
The V&A will present its first ever exhibition of British quilts, with examples dating from 1700 to the present day — a unique opportunity to view the V&A’s unseen quilt collection as well as key national loans. The exhibition will show 65 beautifully crafted quilts, predominantly from the V&A’s own collection but also including a number of important loans and new works by contemporary artists, many of which have been commissioned especially for the show.
Earliest examples include a sumptuous silk and velvet bedcover, with an oral narrative that links it to King Charles II’s visit to an Exeter manor house in the late 17th century. Recent examples will include works by leading artists such as Grayson Perry and Tracey Emin and commissions for the exhibition by a number of contemporary artists including Sue Stockwell and Caren Garfen.
Catalogue by Sue Prichard, ISBN: 978-1851775958 ($60)
The curators have unravelled some of the complex personal narratives and broader historical events documented in the quilts. Examples by both named and unnamed makers will be shown with objects relating to their subject matter and makers including paintings and prints, as well as needlework tools and personal keepsakes. One example is a cot quilt made at Deal castle, displayed for the first time alongside the maker’s diary and portraits of the two grandchildren who slept under it.
There will also be bedcovers that commemorate the lives of prominent figures including Admiral Lord Nelson, Charles II and the Duke of Wellington and important events such as the coronation of Queen Victoria and the Duke of Wellington’s battle at Vittoria. The exhibition will end with Tracey Emin’s To Meet My Past (2002), a confessional installation which follows the tradition of quilts used as vessels for personal and
collective memories. (more…)
Walpole Library Fellowships for 2010-2011
The Lewis Walpole Library is delighted to announce the recipients of Fellowships and Travel Grants for the 2010-2011 year. Fourteen visiting Fellowships, two Travel Grants, and two Summer Fellowships for Yale Graduate Students were awarded.
Visiting Fellowships
- Ileana Popa Baird (University of Virginia), Spaces, Things, Heterotopias: A Duncical Map of Early Eighteenth-Century British Culture
- Tim Cassedy (New York University), The Character of Communication, 1790-1810
- David Flaherty (University of Virginia), The British Board of Trade, Visions of Empire, and the Aggressive Imperial Project for the North American Frontier, 1713-1783
- Michael Gamer (University of Pennsylvania), Staged Conflicts: A History of English Theatre, 1641-1843
- William Gibson (Oxford Brookes University), Reverend Doctor John Trusler (1735-1820): Sermons, Theology, and Politics
- Heather Ladd (University of Toronto), Comic Representations of Booksellers and Authors in Eighteenth-Century Imaginative Literature, 1660-1830
- Crystal Lake (Georgia Institute of Technology), Radical Things: Politics and Artifacts in British Literature
- Peter Lindfield (University of St. Andrews), Reconstructions of the Past: Strawberry Hill, the Gothic, and the Furnishing of a National Aesthetic
- Simon Macdonald (Gonville and Caius College, Cambridge), British Expatriates in Late Eighteenth-Century France
- Temi-Tope Odumosu (King’s College, Cambridge), The ‘Image of Black’ through a Walpole Lens
- Charlotte Roberts (St. John’s College, Cambridge), Images of Historical Spectatorship, 1776-1837
- Eric Weichel (Queen’s University), ‘Most Horribly Done, and so Unfortunately Like’: Francophilia, Cross-Cultural Influences, and the Emergence of the Rococo in Early Eighteenth-Century British Visual and Material Culture
- Alex Wetmore (Carleton University), The Mechanical in the Age of Sensibility: Technology, Sentimentalism, and Eighteenth-Century British Culture
- Amit Yahav (University of Haifa), Moments: Duration and the English Novel
Travel Grants
- Rachel Brownstein (The Graduate Center, CUNY), James Gillray and Jane Austen
- David Hayton (Queen’s University Belfast), Biography of Sir Lewis Namier
Summer Fellowships for Yale Graduate Students
- Christian Burset, The Use of Indigenous Law and Legal Traditions Within the British Empire in the Eighteenth Century
- Meredith Gamer, Criminal and Martyr: Art and Religion in Britain’s Early Modern Eighteenth Century
‘Plein Air’ Exhibition in Valenciennes
From the exhibition’s website:
Dessins d’Italie, Le XVIIIe siècle: l’expérience du plein air
Le Musée des Beaux-Arts de Valenciennes, 17 March — 14 June 2010
Olivier Lemay, "View of the Villa Negroni"
L’Italie, terre d’inspiration incontestée depuis la Reniassance, où se mêlent et s’entrecroisent les vestiges d’un passé lointain et les traces des génies du Quattro- et du Cinquecento, fut, dans la seconde moitié du XVIII siècle, à l’origine d’une nouvelle revolution artistique. Celle-ci, en modifiant profondément la perception du paysage, bouleversa définitivement l’art moderne. De ce regard renouvelé sur la nature découla un langage pictural inédit, dégagé de toute préoccupation narrative, allégé de tous poncifs historiques. L’étude en plein air, soumise aux variations climatiques, incita les artistes à s’interroger d’abord sur des questions plastiques et chromatiques, à chercher des moyens dévoquer une sensation, une perception fugace, les variations infinies d’une nature qui change au fil des heures. . . (more…)
Call for Papers: Additional HECAA Session at CAA
The 2011 College Art Association conference takes place in New York, February 9-12. In addition to the HECAA session on “The Global Eighteenth Century,” chaired by Kristel Smentek and Meredith Martin, HECAA will host a “New Scholars Session,” chaired by Heidi Strobel. Proposals are due by 1 June 2010. Here’s the call for papers:
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HECAA New Scholars Session
Chair: Heidi Strobel, hs40@evansville.edu
This session seeks papers from new scholars in the field of eighteenth-century art and architecture. The format will be fairly traditional with three to four short papers. Each presentation should last no longer than 15 minutes. This session, which is 90 minutes in length, will emphasize discussion and audience participation after the delivery of the papers. Please submit a 300-word abstract via email to the address listed above. Session participants should be HECAA members in good standing. Session participants will be notified by June 15, 2010.
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