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From Alfred Büchler Author(s): Alfred Büchler Source: Art Journal, Vol. 49, No. 4, New Approaches to South Asian Art (Winter, 1990), p. 449 Published by: College Art Association Stable URL: http://www.jstor.org/stable/777151 . Accessed: 15/06/2014 15:02 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Art Journal. http://www.jstor.org This content downloaded from 185.2.32.121 on Sun, 15 Jun 2014 15:02:45 PM All use subject to JSTOR Terms and Conditions

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From Alfred BüchlerAuthor(s): Alfred BüchlerSource: Art Journal, Vol. 49, No. 4, New Approaches to South Asian Art (Winter, 1990), p.449Published by: College Art AssociationStable URL: http://www.jstor.org/stable/777151 .

Accessed: 15/06/2014 15:02

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Art Journal.

http://www.jstor.org

This content downloaded from 185.2.32.121 on Sun, 15 Jun 2014 15:02:45 PMAll use subject to JSTOR Terms and Conditions

Letters to the Editor Letters to the Editor From Phoebe Dufrene: This letter is in response to guest editor Cecelia F Klein's comment in the summer 1990 issue: "Who speaks for the dispos- sessed? ... As it happens, not one of the articles to follow has been written by a member of any group that could . . . be considered 'dispossessed.' Progress will be apparent when we see more attempts by representatives of the dispossessed them- selves to wrestle with the problems tackled here" (p. 109).

I find the comment to be colonialist, racist, and paternalistic. Did the author attempt to contact any scholars from the Native American, Hispanic American, Af- rican American, or Asian American com- munities and ask for their contributions to the theme "Depictions of the Dispos- sessed"? Did she bother to contact the American Indian Studies Center at her own place of employment, UCLA?

The following is a list of Native Ameri- can scholars who could have contributed to the theme "Depictions of the Dispos- sessed": George Longfish, UC Davis; Frank La Pena, Sacramento State Univer- sity; Janeene Antone, American Indian Contemporary Art Gallery in San Fran-

From Phoebe Dufrene: This letter is in response to guest editor Cecelia F Klein's comment in the summer 1990 issue: "Who speaks for the dispos- sessed? ... As it happens, not one of the articles to follow has been written by a member of any group that could . . . be considered 'dispossessed.' Progress will be apparent when we see more attempts by representatives of the dispossessed them- selves to wrestle with the problems tackled here" (p. 109).

I find the comment to be colonialist, racist, and paternalistic. Did the author attempt to contact any scholars from the Native American, Hispanic American, Af- rican American, or Asian American com- munities and ask for their contributions to the theme "Depictions of the Dispos- sessed"? Did she bother to contact the American Indian Studies Center at her own place of employment, UCLA?

The following is a list of Native Ameri- can scholars who could have contributed to the theme "Depictions of the Dispos- sessed": George Longfish, UC Davis; Frank La Pena, Sacramento State Univer- sity; Janeene Antone, American Indian Contemporary Art Gallery in San Fran-

From Alfred Biichler: Reading Mary Tompkins Lewis's review of "Cezanne in Basel and Philadelphia" [Art Journal, summer 1990], I was brought up short by a reference to "the well-known final lines of Goethe's second Faust" (p. 190). They seemed distinctly strange and unfamiliar, at least until I came to the "Woman Eternal." Fortunately, note 21 on p. 193 gives the German text. So here are (1) Goethe's text; (2) the translation a grad- uate student would come up with if she or he was preparing for a German exam and simply took in every case the first meaning given by Cassell's German and English Dictionary (in particular, this accounts for "everlasting"; I have used the 1965 edi- tion); and (3) the translation, by Friedel Becker and Peggie Cochrane, in the book- let accompanying the Solti-Chicago Sym- phony recording of Gustav Mahler's Eighth Symphony: 1 2

From Alfred Biichler: Reading Mary Tompkins Lewis's review of "Cezanne in Basel and Philadelphia" [Art Journal, summer 1990], I was brought up short by a reference to "the well-known final lines of Goethe's second Faust" (p. 190). They seemed distinctly strange and unfamiliar, at least until I came to the "Woman Eternal." Fortunately, note 21 on p. 193 gives the German text. So here are (1) Goethe's text; (2) the translation a grad- uate student would come up with if she or he was preparing for a German exam and simply took in every case the first meaning given by Cassell's German and English Dictionary (in particular, this accounts for "everlasting"; I have used the 1965 edi- tion); and (3) the translation, by Friedel Becker and Peggie Cochrane, in the book- let accompanying the Solti-Chicago Sym- phony recording of Gustav Mahler's Eighth Symphony: 1 2 Alles Vergangliche Ist nur ein Gleichnis; Das Unzulangliche Hier wird's Ereignis, Das Unbeschreibliche Hier ist's getan; Das Ewig-Weibliche Zieht uns hinan.

Alles Vergangliche Ist nur ein Gleichnis; Das Unzulangliche Hier wird's Ereignis, Das Unbeschreibliche Hier ist's getan; Das Ewig-Weibliche Zieht uns hinan.

Everything fleeting Is only an image; The insufficient Here it becomes event, The indescribable Here it is done; The everlasting womanly Draws us up.

Everything fleeting Is only an image; The insufficient Here it becomes event, The indescribable Here it is done; The everlasting womanly Draws us up.

cisco; Rennard Strickland, University of Oklahoma; JoAllyn Archambault, Smith- sonian Institution; and Kay Walkingstick, Cornell University.

A comparable list of Hispanic, Asian, and Black scholars could be found if the writer took the time to contact the various institutions and publications that address these various groups. By neglecting to in- clude scholarly contributions from people of color, Cecelia F Klein is perpetuating the dispossession that she is supposedly concerned about.

-The writer is assistant professor in the Department of Creative Arts, Purdue University.

Cecelia F Klein, guest editor of the sum- mer 1990 issue of Art Journal, responds: As my introductory statement should make clear, I share Dr. Dufrene's disappointment that none of the contributors to my Art Journal issue are themselves members of the dispossessed. I did indeed make a sus- tained effort to identify, among the dispos- sessed themselves, scholars who had produced a major art-historical study or studies of the pictorial, figurative, and the-

cisco; Rennard Strickland, University of Oklahoma; JoAllyn Archambault, Smith- sonian Institution; and Kay Walkingstick, Cornell University.

A comparable list of Hispanic, Asian, and Black scholars could be found if the writer took the time to contact the various institutions and publications that address these various groups. By neglecting to in- clude scholarly contributions from people of color, Cecelia F Klein is perpetuating the dispossession that she is supposedly concerned about.

-The writer is assistant professor in the Department of Creative Arts, Purdue University.

Cecelia F Klein, guest editor of the sum- mer 1990 issue of Art Journal, responds: As my introductory statement should make clear, I share Dr. Dufrene's disappointment that none of the contributors to my Art Journal issue are themselves members of the dispossessed. I did indeed make a sus- tained effort to identify, among the dispos- sessed themselves, scholars who had produced a major art-historical study or studies of the pictorial, figurative, and the-

3 All things transitory are but a parable; here insufficiency becomes fulfillment, here the indescribable is accomplished; the ever-womanly draws us heavenward.

And here is the Walter Ardt-W. W. Nor- ton version quoted by Professor Lewis:

All that is changeable Is but refraction; The unattainable Here becomes action. Human discernment Here is passed by; Woman Eternal Draw us on high.

Somewhere there is a moral to this; but 'nuff said. P.S. But looking at the assembled texts, it strikes me that "here" indeed "the inde- scribable is accomplished" and "human discernment here is passed by"; the (in)de(con)structibility of a great poet? -The writer lives in Berkeley, California.

3 All things transitory are but a parable; here insufficiency becomes fulfillment, here the indescribable is accomplished; the ever-womanly draws us heavenward.

And here is the Walter Ardt-W. W. Nor- ton version quoted by Professor Lewis:

All that is changeable Is but refraction; The unattainable Here becomes action. Human discernment Here is passed by; Woman Eternal Draw us on high.

Somewhere there is a moral to this; but 'nuff said. P.S. But looking at the assembled texts, it strikes me that "here" indeed "the inde- scribable is accomplished" and "human discernment here is passed by"; the (in)de(con)structibility of a great poet? -The writer lives in Berkeley, California.

oretical problems posed by the topic. Those who were ultimately invited to pre- sent a paper or article had already ad- dressed these issues in some depth; most had written one or more major articles, if not a book or dissertation, on the question. At the time, despite the assistance rendered by my colleagues, I could not locate any minority scholars with such a track record. (As the only professor who teaches Native American art history at UCLA, I am the art history component of the UCLA American Indian Studies Program.)

After considering the alternatives, I de- cided against pursuing a course that might have been perceived as tokenistic, and against dropping the conference and the publication altogether. These decisions were not made lightly, and I still feel that they were the right ones. In my opinion, the analyses published in the Art Journal issue constitute an important step, and I hope their merits will be seen to justify the decision to proceed with the project. -The writer is professor of art history at the University of California, Los Angeles.

oretical problems posed by the topic. Those who were ultimately invited to pre- sent a paper or article had already ad- dressed these issues in some depth; most had written one or more major articles, if not a book or dissertation, on the question. At the time, despite the assistance rendered by my colleagues, I could not locate any minority scholars with such a track record. (As the only professor who teaches Native American art history at UCLA, I am the art history component of the UCLA American Indian Studies Program.)

After considering the alternatives, I de- cided against pursuing a course that might have been perceived as tokenistic, and against dropping the conference and the publication altogether. These decisions were not made lightly, and I still feel that they were the right ones. In my opinion, the analyses published in the Art Journal issue constitute an important step, and I hope their merits will be seen to justify the decision to proceed with the project. -The writer is professor of art history at the University of California, Los Angeles.

Photography credits: American Institute of Indian Studies, Varanasi, pp. 405, 392-93 (with drawings by John F Mosteller); British Museum, London, p. 367 (fig. 7); Courtesy Marion Covey, p. 391 (figs. 4, 5); John C. Huntington, pp. 401-4; Los Angeles County Museum of Art, pp. 406-7; Michael W. Meister, pp. 395-98 (figs. 8-11 drawn by Robert deJager); John F Mosteller, pp. 390-91 (figs. 1-3); Courtesy Joanna G. Williams, p. 399.

Photography credits: American Institute of Indian Studies, Varanasi, pp. 405, 392-93 (with drawings by John F Mosteller); British Museum, London, p. 367 (fig. 7); Courtesy Marion Covey, p. 391 (figs. 4, 5); John C. Huntington, pp. 401-4; Los Angeles County Museum of Art, pp. 406-7; Michael W. Meister, pp. 395-98 (figs. 8-11 drawn by Robert deJager); John F Mosteller, pp. 390-91 (figs. 1-3); Courtesy Joanna G. Williams, p. 399.

Winter 1990 449 Winter 1990 449

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