CVPA Banner, design by Heather Garth, Design Communications, School of Art
Note: College colors comprise pink, brown, and blue; this design features fuschia, sky blue, and taupe (bottom to top) with lettering in white.
Welcome to the last independent newsletter of the Fine Arts Doctoral Program! As you know, in September 2002, Texas Tech University formed a College of Visual and Performing Arts under the aegis of which is administered the doctoral program in Fine Arts. This edition of Fine Arts Notes goes to press somewhat later than usual due to consolidating plans for a college newsletter: as envisioned, it is to be issued twice annually, with the fall edition highlighting the FADP, other programs, and news from alumni, so continue to record your achievements for inclusion in the inaugural combined bulletin next fall.
The thirty-year-old Fine Arts Doctoral Program stimulated creation of the college in that it established an environment that has enhanced the connections inherent in our artistic and intellectual relationships and that has embraced core study in all three of the arts disciplines— art, music, and theater/dance —coupled with the opportunity for specialized study in one's major. Having left the College of Arts and Sciences, wherein arts constituted only three of 22 units, the College of Visual and Performing Arts features nearly 100 faculty, 1000 majors, and innumerable students in core courses, organizations, ensembles, etc. As such, the college constitutes an increased focus as the voice for arts programs at Texas Tech, within the community, and in state, national, and international realms.
An Implementation Team considered all aspects surrounding the founding of the new college in a series of meetings during fall 2001 and spring 2002. The Implementation Team comprised Fred Christoffel [Theatre and Dance], Robert Henry [Music], Mary Jane Hurst [A&S liaison], Jonathan Marks [Theatre and Dance], Terry Morrow [Art], Garry Owens [Dean designate], Brian Steele [Art], and Michael Stoune [Music]. To each of these individuals, we owe an enormous debt of gratitude for their care and diligence, which the dean and associate deans designate continued throughout the summer. The new college has enjoyed a textbook start owing primarily to the efforts of these dedicated colleagues.
Naming the college publicly declares its identity and therefore constituted a pressing issue considered at the outset. Performing Arts easily links music, theatre, dance, and studio production. The term Visual Arts encompasses many instructional programs that may not be performative in nature and/or do not adhere to the aesthetic bias suggested by the designation Fine Arts, which evokes qualitative distinctions and disregards “crafts:” these problematic areas include design communication, art education, non-European aspects of art history, and even ceramics. College recognizes an administrative structure led by a dean that comprises three academic units. Thus, the College of Visual and Performing Arts states its manifold nature inclusively and accurately.
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CVPA Banner, design by Heather Garth, Design Communications, School of Art Note: College colors comprise pink, brown, and blue; this design features fuschia, sky blue, and taupe (bottom to top) with lettering in white. |
Mission and Vision: The College of Visual and Performing Arts is committed to providing an engaging and challenging environment that promotes the highest standards of excellence in art, music, theatre and dance. Its vision is to be a leader in linking the elements of arts education, research, performance, creativity, and technology.
The college within which the Fine Arts Doctoral Program operates is located in the historic Administration Building. Accessed by the two monumental stone staircases on either side of the central ground-floor archway, the college offices constitute what we consider to be the keystone of campus life. The second floor houses administrative offices (224), Dean’s Office (222), and the Undergraduate Office (220) for Associate Dean Robert Henry and staff members. Overlooking Memorial Circle on the third floor is the Graduate (and Faculty Issues) Office (331) for Associate Dean Brian Steele and staff members, from which the FADP is administered.
Dr. Mary Jane Hurst, Associate Dean of the College of Arts and Sciences and Professor of English, has relinquished director’s duties in conjunction with the change of administration. Dr. Brian D. Steele, Associate Dean of the College of Visual and Performing Arts, Associate Professor in Art History, and formerly Associate Director of the School of Art, has assumed the position as Director of the FADP. Involved in varying capacities with the program since 1988, his research interests focus upon painting in Venice during the sixteenth century and in critical methodology as related to art and culture. On behalf of the doctoral committee, he expresses sincere thanks to Dr. Hurst, whose interest and experience impelled effective changes and clarifications to the FADP.
 Brian D. Steele, Director |
The Fine Arts Doctoral Program offers a unique interdisciplinary education in Art, Music, Theatre, and Philosophy; provides a comprehensive approach to doctoral study of the arts and of aesthetic principles; and fosters leadership in the arts for institutions of higher education, for the benefit of regional culture, and for the enrichment of society as a whole. Its vision is to achieve regional, national, and international recognition for its disciplinary and interdisciplinary innovation and excellence, for its preparation of effective leaders for creative academic and administrative positions, and for its provision of a stimulating and inspiring environment to those who wish and are qualified for advanced and innovative education in the arts.
Since the Fine Arts Doctoral Committee has functioned in lieu of a collegiate structure, its role and formulation metamorphoses with an eye toward improved efficiency and quality. Its present configuration eliminates unit Chairs / Directors and a representative of the Graduate School, but includes Graduate Advisors from Art, Music, and Theatre (titles vary by unit), one rotating member from each unit, and one from the Department of Philosophy, all serving by appointment of the Dean and chaired by an Associate Dean of the college. Recently, the FADC has clarified expectations, procedures, and guidelines in order to allow individual units greater autonomy in their application, even while continuing to monitor closely such factors as admissions and degree plans. The committee welcomes new opportunities for balancing continuity with innovation in a dynamic process of growth and enhancement.
Current members are Linda Donahue, Theatre; Jonathan Marks, Theatre; Daniel Nathan, Philosophy; John Stinespring, Art; Michael Stoune, Music; William Westney, Music; and one vacancy, Art.
In January 2003, the Fine Arts Doctoral Committee was changed to the Visual& Performing Arts Graduate Committee. It continues to monitor the Fine Arts Doctoral Program, but also considers all graduate issues that may require action at the college level. The Graduate Committee includes Graduate Advisors from Art, Music, and Theatre (titles vary by unit), in addition to one rotating member from each unit, all serving by appointment of the Dean and chaired by an Associate Dean of the college.
Graduate Committee members are Andrew Martin, Art; John Stinespring, Art; Michael Stoune, Music; William Westney, Music; Linda Donahue, Theatre; and Jonathan Marks, Theatre.
Garry W. Owens, founding Dean of the College of Visual and Performing Arts, formerly served as director of the School of Music and interim chair of the Department of Theatre and Dance (TTU). Former dean of the School of Performing Arts and professor of music at Northern Arizona University, he possesses ample administrative experience, having also served as chair of music discipline, director of bands, and director of youth opportunities at the University of Wisconsin at Green Bay, and as chair of the music and art department at the University of Michigan at Flint. “The creation of the college is not just about putting all of the fine arts programs under one roof so they can work together,” Owens notes. “In terms of going through administrative channels, Arts and Sciences is a very large college. Being separated will simplify processes. Plus, now we will be empowered to raise designated funds, a vital component for a college.”
 Garry W. Owens, Dean |
J. Don Wink, newly designated Director of the School of Art, arrives from Stephen F. Austin University in Nacogdoches (TX). Jon D. (Don) Wink was born and raised in San Angel, Texas. He attended San Angelo College, the University of Texas in Austin, Ohio University, and the University of Washington. He received the B.F.A. degree in painting from the University of Texas and the M.F.A. degree in painting from the University of Washington. He has held teaching assistantships at Ohio University and the University of Washington, and has taught art full time in the following institutions that follow: Southwestern University, Georgetown (TX), Glenville State College, Glenville (WV), Slippery Rock State College, Slippery Rock (PA), and Stephen F. Austin. He has chaired art departments at Slippery Rock State College and Stephen F. Austin State University. During a career as a teacher and art administrator in higher education that spans forty-two years, Professor Wink has maintained his activity and production as artist and painter.
 Don Wink, Director |
Nancy Cochran, newly designated Director of the School of Music, comes from the Conservatory of Music of the University of Missouri at Kansas City, where she was Professor of Horn and Chair of the Instrumental Studies Division. Previously, she taught at the Universities of Montana and Indiana, and has taught for seven summers at the National Music Camp in Interlochen (MI). Professor Cochran has appeared as a soloist, chamber music artist, clinician, and orchestral player in the United States and abroad at locations including Poland, Russia, Korea, Hungary, China, Japan, England, Columbia, and Canada. Currently, she enjoys a position as International Workshop Coordinator for the International Horn Society, for which she has also served two terms as President and as a member of its Advisory Council. In addition, she has adjudicated a variety of international horn and brass solo competitions.
 Nancy Cochran, Director |
Recently designated Chairperson of the Department of Theatre and Dance, Frederick B. Christoffel came to Texas Tech as faculty member from the University of Wisconsin La-Crosse fourteen years ago. Professor Christoffel holds the M.F.A. in Theatre Design from the University of Illinois-Champaign and has served as Director of Theatre for the past eight years, now holding the position Head of Design concurrently with that of Chairperson. Among some 150 theatre productions to his credit, he has designed scenery for off-Broadway productions of How To Succeed in Business Without Really Trying and Biloxi Blues, and recently designed lighting for the Washington (DC) premier of The Soul of the West. Honors include the American College Theatre Festival and N.B.C. Meritorious Achievement Award for Contributions to Theatre and Scene Design, and ACTF Awards for Excellence in both Scene Design and Lighting Design for productions of Angles Fall, Talking With, Antigone, Amadaus, and The Imaginary Invalid. Currently he is designing lighting for the premier of The Fires of Camp at the City of Lubbock’s new amphitheatre. When he is not in the theatre, Fred can be found standing in a river waving a stick or tying little pieces of fur and feathers on a hook.
 Fred Christoffel, Chairperson |
In September 2002, Leslie Dutton (Fine Arts, Music) organized a symposium as the professional problem for her dissertation in arts management. The resulting Bécquer Symposium: Merging Poetry and Music focused upon a poet in 19th-century Spain and featured nationally prominent composers and specialists in poetic literature.
Early in September 2002, the FADP, the College of Visual and Performing Arts, and the School of Art joined with units in the College of Arts and Sciences, the International Cultural Center, the Latin American and Iberian Studies program, and the Religion Studies program to offer Religious Art: From the Old World to the New, a symposium featuring three nationally prominent specialists in medieval art and architecture, art history, and anthropology that was presented in conjunction with the international exhibition of Italian medieval paintings, Frescoes from the Vatican at the Museum of TTU.
Units in the College of Visual and Performing Arts offered a cornucopia of artistic endeavors from October 10-15. The University Theatre dedicated its renovated lobby (as is the theatre building) to the memory of Charles E. Maedgen, Jr., a former student at TTU, through a generous grant made in his name by his wife Louise Maedgen. Concurrently, the musical Damn Yankees opened, the School of Art hosted a reception in honor of its annual Faculty Exhibition, art historians presented original research in a symposium Creation to Erasure: New Work in the History of Art, and the School of Music presented its Scholarship Concert and concerts by the Jazz ensemble. The visibility engendered by clustering events is one example of benefits offered by organization within a college of the arts.
The School of Art selected Amy Haggard as the recipient of a Provost’s Research Assistantship for 2002-03. Having entered the FADP in the fall, she is focusing on Art History and Criticism and working with Dr. Carolyn Tate in preparation to teach undergraduate survey courses. Her research interests comprise non-Western art, aesthetics and art theory, and individual and gender issues in art. Haggard received an M.A. degree in Philosophy with a minor in Art History from TTU in 2000, and a B.F.A. degree in Art History with a focus on non-Western art from the University of Texas at Austin in 1995. She has been honored as a National Merit Commended Scholar and as recipient of a Presidential Scholarship. An independent artist, Amy has taught philosophy as a Teaching Assistant and has held positions as Training Coordinator at the South Plains Association of Governments and as Assistant Project Coordinator for the Lubbock Cultural Affairs Council.
 Amy Haggard |
Eugenio Zapata, originally from Cali, Colombia, was chosen by the School of Music as recipient of a Provosts Research Assistantship for 2002-03. Zapata holds a B.A. degree in piano performance from the University of the Andes in Bogota, Colombia, with additional study in computer engineering and philosophy. In 1996, he came to the US, earning an MM. degree in piano pedagogy from The Pennsylvania State University, and now continuing that emphasis in the FADP. Having trained also in theatre and dance, Eugenio numbers among his goals the development of an interdisciplinary approach to piano education utilizing his experience as actor and dancer, and he is using this unique approach to education in developing a series of children's piano pedagogy books. His interdisciplinary commitment is manifest: many of his performances are described as "having been written, directed, and choreographed by Mr. Zapata."
The Department of Theatre and Dance awarded a Provost’s Research Assistantship for 2002-03 to Jim McDermott, who graduated from the University of Kentucky with an M.A. in Theatre in 2001. He spent 2001-2002 at the University of Kansas teaching Introduction to Theatre and Principles of Acting, and directing the freshman showcase play "Richard Cory." McDermott has co-authored the textbook Experiencing Theatre: A Hands-On Introduction with his mentor, Dr. James Rodgers, and has taught and directed the U.K. Donovan Scholars Readers Theatre for the past three years. Originally from Cincinnati (OH), Jim has acted and directed in professional, semi-professional, and educational theatre and film in California, Vermont, and Kentucky.
 Jim McDermott |
As of August, the program numbers 214 graduates who productively engage the arts in some 33 states and eight countries. Congratulations to our most recent alumni and the mentors who guided their research.
George Bauer, “Perpetual Displacement as a Creative and Critical Strategy of Inquiry into Sites of Meaning.” (Keifer-Boyd)
Lon W. Chaffin, “Beyond the Thorn: An Opera in Two Acts.” (van Appledorn)
Michael Noel Dean, “Renaissance and Baroque Characteristics in Four Choral Villancicos of Manual De Sumaya: Analysis and Performance Editions.” (Davis)
Carol Jean Deats, “Toward Pedagogy of Extended Techniques Derived from Vincent Persichetti’s Parable, Opus 120.” (Stoune)
Paul James Etter, “Ralph Vaughan Williams’ Hodie: An Analysis and Performance Guide for the Choral Conductor.” (Davis)
Kerry Lee Graves, “The Emerging Prominence of Women Choreographers in the American Musical Theatre: A History and Analysis.” (Marks)
Delano K. Kahlstorf, “"The Two-Part Inventions of Johann Sebastian Bach: A Performing Edition Based Upon the Keyboard Technique and Performance Practice of Bach and His Circle." (Deahl)
Kiwon Lee, “The Dynamics of Richard Foreman’s Theater: Text and Performance.” (Bert)
Hung-Hui Lu, “A Strategic Planning Model for the Performance Workshop (Taiwan): An Internship Report.” (Marks)
Shu-lan Miranda Ni, “The Development of a Genre: Pina Bausch and Late Twentieth-Century Dance Theatre.” (Marks)
Ludim Pedroza, “The Ritual of Music Contemplation: An Anthropological Study of the Solo Piano Recital as Cultural Performative Genre.” (Westney)
David W. Stern, “The Use of the Euphonium in Selected Wind Band Repertoire Since 1980.” (Birdwell)
Robert Tucker, “A Historical Examination of the Hymn Tune Ein Feste Burg and its Treatment in Selected Twentieth-Century Concert Band Literature.” (Stoune)
Wan Kyu Chung (92) has published a beginning piano method (dissertation chair, Jane Ann Wilson), and is much in demand to give lectures on piano teaching in Korea.
David W. Crawford (87) won the Texas Educational Theatre Association’s playwriting contest with his original, full-length play Artesia, and directed Crazy for You at Tyler Junior College.
Doug Cummins (80) published the annual “Dissertations in Progress in Theatre Arts” in the Theatre Journal (May 2001), authored test and web activities supplement for Robert Cohen’s The Theatre (McGraw-Hill), and served as book review editor for Southern Theatre. Among many directing activities for the South Carolina Children’s Theatre and at Furman University (SC), he directed his own adaptation of Ibsen’s Hedda Gabler and performed an original one-man show Acts: A Dramatic Interpretation for LAND 35, a national Episcopal conference.
Morris Ellis (87) is recovering well from bone and joint injuries suffered in an accident in April when knocked down by a stack of falling plywood. Despite this, he was both Designer and Technical Director for a production of the musical Joseph, and he directed senior design work for All My Sons, The Good Doctor, and Picture of Dorian Gray: A Morality Play.
The Artistic Director/Conductor for the Linz Choral Festival in Linz (Austria) is Kenneth Fulton (81), who is honored as Distinguished Professor for 2002 at Louisiana State University.
Original songs by Edna Garte (78) constitute the CD Songs for Free Spirits; excerpts and further information may be found at www.harborwind.com.
Jan Garverick (98) currently serves a two-year term as President of TexASTA, the state affiliate of the American String Teachers Association. She is to write about training string teachers in Texas via four ASTA University String Projects at Texas Tech University, the University of North Texas, the University of Texas at Austin, and the University of Texas at San Antonio. Jan is a member of the Texas Music Educators’ Conference.
Carl Gombert (94) exhibited in several regional and national shows, including a solo show at Lindsey-Wilson College (KY). In addition, he curated an exhibition of Appalachian quilts that traveled to the People’s Museum of Zelezhn Ogorsk (Siberia) in May.
Richard Herman (86) has taught at Central Missouri State University since 1987 and was appointed Chair of the Theatre Department in 2001. He serves on the Board of Governors for the Speech and Theatre Association of Missouri, and on the Region V Selection Team for the Kennedy Center American College Theatre Festival. Past directing credits include Annie, Buried Child, Oedipus the King, and Death of a Salesman.
Ruth J. Holmes (76) teaches classes and coaches the Chamber Ensemble at Lubbock Christian University, where she has completed a two-year term as Interim Chair of Communication and Fine Arts. She performed All-Chopin Piano Recitals at Lubbock Christian University, the Museum of Texas Tech University, and the Amarillo Music Teachers’ Association, and was invited to review Volume II of The Godowsky Collection for the American Music Teacher Journal (April-May 2002). Among many other activities in professional organizations, she serves as a trustee for the Texas Music Teachers’ Association. In January, she was named an Honorary Member of the Rotary Club of Lubbock.
 Ruth J. Holmes |
Bao-Ling Hsiao (95) is an Associate Professor at the National Taichung Teachers College (Taiwan).
Movement and fight work for Misery was created by Ron Hubbard (85), who directed it and La Boheme at the Hippodrome State Theatre (FL). He also directed Young King Arthur at the Birmingham Children’s Theatre and Robin and Marian at the Utah Shakespearean Festival. Ron is a member of Actors’ Equity and the Society of Stage Directors and Choreographers.
Kevin D. Jagoe (98) is webmaster for Episcopal Church of the Good Shepherd (goodshepherd23.org) and Riverside Fine Arts Association (RiversideFineArts.org). He digitally edited and created music for Time, Tithes, and Talents, a video on stewardship for the Church of the Good Shepherd, and serves as a member of the Episcopal Diocese of Florida Reconciliation Commission.
Catherine Jennings (01) exhibited two solo shows of paintings and drawings at the Benizia Public Library in Benizia (CA) and the Humanities Center Gallery of California State University in Chico, and combined a solo show with Artist’s Talk and studio visits via the Orville J. Hanchey Art Galleries at Northwestern State University in Natchitoches (CA). In 2001, she exhibited and presented an Artist’s Talk at the Invitational Faculty Show Pressed, Shot, Drawn and Thrown, at the University Gallery of California State University at Chico. Web page.
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Joy Kairies (93) has completed a one-year position as Interim Chair of the Department of Music at Del Mar College (Corpus Christi), and was an invited speaker and clinician at the Appalachian College Association Technology Summit in 2001 and 2002. She made a presentation on teaching media intensive Internet courses at the Syllabus Technology Conference in Santa Clara (CA).
Terry Lewis (91) completed his first year as Chair of the Theatre Arts and Dance Department at Southern Utah University, home of the “Tony Award Winning” Utah Shakespearean Festival. He left the Texas Tech faculty as Head of Acting in Spring 2001, and has since directed Guys and Dolls, Blithe Spirit, and The Picture of Dorian Gray.
Michael Marcades (99) was appointed Director of Choral Activities in the Schwob School of Music at Columbus State University (GA) in August 2001.
Deborah Martin (98) has accepted a position as Assistant Professor in Theatre and Director of Theatre at Berea College, a liberal arts college in south central Kentucky. This spring, she directsART by Yasmina Reza; in the summer, she co-sponsors a Plenary Session, Arts Advocacy During National Crisis: Can Arts Participation Bind a Nation, for the Association for Theatre in Higher Education. Participants are to include South American activist Augusto Boal, educator and advocate Jill Dolan, Israeli playwright Motti Lerner, and Theatre Communications Group President Ben Cameron.
“Paratum cor meum” is one of three choral works by J. Michael Haydn that Robert Dale Miller (98) has edited for National Music Publishers; the others are “Alleluia! Confitemini Domino,”and “Beatus vir, qui timet Dominum.” Miller published “Choral Graduals of Johann Michael Haydn: Elegant Additions to the Choral Repertoire” in Choral Journal (April 1999), and served as Guest conductor for the New England Symphonic Ensemble at Carnegie Hall, the Tri-State Music Festival (Enid, OK), and the Southeast Arkansas Choral Directors Association All-Region Choir.
“Today I celebrate the first official day of my retirement,” writes Robert C. Osborne (76), “and I still look back fondly to my days in the Fine Arts Doctoral program at Tech. Although I never became an artist of renown or an illustrious professor, I am fulfilled with the great breadth of knowledge and experience I received in Lubbock. In my exuberance and hubris, I dismissed the old dictum, ‘To do well at something, one cannot do everything.’ However, at the risk of seeming to say, ‘Those grapes were probably sour,’ I have found great satisfaction in being treated with dignity and respect. During my 30 or so years in the public schools, I have been an administrator at a middle school (yuck), coach of high school football and baseball, and teacher of social studies, art, writing/research, and math. I enjoyed teaching math the most, I think. It seems that teaching calculus gets more respect than teaching social studies. From time to time, some of my students and many of my colleagues refer to me as a Renaissance man. I like that.”
Katherine Perrault (2001) is Assistant Professor of Theatre at McPherson College (KS), teaching Acting, Directing, Theatre Education courses, and Fine Arts. During spring 2002, she directed Pinnochio Commedia by Johnny Simons, Search for Signs of Intelligent Life in the Universe by Jane Wagner, and H.M.S. Pinafore by Gilbert and Sullivan. She was invited to participate in the New Play Workshop at the conference of the Association for Theatre in Higher Education (July). Her paper “Beyond the Patriarchy: Feminism and the Chaos of Creativity,” presented in November 2001 for the National Communications Association, is to be published in the Journal of Dramatic Theory and Criticism.
Professor Donald W. Seay (87) is the Chair/Artistic Director (with tenure) of the Department of Theatre at the University of Central Florida in Orlando, and Artistic Director for the newly formed UCF Civic Theatre. He performed as Dysart in Equus, as Linus Larrabee, Sr. in Sabrina Fair (1999), and as W.O. Gant in Look Homeward Angel (2002). He has directed The Lady’s Not for Burning and is to direct 5th of July in 2003. Active in several national and regional theatre associations, Seay serves on the Board of Directors and the Artistic Board for the Orlando/UCF Shakespeare Festival, the Boards of Directors for the UCF Civic Theatre and for the Boone Academy, the Board of Directors and Officers of the English Language Society of Orenburg, and the Planning and Development Committees for state and local centers for the arts and education. He is appointed, in addition, to the Statewide Course Numbering System Committee on Theatre Arts.
Entering his third season as host of “Music from Chautaugua” on Public Radio International, Ed Simone (96) is Visiting Associate Professor in Visual and Performing Arts at St. Bonaventure University (NY). In 2002-2003 he directs The Glass Menagerie and Love, Sex, and Terrorism, an evening of one-acts. He adapted and directed Villarrautia’s What Are You Thinking, translated by Leigh Simone (his wife), and directs another of her translations, Looks Like a Lie, in the fall. Recently, Ed saw former students appear in their first professional productions in New York and Chicago and is inspired by their accomplishments!
Stephen Taft (91) directed The Prisoner of Second Avenue at the Theatre L’Homme Dieu (MN), Picasso at the Lapin Agile at the University of Northern Iowa, and a ten-minute play Out of the Kennel at the Region V American College Theatre Festival. In 2002, he presented “Responsibilities and Repercussions: Staging the Fact-Based Play” at the Mid-America Theatre Conference in St. Louis (MO). Steve and his wife Cindy celebrated their 21st anniversary with the arrival of their fourth child, Anne Elizabeth Taft, in the spring.
Roberta L. Walters (99) attended an Environmental Art Symposium in Diamantina (MG), conducted research in Brazil during the summer of 2001, and acted as guest lecturer at Fed. University of Rondonia in July. During 2002, she presented a lecture “Environment: Brazilian Artists Respond” at NSU Research Day in April, and is to present her paper “Chaos and Order: The Place of Brazilian Artists” in Atlanta (November).
Formerly at Chadron State College, Brenda Wristen (98) now is Director of Piano Pedagogy and Keyboard Skills at the University of Nebraska at Lincoln (NE).
Lari Young (94) is Director of the Division of Public Education at the International Cultural Center, Texas Tech University. She directs the K-12 outreach program through the Office of International Affairs.
Compositions by Mary Jeanne van Appledorn, Paul Whitfeld Horn Professor of Music, have been recorded for OPUS ONE CD as Music Of Enchantment for Native American flute, strings and percussion, by the Polish Radio National Orchestra, with James Pellerite, flute, and David Oberg, conductor. She has published Gestures for clarinet quartet (Ludwig Music Publ., Cleveland), and Symphony for Percussion Orchestra (C. Alan Publ.). Commissions include Meliora Symphony for winds and percussion, Soundscapes for bassoon and string quintet, Meliora Fanfare for Orchestra (Women’s Symphony, San Francisco), and Symphony of Celebration (Lubbock Youth Symphony Orchestra, 115th anniversary 2003).
One –Act Plays for Acting Students, Volume 3, by Norman A. Bert, was accepted for publication (Meriwether Publ., anticipated 2003). His “The Art of Cutting a Script” appeared in AACT Spotlight 16/4 (April 2002): 12-13, and he has been honored as Texas Educational Theatre Association University Educator of the Year for 2002. Bert serves as TETA College-University Vice President, 2002-2004.
With Karen Keifer-Boyd, Ed Check, and Future Akins, Dennis Earl Fehr published “Canceling the Queers: Social Theory in Art Education Conference Planning,” in The Journal of Social Theory in Art Education (2002), and wrote six editorial columns on the Caucus for Social Theory in Art Education for the National Art Education Association News (2002). He was invited to present “Art Education in the Next 25 years” at the University of Illinois (Urbana). In 2001, Fehr presented “Postmodern Advanced Placement in Art” at the meeting of the National Art Education Association in New York, and was honored as Percy H. Tacon Memorial Lecturer for the Ontario Institute for Studies in Education at the University of Toronto (ONT), where he spoke on “The Agony and the Ecstasy.”
“Congratulations on the new college,” writes Thomas Langford, “and to Deans Owens, Henry, and Steele. This move has been dreamed of and promised for many years. Now it is to become reality. Having worked with the FADP from its beginning, I share the pleasure of all the Fine Arts faculty and students over this development.” Langford enjoys retirement and the memories of the many good years with the Fine Arts program, and sends best wishes for continued success!
Aaron Meskin reviewed The Aesthetics of Comics by David Carrier in the British Journal of Aesthetics 41/4 (2001), and was invited to present a paper, “Aesthetic Testimony: What Can We Learn from Others about Art and Beauty?” for a joint colloquium series in Bloomington (IL) hosted by Departments of Philosophy at Illinois Wesleyan and Illinois State Universities. He also served as a member of the Program Committee, session organizer, and session chair for the 2001 meeting of the American Society for Aesthetics in Minneapolis (MN).
Steven Paxton collaborated as composer and sound designer on the University Theatre’s production of The Tempest, directed by Beth Homan, and as co-composer of 6, an electronic music/ performance/ installation work created by MFA student Suzanne Hagood.
“The Celtic Guitar” by Christopher Smith is a chapter in The Cambridge Companion to the Guitar. Other publications include The Celtic Shore, with the Altramar medieval music ensemble, “The Wandering Minstrel: Seamus Ennis 20 years On” in The Journal of Music in Ireland, and “Musical Meaning and Tradition” in The Tallgrass Journal (all Fall 2002). He presented “Between Green Hedges and Ditches” and chaired a session at the annual meeting of the Narrative Society at Michigan State University (April). Last spring, he performed in the Roswell Symphony Chamber Series at Roswell (NM), the premiere of Welcher’s Minstrels of the Kells with the TTU Symphonic Wind Ensemble, with the TTU Ceili Band for the Texas Music Educators’ Association at San Antonio, with Last Night’s Fun in San Antonio (TX), and at the 2nd Annual Symposium of World Musics in Lubbock.
Brian Steele presented formal papers on “Titian’s Art, Imaginative Vision, and The Flaying of Marsyas” in the 23rd Biennial New College Medieval and Renaissance Studies Conference at the State University of Florida (Sarasota), “Titian and the Force of Art: Reconciling Vision, Material, and Identity” at the Minneapolis Institute of Arts (MN) for the Midwest Art History Society, and “All the Force of Titian’s Art: Love, Chastity, and Poesie” at the annual meeting of the Central Renaissance Conference conducted at Emporia State University (KS). In a paper for the Sixteenth Century Studies Conference in 2002, Steele investigated a related topic of interest, “Ceding to Love: Rubens, Andromeda, and 16th-Century Tradition.”
Carolyn Tate enjoyed a Fellowship at the Harvard Center for the Study of World Religions and at Dunbarton Oaks, Washington, D.C., where she researched a book in progress, Olmec Art as Knowledge. At present, Tate is curating an exhibition to open at the Buddy Holly Center Fine Arts Galleries in September 2003: 1519/ One Reed Year: The Wonders of Aztec Mexico. Paintings by Scott & Stuart Gentling and Aztec Arts from their collection. “Let’s make this an interdisciplinary event,” Carolyn challenges; “I invite your participation!”
With her husband Roy Wilson, Jane Ann Wilson performed works for piano and organ, organ duet, and two organs in concerts at Lubbock and Clovis (NM). Performing as one of the Devienne Trio (includes Michael Stoune, flute, and Richard Meek, bassoon), she presented recitals in Clovis, Memphis, and Clarksville (TN), and at the Music Educators’ National Convention in Nashville (April).
We have lost current addresses for the following and would appreciate receiving correct information. City in parenthesis is our last point of contact: Richard E. Holcomb (Denton, TX); Susan Robinson (Dodge City, KS); William A. Campton (Meridian, ID); Carlos A. Silviera (Long Beach, CA); Dagne Olsberg (Columbus, OH); Joseph R. Waite (Portales, NM); Jung-Shihn Yang (New York, NY).
College of Visual and Performing Arts
Administration Building 218A
Texas Tech University
Box 45060
Lubbock, TX 79409-5060
Phone:
(806) 742- 0700
Facsimile:
(806) 742- 0695