ࡱ> %` abjbjNN wv,,Yfffffff$nD: : : : $^ , 8J !!!8888888$:hL=P?8f6!!66?8ff T8)7)7)76 f f 8)768)7)7ff)7 ugi: 6 )77j808)7=6^=)7=f)7l!()7- 1!!!?8?87 !!!86666 d $ d|jffffff  Retirement from the 91 Faculty Spring 2009  Faculty Meeting April the Twenty-fourth Two Thousand and Nine Be It Resolved: The faculty of 91 expresses its profound appreciation and admiration for the following members of the 91 faculty who have this year expressed their determination to retire. The faculty further resolves that the following biographical highlights be included in the minutes of the faculty meeting of April24, 2009 in recognition and celebration of their distinguished service and achievement.  R ichard Linke joined the faculty of 91 in 1975 and has helped to redefine the teaching of photography through his passion and commitment to excellence. Richard earned his B.S. degree from St. Lawrence University and his M.F.A. from Ohio University. He became an instructor at the State University of New York at Plattsburgh and then at Ithaca College and served as the photo historian for the Adirondack Museum in Blue Mountain Lake, New York, before coming to 91. Richard received tenure in 1981, and his exemplary teaching and scholarship earned him appointment to the Ella Van Dyke Tuthill 32 Chair in Studio Art in 2005. In 1976, he designed the twelve-room photography darkroom facility for the new Saisselin Art Building on campus. Students who took Richards beginning courses learned the classic elements of photography and a clear understanding of the discipline necessary to succeed. Richard soon became legendary in the department for his demanding and challenging classes. He has always mentored his students throughout their education on campusand he has led summer travel courses in photography to Budapest, Peru, Vienna, Prague, Berlin, London, Ireland, Italy and Greece. Embracing digital photography as the future of the medium, Richard has enabled 91 to become a leader among photography programs nationally. In 1995, he began his research into digital photographic technologies, and his mastery of digital technology has earned him the respect of his colleagues on campus and beyond. He boldly converted the photography classroom to a digital darkroom laboratory in 1999 and conscientiously maintained the software and hardware. He was the first in the department and College to review and master new software and hardware, sharing his knowledge through workshops for his colleagues in the department. His intense involvement in the possibilities of digital technology in photography reshaped not only his teaching but his scholarship as well, proving him to be a genuine and relentless innovator, committed to staying not only current with, but ahead of, technology, over and over again. Richards passion for photography is inextricably linked to his profound love of the Adirondacks. His lectures at Harvard, Cornell, Wells College, SUNY Plattsburgh, General Electric, St. Lawrence University, and the New York State Environmental and Cultural Heritage Conference, and many other places, focus on the history of photography, the rich heritage of Adirondack photographers, and the importance of preservation and digital restoration of historically significant photographs. Richard represented the College as an expert on the photography of Seneca Ray Stoddard in a 2006 PBS documentary film titled Seneca Ray Stoddard: An American Original, providing the experts point of view on this historic figure, whose life and breathtaking scenes of the Adirondacks made a significant impact. Richard also restored most of the images used in the film and acted as a consultant during production. Richards photographs have been included in major books about the Adirondacks including Adirondack Park by Frank Graham, published by the National Audubon Society; Durant: The Fortunes and Woodland Camps of a Family in the Adirondacks, by Craig Gilborn; Forever Wild, by Phil Terrie; Peopling the Adirondacks, by Amy Godine; and Great Camps of the Adirondacks, by Harvey Kaiser, to name just a few. He has also been featured in numerous journals and magazines and contributed to articles in Adirondack Life, Historic Preservation, the New York Times, and the Smithsonian Magazine. In 1997, Adirondack Life featured his work in an article with an accompanying portfolio: Digital Reality Artificial Nature: Distinguishing Art and Ethics at the Edge of Technology. Richard is in the process of working on a book about historic and personal Adirondack imagery: Adirondack Inspiration and Memory. His photographs can also be seen in the national public television program, Pride of Place: Building the American Dream. This eight-part series on the history and context of American architecture is hosted by famed architect Robert A. M. Stern and focuses on what makes American architecture distinct. Richards work has been seen in over seventy-five solo and group exhibitions since he arrived at 91 in 1975, including those at St. Lawrence University; Ohio University; the Hyde Collection; the Munson-Williams-Proctor Institute; Siena College; the Daniel Wolf Gallery in New York City; the Robert Klein Gallery and the Mendola Gallery in Boston; and the Deste Foundation for Contemporary Art in Athens, Greece; he was also featured in the PhotoKina International Exhibition, which traveled to Cologne, Paris, Milan, Zurich, Tokyo, Athens, Houston, and Miami. Richard Linke is a study in contrasts. He is fiercely private and yet warmly jovial, with a generosity beyond reproach, when it comes to his students and colleagues. He is a perfectionist, yet can also be forgiving; he is driven, but is not without humor. He is a man of impeccably high standards for himself and others, who has surely enhanced 91s reputation. We are indebted to him. Like the regional icons from history he so admires, his legacy will linger. M argo Mensing joined the Art Department faculty in 1997. She had received an M.F.A. in Fibers and a Graduate Certificate in Art History/Theory/Criticism from the School of the Art Institute of Chicago; an M.A. from the University of Michigan in American History; and a B.A. from Michigan in English. During her twelve years at 91, she quickly became a leading member of the department and the College community. Her teaching, scholarship, and service are truly exceptionaland one of her most important legacies is her collaborative work in interdisciplinary teaching and learning. Upon arriving at 91, Margo revitalized the Fibers area by redefining fibers as a discipline in visual arts that encompasses traditional skills as well as creative and critical thinking. Students in Margos classes soon learned that broad knowledge of many disciplines is required to understand the complex area of material culture. Her art theory course, Current Issues, brought contemporary art discourse directly into the academic and creative lives of 91 students. Rigorous and challenging, Margos courses fostered an intense atmosphere of creative exploration. Margos studio became the place where ideas intersected, where students could knit a hat, weave a trumpet and its sounds, build an architectural structure from memories, or grow marigolds as part of a personal ritual. Margos capacity for firmness, directness, and empathy created a classroom environment that invigorated our students and energized our department. She quickly connected with other disciplines across the college, inviting faculty to collaborate in her teaching and her own work. Her contribution to service learning through the development of the class, Sewing Local, drew adults from the community and 91 students devoted to providing for those less fortunate. She contributed to the LS program and she also team-taught a Scribner Seminar, bringing together the Dance Department and the Art Department. Throughout her teaching career at 91, her students collaborated with other departments, creating events at the Tang Museum, in other venues across campus, and in Saratoga Springs. Margos professional accomplishments span a broad range. She has exhibited her work in both solo and group exhibitions, locally and internationally, and she has created performances; she has authored monographs, book chapters and catalogues; she has presented papers at conferences, co-chaired panels, directed workshops and curated exhibitions. The scope of her work is extensive, too, ranging from quilts to weavings, installations to performances. There are knitted pieces and sewn pieces, printed pieces and embroidered piecesall in the service of compelling ideas. Her work contains humor, history, social critique, skillful word play, penetrating questions, and invitations. Margos work always intrigues and challenges. Margos one-person exhibitions include A Sense of Security, and Red Bibs: Common and Uncommon Occurrences, both at the University of Michigan; PostHaste at the School of Arts (Textiles), Australian National University, Canberra; Red Bibs: Playing Baby at the Chicago Cultural Center; and the importance of finish work at Mott Community College in Flint, Michigan. She was also involved in twenty-four group exhibitions including Made in NY 2009 at the Schweinfurth Memorial Art Center, an Exhibition by the Artists of the Mohawk-Hudson Region at the Albany Institute of History and Art, USED at the Painted Bride Arts Center in Philadelphia, Common Threads at the Memphis College of Arts, and Weaving the World: Contemporary Art of Linear Construction at the Yokohama Museum of Art, Japan. Margos scholarship has had a large impact on the current fibers dialogue and she has been recognized nationally and internationally for her highly creative and innovative work. Moreover, her curatorial work, collaborative exhibitions and performances have also impacted pedagogy at 91 and opened doors for her colleagues to imagine greater possibilities. She collaborated with former president, David Porter, pianist, and Debra Fernandez from the Dance Department, to produce Satie/Cage Tango, a performance of John Cages Sonatas and Interludes for the Prepared Piano at the Tang Teaching Museum and Art Gallery. Other collaborations included Mak3, a performance in three acts of George Crumbs Makrokosmos III, co-directed with Debra Fernandez, also at the Tang, and Stitch, a dance performance/film collaboration with Debra Fernandez and alumnus Jordan Taler. Another memorable interdisciplinary collaboration resulted in the acclaimed show, A Very Liquid Heaven, curated with Ian Berry of the Tang and Mary Crone Odekon of the Physics Department. This exhibit and performance taught artists about the ways science contributes to the visual arts and taught scientists about the importance of visual knowledge in advancing scientific enquiry. Margos contributions to the college extend beyond her teaching and scholarship to embrace a commitment to the importance of faculty governance. During her 91 career, she served on over thirteen College committees, including the Information Resources Council, College Benefits, the Integrity Board, the Self-Determined Major Committee, the Master of Arts in Liberal Studies Committee, and the Honors Forum Council. Within the Art Department, she served on the Curriculum Committee and helped to reconfigure the curriculum, define the mission statement, and establish assessment guidelines. She also served on the Gallery Committee and administered the Visiting Artist Lecture Series. Margo came to 91 during a time of uncertainty for the Fiber Arts program and, through her passion and energy, established Fibers as an integral component of the visual arts curriculum. Since her departure from the College in December, Margo continues to be a remarkably productive artist; her travels and her innovative projects continue to amaze usshe will be deeply missed. D avid Miller came to 91 in 1975 to teach studio art and direct the Schick Art Gallery. Through his enthusiasm and innovation in the gallery and in the classroom, David ignited the creative spirit of his students and won the admiration of his colleagues. For over thirty years, David has distinguished himself as an outstanding teacher, prolific artist, and dedicated colleague. His service to the department and the College has been truly exemplary. David brought to 91 a rich range of experiences from a number of different institutions. Having received his M.S. in Painting from the University of Wisconsin at Madison and his B.F.A. from the School of the Art Institute of Chicago, David went on to teach at Cleveland State University, the Cleveland Institute of Art, Lake Erie College, the Shady Side Academy in Pittsburgh, Pennsylvania, and the University of Wisconsin in Madison. When David arrived at 91, he knew he had come to an institution where his contributions would be important and where his art could flourish. As a professor at 91, David raised the bar for art students, introducing them to the rigor, knowledge, and passion required to devote ones life to the arts. David always put his students first and spent countless hours outside of class encouraging his students to strive for excellence. His students have adored him for his limitless attention to them while they were in college and his ongoing engagement with them long after they graduated. Indeed, through the years, his houseguests over many a weekend have included former students. Many of Davids students have become well-known gallery artists, professors, and arts administrators. In addition to his regular teaching responsibilities, David taught in the Summer Six Art Program and led travel seminars to Southern France and Northern Italy. He was also an art instructor at Comstock Prison and advised and taught an average of four University Without Walls students each year. Davids role as Director of the Schick Art Gallery was a perfect complement to his pedagogical vision. Through his efforts, the Schick Art Gallery has become a critical force in teaching students across the disciplines at 91, serving as a superior teaching laboratory for the department and the College. During his highly successful term as director, he curated over seventy-five exhibitions, which included the work of such renowned artists as Alice Neel, Philip Guston, Lenore Tawney, Jerome Witkin, John Walker, and Terry Winters. In the true spirit of 91s liberal arts mission, David also coordinated interdisciplinary exhibitions that showcased the scholarship and interests of 91 faculty from the arts, sciences, and humanities. Each year, David supervised a juried student exhibition with an outside juror of noteand mounted as well a faculty exhibition, which enabled students to interact with department faculty and learn from practicing artists, who were also their professors. As an artist, David has consistently demonstrated the highest standards of a scholar and teacher. He was appointed to the Ella Van Dyke Tuthill 32 Chair in Studio Art in 1999. Since 1975, David has been included in over 120 solo and group exhibitions. Among these were solo exhibitions at the Munson-Williams Proctor Institute in Utica; the Plum Gallery in Williamstown, Massachusetts; and the Albany Institute of History and Art in Albany, New York. He has participated in group exhibitions at the Stephen Haller Gallery, New York, New York; the Foreman Gallery, Hartwick College, Oneonta, New York; the Center Galleries, Albany, New York; the Southern Vermont Art Center, Manchester, Vermont; the James Gallery, Pittsburgh, Pennsylvania; the Kirkland Art Center, Clinton, New York; and the Hyde Collection, Glens Falls, New York. It is fitting that the Tang Museum chose to mount a retrospective of one of the most highly respected artists and professors at 91 in a solo exhibition in 2001. This exhibition showcased a selection of works from throughout Davids career and was a rare celebration of his lifetime achievement as an artist and professor. The exhibition was accompanied by a catalogue in which noted writer and poet John Yau states: "One of the strengths of Miller's art is his ability to embody complex, often paradoxical feelings within a single work. His paintings don't yield a single narrative, but many. One feels that the layering Miller uses isn't only a formal device but a way of investigating disparate feelings, particularly as they underscore the irresolvable tension between wonderment and memory." Davids artwork has received numerous awards, including a New York Foundation for the Arts Fellowship and a National Endowment for the Arts Fellowship. His work is included in over five hundred private and corporate collections in the United States and abroad, such as those of the Carnegie Museum of Art in Pittsburgh, Pennsylvania; the State University of New York at Albany; the School of the Art Institute of Chicago; the Key Bank Headquarters in Cleveland, Ohio; Siena College; and the Tang Teaching Museum and Art Gallery at 91. He has been a visiting artist at many colleges and universities as well as juror for two to three regional exhibitions annually. His involvement in the greater 91 arts community is illustrated by his ongoing work as a consultant for fund-raising events for local and state organizations. David has always been an active colleague in the department and the college. He served on the committee that developed the vision for the Tang Teaching Museum and Art Gallery and was among those who worked on the plan for the Zankel Arts Administration Program. His positive attitude, his even temper, and his fine intelligence make him the person to whom many of his colleagues turn for support. He has always been a strong representative of the very best at 91. His sense of humor, his collegiality, his values, and his energy will be truly missed. R ajagopal Parthasarathy came to 91 in September 1986 as an assistant professor of English after a career in book publishing in India, where he was a literary editor with Oxford University Press, New Delhi. He had published two books by then: Ten Twentieth-Century Indian Poets (Oxford UP, 1976), an anthology still in print, and Rough Passage: Poems (Oxford UP, 1977). He began writing at fifteen with the encouragement of one of his English teachers, Fr. Edward Corcoran of Don Bosco High School, Mumbai. The principal arranged for him and three other students to study Sanskrit, even though the language was not taught at the school. Before enrolling in Don Bosco, Partha had gone to an elementary school, where the language of instruction was Hindi. With four languages to speak of/inTamil, Sanskrit, Hindi, and Englishwhat else could he be but a translator? One of the tasks he set himself subsequently was to make available in English some of the masterpieces of Indian literature. Partha was fortunate to have had distinguished writers as his teachers. At Leeds University, England, where he was a British Council scholar in 1963-4, the British poet Geoffrey Hill was his tutor. Hill made a profound impression on him. It was in Leeds that Partha found his voice as a poet. But it was the Indian novelist Raja Rao at the University of Texas at Austin who awakened him from his long sleep in the West. Evenings, after dinner (Partha was living with Rao in 1982-83 in his apartment at 1808 Pearl Street), Rao would talk to him about the Indian spiritual and philosophical traditions. Partha was then translating the Old Tamil epic, the Cilappatikaram (The Tale of an Anklet) and also editing Raos novel, The Chessmaster and His Moves. He had been Raos editor at Oxford University Press from 1971 to 1982. The novel went on to win the American Nobel, the Neustadt International Prize for Literature, in 1988. When Partha came to 91, he had the extraordinary opportunity of sharing his love of Indian literature with his students. Initially, he taught two courses that focused on Asian literatureNon-Western Literature: The Classical World and Non-Western Literature: The Modern World. But from spring 1992, he taught a course that focused entirely on Indian literature in translationThe Politics of Reading Non-Western Literature: The Example of India. The course included masterpieces of Indian literature in eleven of the twenty-two languages recognized by the Indian Constitution. Since the early 1960s, British universities had been offering courses in world literature written in English. Partha first taught his course in Non-Western English Literature (India, Africa, and the Caribbean) in fall 1991. Until spring 2008, 91 was one of the few schools in the country that had offered such a course. An accomplished poet himself, Partha taught courses in Creative Writing: Poetry, An Introduction to Poetry, Modern Poetry, and Contemporary Poetry. In all these courses, he brought to his teaching his experience of writing, reading, and translating poetry from both the Western and non-Western worlds. Parthas translation of the Cilappatikaram was published in 1993 by Columbia University Press in its series Translations from the Asian Classics. It was awarded the 1994 PEN/Book-of-the-Month Club Translation Citation, which noted: Thanks to R. Parthasarathy, The Tale of an Anklet now joins ranks with the major world epics available in excellent English translation. In its authenticity and sensitivity, this translation stands as a rare triumph. It was also awarded the first Association for Asian Studies A. K. Ramanujan Book Prize for Translation in 1996. As director of the program in Asian studies from 1994 to 1998, Partha increased the visibility of the program on and off campus. During his tenure as director, the major in Asian Studies, with concentrations in East Asia and South Asia, was put in place. The first courses in Asian Studies at 91 were offered in 1950. With the new major, the program officially came of age. Partha has often involved the larger Indian community of the Capital District in the programs extracurricular events, such as readings by Indian writers and performances of traditional Indian music and dance. In recognition of his achievements as a poet, translator, scholar, and teacher, Partha was invited to be The Edwin M. Moseley Faculty Research Lecturer for 2002-2003. He spoke on Writing Between the Lines: The Politics and Poetics of Translation. More recently, in September 2007, Partha edited a special portfolio of contemporary Indian poetry for Poetry (Chicago) at the invitation of The Poetry Foundation. During his twenty-two years at 91, Partha strongly believes that his writing, scholarship, and teaching complemented one another perfectly. 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