Chicago Art Institute Research Articles

Reflection on the Role of Artists: A Case Study on the Hidden Visual Curriculum of the School of the Art Institute of Chicago

ABSTRACT Hidden visual curriculum of an art school: a case study.

Remembering Anne d'Harnoncourt (1943–2008)

Previous article No AccessAppreciationRemembering Anne d'Harnoncourt (1943–2008)Kathleen A. FosterKathleen A. Foster Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Art Volume 22, Number 3Fall 2008 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/595812 Views: 7Total views on this site PDF download Crossref reports no articles citing this article.

Objects of Desire: Victorian Art at the Art Institute of Chicago by Gregory Nosan, and A Pre-Raphaelite Marriage: The Lives and Works of Marie Spartali Stillman and William James Stillman by David B. Elliott (review)

Objects of Desire: Victorian Art at the Art Institute of Chicago by Gregory Nosan, and A Pre-Raphaelite Marriage: The Lives and Works of Marie Spartali Stillman and William James Stillman by David B. Elliott (review)

Spilling Over by Patricia Tobacco Forrester

Patricia Tobacco Forrester, born September 17, 1940, in Northampton, MA, received her BA degree from Smith College (Northampton) in 1962. She earned BFA (1963) and MFA (1965) degrees from Yale University School of Fine Art in New Haven, CT, where she was a student of Leonard Baskin (1922-2000). Forrester was a faculty member at the California College of Arts/Crafts in San Francisco and an instructor at the Art Institute of Chicago, Chicago, IL. Forrester specializes in watercolor and print making and is known as a plein air (open air) painter, meaning she does not work in a studio but rather in the natural settings of the images she is capturing. She states that “the subject of my work is always growth: how trees and plants bulge and stretch and open.”1Michael Berger Gallery Web site.http://www.mbergerart.com/forrester/about.htmGoogle Scholar Spilling Over (approximately 40 × 60 in), a watercolor of pink and blue morning glories, orange day lilies, and green undergrowth, is a prime example of her style. The blossoms teem with life, so much so that the planter they are growing from is not visible. The title of the piece implies the existence of a planter that cannot contain the natural power of the blossoms. The character of the medium (watercolor) allows the hues to ebb and flow, creating a seascape of petals and vines. Gift of Mrs Phyllis Berney in honor of Joseph H. Berney, Spilling Over is located on the south wall of the Hilton Building subway level.

Exhibit Review: Experiencing the Work of Jeff Wall The Art Institute of Chicago, June 29 - September 23, 2007

Exhibit Review: <i>Experiencing the Work of Jeff Wall</i> The Art Institute of Chicago, June 29 - September 23, 2007

The Relativity of Boundaries

Pat Badani is an intermedia artist, educator, and researcher who studied at the University of Alberta (Canada) and at the School of the Art Institute of Chicago, where she now resides. Her Web-work has received a Canada Council Media Arts Research Grant and has been exhibited and discussed in international new media festivals, notably at File 2005 in Sao Paolo, Brazil, and at the New Forms Festival in 2004 in Vancouver, Canada. Her latest project, Where are you from?_Stories (2002-2005), has developed across multiple platforms--both digital and physical. (1) Inscribed at the juncture between net.art, documentary video, and visual culture, it draws upon live events and dialogue, culminating in an on-line video database about nomadism and migration, one of today's issues of global relevance. [ILLUSTRATION OMITTED] Where are you from? is a universal question exchanged when people meet for the first time so they may contextualize each other within territory, nation, or family relations--an exercise in coming to grips with the strangeness of others. There were times in human history when that question was addressed to someone coming from a nearby village or from another valley. Today, the question is commonly directed toward travelers from foreign countries such as migrants and tourists--a phenomenon that signals a renewed perception of time and space; a new understanding of the larger formations of culture today; (2) and the relativity of boundaries. Using this question, Badani set out to explore how the complex relations between centers and peripheries, as well as between people and the places to which they belong, are found in both local and global environments. Globalization is a new word describing an old process that began at the dawn of man when the first migrants walked out of Africa. wish to leave the place from where one originates to seek a better future elsewhere has always been a central motivation for in an increasingly interconnected world. But, if a German professional interviewed for Badani's Internet platform describes himself as a nomad who lives in the same location for only two to four years, the inevitable questions follow: Where are you going? and for? Is this type of nomadism a sign of escape--a means to sustain the illusion of improvement by perpetually moving forward or the result of an imperative to seek a better life elsewhere politically and financially? latter was certainly the case for a Bosnian refugee whose answer to Badani's queries was: The war started in my country, and we had to make a decision, not for us because our lives were already messed up, but a good decision for our daughter, so we escaped. These are but two examples from fifty-five interviews archived in the on-line video database. Badani's aim was to bring together a plurality of views about displacement from citizens in today's globally interconnected world: tourists, nomads, refugees, immigrants, local migrants, and sedentary locals. Her multifocal vantage point reflects the open notion of the term migration used in contemporary theories and artworks today. What is at play in the work is the of people and languages and the hybrid, rather than the single, perspective of the Nation looking at the others--a perspective similarly found in the European project Projekt Migration from 2002-2006 where is seen as a main force for social change. (3) Also at play is the of images in motion, brought about by the digital revolution and art practices that intersect with live spectacle, where images migrate from film theaters to video screening rooms, exhibition spaces, and Web spaces. CHALLENGING POSITION Where are you from?_Stories was filmed as Badani retraced her personal nomadic history in six cities: Montreal, Toronto, Chicago, Mexico City, Buenos Aires, and Paris. After creating live events in carefully selected public locations, Badani invited citizens to share personal stories integrating images of self- and trans-local experiences. …

The Gates of Paradise: Lorenzo Ghiberti’s Renaissance Masterpiece ed. by Gary M. Radke (review)

REVIEWS 271 traditions of the Church itself. And while Mirk does offer some vernacular translations of the Bible, he does so only as part of an oral exchange and never does he advocate the translation of the Bible into English. Ford also shows how Mirk highlights the varying accounts of Christ’s life in the four gospels and how this comfort with variation was antithetical to the Lollard emphasis on unity of text. She also demonstrates how Mirk brings the gospel writers into the larger hagiographic (rather than scriptural) tradition that is at the basis of his sermons. And lastly, Ford shows how the Festial, while supportive of limiting preaching to clergy, was ultimately supportive of the accessibility of Christian knowledge through many different forms rather than through the Bible alone. Though one may wish that Ford had addressed a number of other texts or issues , that desire perhaps stems from the fact that she has touched upon an exciting topic that warrants much more critical conversation. The book’s greatest fault, though certainly not Ford’s, is a seemingly incomplete job of copyediting. Though the mistakes are not so great that they detract from the worth of the book, they are plentiful enough to warrant comment here. Ford’s book is an important one because it both addresses a neglected, yet critical, sermon collection and because it offers a new and compelling portrait of what constituted orthodoxy in late medieval England. Her attention to the text of the sermons and her ability to read them in light of a variety of other medieval writings is excellent. The translations of the Middle English passages into Modern English will also serve scholars who do not work exclusively in Middle English but may still find the themes of the book relevant to their research . The clear chapter titles and section titles also make this book easy to reference as a quick guide to Lollardy and orthodoxy in late medieval England. It will be of interest to scholars interested in a wide range of areas: literacy, preReformation England, political rebellion, and hagiography. JENNIFER A. T. SMITH, English, UCLA The Gates of Paradise: Lorenzo Ghiberti’s Renaissance Masterpiece, ed. Gary M. Radke (New Haven: Yale University Press 2007) 182 pp., 269 color ill. The exhibition entitled “The Gates of Paradise: Lorenzo Ghiberti’s Renaissance Masterpiece” and mounted in three American museums—Atlanta’s High Museum of Art, the Art Institute of Chicago, and the Metropolitan Museum of Art—featured panels from Lorenzo Ghiberti’s famed Gates of Paradise from the San Giovanni Baptistery in Florence. Commissioned by Florence’s Arte di Calimala (Wool Merchants Guild) in 1425 and installed on the east side of the baptistery upon completion in 1452, Ghiberti’s ten relief panels in gilt bronze detail stories from the Old Testament and are considered among the most iconic works of Italian Renaissance art. The exhibition commemorated the conclusion of over twenty-five years of conservation of the Gates undertaken by the Opificio delle Pietre Dure. Particularly due to water damage from the 1966 flood of Florence, the restoration process began in 1980 and will culminate this year when the panels are reunited and permanently installed in a hermetically sealed case in the Museo dell’Opera del Duomo in Florence. The small but impressive exhibition, brought to the United States in part out of gratitude for scholarly assistance during the 1966 flood, displayed three of the ten panels (Adam and REVIEWS 272 Eve, Jacob and Esau, and David) along with four Prophets (two figures in niches and two decorative heads) from the surrounding frame, accompanied by informative didactics about the conservation process. The catalogue, like the exhibition, is concise yet filled with groundbreaking new insight into one of the most beloved works of the Renaissance. A precursor to a larger study that will more thoroughly detail the twenty-five years of scientific findings regarding the Gates as a whole, the catalogue, edited by Gary Radke, Consulting Curator of Italian Art at the High Museum of Art, brings together essays written by experts who worked intimately with the panels displayed in the exhibition, including the head of the Museo dell’Opificio delle Pietre...

American Artists Paint the City : Katharine Kuh, the 1956 Venice Biennale, and New York's Place in the Cold War Art World

By 1956, Alfred Barr and the Museum of Modern Art (MoMA), which then owned the American Pavilion, had recognized the cold war utility of the Venice Biennale. Relying on Clement Greenberg’s formalism, it promoted Abstract Expressionism as the culmination of a European-inspired, American-produced aesthetic embodying universal values with the hope of winning over the moderate European left. American Artists Paint the City, an exhibition for the 1956 Venice Biennale momentarily complicated this agenda. Guest curator Katharine Kuh of the Art Institute of Chicago organized an innovative exhibition thematically uniting 20th century American modernist painters. Her presentation of Jackson Pollock and Willem de Kooning as the inheritors of a New World modernist heritage elicited powerful opposition from American art authorities supporting lineage ties to international modernism as well as upset observers abroad who saw it as a chauvinistic and pretentious effort to undermine European ascendancy in the transatlantic art world. An examination of these reactions exposes the importance of institutional politics in shaping canonical aesthetic priorities and sheds light on the intersecting roles of critics, curators, artists, and patrons in the construction of accepted traditions.

Perpetually Out of Place: Michael Asher and Jean-Antoine Houdon at the Art Institute of Chicago

OCTOBER 120, Spring 2007, pp. 71–86. © 2007 October Magazine, Ltd. and Massachusetts Institute of Technology. In 1916 the Art Institute of Chicago placed an order with the Gorham Manufacturing Company of Providence, Rhode Island, to acquire a bronze cast of Jean-Antoine Houdon’s late-eighteenth-century statue of George Washington. The original marble statue had been commissioned in 1785 by the General Assembly of the Commonwealth of Virginia, as a result of its resolution the previous year to have a statue “erected as a monument of affection and gratitude to George Washington, who, uniting to the endowments of the hero, the virtues of the patriot, and exerting both in establishing the liberties of his country, has rendered his name dear to his fellow-citizens, and given to the world an immortal example of true glory.”1 Thomas Jefferson, who, along with Benjamin Franklin, was entrusted with the task of selecting the appropriate sculptor for the commission, reported from Paris on their selection of Houdon: “There could be no question raised as to the sculptor who should be employed; the reputation of Mons. Houdon, of this city, being unrivaled in Europe.”2 Describing Houdon’s fame and skill in a letter to Washington, Jefferson wrote, “A bust of Voltaire executed by him is said to be one of the finest in the world.”3 Prior to Houdon’s receiving the commission, Governor of Virginia Benjamin Harrison had arranged for Charles Willson Peale to paint a full-length portrait of Washington, which was sent to Jefferson in Paris.4 Houdon, however, preferred to model Washington from

Charles Sheeler: Across Media (review)

The exhibit Charles Sheeler: Across Media, held at the Art Institute of Chicago between October and January, 2007, demonstrates how this important American modernist (1883–1965) rendered urban and industrial subjects in drawing, painting, photography and film. Originally mounted at the National Gallery of Art in Washington, it is the first show devoted equally to Sheeler's paintings and photography and to their interaction in his art making. Like the accompanying catalogue of the same name by Charles Brock (University of California Press), the exhibit is organized around the themes of cross-media dialogue, industry, and later works.

Microbiologic and Cultural Interchange

“...I did develop...a kind of root down in Atlanta,” confided Hale Woodruff during an oral history interview, “You may have heard of it. It was called the ‘Outhouse School’ and, frankly, it was given such a name as this by one of the press writers because we used to paint landscapes in and around Atlanta in our art classes and the hillsides were just dotted with outdoor toilets” (1). The understated and self-effacing Woodruff was referring to the Atlanta School, an alliance he developed among black artists in the 1940s, which flourished into national activities, among them an annual art exhibit. At the inaugural, philosopher Alain Locke, spokesman of the Negro Movement, known in the 1920s and 1930s as Harlem Renaissance, praised the exhibit for encouraging “a healthy and representational art of the people with its roots in its own soil” (2). Painter, muralist, printmaker, experimenter, educator, organizer Woodruff became art director at Atlanta University, where he founded the art department and permanent collection and later painted the Art of the Negro murals. Born in Cairo, Illinois, the only child of a widowed mother, who was “very, very skillful with the pencil and the pen,” he grew up in Nashville, Tennessee, and showed early talent as high school newspaper cartoonist and later, during his studies at the John Herron Art Institute in Indianapolis, as weekly political cartoonist for the Indianapolis Ledger (1). Later, Woodruff studied at Harvard University and the Art Institute of Chicago (3). He arrived in Atlanta “to paint the red clay of Georgia” by way of Paris, France, where he lived on a shoestring for 4 years, attending the Academie Moderne and Academie Scandinave at the time Ernest Hemingway, F. Scott Fitzgerald, Gertrude Stein, Josephine Baker, Henry O. Tanner, Palmer Hayden, and other American expatriates made Paris their home. Exposure to cubism in Paris guided his transition from realistic scenes of everyday life in the rural South to bold abstraction and invention. During a summer in Mexico, he studied with Diego Rivera, “I wanted to paint great significant murals in fresco and I went down there to...learn his technique” (1). Rivera’s murals, which mingled culture, history, and folklore with sociopolitical and communal elements, were cre-

Using and conserving artists’ books at the School of the Art Institute of Chicago

This article describes the Joan Flasch Artists’ Book Collection, a unique archive of experimental art forms from the 1960s to the present, and how students and the general public make use of its welcoming access policies. It further addresses conservation efforts as they apply to a setting that strongly emphasizes hands-on usage of materials.

Generative Systems at the School of the Art Institute of Chicago, 1970–1980

An artist/educator discusses the program Generative Systems, which she founded at the School of the Art Institute of Chicago in 1970. She describes why and how it was founded as a quest for an art process appropriate for emerging social/technological change. She explains how she gradually interwove her art work and teaching in this personal quest. A broad overview of Generative Systems is accompanied by a discussion of noted artists and scientists who cooperated with the program.

Sonia Landy Sheridan and the Evolution of Her Generative Systems Program

In 1970, the School of the Art Institute of Chicago added a new course of study to its curriculum. Sonia Landy Sheridan created this program (initially called “Energy Bank,” and soon renamed “Generative Systems”) as a learning environment in which students explored the processes and took of new technology within a matrix of ideas about the nature of art and of science, and about the roles of each in society. The Generative Systems program occupies a distinctive place in the yeasty response of artist-educators to the burgeoning availability of enticing new tools from science and industry during the 1960s and 1970s. This article traces Sheridan's artistic journey to, through and beyond the decade when she headed the program.

Drawings in dialogue: old master through modern: the Harry B. and Bessie K. Braude Memorial Collection

Dorothy Braude Edinburg has amassed one of the most important private collections of drawings in the United States. This book celebrates her gift of 240 drawings to the Art Institute of Chicago. Many of the 166 works featured are well known, while others are previously unpublished. All will be illustrated in full color and accompanied by detailed texts. An introduction traces the collection's history, provides an overview of its significance, and details its relationship to the Art Institute's stellar holdings of works on paper. Among the many beautiful and important drawings are works by Boucher, Watteau, Cezanne, Degas, Gauguin, Monet, Renoir, Blake, Gainsborough, Hogarth, and Turner. Strong examples of early 20th-century drawings by Braque, Kandinsky, Klee, Miro, Modigliani, Mondrian, Matisse, and Picasso are also included. Distinguished drawings by American artists complete the impressive survey.

Inspiration in Unexpected Ways

Inspiration in Unexpected Ways

Casas Grandes and the Ceramic Art of the Ancient Southwest

Casas Grandes and the Ceramic Art of the Ancient Southwest. Richard F. Townsend, ed. Chicago: The Art Institute of Chicago, 2005. 208 pp. (Co‐published with Yale University Press).

Julius and John Rosenthal and Rosenthal Art Slides

During its forty-five years of existence, Rosenthal Art Slides was a primary supplier of color images to visual resources collections. The company was founded by Julius Rosenthal, a German refugee in Chicago who, in the 1940s, began vending black-and-white slides of works of art and architecture to institutions and scholars. This enterprise was continued by Julius's son, John, who shifted emphasis to color slides in the 1960s by purchasing collections of images shot by various scholars and travelers. John Rosenthal's skill in reprocessing color slides eventually impressed the Art Institute of Chicago, who allowed him to lead a photographic initiative that produced color slides of many of that museum's works. This led to Rosenthal's contracting with many other museums to produce color slides of their holdings. Rosenthal Art Slides catalogues of the 1970s and 1980s offered thousands of slides covering art and architecture from all over the world, and included direct contributions from artists and architects.

Artist Statements

Research Article| September 01 2006 Artist Statements Marco Breuer; Marco Breuer Marco Breuer has exhibited widely throughout the United States and Europe. His work is in numerous collections, including the Museum of Modern Art, New York; the New York Public Library; the San Francisco Museum of Modern Art; and the Staatsgalerie in Stuttgart, Germany. His publication SMTWTFS received wide critical acclaim and a photo-eye Award for Best Photography Book of 2002. Breuer received a Guggenheim fellowship in 2006. He is represented by Von Lintel Gallery in New York City. Search for other works by this author on: This Site Google Matt Siber; Matt Siber Matt Siber is a Chicago-based artist who works in the media of photography and digital imaging. Originally from the Boston area, Matt received his MFA in Photography from Columbia College Chicago in 2003. He is represented by galleries in Chicago, Madrid, and Reus, Spain and his work is part of the permanent collections of The Art Institute of Chicago and The Museum of Contemporary Photography. Images from Matt's projects have been published worldwide in periodicals such as ArtForum, Flash Art and EXIT Magazine. Matt is also on the faculty at Columbia College Chicago teaching beginning and advanced digital imaging. Search for other works by this author on: This Site Google Jim Goldberg Jim Goldberg Jim Goldberg is an artist and writer who has been involved in long-term, in-depth collaborations with mostly invisible or misrepresented groups of people. He is best known for his award-winning photographic books and multi-media exhibits and video installations, among them Rich and Poor, Nursing Home, Raised by Wolves, and most recently Hospice. Jim Goldberg has received numerous awards and grants including a Guggenheim Fellowship, three National Endowment for the Arts awards, a Eureka Fellowship, The Wallace Alexander Gerbode Foundation Fellowship, and most recently both the Hasselblad and ArtCouncil Awards. He is currently working on two new books—one, a fictional autobiography, and the other, a project on the immigrants of Greece. He is a Professor of Art at the California College of Arts and Crafts. Search for other works by this author on: This Site Google English Language Notes (2006) 44 (2): 133–134. https://doi.org/10.1215/00138282-44.2.133 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Marco Breuer, Matt Siber, Jim Goldberg; Artist Statements. English Language Notes 1 September 2006; 44 (2): 133–134. doi: https://doi.org/10.1215/00138282-44.2.133 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsEnglish Language Notes Search Advanced Search The text of this article is only available as a PDF. Copyright © 2006 Regents of the University of Colorado2006 Article PDF first page preview Close Modal You do not currently have access to this content.

Notes, Queries on Marco Breuer's Notes, Queries

Research Article| September 01 2006 Notes, Queries on Marco Breuer's Notes, Queries Jeffrey DeShell; Jeffrey DeShell University of Colorado at Boulder jeffrey.deshell@colorado.edu Jeffrey DeShell is the author of three novels, S & M and In Heaven Everything is Fine (FC2), Peter: An (A)Historical Romance (Starcherone), and a critical book, The Peculiarity of Literature: An Allegorical Approach to Poe's Fiction. He has co-edited two collections of fiction by American women, Chick-Lit I: Postfeminist Fiction and Chick-Lit II: No Chick Vies (FC2), and was a Fulbright Teaching Fellow in Budapest, Hungary, 1999–2000. He is currently an assistant professor and Director of the Creative Writing Program at the University of Colorado at Boulder. Search for other works by this author on: This Site Google Marco Breuer; Marco Breuer Bard College marcobreuer@mindspring.com Marco Breuer has exhibited widely throughout the United States and Europe. His work is in numerous collections, including the Museum of Modern Art, New York; the New York Public Library; the San Francisco Museum of Modern Art; and the Staatsgalerie in Stuttgart, Germany. His publication SMTWTFS received wide critical acclaim and a photo-eye Award for Best Photography Book of 2002. Breuer received a Guggenheim fellowship in 2006. He is represented by Von Lintel Gallery in New York City. Search for other works by this author on: This Site Google Matt Siber; Matt Siber Columbia College (Chicago) matt@siberart.com Matt Siber is a Chicago-based artist who works in the media of photography and digital imaging. Originally from the Boston area, Matt received his MFA in Photography from Columbia College Chicago in 2003. He is represented by galleries in Chicago, Madrid, and Reus, Spain and his work is part of the permanent collections of The Art Institute of Chicago and The Museum of Contemporary Photography. Images from Matt's projects have been published worldwide in periodicals such as ArtForum, Flash Art and EXIT Magazine. Matt is also on the faculty at Columbia College Chicago teaching beginning and advanced digital imaging. Search for other works by this author on: This Site Google Jim Goldberg; Jim Goldberg California College of Arts and Crafts solidoro@earthlink.net Jim Goldberg is an artist and writer who has been involved in long-term, in-depth collaborations with mostly invisible or misrepresented groups of people. He is best known for his award-winning photographic books and multi-media exhibits and video installations, among them Rich and Poor, Nursing Home, Raised by Wolves, and most recently Hospice. Jim Goldberg has received numerous awards and grants including a Guggenheim Fellowship, three National Endowment for the Arts awards, a Eureka Fellowship, The Wallace Alexander Gerbode Foundation Fellowship, and most recently both the Hasselblad and ArtCouncil Awards. He is currently working on two new books—one, a fictional autobiography, and the other, a project on the immigrants of Greece. He is a Professor of Art at the California College of Arts and Crafts. Search for other works by this author on: This Site Google Mark Amerika Mark Amerika University of Colorado Mark.Amerika@colorado.edu Mark Amerika is an Associate Professor of Art and Art History at the University of Colorado at Boulder. His net art works have been exhibited all over the world including the Whitney Biennial, the ICA in London, and the Walker Arts Center. He has published two novels, The Kafka Chronicles and Sexual Blood (FC2: University of Alabama Press). Amerika is the founder and publisher of the Alt-X Online Network, a net art and new media writing site started on the Internet in 1993 (www.altx.com). His forthcoming book of artist writings, titled META/DATA: A Digital Poetics, will be published by The MIT Press in 2007. Search for other works by this author on: This Site Google English Language Notes (2006) 44 (2): 135–142. https://doi.org/10.1215/00138282-44.2.135 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Jeffrey DeShell, Marco Breuer, Matt Siber, Jim Goldberg, Mark Amerika; Notes, Queries on Marco Breuer's Notes, Queries. English Language Notes 1 September 2006; 44 (2): 135–142. doi: https://doi.org/10.1215/00138282-44.2.135 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsEnglish Language Notes Search Advanced Search The text of this article is only available as a PDF. Copyright © 2006 Regents of the University of Colorado2006 Article PDF first page preview Close Modal You do not currently have access to this content.