Written by Richard Edwards
W ALTER SPINK came to the Department of History of Art in 1961. Those were days, if not of wine and roses, of extraordinary development. It was a time when the department, along with area centers, was in a period of conscious expansion. Charles Sawyer was already in place giving to the Museum of Art increasing national significance, expanding collections (for which the Parker Fund
Written by Frederick M. Asher
W ALTER SPINK IS, of course, best known for his work on Ajanta. He's recently referred to himself as obsessed by Ajanta, something that those who know him will agree is not far from the mark. But Walter's impact on our field extends far beyond Ajanta, to something that too few know.
BACK in the 1960s, the American Committee for South Asian Art (ACSAA), was just that: a committee.
Written by Susan L. Huntington
TO THE AVERAGE PERSON, the designation "cave man" conjures up images of an animal-skin garbed, hairy, apelike male carrying a club and dragging his female companion by the hair. But picture this instead. The cave man that I have in mind is more an Indiana Jones-type adventurer whose realm of exploration is the cave monuments of the Indian subcontinent. Wielding a camera as his weapon,
Written by Janice Leoshko
THERE ARE MANY THINGS TO BE SAID about the place held by Walter Spink in the study of Indian art, perhaps most especially in regard to his long-term studies of Ajanta. But I want to highlight an aspect that may not always seem apparent in his meticulous ruminations on patronage and dating at this Buddhist site. This is a way in which his humanness has informed the direction of his questions:
Written by Michael W. Meister
MY MEMORIES OF WALTER SPINK go back to my second year in India - 1965 - when I met an obsessive, kind, bubbling gentleman at the Foreigners' Registration Office in Pune. He was certainly the first Art Historian I'd ever met - of India or otherwise - and a model for that world of "seeing" that I was precipitously then beginning to enter. I remember giving him a lift back to his home
Written by Donald M. Stadtner
CHARLES LANG FREER could scarcely foresee that his generous bequest to the nation also included sponsoring graduate students in the Asian art program at the University of Michigan to participate in the great anti-war moratoriums in Washington, DC, in the early 1970's. This is how it happened: