All Sessions (198)

Pietro da Cortona's Corpus of Drawings after the Antique

Jorg Martin Merz, Universität Wien

Cornelis Dusart’s Use of Copying Within His Own Corpus

Susan Anderson

Correggio or Rondani: On the Attribution of Drawings and Its Significance

Mary Vaccaro, University of Texas, Arlington

Paolo Veronese and Drawing Practice in Renaissance Verona

Diana Gisolfi, Pratt Institute

From Design to Disegno: Drawing Modes in the Work of Friedrich Sustris

Susan Maxwell, University of Wisconsin, Oshkosh

The Place of Drawings in the Art Patronage of Giulio de’ Medici (Pope Clement VII)

Sheryl E. Reiss, University of California, Riverside

Sticks & Stones: A Collaborative Exchange Examining Labeling and Stereotyping

Pamela A. Beverly, University of Colorado, Boulder

Collaborative Methods and Strategies: A Case Study in Community Awareness

Andrea Marks, Oregon State University; Muneera U. Spence, Virginia Commonwealth University

The New Designers: Enabling Identity, Building Community

Thomas Hapgood, University of Arkansas

Transformation: Moving from Cooperative to Collaborative Learning in Design Education

Kelly Leslie, University of Arizona

“The Mangle of Practice”: Assemblages of Design, Structure, History, and Nauture

Dawn Hachenski, James Madison University

The Other Africa

Vivien Greene, Solomon R. Guggenheim Museum

Waiting for the Barbarians: The Futurist Myth of African Primitivism

Lucia Re, University of California, Los Angeles

Longhi, Venturi, and the Italian Primitives

Andrée Hayum, Fordham University

Italia barbara al feminile: Anna Magnani and the Experience of the “Primitive Within”

Sharon Hecker, independent scholar, Milan

Turning Backward and Inward: Appropriations of the Vernacular in the Neighborhoods of Ina-Casa

Stephanie Pilat, University of Michigan

Origins of Masking in Bronze Age China

Elizabeth Childs-Johnson, Old Dominion University

Context and Significance of Sanxingdui Bronze Masks

Kimberley Te Winkle, Institute of Archaeology, University College, London

Safeguarding/Masking the Deceased in Late Bronze Age China

Susan N. Erickson, University of Michigan, Dearborn

Antlered Tomb Monsters of the Chu

Cortney E. Chaffin, University of Pennsylvania

Discussant: Nancy Steinhardt, University of Pennsylvania

Susanna Coffey

Marilyn Minter

Ena Swansea

Alexi Worth

John Zinsser

Discussant: Stephen Maine

Dialogue or Polemic? The Case of the Kalenderhane Fresco of St. Francis

Paroma Chatterjee, University of Chicago

Mendicant Art for Private Devotion: The Paradoxes of a 15th-Century Case Study

Margaret Hadley

Discourse and Discord: The Colonial Interpretations of the Genealogical Imagery at Santiago Apostol in Cuilapan, Mexico

Sara Taylor

Sebastian and the Chichimecas: Franciscan Images of Concordia in the Utopian Landscape

Julie Shean

Images, Catechism, and the Shaping of Doctrine: Capuchin Missionary Methods and the Making of Kongo Christianity in Early Modern Central Africa

Cecile Fromont

Restaging Modernism

Jenny Anger, Grinell University

Modernizing Without Modernism: Asger Jorn's Modifications

Karen Kurczynski, Museum of Modern Art

Is Realism “Just” Kitsch? Realist Practice as Avant-Garde in Early 20th-Century China

Francesca Dal Lago, Leiden University

Georges Bataille and the Limits of Modernism

Raymond Spiteri, Victoria University of Wellington

Retooling Constructivism into Constructivity: The Transformations of Modernism in Early Stalinist Russia

Juan Ledezma, Columbia University

Azimuth, Zero, and the Network: Rethinking Communication and Consumption

Stephen Petersen, University of Pennsylvania

Akasegawa Genpei’s Print Intervention: The Sakura Illustrated (1970–71)

Reiko Tomii, independent scholar, New York

The Art Magazine as New Media: Aspen, 1965–1971

Gwen Allen, Maine College of Art

The Flight Into Reality: Dé-coll/age and Its Artists, 1962–69

Benjamin Lima, Yale University

Think of This Magazine as a Nonmagazine: The Bay Area Dadaists’ Dadazines

Emily Hage, Philadelphia Museum of Art

Elizabeth Schlatter, University Museums, University of Richmond

Olga Kopenkina, independent curator, Brooklyn

Joshua Decter, independent curator and critic, New York

The Baby and the Bathwater: Developing a Foundations Curriculum for a Pluralistic Era

Sherry Stone Clifton, Herron School of Art and Design, Indiana University

Taming the Beast: Bridging Critical Theory with Studio Art

Kelly Phillips, Emily Carr Institute

Can’t We Just Be Artists?

David Kamm, Luther College

Rethinking Foundations: From Start to Finish

Mary Stewart, Northern Illinois University

Drawing and Design in the Digital Age; or, Adding the Two-Button Wireless Mouse to Your Tool Box

Peet Cocke, Cuesta College

Cavalry and Cult in Early Greece

Erin Walcek Averett, University of Missouri, Columbia

The Roman Fornix: Development of a Triumphal Monument

Anne Hrychuk, Institute of Fine Arts, New York University

The Severan Battle Frieze of Cyrene: A Study in the Architectural Framing of War

James F.D. Frakes, University of North Carolina, Charlotte

The Urban Iconography of Flavian Victory: Domitian's Restoration of the Triumphal Processional Route

Michael L. Thomas, Tufts University

Centum Homines: The Prototype of the Alexander Mosaic and the Military Museum in the Hellenistic World

Peter E. Nulton, Rhode Island School of Design

The Trophy Tableau Monument in Rome: From Marius to Caecilia Metella

Lauren Kinnee, Institute of Fine Arts, New York University

The Iconography of Divine Warfare in the Dura-Europos Synagogue Frescoes

Kara L. Schenk, Maryland Institute College of Art

Is Bonnard a Modernist?

Karen Stock, Winthrop University

Late-Style Mondrian

Marek Wieczorek, University of Washington

Arrested Development? George Grosz’s Late Montages

Michael White, University of York

The Fate of Automatism: Late Surrealism and the Problem of Style

Neil Matheson, School of Media, Arts and Design, University of Westminster

The Tortoise Who Wins: Myron Stout’s Abstract Paintings of the 1950s and 1960s

Alison Green, Central St. Martins College of Art and Design

From Collecting to Collaboration

Kermit Bailey, North Carolina State University

Inter-Classrooms: Interdisciplinary, Multidepartmental, Interinstitutional Art History Projects

Hannah Higgins, University of Illinois, Chicago

Food Always Brings People Together: Art and History as Social Action

Bernard L. Herman, University of Delaware

Concept Maps and Complex Questions: New Approaches to Media Design, Technology, and Cultural History

Conrad Gleber, LaSalle University

Working from the Perimeter

Willie Ray Parish, University of Texas, El Paso

Hillbilly Happiness: The Barnstormers' Pilgrimage Down South

David J. Brown, Southeastern Center for Contemporary Art

From the Big Picture to the Small Object

Kate Bonansinga, University of Texas, El Paso

Beautiful Losers

Christian Strike, Atelier Noir, Iconoclast Editions

Clay Lewis, National Endowment for the Humanities

Lisa Kahn, National Endowment for the Humanities

Ask the Lawyer

Elena M. Paul, Esq., Volunteer Lawyers for the Arts; Alexei Auld, Esq., Volunteer Lawyers for the Arts

Jean-Étienne Liotard, the Turkish Painter

Kristel Smentek, Frick Collection

Piranesi, the Aesthetic of Eclecticism, and His Stile Egiziano

Sarah Lawrence, Cooper-Hewitt National Design Museum

James Gillray’s China: A Late Mercantile Critique

Douglas Fordham, University of Virginia

Contesting the Exotic: Taste, Collecting, Empire, 1750–95

Natasha Eaton, University College, London

Performing Cross-Cultural Encounters in 18th-Century Venice: Andrea Brustolon’s Allegory of Strength

Erin Campbell, University of Victoria

On Seeing and Viewing in Early 18th-Century Isfahan

Renata Holod, University of Pennsylvania

Arriving at the Caribbean: Visual Representation of Transatlantic and Transcultural Experience

Allison Thompson, Barbados Community College

The Birth of Haitian Art as a “Renaissance”

Legrace Benson, Arts of Haiti Research Project

Writing about Art in the Caribbean: Issues of Representation and Reception within the Region

Veerle Poupeye, Emory University

Curating with/out a Jamaican Accent

Catherine Amidon, Plymouth State University

Hispanophone Caribbean Art in the US: Between the Museum and the Classroom

Edward Sullivan, New York University

Discussant: Judith Bettelheim, San Francisco State University

On Painting Architecture Black

Michael Linzey, University of Auckland

Maya Baroque Facades

Carol Ventura, Tennessee Technological University

The Gothic and Cross-Cultural Revival of Hybrid Churches of Samoa

Lama Tone, University of Auckland

Worship Aesthetics and the Employment of Western Forms and Materials in 19th-Century Maori Ecclesiastical Architecture

Richard A. Sundt, University of Oregon

Rangiatea: Gothic Provocations

Robin Skinner, Victoria University of Wellington

Modeling Visual Learning between East and West

Ann Shafer, American University in Cairo

Martin Luther King Lived in the Renaissance: Teaching Art History in Qatar

Jochen Sokoly, Virginia Commonwealth University School of the Arts, Qatar

Present (Re)Present: Toward a Contemporary Regional Identity

Chris Kienke, Savannah College of Art and Design

Western Art Studies in Turkey: Art on a Pale Blue Dot

Ilgim Veryeri Alaca, Bilkent University

Grids Meet the Arabesque: Design Education in Doha, Qatar

Mary McLaughlin, Virginia Commonwealth University School of the Arts, Qatar; Erik Brandt, Virginia Commonwealth University, Qatar

The Studio after Reconstruction: The Atelier Brancusi as Model

Jon Wood, Henry Moore Institute

Studio Vertigo: Mark Rothko

Morgan Thomas, University of Canterbury

The Studio as Test Site: Bruce Nauman

MaryJo Marks, School of Visual Arts

Back to the Studio: The Making of the Male Artist

Julia Gelshorn, Centre Allemand d’Histoire de l’Art, Paris; University of Zurich

Machines in the Studio: Olafur Eliasson and the Globalised Art World

Philip Ursprung, University of Zurich

Discussant: Kirsten Swenson, Case Western Reserve University

Three Pleasures of the Medium

Will Pappenheimer, Pace University

When the Sitter Is the User: New Media and the Static Body

Michele White, Tulane University

New Forms of Fragmentation: Samples, Cycles, and Elements in Motion

Roberto Bocci, Georgetown University

Early Generative Aesthetics and Contemporary Art Movements

Christoph Klütsch, International University, Bremen

Collaboration in New Media

Patrick Lichty, Columbia College, Chicago

The Kitchen as Exemplary Space from Renaissance Treatise to Period Room

Deborah Krohn, Bard Graduate Center for Decorative Arts, Design, and Culture

The Venetian “Portego”: Family Piety and Public Prestige

Margaret Morse, Washington and Lee University

A Richly Ornate Space: Abbess Giovanna da Piacenza’s Residence in Renaissance Parma

Giancarla Periti, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

Ethical and Practical Considerations in Uniting Fragments from Disparate Italian Renaissance Domestic Interiors

Susan Wegner, Bowdoin College

Discussant: Beth Holman, Center for Medieval Studies, Fordham University

Mott Haven: A Case Study in Gentrification

Edwin Ramoran, Longwood Arts Project, Bronx Council on the Arts

Off the Grid: Connecting Creative Corridors

Erin Donnelly, Lower Manhattan Cultural Council

The Question Is the Tension Among Various Poles

Heng-Gil Han, Jamaica Center for Arts and Learning

Pawel Althamer and Katarzyna Kozyra, Performing New Realities

Paulina Pobocha

Beyond Freedom or beyond Democracy?

Piotr Piotrowski, Adam Mickiewicz University

House of Hollies/Chambers of Death: Emplacing a Politics of Time in the Age of German Normality

Richard Langston, University of North Carolina, Chapel Hill

Expanding the Present: Michael Wesely and the Intractability of Time

Lutz Koepnick, Washington University, St. Louis

Affective Interruptions: Mapping with Transition

Clare Pritchard

Challenges and Models: A Very Brief History of Studio Art and Art History in American Colleges and Universities

Lisa De Boer, Westmont College

Integrating Art Studio, History, and Theory: A Pedagogical and Practical Approach

Barbara Yontz, St. Thomas Aquinas College

A Case Study: Combined Departments of Art Practice and Art History, Cohabitation or Colonialism

Sandra Lotte Esslinger, Mt. San Antonio College

Teach Art History? I Can Do That

Robert Sites, Norfolk State University

The Column of Trajan Reconsidered and Viewed by a Double-Headed Creature

Bertha Steinhardt Gutman, Delaware County Community College

Discussant: Beth Stewart, Mercer University

Dizz/placement: Half Moon Eyes

Mina Cheon, Maryland Institute College of Art

The New Great Game: The New Colonization in Globalization

Sarina Khan Reddy, Eastman Kodak Company Research Laboratories

Plays Well with Others: Opportunity for Artists in the Global Village

Daria Dorosh, University of East London

Compassionate Actions: Art Envisions a World without Borders

Lisa Marie Kaftori, independent artist, Israel; Joan Giroux, Columbia College, Chicago

Speaking into the Silence

Karen Frostig, Lesley University

Roman Obsequies for Peter II (1707) and John V (1751) of Portugal

John E. Moore, Smith College

Political Fireworks: The Chinea of 1745

Jill Deupi

Fragonard’s Trees between Scenic Artifices and Metaphors

Patrick Coue, University of Pennyslvania

Jailhouse Rocks: Pierre-François Palloy’s Movable Monuments

Richard Taws, McGill University

The Short Life of Neoclassical Chairs

Ethan Lasser, Yale University

American Idol and the Rise of Mediocrity

Peet Cocke, Cuesta College

Critique as Critical Reflection

Mariah Doren, Central Michigan University

The Enhancement of Critical Thinking through Critique

Neil Matthiessen, Arkansas State University

Who Is the Programmer

Jere Williams, St. Paul’s School

Discussant: Elaine King, Carnegie Mellon School of Art

Pier Consagra

Diana Cooper

David Humphrey

James Siena

Fostering Diversity of American Cultural Diplomacy Abroad

Evangeline J. Montgomery, Office of Citizen Exchanges, Bureau of Educational and Cultural Affairs, Washington, DC

Gail Tremblay, Evergreen State University

International Relations via Our Shared Solstice Sun over This World and the 50-Foot Outdoor Circular Denver Sculpture Wheel

Edgar Heap of Birds, University of Oklahoma

Devotional Art for the Feminine Divine

Nadema Agard, Red Earth Studio Consulting/Productions

Doré in America: Recent Discoveries

Eric Zafran, Wadsworth Atheneum

“Plus Dante illustré par Doré, c’est Doré illustré par Dante”: The Innovations and Influence of Doré’s Illustrations for Dante’s Divine Comedy

Aida Audeh, Hamline University

“Our misfortune is immense, and our anguish terrible”: Gustave Doré and The Black Eagle of Prussia

Lisa Small, Dahesh Museum of Art

Doré and Gérôme: Classical Sculptors?

Leanne M. Zalewski, Graduate Center, City University of New York

Van Gogh Remembering (with) Doré

Judy Sund, Queens College and Graduate Center, City University of New York

Gustave Doré and the Graphic Novel

Patricia Mainardi, Graduate Center, City University of New York

A Roman Antiquity among Henry Clay Frick’s Renaissance Bronzes? Assessing Issues of Historicity

Joaneath Spicer, Walters Art Museum

Building upon Technique: Continuing Research into the Bronzes of Severo da Ravenna

Dylan T. Smith, National Gallery of Art, Washington, DC

The Small Bronzes of Severo Calzetta da Ravenna: New Means of Connoisseurship

Richard E. Stone, Metropolitan Museum of Art

Discussant: Francesca Bewer, Straus Center for Conservation, Harvard University Art Museums

High Times, Hard Times: New York Painting, 1967–75

Katy Siegel, Hunter College, City University of New York

Invisible -ism

Robert Mertens, University of Wisconsin, Whitewater

Luc Tuymans and the Use Value of Irony

George Anastasias Magalios, independent artist

Discussant: Barry Schwabsky, independent critic and poet

Helene-Marie Gosselin, Director, UNESCO Office in New York

Bonnie Burnham, World Monuments Fund

Christina Cameron, Canadian Delegation to the World Heritage Committee

Ray Wanner, Americans for UNESCO

The Malevolent Eros and the Imperial Jupiter: The Portrayal of Power in the Renaissance Court of Love

Leatrice Mendelsohn, independent scholar, New York

The Artist as Lover in 18th-Century France: The Case of Fragonard

Melissa Hyde, University of Florida

Leaving Home, Losing Love: J.-L. David’s Farewell of 1818

Issa Lampe, American University

Unhappily Ever After: Agnes Varda's Happiness and the Myth of the Loving Housewife

Rebecca J. DeRoo, Washington University, St. Louis

Art and Eros: Love as Politics in the 1960s

Jonathan D. Katz, Smithsonian Museum of American Art

Love Made Visible: Indirect Representation of Love as a Political Strategy in the Artwork of Felix Gonzalez-Torres

Nizan Shaked, California State University, Long Beach

Goupil at the Intersection of the London and Parisian Art Markets, c. 1857–1901

Anne Helmreich, Case Western Reserve University

Negotiating a Reputation: Whistler, Rossetti, and the Art Market, 1860–1900

Patricia de Montfort, University of Glasgow

Sculptural Innovation and the Market for Statuettes in Late 19th-Century Britain

Martina Droth, Henry Moore Institute

The Chenil: An Artists’ Colony for Chelsea

Ysanne Holt, University of Northumbria

Strategies of Display and Modes of Visuality in London Art Galleries in the Interwar Years

Andrew Stephenson, University of East London

The Habitat Diorama and the Integration of Academic Art for Science

Kevin J. Avery, Metropolitan Museum of Art

Seeing and Believing: Dioramas in the Thyer-Roosevelt Debates

Matthew Brower, York University

Disrupting the Diorama’s Illusionism: A Visual Examination of Pippa Skotnes’ Miscast

Jessica Joye Taplin-Stephenson, Emory University, Michael C. Carlos Museum

Double Take: Dioramas, Photography, Representation

Robert Silberman, University of Minnesota

Myths of Nature in Art, Science, and Religion: From Dioramas to Dogmas

Katerina Lanfranco, independent artist, New York

The Art-Historical Use of the Baroque under National Socialism

Evonne Levy, University of Toronto

“Gestalt,” “Liveliness,” and “Physiognomy”: Keywords and Concepts of German Art-Historical Writing in the Thirties and Forties

Daniela Bohde, Kunstgeschichtliches Institut, Goethe-Universität, Frankfurt

Painterly Formalism and National Socialism: Wölfflin and Greenberg

Daniel Adler, University of Guelph

The Legacies of National Socialist Art Policies in the British Zone of Germany, 1945–50

Veronica Davies, Open University

Discussant: Paul B. Jaskot, DePaul University

Nuances: Understanding the Fundamentals of Motion Design

Sarah Lowe, University of Tennessee

Reshaping the Meaning of Type with Sound and Motion

Bonnie Blake, Ramapo College of New Jersey

Application of a Sketchbook to a Motion Graphics Project

Ravinder Basra, University of San Francisco

We Don’t Have to Reinvent the Wheel: Applying Film Theory to Motion Graphics Design

Chris Corneal, Michigan State University

Disruptive Creative Process in the Interactive Classroom

Kim Grable, University of North Texas

Book Arts: A Tool for Liberal-Arts Learning in the Studio

Anne E. Beidler, Agnes Scott College

Going Beyond the Studio Walls: A Liberal-Arts Partnership

Pamela Flynn, Holy Family University

Art Education in the Liberal Arts: Key Components of a Contemporary Model

Mark Klassen, Beloit College

Fish Out of Water? Casting Reflections on Teaching Studio Art at a Rural Liberal Arts University in Alabama

Jessica L. Smith, University of West Alabama

Comparative Art-Educational Experiences from Community College to Graduate School

Natalie Funk

Career Preparation in the Bachelor of Arts Degree in General Studio Art at Delaware State University

Roberta Tucci, Delaware State University

The Thinking Image: Beyond Interpretation

Hanneke Grootenboer, University of Amsterdam

Desire and the Body without Organs: Rereading Magritte’s Le Viol through the Philosophy of Gilles Deleuze and Feliz Guattari

Lisa Lipinski, Corcoran College of Art and Design

Return to Damisch

Kent Minturn, Sarah Lawrence College

Just Noticeable Difference and the Thresholds of Artistic Perception

Joan Hart, Indiana University

Functions of Historiography

Elizabeth Sears, University of Michigan

Close Reading

Alexander Nemerov, Yale University

Interpretation in the Age of the Digital Zoom

Michael Leja, University of Pennsylvania

The Single-Artist Museum: Problems and Solutions

Barbara Buhler Lynes, Georgia O'Keeffe Museum, Georgia O’Keeffe Museum Research Center

Object Lessons

Sylvia Yount, High Museum of Art

A Touching Compassion: Dürer’s Haptic Theology

Shira Brisman, Yale University

The Collector’s Caress: The Tactile Allure of Sculpture in Early Modern Italy

Geraldine A. Johnson, Oxford University

Perspective, Optics, and Vision in El Greco’s Christ Healing the Blind

Andrew Casper, University of Pennsylvania

The Mechanics of Sight and Moral Choice in Pieter Bruegel the Elder’s Blind Leading the Blind

Charles Peterson, University of California, Santa Barbara

Sight, Science, and the Still-Life Paintings of Juan Sanchez Cotán

Mindy Nancarrow, University of Alabama

A Taste for the New: Collecting Chinese Ceramics in Renaissance Spain

Maite Alvarez, J. Paul Getty Museum, Mendoza Research Project, University of Southern California

Chinese “Gewgaws and Ornaments of Little Value”: Trading Anxieties in Manila, Mexico, and Latin American Art History

Dana Leibsohn, Smith College

Nanban Art between Nagasaki, Macao, and Acapulco

Alexandra Curvelo, Centro de Historía de Além Mar, Universidade Nova de Lisboa

“Nuestro joven”: San Felipe de Jesús: Syncretism and Innovation in the Martyr Murals at Cuernavaca Cathedral

Sara K. Klein, independent scholar, Chicago

Sublime Passion: Translating Text and Image in a 19th-century Philippine Colonial Manuscript in Valladolid

Florina H. Capistrano-Baker, Ayala Museum

Discussant: Thomas DaCosta Kaufmann, Princeton University

Rang de Nila (Color Me Blue)

Siona Benjamin-Kruge, Drew University

In the Pandemonium of Image: Derek Jarman’s Blue

Ignaz Cassar, University of Leeds

Blue Jeans: America’s National Pants

Nan Freeman, School of the Museum of Fine Arts, Boston

The Blue Glass Cure

Joanna Merwood-Salisbury, Parsons, New School for Design

Weeping Virgins and Wailing Women: Examining Grief and Piety in the Middle Ages

Vibeke Olson, University of North Carolina, Wilmington

Experiential Blue and the Architecture of the Swimming Pool

Jada Schumacher, University of Wisconsin, Stout

Post-Partum Blues

Mariangeles Soto-Diaz, Hampshire College

Picasso: Relooking at Africa

Suzanne Preston Blier, Harvard University

Metropolitan Fetish: African Sculpture in the Spaces of French Modernism

John Monroe, Iowa State University

Primitivism on Trial: the “Picasso and Africa” Exhibition in South Africa

Julie L. McGee, Bowdoin College

The Legacy of Primitivism in Contemporary Senegal: Art, Politics, and Institutional Discourses since the 1990s

Maureen Murphy, Université Paris I Sorbonne

Cultural Heritage and the Popularity of Primitivism

Peter M. Probst, Tufts University

Discussant: Steven Nelson, University of California, Los Angeles

Political Pots and Contentious Clay: A Postmodern Reading of Contemporary Ceramic Art

Tamsin Whitehead, independent scholar, Northwood, New Hampshire

Elaine Reichek’s Modern-Day Samplers

Paula J. Birnbaum, University of San Francisco

An Ambivalent Reappearance of the Orientalist Hamam

Michel Oren, California State University, Fullerton

Sacred Love and Sexual Devotion in the Late “Gay” Paintings of Bhupen Khakhar

Karin J. Zitzewitz, University of Chicago

Re-Presenting Tradition: Strategies of Transnational Contemporary Artists in the International Exhibitions Network

Joe Martin Hill, Institute of Fine Arts, New York University

Anatomical Drawings and Florentine Identity in the 16th Century

Jennifer Bird, Bryn Mawr College

Why Robert Hooke Stopped Drawing

Matthew C. Hunter, University of Chicago

Drawing, Performance, and Salon Sociability in Early-19th-Century France

Daniel Harkett, Columbia University

Contesting Identity and the Meta-praxis of Drawing

Anthony Auerbach

Discussant: Pamela H. Smith, Columbia University

The Endogamous Eugenic Japanese Nude: Koide Narashige

Bert Winther-Tamaki, University of California, Irvine

Finding Beauty in the House Functional: Class, Gender, and Beauty in Design Discourse in Modern Japan

Sarah Teasley, University of Massachusetts, Dartmouth

Virtuous Beauty or Beautified Virtue?

Seokyung Han, Binghamton University

Moba Moga (Modern Boy, Modern Girl) in Colonial Korea: 1910–45

Shim Chung, New York University

Conflicting Perspectives: Re-Presenting Feminine Beauty in 20th-Century Chinese Art

Sandy Ng, University of Hong Kong

Alice Aycock, independent artist, New York

Julian LaVerdiere, independent artist, New York

Harriet Senie, Graduate Center, City University of New York

“Borgo Allegro”: Art in the Letters of Isabella Gardner

Margaret Hanni, Simmons College

Commercial Art and the Making of an Artist

Sister Ellen Gavin, Emmanuel College

Religious Symbolism in Medieval Art and Architecture

Allyson Sheckler, Stonehill College

Angela Rosenthal, Dartmouth College

Lowery Stokes Sims, Studio Museum in Harlem

Julian Stallabrass, Courtauld Institute of Art

Anne Wagner, University of California, Berkeley

Practical Applications for Managing Personal Digital Image Collections

Virginia Hall, Johns Hopkins University

The Tipping Point: Finally, the Digital Classroom! (MDID2)

Kathe Hicks Albrecht, American University

Should Quality Matter? The Gritty Truth About Images and Art

Christine Sundt, visual resources consultant

Hegemony Cricket: The Voice of One Crying in the Wilderness

Thomas Kleese, University of Wisconsin, Richland

Separating the Sheep from the Goats, or, How I Learned to Stop Worrying and Love the Art World

James Panero, The New Criterion magazine; Martha Rosler, Rutgers, State University of New Jersey

Tramping the Boulevard: The Beggar, Masculinity, and Public Space

Temma Balducci, Arkansas State University

The Homoerotics of Bacchus: John Gibson and Simeon Solomon in Victorian Rome

Roberto Ferrari, Graduate Center, City University of New York

A Hysterical Reading of Auguste Rodin’s The Gates of Hell

Natasha Ruiz Gomez, University of Pennsylvania

The Artist and the Alienists: Portraits and Painters in the Victorian Asylum

Eleanor Stansbie, Birkbeck College, University of London

Bodies of Evidence: The Rhetoric and Illustrative Apparatus of the 19th-Century Anatomical Atlas

Cindy Stelmackowich, Binghamton University

Lap Swimmer, Crossing

Micaela Amato Amateau, Penn State University

The Beauty of Disorder

Cara Judea Alhadeff, independent artist

Reflections of a Second Generation: The Grass Is Always Greener

Deborah Rader, independent artist

Journey into the Past

Carolyn H. Manosevitz, Colorado Mountain College

Teaching New Teachers: How MFA Students Learn to Engage Beginning Art Students

Lee Ann Garrison, University of Wisconsin-Milwaukee

After the Sheepskin

Joe Seipel, Virginia Commonwealth University

Identifying Transferable Skills that are Embedded in the Learning Experience of Graduate Level Students

Sue Gollifer, University of Brighton

Anne Pasternak, Creative Time

Debra Singer, The Kitchen

Matthew Higgs, White Columns

Benjamin Weil, Artists Space

Intimacy in New Media Art

Andrea Ackerman, independent artist and psychiatrist

On the Geek as Humanist

Claudia Hart, Sarah Lawrence College; NY/Polytechnic University

Beyond Functional: Embedding Responsive Art into Human Systems

Sabrina Raaf, School of Art and Design, University of Illinois, Chicago

Animate Objects, and the Evocation of Empathy

John Slepian, Wesleyan University

The Beautiful and the Terrifying

Gail Wight, Stanford University

Parody; or, the Quandary of Place: Conservative Reactions to Modernism in Late 19th-Century Spain

Oscar E. Vazquez, University of Illinois, Urbana-Champaign

Seurat’s Gravity

Richard A. Shiff, University of Texas, Austin

Fictions of Facial Representation: Paul Klee’s “Portraits”

Charles W. Haxthausen, Williams College

Discussant: Linda Hutchon, University of Toronto

Toward an Understanding of Washington Allston and Samuel Taylor Coleridge

Todd Smith, Gibbes Museum of Art

A Shared Artistic Life: James Suydam, His Art Collection, and His Collaborative Circle

Katherine Manthorne, Graduate Center, City University of New York

Violet Oakley and Edith Emerson

Bailey van Hook, Virginia Polytechnic Institute and State University

Homage to Twombly: Rauschenberg’s Thirty-Four Illustrations for Dante’s Inferno

Anna Kamplain, Boston University

General Idea’s Exquisite Corpse: Configuring the Collaborative Body

Deborah Barkun, Millersville University of Pennsylvania

Catherine de Zegher

Discussant: Norie Sato, independent artist, Seattle

Where We Come From: Mobility and Belonging in Contemporary Art

T.J. Demos, University College, London

Going Astray: Network Transformations and the Asymmetries of Globalization

Helge Mooshammer, Thinkarchitecture; Peter Mörtenböck, Goldsmiths College, University of London

Collectivity and Its Discontents: Rethinking the Global and the Local in Current Art Practice

Grant Kester, University of California, San Diego

Discontinuous States: Art on the Border

Krista Geneviève Lynes, San Francisco Art Institute

From Nomadism to Cosmopolitanism

James Meyer, Emory University

Building an Understanding of Architectural History

Craig Eliason, University of St. Thomas

Student Curators: A New Approach to Active Learning through Museum and Library Partnerships

Lana A. Burgess, Florida State University

Engaging Masquerades: Ritual Performance in the Classroom

Carol Magee, University of North Carolina, Chapel Hill

Service Learning Projects: Connecting Student Research with the Needs of Community Partners

William Stargard, Pine Manor College

The Visual Essay Project: Thinking Visually, Conceptually and Synthetically

Janice Simon, Lamar Dodd School of Art, University of Georgia

Why the PhD Studio?

Naren Barfield, Glasgow School of Art; Laura González, Glasgow School of Art

Ante Magazine: What Are the Stakes?

Nicholas Herman, independent artist, New York; Dmitri Siegel, Sundance Channel

1957 Brain Rush

Stephanie Ellis, San Francisco Art Institute; Stacy Garfinkel, San Francisco Art Institute

Velázquez’s First Portrait of Philip IV and the Sources of Courtly Success

Tanya J. Tiffany, University of Wisconsin, Milwaukee

Uncovering the Role of Queen Isabella of Bourbon in Spanish Baroque Art

Iraida Rodríguez-Negrón, Institute of Fine Arts, New York University

The Count Duke of Olivares, Politics, and the Cult of St. Dominic Soriano at the Court of Philip IV

Marta Bustillo, National College of Art and Design, Dublin

The Portrait of Juan Rana, King of Comedy at the Court of Philip IV

Laura R. Bass, Tulane University

Discussant: John Elliott, Oxford University

Discussant: Jonathan Brown, Institute of Fine Arts, New York University

The Weight of An Expressive Silence

Rie Hachiyanagi, Mount Holyoke College

The Mummy’s Curse

Sandy Kinnee

Paper Dolls: Women Sculptors and the Body in Pulp

Virginia Maksymowicz, Franklin and Marshall College

Empire on Course

Eve Ingalls

Paper Keeps the Pace

Rachel Foullon, Public-Holiday Projects

The Student Movement

Molly Nesbit, Vassar College

Interiority

Ewa Lajer-Burcharth, Harvard University

The Twilight Zone: Photography and the Uncanny

Abigail Solomon-Godeau, University of California, Santa Barbara

Of Aby Warburg, Writing, and Time

Moira Roth, Mills College, Oakland

Discussant: Linda Nochlin

Elsewhere as Nowhere: Color, Vision, and the Void in Titian Ramsay Peale’s Kilauea Pendant

Wendy Ikemoto, Harvard University

“Unquestionably a picture”: George Seeley’s Winter Landscape of 1909

Sarah Caylor, Duke University

Native Spirits and Racial Souls: African American Artists and the Rhetoric of “Distinctive Contribution”

Mary Ann Calo, Colgate University

American in Spite of Himself: Joseph Cornell, an Imaginary Expatriate

Kirsten Hoving, Middlebury College

Discussant: Angela L. Miller, Washington University, St. Louis

Michael Hatt, Yale Center for British Art

Daniel H. Weiss, Lafayette College

Kimerly Rorschach, Nasher Museum of Art, Duke University

Jessica Stockholder, Yale University

Designing “Empire” in Early Imperial China (221 BCE–220 CE)

Hsin-Mei Agnes Hsu, Brown University

Hadrian’s Hydraulic Vision of Roman Cultural Identity

Brenda Longfellow, University of Iowa

Inchoata Roma Forma Leonis: An Augustan Model for Imperial Propaganda at the Forum of Mussolini

Valentina Follo, University of Pennsylvania

Building the Tropical World of Tomorrow: The Construction of Brasilidade at the 1939 New York World’s Fair

Aleca Le Blanc, University of Southern California

Spectacular Nation: Expo ’67, Prime Minister L. B. Pearson and the Photographic Promotion of Canada

Carol Payne, Carleton University

Christopher Lowtner, Indiana University

Amy Yao, Yale University

Legions in Mourning: Reconstructing Communities in the Roman Provinces

Alvaro Ibarra, University of Texas, Austin

Art without Objects: Michael Asher’s Empty Spaces

Jennifer King, Princeton University

Dymaxicrat Architecture: Buckminster Fuller at Black Mountain College

Eva Diaz, Princeton University

The Notion of Family: Family Work 2002–6

LaToya Frazier, Syracuse University

“It’s not an archive”: Christian Boltanski’s Les Archives de C.B.

Kate Palmer Albers, Boston University

“What is that ghastly lady doing there?” Marc Quinn’s Alison Lapper Pregnant and the Ability of Art

Christopher Bedford, J. Paul Getty Museum

Matters of Fluency

Erica Duffy, University of Northern Iowa

Disability as Divine: Special Bodies in Ancient American Art

Rebecca Rollins Stone, Emory University

Aesthetics of Accessibility

Jon Berge, independent artist, Columbus, Ohio

Seeing Disability

W.J.T. Mitchell, University of Chicago

Play It Again, Sam; and Again; and Again: Obsession in Art

Lennard Davis, University of Illinois, Chicago

Romans or Estoire? Late Capetian History as Imagined for the Queen

Tracy Chapman Hamilton, Sweet Briar College

Old Age and Glory: The History and Romance of the Family Saint-Floret

Amanda Luyster, College of the Holy Cross

Crusade History at the Court of Philip VI of Valois: British Library Royal Ms. 19 D I

Maureen Quigley, Saint Louis University

Drawing upon the Past: Historical Romances Illustrated by the Wavrin Master

Stephen Perkinson, Bowdoin College

Fairfield Porter and the “American Cramp”

Ted Leigh, independent artist and scholar, York, Pennsylvania

The Interwoven World of Fairfield Porter

George Rush, Yale University

Porter the Painter, Illuminated by His Short Reviews

Anne Devaney, University of Missouri, Kansas City

The Art and Writings of Fairfield Porter

Mario Naves, New York Observer

Fairfield Porter: Memoir

David Shapiro, independent poet and critic, Riverdale, New York

Striking Affinities: The Combination and the Conspiracy in Early Photographic Culture

Jordan Bear, Columbia University

Can You Hold a Pixel in Your Hand? Rethinking the Photograph as a Physical Object

Richard Turnbull, Fashion Institute of Technology

Vale Photography

Geoffrey Batchen, Graduate Center, City University of New York

That Was Then, This Is Now: A Radical Reorganization of Process

Wendy Babcox, University of South Florida

Parallel Universes: Making Do and Getting By + Thoughtless Acts (Mapping the Quotidian from Two Perspectives)

Kevin Henry, Columbia College, Chicago

The Spatial 'Fourth Dimension' versus Space-Time at Mid-Century: Stuart Davis, Marcel Duchamp, and Robert Smithson

Linda Dalrymple Henderson, University of Texas at Austin