ART HISTORY OPEN SESSION: The Study of Drawings, Europe, 1300–1700, Part I
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
DESIGN STUDIES FORUM
Collaboration and Participation in Design Practice and Education
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
Italia barbara: “Primitives” from Piero to Pasolini, Part I
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
China’s Bronze Age Art and Systems of Belief
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
Painting in relation to Photography: Historical Perspectives from Current Practitioners
Susanna Coffey
Marilyn Minter
Ena Swansea
Alexi Worth
John Zinsser
Discussant: Stephen Maine
ARTspace
Artists' Residencies/World-Wide Opportunities
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Dialectics of Mendicant Art in Europe, Latin America, and Africa
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
Reframing Modernism
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
Artists’ Periodicals: 1945–1990
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
Do No Harm: The Role of the Curator
Elizabeth Schlatter, University Museums, University of Richmond
Olga Kopenkina, independent curator, Brooklyn
Joshua Decter, independent curator and critic, New York
Designing a Foundation Program for the 21st Century
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
Iconography of War in Ancient Greece and Rome
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
Late Style Modernism
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
CAA Education Committee
Rethinking Pedagogy in the Arts: New Models for a Changing World
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
Foundations in Art: Theory and Education (FATE)
Open Session
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ARTspace
Out of the Frame: Creativity and Change
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
National Endowment for the Humanities
Funding Sources from the National Endowment for the Humanities: New Programs and Updates on Grants in Art History and Museum Exhibitions
Clay Lewis, National Endowment for the Humanities
Lisa Kahn, National Endowment for the Humanities
ARTSTOR
Information Meeting
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Volunteer Lawyers for the Arts
Ask the Lawyer: Legal and Business Issues for Arts Professionals
Ask the Lawyer
Elena M. Paul, Esq., Volunteer Lawyers for the Arts; Alexei Auld, Esq., Volunteer Lawyers for the Arts
National Council on Education for the Ceramic Arts
Notes from the Paleolithic Project: The Onomatopoetry of Desire
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Consuming Images, Constructing Selves: Europe and the Orient in the 18th Century
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
The Reception of Caribbean Art
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
Black Vitruvius: The Appropriation of Classical and Gothic Architecture by Indigenous and Diasporic Communities
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
Western Art Studies in a Middle Eastern Context
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 Fall of the Studio: Reassessing the atelier d’artiste in the Post-Studio Era
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
New Media Caucus
Digital Difference: Recontextualizing New Media Art
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
New Perspectives on the Italian Renaissance Interior, 1400–1600
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
Metro Poles: Current Art at the City’s Limits
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
Art after Communism
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
CAA Professional Practices Committee
Double-Headed Creatures: Professors Who Teach Both Art and Art History, and the Combined Departments of Art Practice and Art History
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
Women’s Caucus for Art
The Art of Being Global: International Art of International Artists
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
Historians of Eighteenth-Century Art and Architecture
Ephemeral Art in the 18th Century
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
Art and Education at the End of the Age of Critique
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
Studio Art Open Session: Topics in Drawing
Pier Consagra
Diana Cooper
David Humphrey
James Siena
ARTspace
Visual Power: An Exhibition of Native American Artists/Scholars, A Project by the US Department of State Art and Culture Programs
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
Gustave Doré: Revisiting a Once-Famed Artist
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
Art History Open Session: Renaissance and Baroque Bronzes: Art History, Science, Collecting, and Display
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
ARTspace
Painting and Plurality: Schisms, -Isms, and the Difficulty of Definition
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
CAA Advocacy Session
UNESCO: Reengaging with Global Culture
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
What’s Love Got to Do with It? The Myth and Politics of Love in Art and Art History
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
Historians of British Art
A Nation of Shopkeepers: Innovation and the Art Market in Great Britain
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
Constructed Realities: Diorama as Art
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
Art History and National Socialist Germany: A Reevaluation
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
Interactive Type and Image: Changing the Face of Graphic Design
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
Studio Art within the Liberal Arts Setting: What Do We Offer?
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 Status of Interpretation in Art History
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
Association of Historians of American Art
The Object in Its Cultural Context: Promises and Perils
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
The Thematization of the Senses in 16th-Century European 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
The “Globalization of Taste”: Cultural Convergence, Syncretism, and Artistic Production in Asia, Iberia, and the Iberian-American Colonies
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
Blue
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
Time Loops: Producing “Primitivism” in Africa
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
Tradition Unbound: Contemporary Responses to Art’s Past, Part I
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
The Practice of Drawing and the Construction of Artistic Identity
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
Re-Presentation of Beauty and the Feminine in East Asian Societies
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
Beginning and End of Public Art Projects
Alice Aycock, independent artist, New York
Julian LaVerdiere, independent artist, New York
Harriet Senie, Graduate Center, City University of New York
Historians of German and Central European Art and Architecture
HGCEA at 10
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Getty Research Institute
Religion and Ritual
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Association for Textual Scholarship in Art History
Creating Culture in 19th Century in Boston: Blue Prints in Arts and Letters
“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
National Endowment for the Arts
Grant Opportunities in the Visual Arts
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Historians of British Art
Clamoring at the Gates or Tearing Down the Walls: Dealing with Canonicity
Angela Rosenthal, Dartmouth College
Lowery Stokes Sims, Studio Museum in Harlem
Julian Stallabrass, Courtauld Institute of Art
Anne Wagner, University of California, Berkeley
Leonardo Education Forum
Thinking vs. Making
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Visual Resources Association
Practical Tips for the Classroom Instructor: Get What You Want from Digital Tools
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
ARTspace: CAA Services to Artists Committee
Does the Art World Have a Political Bias?
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
Association of Historians of Nineteenth-Century Art
New Directions in 19th-Century Art History
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
CAA Committee on Women in the Arts
Immigrant Women and Their Artist Daughters
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
CAA Professional Practices Committee
Pedagogical Training for MFA and Ph.D Candidates in the Arts
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
Art Spaces Archives Project
The Transition/New Directors and Old Organizations: Creative Approaches to Organizational Art History of the 1970s to the Present
Anne Pasternak, Creative Time
Debra Singer, The Kitchen
Matthew Higgs, White Columns
Benjamin Weil, Artists Space
Association of Art Museum Curators
Curators’ War IV: The Return of the Object
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New Media Caucus
Can Geeks Be Humanists?
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
International Association of Word and Image Studies
Closing the Modern–Postmodern Divide: Toward a History of Visual Parody
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
The Ties that Bind? Homosocial Collaboration in American Art
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
ARTspace
"Difficult" Content in the Public Realm
Catherine de Zegher
Discussant: Norie Sato, independent artist, Seattle
Globalism and Its Discontents
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
Engaging Pedagogy: Undergraduate Art History and Active Learning
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
Creative Futures: Is the MBA Us?
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
The Court of Philip IV
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
Why Beat Pulp? Mapping Paper Terrains in 2007
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
DISTINGUISHED SCHOLAR SESSION HONORING LINDA NOCHLIN
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
Everywhere and Nowhere: Americanness in American Art
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
Object Lessons: Looking Closely at Museums and Universities
Michael Hatt, Yale Center for British Art
Daniel H. Weiss, Lafayette College
Kimerly Rorschach, Nasher Museum of Art, Duke University
Jessica Stockholder, Yale University
Visionary Leadership: Art, Politicians, and the Image of a Nation
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
Work in Progress: Presentations by CAA Professional Development Fellowship Recipients
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
Disability and Visual Culture
“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
Making French History, 1300 to 1500
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: His Work and Legacy
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
“From today, photography is dead”: The Paradox of Photography’s Life and Death
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
Art and the Mathematical Instinct
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
From Dust to Dust: A Mathematical and Digital Analysis of the Arabesque Design of Shaykh Luft Allah Mosque
Mahbobe Ghods, Columbia University
The Persistence of Geometry: Form, Content, and Culture in World Art
Lowery Stokes Sims, Hunter and Queens College, Studio Museum of Harlem
Mathematical Series in Minimalism
Adrian Kohn, University of Texas, Austin
Trees, Quilts, and Clocks: Journey of a Math Artist
John Sims, independent artist, Sarasota
The Miniaturized Metropolis: Urban Desire, Anxiety, and Time
Memory, Actuality, and Aspiration in Reuwich’s View of Jerusalem (1486)
Elizabeth Ross, University of Florida
The Memory Sees More than the Eyes: Collapsing Past and Present in Renaissance Imagery of Rome
Jessica Maier, Columbia University
Panoptic Visions of London: Possessing the Metropolis
Dana R. Arnold, University of Southampton
The Tempo of Modernity: Manhattan’s Rising Skyline and Its Metaphors
Mardges Bacon, Northeastern University
Discussant: Max Page, University of Massachusetts, Amherst
Historians of German and Central European Art and Architecture
Follow the Red Brick Road
Industrial, Ecclesiastical, Monumental? The Use of Brick in 19th-Century Hungarian and Central European Architecture
József Sisa, Research Institute for Art History of the Hungarian Academy of Sciences
Backstein oder Putzbau? The Architectural Physiognomy of Kommunale Berlin
Jennifer Reed Dillon, Duke University
Bernhard Hoetger’s Niedersachsenstein: Fantasies of National Rebirth and the Use of Brick in Monumental Sculpture after World War I
Arie Hartog, Gerhard-Marcks-Haus, Bremen
Brick as Bauedelstein
Claudia Turtenwald, Universität Bielefeld
Mesopotamian, Hanseatic, or Modern? Arguing about Brick in Germany around 1900
Maiken Umbach, University of Manchester
Society of Architectural Historians
Architectural History Online: The Challenges of Digital Research and Publication
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Coalition of Women in the Arts Organization
Spirituality, Nature, and Social Issues: Installations and Experiments in Space
The Witness Report: An Installation Exploring the Spiritual Aftermath of Ground Zero
Robin Masi, Varo Registry of Women Artists
Celebrating the Sacred Feminine: Installations, Digital Works, Earthworks
Kyra Belán, Broward Community College
Diligent Peace
Carol Prusa, Florida Atlantic University
Installation Design
Nofa Dixon, University of North Florida
Woman Image Now: Defining Art in Space and Time (1974-1991)
Muriel Magenta, Arizona State University
National Art Education Association
Pedagogy Issues Forum II: The Art of Teaching Art
The Teacher: Personal Qualities and Professional Responsibilities
Amy Brook Snider, Pratt Institute
Planning: Research and Preparation
Renee Sandell, George Mason University
Instruction: Engaging the Students
Melody Milbrandt, Georgia State University
Assessment: Feedback and Evaluation
David Burton, Virginia Commonwealth University
Design Studies Forum
Mind the Gap: The Separate Spheres of Graphic and Product Design
The Changing Face of Packaging
Hsiao-Yun Chu, Buckminster Fuller Collection
Mend the Gap: Elevating Visual Rhetoric in Design Artifacts
Leslie Atzmon, Eastern Michigan University
Consumer Connections: Nostalgia in 1980s Hong Kong Design
D.J. Hupatz, Pratt Institute
An Empowering and Constraining Experience: A Multidisciplinary Student Design Collaborative
Carolina Gill, Ohio State University; Peter Chan, Ohio State University; Blaine Lilly, Ohio State University
CAA Annual Conference Committee
How to Develop a Session for the CAA Annual Conference
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Southeastern College Art Conference
Art History without Walls: Reconsidering the Artistic Canon
Canonical Complexity and the Aztec Calendar Stone
Annabeth Headrick, Vanderbilt University
Embracing a Patriarchal Canon: Normative Aesthetics, Feminism, and Gender Identity in a 17th-Century Convent
Christina Morris McOmber, Cornell College
The “Heroic Generation”: Fictional Socialist Realist Painters in the Work of Ilya Kabakov
Wendy Koenig, Middle Tennessee State University
Discussant: Joy Sperling, Denison University
Association of Research Institutes in Art History
Celebrating Time to Think: Research Dreams Realized
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CAA Student and Emerging Professionals Committee
Nota Bene II: Spotlighting the Work of Students and Emerging Professionals
“White People Like My Mother’s Rugs”: Gerald Nailor and the Display of Navajo Commerce, 1937–43
Rachel Leibowitz, University of Illinois, Urbana-Champaign
Unworkings of a Binary System
Lori Hepner, State University of New York College, Cortland
Paul Klee’s Late Work
Gabriele Hoffmann, independent scholar
American Society for Eighteenth-Century Studies
Worlds of Goods: Cross-Cultural Perspectives on 18th-Century Consumption
18th-Century Ottoman Princesses as Collectors: From Chinese to European Porcelain
Tulay Artan, Sabanci University
Painted Indians and Painted Ladies: The Transatlantic Consumption of Vermilion
Beth Fowkes-Tobin, Arizona State University
Consuming Culture: Art in the Gazeta de Mexico
Kelly Donahue-Wallace, University of North Texas
Discussant: Craig Clunas, University of London
COMMUNITY COLLEGE PROFESSORS OF ART AND ART HISTORY
Defining Similarities, Refining Differences: Exploring the Diverse Universe of Community College Art Programs
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Historians of Netherlandish Art
The Presence of History, the Persistence of Time
Hieronymus Bosch’s Cosmogony
Margaret D. Carroll, Wellesley College
Time Out of Joint: Pieter Bruegel’s Peasant History
Stephanie Porras, Courtauld Institute of Art
The Paradox of Time in Pieter Bruegel’s Christ Carrying the Cross
Jürgen Müller, University of Dresden
History as Style in the Adriaen Ploos Family Epitaph and Hendrick ter Brugghen’s Crucifixion
Natasha Seaman, Berklee College of Music
News and Good News: Kairos and Chronos at Work in Communion
Lisa J. De Boer, Westmont College
Art and Psychoanalysis, Part I: Theoretical Perspectives from Antiquity to the Comic Strip
Freud on a Visual Obsession: The Psychoanalytic Meaning of the Baubo Gesture in Ancient Art
Larissa Bonfante, New York University
Dysfunctional Holy Families: Loss, Rage, and Desire in Renaissance Images of the Virgin and Child
Bradley Isham Collins, Parsons, New School for Design
Fragmentation, Transformation, and Self-Realization: Marcel Duchamp and the Formation of the Creative Imago
Bradley Bailey, Stephen F. Austin State University
Pollock’s Breakthrough: Psychohistory and the Origins of Style
Carroll Janis, Sidney Janis Gallery
Psychoanalysis, Metaphysics, and the Comic Art Form: An Ontology of Sequential Art
Scott Contreras-Koterbay, East Tennessee State University
Rediscovering Vermeer
The Subjective Turns in Vermeer and Descartes
Mary Wiseman, City University of New York
Astrology and History in Rembrandt's Faust and Vermeer's Astronomer
Paul Crenshaw, Washington University, St. Louis
Vermeer’s Allegory of Faith
David R. Smith, University of New Hampshire
Family Secrets: The Apprenticeship of Maria Vermeer
Benjamin Binstock, Independent Scholar
Discussant: Mariët Westermann, Institute of Fine Art, New York University
American Council for Southern Asian Art
Living Rock
Seeing into Stone: Early Buddhist and Pre-Buddhist Carvings in Zangskar
Rob Linrothe, Skidmore College
Carving the Divine/Carving the Liberated: Articulations of “Presence” in Ellora’s Hindu and Jain Cave Temples
Lisa Nadine Owen
How the Monastic Communities of Kucha, Xinjiang, Used Their Rock Cliff Caves
Angela Howard, Rutgers State University of New Jersey
Living Rocks and the Special Dead: Stupa Reliefs in Medieval China
Sunkyung Kim, Duke University
King of Kings of Iran and Non-Iran: The Monumental Rock Relief in Sasanian Iran between East and West
Matthew Canepa, College of Charleston
Association of Historians of Nineteenth Century Art
Now Really: Art and Theory of Realist Art in the 19th Century
Realismo and the Risorgimento: Gioacchino Toma’s Luisa Sanfelice and Late-Century Disillusionment
Laura Watts Sommer, Daemen College
Victorian Realism, Material Culture, and Aesthetic Commodities
Julie F. Codell, Arizona State University
Realism from the Margins: Redefining Realism from a Belgian Perspective
Sura Levine, Hampshire College
Strategy and Fortune of Realist Art: Courbet and Germany
Stéphane Laurent, University of Paris I Panthéon Sorbonne
Redefining Realism
Michelle Facos, Indiana University
Discussant: Linda Nochlin, Institute of Fine Arts, New York University
The Practice of the Print
Altering Substrates
Patricia Villalobos-Echeverria, Indiana University of Pennsylvania
Encounters: Memory, Multiplicity, and Skepticism
Sang-Mi Yoo, Texas Tech University
Print Polyvalence
Enrique Leal, Universidad de Castilla La Mancha
Yankee Queer
Joel Seah, University of Southern Maine
Space 1026: Reflections on Printmaking as a Shared Practice
Jesse Goldstein, Space 1026
When Is Technique Central to Meaning? Part I
Muddy Miracles: Meaning and Technique in Agnes Martin’s Paintings
Christina Bryan Rosenberger, Center for the Technical Study of Modern Art, Harvard University Art Museums
Bu-re, Bo-ke Photography and Subverting the Eye/Lens Distinction: The Shooting Method of Provoke Photographers
Yuko Teshima, Graduate Center, City University of New York
Weaving, New Technology, and Content
Lia Cook, California College of the Arts
Making Difficulties
Kim Grant, University of Southern Maine
Ceramics: Five Emerging Artists Survey the Discipline
Courting Risk
Linda Sormin, Rhode Island School of Design
Conspicuous Consumption
John Byrd, University of South Florida
Toward Incongruency
Michael Jones McKean, Virginia Commonwealth University
Functional Languages
Anders Ruhwald, independent artist, London and Copenhagen
On Function and Content
Sanam Emami, New York State College of Ceramics, Alfred University
Discussant: Mary Drach McInnes, New York State College of Ceramics, Alfred University
Italian Art Society
Standing on the Shoulders of Giants or Shooting at Father’s Corpse? The History of Italian Art, Then and Now
“To lighten the dead weight of familiarity”
John Paoletti, Wesleyan University
Hagiolatry, Manuscripts, and Painting: Edward B. Garrison and the Study of Late Medieval Italian Art
Jessica Richardson, Courtauld Institute of Art
Trecento Studies during the 1930s: The Italian Commune through the Lens of Economic Turmoil
Patricia A. Emison, University of New Hampshire
The Gendering of Libertas and the International Gothic: Carlo Crivelli’s Ascoli Annunciation
Timothy D. McCall, Villanova University
Gender and Homosexuality: Finding Our Grandparents, Teaching Our Parents
James M. Saslow, Queens College, and Graduate Center, City University of New York
Stereotypes of Women: Evil by Design? Part I
Amy Cutler’s New Feminine Mystique
Lisa Freiman, Indianapolis Museum of Art
Bathroom Tales: Sugar, Spice, and Everything Nice
Nikki Renee Anderson
Subverting the Tyranny of Polykleitos
Jo-Ann Morgan, Coastal Carolina University
Disguised Image Control
Erin V. Sotak
Stereotype Sabotage
Simone Paterson, Virginia Polytechnic Institute and State University
The Art and Business of Printmaking in Europe, 1400–1800
Hopfer’s Designs for a Tabernacle for the Holy Sacrament: Two Sides of a Confessional Debate
Freyda Spira
Preparatory Drawings for Prints by Stradanus: A Personal Creative Act or a Workshop’s Method of Work in Late Renaissance Printmaking?
Alessandra Baroni, University of Siena
Etchings vs. Engravings: A Publisher’s Choice for Book Illustrations
Karen L. Bowen
Italian Prints for the Dutch and Flemish Market: Antonio Tempesta’s Cooperation with Pieter de Jode
Eckhard Leuschner, Universität Passau
"Con Licenza de' Superiori": Censorship of Prints in circa 1600 Rome
Christopher Etheridge, Harvard University
Transformations of Time and Place in Moving-Image Work in the Digital Age, Part I
Site Specificity and the Moving Image
Andrew V. Uroskie, Georgia Institute of Technology
Information Visualization: Condensing Time in New Media Works
Melissa Ragona, School of Art, Carnegie Mellon University
Disjunctures in Institutional Time: The Museum and the Loop as a Temporal Form
Margot Bouman, Parsons, New School for Design
The Digital Public Sphere and Experience
Frazer Ward, Smith College
ART HISTORY OPEN SESSION: Arts of the Islamic World
From Textiles to Algorithms: Revising an Islamic Aesthetic Paradigm
Carol Bier, Textile Museum
Reinventing the Ahl al-bayt: Sunni Patrons and Shi’ite Shrines in Medieval Aleppo
Stephennie Mulder, University of Pennsylvania
Multiple Visions: Official and Unofficial Illustrated Ottoman Histories
Emine Fetvaci, Stanford University
Invented Traditions: Uses of the Past in the Samanid Mausoleum at Bukhara
Melanie Michailidis, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC
Mughal and Rajput Architecture: Reconsidering the Borders of Islamic Art History
D. Fairchild Ruggles, University of Illinois, Urbana-Champaign
Troubling the Waters: Homoeroticism and the Politics of Identity in Black Visual Culture
A Roman Catholic’s Closet: Another Look at Richmond Barthé’s Male Nudes
Margaret Rose Vendryes, York College, Graduate Center, City University of New York
Eye-to-Eye: Transmissibility and the Black Male Gaze: The Photography of Rotimi Fani-Kayode and Alex Hirst
David Dibosa, Wimbledon School of Art
If I’d Had a Cock I Would’ve Surely Had an Erection: Queering Adrian Piper’s Mythic Being
John P. Bowles, Indiana University
Afro-Latino Critique of a Kantian Enwhitened Idealism: Miguel Algarín’s Nuyorican Angels of Night
María DeGuzmán, University of North Carolina, Chapel Hill
Rockin’ the Boat: Illegal Identities, Illegal Identifications
Robert Summers, University of California, Los Angeles
Skepticism and the Arts
Caravaggio, the Skeptical Painter; Montaigne, the Tenebrist Philosopher: Knowledge, Visibility, and Darkness around 1600
Itay Sapir, Amsterdam School for Cultural Analysis, University of Amsterdam, and École des Hautes Études en Sciences Sociales
Emanuel Maignan, Antiskepticism, and Anamorphosis
Lyle Massey, Northwestern University
Irresistible Dictation: Matisse and Personnalité
Todd Cronan, University of California, Berkeley
In the Face of Skepticism: Giacometti, Portraiture, and Alterity
Leo Costello, Rice University
The Crying Game: Skeptical Reflections on Bill Viola’s The Passions
Francis Chung, University of California, Berkeley
The Unethical Art Museum
“The Congo, I Presume”: Tepid Revisionism and Belgian “Colonial Times” at the Royal Museum of Central Africa, Tervuren, 2005
Debora Silverman, University of California, Los Angeles
The Louvre’s Galerie Espagnole (1838–48) and the Politics of Acquisition
Alisa Luxenberg, Lamar Dodd School of Art, University of Georgia
Museum Ethics vs. Vanity and Desperation
Elaine King, Carnegie Mellon University
The Ethical Art Museum
James Cuno, Art Institute of Chicago
Robert Henri and “The Eight”: A Precentennial Reassessment
Henri Encounters Chase: A Clash of Realisms
Kimberly A. Orcutt, Bruce Museum
Alternative Realities: Prendergast, Cézanne, and Early Film in 1908
Nancy Mowll Mathews, Williams College Museum of Art
Unearthing the Modern: George Bellows’s Excavation Series
Sarah Newman, National Gallery of Art
Will the Real John Sloan Please Stand Up?
Sascha Scott, Rutgers, State University of New Jersey
Discussant: Barbara Haskell, Whitney Museum of American Art
ARTspace
Reversal: Artists Talk about Art History
Reading Art History: A New York Story
Peter Halley, Yale University
Inevitable Liminality: Oscillations of Sense in the Historical
George Quasha, Station Hill Press
Why Some People Make Art and Others Write about It
Faith Ringgold, University of California, San Diego
Reexamining Appropriation: The Copy, the Law, and Beyond, Part I
Pierre N. Leval, United States Court of Appeals for the Second Circuit
Inappropriate? Copying in the Renaissance
Lisa Pon, Meadows School of the Arts, Southern Methodist University
The Problematic of the Signature: Reexamining Appropriation in Contemporary Indigenous Art and Cultural Heritage
Tressa Berman, San Francisco Art Institute
From Appropriation to Postproduction
Jaimey Hamilton, University of Hawai’i, Manoa
William Patry, Google
American Society for Hispanic Art Historical Studies
Recent Work of Photo Grant Recipients
17th-Century Spanish Signatures
Lisandra Estevez, Rutgers State University of New Jersey
Christ Is in the Details: A Closer Look at Cristos Yacentes
Ilenia Colon Mendoza, Penn State University
Portraiture and Performance at the Court of Phillip II
Alejandra Gimenez-Berger, Temple University
Italian Art Society
Cloisters: Urban Politics and the Monastic Ideal
The Dead Come to Town: Episcopal Burial Cloisters in the Medieval Italian City
Caroline A. Bruzelius, Duke University
Cloister, Control, and Community: Art and Observance at the Florentine Badia (1419–39)
Anne Leader, City University of New York
The Cloister of the Abbey of Monte Oliveto Maggiore (Siena) and its Frescoes
Kurt Sundstrom, Currier Museum of Art
Visual Culture Caucus
Visual Culture in the War on Terror
Target America—the Exhibit: The Implication of Visual Images in the War on Terrorism
Hashim al Tawil, Henry Ford Community College
Constructing Victory: Iraqi Visual Culture after 2003
Nada Shabout, University of North Texas
Cloning Terror: The War of Images, 9/11 to Abu Ghraib
W.J.T. Mitchell, University of Chicago
CAA International Committee
International Residencies for Artists: Nuts and Bolts
The “How To” for International Residencies
Anna Calluori Holcombe, Kansas State University
Global Exchanges and Their Impact
Linda Lighton, Lighton International Exchange Program, Kansas City Artists Coalition
Foreign Residencies: The Questions to Ask when Choosing
Caroline Boyle-Turner, Pont-Aven School of Art
CAA Museum Committee
Records of the Past: New Electronic Resources from the Brooklyn Museum and the Museum of Fine Arts, Boston
New Technologies Applied to Old Digs by the Harvard–Museum of Fine Arts Expeditions to the Giza Pyramids
Peter der Hanuelian, Giza Archives, Museum of Fine Arts, Boston; Peter Janosi, Institute of Egyptology, University of Vienna
The Culin Archives and Records of an Innovative 1923 Exhibition on African Art
Deirdre Laurence, Brooklyn Museum; Helen M. Shannon, independent scholar
Radical Art Caucus
History of Art, History of Torture
Torture and Masculinity in George Grosz’s Drawings of 1934–35
James van Dyke, Reed College
Theaters of Duress: Leon Golub’s White Squads
Amber Travis, Northwestern University
Star Gazing
Hans Haacke, independent artist
CAA Committee on Diversity Practices
Managing Diversity in Studio Critique
Anoka Faruqee, California Institute of the Arts
Pepon Osorio, Temple University
Terry Adkins, University of Pennsylvania
Discussant: Howard Singerman, University of Virginia
Pacific Arts Association
Cultural Properties - Reconnecting Pacific Arts
Anita Herle, Cambridge Museum of Archaeology and Anthropology
Huhana Smith, Museum of New Zealand Te Papa Tongarewa
Joshua Bell, University of East Anglia
Jade Baker, Canterbury University
Discussant: Mark Busse, University of Auckland
CAA Committee on Intellectual Property
Fair Use in the Trenches: When to Seek Permission and When Not To
Fair Use: Lessons from the Past to Help with Present Decisions
Siva Vaidhyanathan, New York University
Legal Perspectives
Gretchen Wagner, ARTstor
Fair Use and Visual Resource Collections
Benjamin Kessler, visual resources professional, Chicago
International Sculpture Center
Educational Programs of the International Sculpture Center
Glenn Harper, International Sculpture Center, Sculpture magazine
Dawn Molignano, International Sculpture Center
Waterflow
Waterflow
George Lorio, University of Texas at Brownsville
Waterflow
William Willis, American University
Waterflow
Steven Sherman, The Moore College of Art
water marks
Karen Schiff, Harwood Museum of Art
Southern Graphics Council
Prints and the Revolution: A Conversation about Contemporary Art on Paper
Peter Nesbitt, Art on Paper magazine
Dusica Kirjakovic, Lower East Side Printshop
Franklin Sirmans, Menil Collection
Women’s Caucus for Art
Future-Minded: On the Resiliency of Feminism in Art
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ARTspace
Contemporary African Art: Moving Forward, Looking Back; Investigating the Currency of Contemporary African Art
Isolde Brielmaier, Rotunda Gallery, Vassar College
Olu Oguibe, University of Connecticut, Storrs
Barbara Pollack, independent artist, critic, and curator
Claude Simard, Jack Shainman Gallery
Carol Thompson, High Museum of Art
International Network for the Conservation of Contemporary Art
Documentation for Video Artists: A Case Study of Nam June Paik
Ulrich Lang, Museum of Moderne Kunst, Frankfurt
Jochen Saueracker, Independent Artist
Rodolf Freiling, San Francisco Museum of Modern Art
ASSOCIATION OF HISTORIANS OF AMERICAN ART
Troubling that 1945 Border Again: Chronology, Geography, and Interpretation in American Art
C. Conrads, Nelson-Atkins Museum of Art
Stephanie Fay, University of California Press
Francis Pohl, Pomona College
ARTspace
Informal Conversations with New York Artists
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35 Years Later: Feminist Art Practice after Womanhouse
The Big He/ad (re)Encounter: Beyond Dismissiveness
Jeanine Oleson, Sarah Lawrence College; Laurie Jo Reynolds, Columbia College, Chicago
LTTR
Ginger Brooks Takahashi, independent artist, Brooklyn
Feminist Skill Sharing: An Introduction to Pro Tools
Kathleen Hanna, independent artist and musician, New York
Work in Progress
Ava Johnson, independent artist, Durham, North Carolina
Making and Breaking News: New Report in Conversation
Wynne Greenwood, independent artist; K8 Hardy, independent artist
Contemporary Postures to Meaning, Reception, and Integration of Outsider Art and the Academy
Jane Kallir, Galerie St. Étienne
Contemporary Postures to Meaning, Reception, and Integration of Outsider Art and the Academy
Gregory Amenoff, Columbia University
Kevin Sampson, independent artist, Newark
Discussant: Bernard Herman, University of Delaware
Discussant: Lowery Stokes Sims, Studio Museum in Harlem
Piety or Propaganda? Modern Religious Art in France, 1850–1927
Jules Michelet, Modern Mother Mary, and the Catholic Left
Joyce C. Polistena, Pratt Institute
Piety, Propaganda, and Pognon: The Life of Our Savior Jesus Christ by James Tissot
Judith Dolkart, Brooklyn Museum
Stirring up Passions: The Reception of Mihály Munkácsky’s Christ Paintings in Late 19th-Century France
Laura Morowitz, Wagner College
Primitives and Believers: Debating Style and Spirituality in Early 20th-Century French Art
Neil McWilliam, Duke University
Matter and Mass at Monet’s Orangerie
James D. Herbert, University of California, Irvine
Discussant: Emily Gephart, Massachusetts Institute of Technology, Massachusetts College of Art
Virtualities: Contemporary Art between Fact and Fiction
Touching Pictures
David Joselit, Yale University
Staging an Archive
Vered Maimon, Columbia University
Compression
Tim Griffin, Artforum International magazine
Fiction Is the Only Way to Penetrate Reality: On Pierre Huyghe’s A Journey that Wasn’t
Mark Godfrey, Slade School of Fine Art, University College, London
Utopia as the Real in “Real Virtuality” and other Improbable Fictions
Hannah Feldman, Northwestern University
Comic Relief: Humor’s Edge in Contemporary Art
Jane Hammond
Jeanne Silverthorne
Fred Tomaselli
Janine Antoni
Charles Long
Double Take: New Forms in Printmaking and Sculpture
The Graphic Unconscious: Prints at the Core of Contemporary Artistic Production
Jose Roca, Philagrafika
The Repetitive Gesture: From Image to Form and Back Again
Patricia Olynyk, University of Michigan
Intersection: Established and Emerging Forms of New Media
Mark Johnson, New York University
Art History Open Session: Renaissance and Baroque Art
Whose Cult (of) Images? Art and Idolatry in the 16th Century and Now
Claire Farago, University of Colorado, Boulder
Living Images: The Concept of Impetus in Italian Renaissance Art
Frank Fehrenbach, Harvard University
Between Phenomenology and Culture: The Places of Renaissance Mapping
Francesca Fiorani, University of Virginia
Montezuma’s Portraits: Semblance and Colonialism in the Early Modern Hispanic World
Michael Schreffler, Virginia Commonwealth University
Art History and Anthropology: Aura and Action
Ian Verstegen, independent scholar, Philadelphia
Art and the Civilizing Process, 1200–1520
Introduction: Norbert Elias, the Civilizing Process, and Art History
Mitchell B. Merback, DePauw University
Rogier van der Weyden’s Portraits of the Civilized Individual
Jessica Buskirk, University of California, Berkeley
The Spectacle of Sociability: The Loggia as Theater of Urbanitas
Kim S. Sexton, University of Arkansas
Civilizing Sex? Erotic Genre Painting in North Italy, c. 1520
Chriscinda Henry, University of Chicago
Lost in Self-Control? Urs Graf’s Images of Masculinity
Maike Christadler, Universität Basel
Response: Medieval Art and the Civilizing Process
Jacqueline E. Jung, Yale University
Ruins
From Knife Blades to Credit Cards: Penetrating Inka Ruins
Carolyn Dean, University of California, Santa Cruz
Recycling Ruins: Fountains Abbey, Studley Royal, and the Question of Authenticity
Sarah Thompson, Rochester Institute of Technology
A Clean Sweep: The Ruins of Postwar London
Deborah Lewittes, Tufts University
Decrepitude and Memory in Post-Unification Berlin
Daniela Sandler, Rhode Island School of Design
Locations of Longing: The Ruins of Old Lahore
Saleema Waraich, University of California, Los Angeles
Visual Music
The Silent Music Is Finally Heard: Early Experiments in Visual Music
Lorettann Gascard, Franklin Pierce College
Designing in Time
Brian Evans, University of Alabama
Nicolas Schoeffer’s Visual Music: The Regulation of All the Senses
Herve Vanel, Brown University
Performing Pictures/Picturing Performance: Some Efforts to Distinguish Visual Music from Music Videos
Matthias Weiss, Freie Universität, Berlin
If You Could See It, Then You’d Understand: Visual Musician Mark Romanek and Coldplay’s Speed of Sound
Henry Keazor, Universität Frankfurt, Institut für Kunstgeschichte
Society of Architectural Historians
The Politics of Modernism: Architecture and Power in the Postwar Decades
Tensions in Postwar Italian Architecture: Receptions and Rejections of American Modernism during the Cold War
Paolo Scrivano, University of Toronto
Monumentality by the Linear Foot: Carlu's Temporary UN and the Architecture of Parliamentary Diplomacy
Lucia Allais, Massachusetts Institute of Technology
Sea, Sun, and Modernism: Leisure as a Political Strategy in Socialist Romania
Carmen Popescu
A Constitutional Modernism: Law, Planning, and Architecture in Postwar Cuba
Timothy Hyde, Harvard University
Alvar Aalto, the Discourse of Universal Humanist Architecture, and Finland’s Geopolitical Dilemma after the Second World War
Eeva-Liisa Pelkonen, Yale University
The Art Market as Medium of Cultural Transfers
How New York Stole the Art Market: The American Art Association, the French Picture Craze, and Bourgeois Identity in Gilded Age America
John Ott, James Madison University
On the Cusp of Global Prominence: The New Vanguard of Indian Contemporary Art
Arshiya Mansoor Lokhandwala
The Merchant Made Maecenas: Joseph Duveen and the Translation of the Art Dealer into Museum Philanthropist
Christopher R. Marshall
Examining the Economics of Art: The Rise of Leo Castelli Gallery and Its Global Effect
Midori Yamamura
How Folk Artists Become Great Masters: Museum Exhibition and/as Global Marketing
Mary K. Coffey, Dartmouth College
Discussant: Hans Van Miegroet
The Middle Path? Between Style and Cultural History in Chinese Painting Scholarship
Yu Controlling the Flood: Ecology, Emperorship, and 11th-Century Chinese Painting
Heping Liu, Wellesley College
Murals without Manuscripts: Style, Substance, and Social Constructs in the Dunhuang Caves
Winston Kyan, Macalester College
Yan Liben and the Authoritative Documentary Style in Chinese Painting History
Julia K. Murray, University of Wisconsin, Madison
A Tale of Two Scholars: Rhetorical Exigencies and Strategies in Cahill and Fong
Jason C. Kuo, University of Maryland
Discussant: Anne Burkus-Chasson, University of Illinois, Urbana-Champaign
Queer Caucus For Art
Love/Sick
Linda Montano, independent artist, Saugerties, New York
Tania Katan, independent playwright, Phoenix
Angela Ellsworth, Arizona State University
Tina Takemoto, California College of the Arts
Elizabeth Stephens, University of California, Santa Cruz
Annie Sprinkle, independent artist, San Francisco
Art and Pornography
Art vs. Pornography? On the Discursive Limits of Sexual Representation
Annamari Vänskä, University of Helsinki
Henry Fuseli’s “Pornographic” Drawings: Difficult Viewing Material?
Camilla Smith, University of Birmingham
Media Exposure and Celebrity Intimacy: Jeff Koons’s Made in Heaven
Beck Feibelman, University of Pennsylvania
Digital Appropriation and Pornography in Reverse
Kelly Dennis, University of Connecticut
Discussant: Alyce Mahon, University of Cambridge
Art Historians of Southern California
Feminist Art in Southern California
Southern California Feminists and Body Image: A Performative Response
Stacy Schultz, California State University, Northridge
Beyond Essentialism and Social Construction: Femaleness and Feminism in Post-Postmodernity
Marlena Donohue, Otis College of Art and Design
Art Libraries Society of North America
The Qualities of Enduring Art Publications
Kraig Binkowski, Yale Center for British Art
Max Marmor, ARTstor
Sharon Helgason Gallagher, D.A.P. Distributed Art Publishers
Arts Council of the African Studies Association
African Art and Visual Culture: Pedagogical Perspectives from Classroom to Museum
Representing Africa in the Classroom: Teaching African Issues and African Art
Kim Miller, Wheaton College
Wrestling with Geography, Ethnicity, and Culture in the African Survey: Views from a Nonspecialist
Renee Ater, University of Maryland
Enriching the Museum Visitor Experience with African Art
Heather Nielsen, Denver Art Museum
Audience, Accessibilty and African Art: Making Exhibitions Matter
Christa Clarke, Newark Museum
Discussant: Kate Ezra, Columbia College, Chicago
Art Historians Interested in Pedagogy and Technology
Innovative Course Design Competition
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Exhibitors' Session: Finding Common Ground—Understanding the Most Important Structural Part of Your Painting
The Importance of Proper Ground for Your Painting, Properties of a Quality Ground, and the Difference between House Paint and Gesso
Mark D. Gottsegen, Art Materials Information and Education Network (AMIEN) and author of The Painter’s Handbook
Treating Your Substrate before Applying a Ground and Using Primers or Sizes under Your Ground
Scott Gellatly, Gamblin Artist Colors
Applying Grounds to Your Canvas: Application Methods on Various Substrates, Including Board and Paper
Tim Hopper, Holbein Artist’s Materials
Differences between Traditional Gesso and Acrylic Dispersion Primers
Pierre Guidetti, Savoire Faire, importer of Lascaux and Sennelier paints
Using Acrylic Dispersion Primers underneath Oil Paintings
Lynne Pearl, Winsor & Newton, ColArt Americas
Other than Acrylic Dispersion Primers: Alternative Grounds with Which to Start Your Work
Joe Gyurcsak, Utrecht Art Supplies
Developing Standards for Primers and Grounds
William Berthel, Golden Artist Colors
American Council for Southern Asian Art
Roundtable: Questioning Our Methods, Part II: Style
Questioning Our Methods: Past, Present, and Future
Alka Patel
The Problem of Gandharan Style: Colonialism and Chronology
Kurt Behrendt, Metropolitan Museum of Art
Rethinking Style in Indian Temple Architecture
Tamara I. Sears, New York University
Conceiving Style in Rajput Painting
Molly Emma Aitken, independent scholar
Deconstructing “Style” through Practice: Contemporary Art from Pakistan
Anna Sloan, Mount Holyoke College
Private Passions as Public Legacies
In Storage: George Gustav Heye, His Collection, and the National Museum of the American Indian
Jeffrey Abt, Wayne State University
Reexamining a National Gift: The Philanthropy of Samuel H. Kress and the Passage of Italian Art into Middle America
Roger J. Crum, University of Dayton
Brahmin Fantasies: Japanese Collections in Boston
Christopher Reed, Lake Forest College
Samuel Bancroft’s Pre-Raphaelite Collection at the Delaware Art Museum: A Case Study . . . In Progress
Margaretta S. Frederick, Delaware Art Museum
American and Modern: Edward W. Root and the Munson-Williams-Proctor Arts Institute
Mary E. Murray, Munson-Williams-Proctor Arts Institute
The (Cyber) Space of Hands-On Studio Learning: Theory and Praxis
Doing the Same Thing Differently: The Impact of Technology in Teaching Painting, Drawing, and Design
Rebecca Alm, Minneapolis College of Art and Design; Carol Padberg, Hartford Art School, University of Hartford
The Accessibility of Labor: Rethinking the Pedagogy of the Digital Curriculum
Stephan Hillerbrand, University of Houston
Mobile Mapping for Everyday Spaces
Kevin Hamilton, University of Illinois, Urbana-Champaign; M. Simon Levin
A Pedagogy for Computational Studio Practice
Janis Jefferies, Goldsmiths College, University of London
Discussant: Craig Smith, Goldsmiths College, University of London
Professional Concerns of Studio Art Faculty: A Second Look
Joe Deal, Rhode Island School of Design
Ruth Weisberg, University of Southern California
Emma Amos, Rutgers, State University of New Jersey
Carmon Colangelo, Sam Fox School of Design and Visual Arts, Washington University, St. Louis
ART HISTORY OPEN SESSION: The Study of Drawings, Europe, 1300–1700, Part II
Leonardo da Vinci’s Giant Crossbow
Matthew Landrus, Rhode Island School of Design
Bramante’s Disegno Grandissimo: Raising UA 287
Henry Dietrich Fernandez, Rhode Island School of Design
Antwerp Mannerist Drawings and the Goal of Connoisseurship
Yao-Fen You, Fogg Art Museum, Harvard University; William Robinson, Fogg Art Museum, Harvard University
Drawing in the Art of the Young Guido Reni
Rachel Kordonowy McGarry, Institute of Fine Arts, New York University
An Important Collector in Madrid: Francisco de Solis
Lisa Banner, Hispanic Society of America
The Making of John Talman’s Collection
Cinzia Sicca Bursill-Hall, Università di Pisa
Studio Art Open Session: Meanings and Functions of Narrative
Robert Colesecott
Eric Fischl
Mernet Larsen
Judith Linhares
Beverly McIver
Photography in and about the Middle East
Images in Afghanistan
Holly Edwards, Williams College
Ottoman Snaps
Nancy Micklewright, Getty Foundation
New Eyes: Postcards of the Holy Land, Geographic and Imagined
Shelley Hornstein, York University
Photography and the Performance of Middle-Classness in Interwar Egypt
Lucie Ryzova, St. John's College, Oxford
Photography, Taxonomy, and Irony: Strategies of the Arab Image Foundation
Alexandra Karentzos, University of Trier
Breaking New Ground or Conflict of Interest: An Examination of Contemporary Ethical Practices in the Visual Arts
The Ethics of Contracts with Persons: Life Models in the University Studio
Sherry Lee Short, Minnesota State University
The Intersection of Art, Ethics, and Biotechnology
Ellen K. Levy, independent artist, New York
Ethical Models: How Buddhism Informs Public Practices
Suzanne Lacy, Otis College of Art and Design
The Field Weighs in: Identifying Ethical Concerns and Solutions in the Visual Arts—A Facilitated Discussion
Hilary Braysmith, University of Southern Indiana
Discussant: Gail Levin, Baruch College, and Graduate Center, City University of New York
International Center of Medieval Art
The Coming of Age of Medieval “Minor” Arts
When the “Minor” Arts Are Major: From Jewelry to Ships in Scandinavia
Nancy L. Wicker, University of Mississippi
Cloths of Conquest: The Bayeux Tapestry and the Coronation Cloak of Roger II
Lisa Reilly, University of Virginia
Adorning Heaven on Earth: The Materials of the Reliquary of Otto I
Eliza Garrison, Middlebury College
The Relief Icon: On the Tactility of Vision in Byzantium
Bissera V. Pentcheva, Stanford University
Discussant: Ilene H. Forsyth, University of Michigan
What’s So Funny? Senses of Humor in 19th-Century American Visual Culture
Dirty Laundry: Dark Humor in Raphaelle Peale’s Venus Rising From the Sea—A Deception
Lauren Lessing, Nelson-Atkins Museum of Art; Mary Schafer, Nelson-Atkins Museum of Art
“A Striking Likeness”: Politics, Pugilism, and Pictorial Humor in Antebellum America
Ross Barrett, Boston University
Photography’s Blacks and Whites: Racial Humor in 19th-Century Photographic Discourse
Tanya Sheehan, Columbia University
Undermining the Foundations: Architecture, Caricature, Modernity
Preston Thayer, Radford University Art Museum
Laughing Matters: Caricature and Criticism in American Art Schools
Heather Campbell Coyle, University of Delaware
ART HISTORY OPEN SESSION: New Perspectives on the Pre-Columbian Arts of Central Mexico, Oaxaca, and Veracruz
Old Men and Fire: The Place of Huehueteotl in Central Mexican Art
Matthew H. Robb, Yale University
Cacaxtla Figural Ceramics
Debra Nagao, Columbia University
Cacaxtla Figural Ceramics
Claudia Brittenham, Yale University
New Perspectives on the Art of Eastern Nahua, Mixtec, and Zapotec Confederacies, 1300–1521
John M. D. Pohl, Princeton University Art Museum; Virginia Fields, Los Angeles County Museum of Art
Written in the Flesh: Huastec Sculpture and the Cult of the Feathered Serpent
Kim Richter, University of California, Los Angeles
Pictures Silenced by Words: Rethinking the Problem of Aztec Picture-Writing
Janice Lynn Robertson, independent scholar, New York
Art and Transnationalism in China and Its Neighbors, 900–1300
Metal Crowns of the Liao (907–1125) Khitan
Hiromi Kinoshita, British Museum
Xi Xia Buddhist Woodcut Prints Excavated in Khara Khoto: An Example of Transculturation in East Asia
Anne Saliceti-Collins, University of Washington
Exhaustive Explorations of Muqi: Noami’s Ink Bird-and-Flower Screen
Xiaojin Wu, Princeton University
The Moment of a Synthesis: The Sculptural Portrait of Yang Liangzhenjia and the Intergration of Tibetan and Chinese Style Images at Feilaifeng
Chang Qing, Ackland Art Museum, University of North Carolina, Chapel Hill
Discussant: François Louis, Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture
ART HISTORY OPEN SESSION: Late Antique Art
Hierarchical Pluralism and the Semiotics of Late Antique Ornament
Benjamin Anderson, Bryn Mawr College
Heavenly Rome in the Apse Mosaic of Santa Pudenziana
Marice Rose, Fairfield University
Aesthetic Decisions in the 4th-Century City Wall of Aphrodisias
Peter De Staebler, Institute of Fine Arts, New York University
A 4th-Century Villa at Constantinople
Orgu Dalgic, Institute of Fine Arts, New York University
Spinning the Self: Spindle Whorls, Sword Beads, and the Construction of Late Antique Identity
Genevra Kornbluth, University of Maryland
The Contemporary Relevance of the Renaissance Palette
The Use of Traditional Pigments in Conjunction with Contemporary Binding Media and Techniques
Michael Skalka, National Gallery of Art, Washington, DC
The Effect of Different Binding Media on the Color of Azurite Paints during Aging
Shuya Wei, Vienna University of Technology
The Preparation of Red Pigments, Cinnabar, Purple, Carmine, and Madder Lake Compared with the New Products
Georg Kremer, Kremer Pigments
The Myth of the Secret Juice of the Flemish Masters
Michael Price, independent artist, New York
Detecting Architecture: Questions of Evidence in Architectural History
Detecting Architecture: Questions of Evidence in Architectural History
Barbara Penner, University College, London
On the Observation of Trifles
Laura J. Miller, Harvard University
Lexicon for an Architectural Subject: Subjectivity, Experience, and the Intimate Encounter
Lilian Chee, National University of Singapore
Secondhand Sight
Mitchell Schwarzer, California College of the Arts
Association of Art Editors
Art Catalogues Then and Now
An Ivory Carver’s Life and Works: An Early Catalogue Raisonné?
Malcolm C. Baker, University of Southern California
The Power of the Word in the Early Age of Mechanical Reproduction
Matthias Waschek, Pulitzer Foundation for the Arts
The Catalogue as Critical Intervention
Martha M. Ward, University of Chicago
1930s Soviet Museum Catalogues
Konstantin Akinsha, Harvard University
Catalogues of Today: An Endangered Species?
Susan F. Rossen, Art Institute of Chicago
ARTspace
Safety Hazards for the Artist and the Art Institution
Art and the Agencies: OSHA, EPA, CPSC, and More
Monona Rossol, Arts, Crafts, and Theater Safety
The “Art” of Federal Environmental Enforcement
Carl F. Plossl, US Environmental Protection Agency
Depolarizing American Modernism, 1915–40
Cross-Pollinating Modernism: Stuart Davis and Marcel Duchamp
Timothy G. Andrus, Virginia Commonwealth University
American Art in Black and White: Depolarizing the 1930s
Phoebe Wolfskill, Dartmouth College
A Modern Reality: Audrey Buller in Retrospect
Susan J. Baker, University of Houston, Downtown; Mark Cervenka, University of Houston, Downtown
Beyond Modernist Histories: Rethinking the Marketplace for American Modernist Art
Andrea Pappas, Santa Clara University
The Polarization of American Modernism at the American Art Today Exhibition at the 1939 New York World’s Fair
Michele Greet, George Mason University
Creative Capital
Grant Information Session
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Queer Caucus for Art
Art Partners: The Erotics of Collaboration
Kim Anno and Anne Carson, Collaboration
Kim Anno
Finger in the Dyke Productions
Lori Millan; Shawna Dempsey
Carrie Moyer and Sheila Pepe, Collaboration
Carrie Moyer; Sheila Pepe
LTTR
Ulrike Mueller; Ginger Takahashi
Society for the Study of Early Modern Women
Sex Acts: Performance and Perversion in Late Medieval and Early Modern Europe
Gay Kisses/Queer Wishes: Enactments of Sodomy in the Bible moralisée Tradition
Robert Mills, King’s College, London
Embodying Women: The Relationship between the Body of the Cleric and the Imagery of English Medieval Misericords
Erin Griffey, University of Auckland
Witness and Wit: The Visual Culture of Erotic Humor in Renaissance Italy
Patricia Simons, University of Michigan
Historians of Eighteenth-Century Art and Architecture
Play, Politics, and the Self in 18th-Century Art
Play in the Garden in 18th-Century Venice
Sally Grant, University of Sydney
The National Élysée: François Gérard’s Portrait of Louis-Marie Revelliere-Lépeaux and the Politics of Landscape Portraiture during the French Revolution
Amy Freund, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington
Marie-Geneviève Bouliar (1763–1825) and the Invention of Self in Revolutionary France
Yuriko Anne Bacon, École du Louvre Paris X
ARTspace
Speaking of the Artist Lecture
Carol Becker, School of the Art Institute of Chicago
Mary Heilmann, independent artist
Romi Crawford, School of the Art Institute of Chicago
CAA Publications Committee
Issues in Art History Publishing
Mariët Westermann, Institute of Fine Arts, New York University
Susan Bielstein, University of Chicago Press
Patricia Rubin, Courtauld Institute of Art
The Art Book as Object:The Aesthetics of Publishing from Print to Digital
Robert Stein, Institute for the Future of the Book
Advanced Placement Program Art History
Teaching the College Art History Survey Course
Strategies of Inclusion: The Nonwestern Challenge
Susan Aberth, Bard College
Merging Contemporary Art into the Curriculum throughout the Year
Doug Darracott, Plano West Senior High School
Teaching to the Exam: Teaching Away from the Exam
John Nici, Lawrence High School
International Association of Art Critics
A Faustian Bargain? Emerging Artists, Critics, and the Market
Jeffrey Deitch, Deitch Projects
Mera and Don Rubell, private collectors, Miami
Jerry Saltz, critic, Village Voice
Peter Plagens, independent artist and critic, New York
Association for Latin American Art
Drawing Blood: Images of Sacrifice and Identity in Mexico, Pre-Hispanic to the Present
Aztec Royal Bloodletting and the Postbellum Reinvention of a Sculptural Genre
William L. Barnes, Saginaw Valley State University
The Significance of Extreme Violence in Franciscan Martyr Portraits
Chad Alvarez, Harvard University
Blood as Symbol of Sacrifice and Redemption in Codex Delilah
Ann Marie Leimer, University of Redlands
David Stuart, University of Texas, Austin
Art and Psychoanalysis, Part II: 20th-Century Perspectives
Doppelgänger: Ernst Ludwig Kirchner’s Self-Self Object Relationship
Scott Budzynski, Justus-Liebig University
Childhood and Eros: Parallels between Paul Klee and Sigmund Freud
Jonathan Perkins, University of Illinois, Springfield
Jackson Pollock, Psychological Projection, and the Virtuality of Screening
Francis V. O'Connor, independent scholar, New York
In Memory of My Feelings: Jasper Johns, Psychoanalysis, and the Expressive Gesture
Seth McCormick, Columbia University
Narrative or Episodic Self-Consciousness? The View from Neuroaesthetics
Barbara Maria Stafford, University of Chicago
Italia barbara: “Primitives” from Piero to Pasolini, Part II
Brigands for Hire: Painting, Politics, and Sexuality in Leopold Robert’s Post-Napoleonic Italy
Crawford Alexander Mann III, Yale University
Aphorism and Primitivism: De Chirico’s The Evil Genius of a King between the Antedeluvian and the Posthuman
Ara Merjian, University of California, Berkeley
The Photographic Vision of Architettura rurale italiana
Lindsay Harris, Institute of Fine Arts, New York University
Archaic Mediterranean: Sicily, the Land of Myth in the Films of Vittorio de Seta and the Novels of Elio Vittorini
Maria Antonietta Malleo, Università degli Studi di Palermo
Cultural Revolution/Culture Clash: Arte Povera as “Guerilla War”
Nicholas Cullinan, Courtauld Institute of Art
Reexamining Appropriation: The Copy, the Law, and Beyond, Part II
Stopped Making Sense: Appropriation as a 1970s Social Phenomenon
Sarah Evans, Cornell University
The Reign of the Quotation—Appropriation and Its Audience
Johanna Burton, Princeton University
Art Appropriation and Identity
Sharon Matt Atkins, Currier Museum of Art
Art and Activism: The Xingwei of Wang Hai and Zhao Bandi
Winnie Wong, Massachusetts Institute of Technology
Discussant: Arindam Dutta
STUDIO ART OPEN SESSION: Book Arts
Talespin: On Making Artist’s Books
Susan Bee, School of Visual Art
Clifton Meador’s Memory Lapse and The Nameless Dead: In[ter]ventions of the Travel Memoir
Betty Bright, independent curator, Deephaven, Minnesota
If It Works, It’s Obsolete: Retrieving Marshall McLuhan
Harry Reese, University of California, Santa Barbara
Books of the MKimberly Press
Mare Blocker, University of Idaho
Outside of What? Tracing the Aesthetic, Economic, and Political Strategies of Contemporary Do-It-Yourself Culture
Doro Boehme, School of the Art Institute of Chicago
CAA Museum Committee
Museum Counter-Culture: The History of University Art Museums in America
The College Art Gallery, the Museum, and the Student Room: Reading Photographs of Art at Harvard and Smith, c. 1900
Dorothy Moss, University of Delaware
Maori Art in the Ivy League: The Early Collection and Display of Maori Art at the University of Pennsylvania Museum of Archaeology and Anthropology
Jennifer Wagelie, National Gallery of Art, Washington
A Movable Art: University Exhibitions of the Société Anonyme Collection, 1942–52
Susan Greenberg Fisher, Yale University Art Gallery
Neuberger Museum of Art: Rethinking Its Role as a College Museum
Tracy Fitzpatrick, Neuberger Museum of Art, Purchase College, State University of New York
When Is Technique Central to Meaning? Part II
Bruce Metcalf, artist and independent scholar, Bala Cynwood, Pennsylvania
Mia Reinoso Genoni, University of Richmond
Virginia B. Spivey, University of North Carolina, Asheville
Lost and Found
Lost on the Borderlands: Destroying Art in Roman Germany
Rachel Kousser, Brooklyn College, City University of New York
The Missing Chief’s House of Hilimondregeraya Village, South Nias
Jerome Feldman, Hawai’i Pacific University
Lost and Found Dada Objects (and Subjects): George Grosz’s Germany: A Winter’s Tale and Hannah Höch’s Cut with the Kitchen Knife Dada, and German Jewish Identity
Peter Chametzky, Southern Illinois University
The Theft of Caravaggio’s Palermo Nativity
Danielle Carrabino, Courtauld Institute of Art
Revealing Richard Prince
Michael Lobel, Purchase College, State University of New York
Taking Sides: The Role of the Artist in Conflict Situations
Male Fantasies: Otto Dix’s Soldier Selves
Elizabeth Otto, State University of New York, Buffalo
Cultural Collaboration: Artists in the Service of Global Oil
Kevin Noble, New York City College of Technology
War Is Surreal: Lee Miller’s Photodocumentation of World War II
Caitlin S. Davis, The Frick Collection
Loyal Enemy Alien: Yasuo Kuniyoshi and US Anti-Japan Propaganda
ShiPu Wang, University of California, Merced
Hannah Arendt vs. Immanuel Kant: Banality or Radical Evil? The Political Responsibility of Artists in the Face of Three Historical Episodes of Genocide
Gary Laurence Nickard, University at Buffalo, State University of New York
Stereotypes of Women: Evil by Design? Part II
Five Things Created Subject to Frailty
Kimberly Hylton, Purdue University
The Spin on Models of Femininity and Female “Culture” in the Art of Janine Antoni
Stephanie Karamitsos, School of the Art Institute of Chicago
Embodying Conflict: The Cheryl Yun Collection, Lingerie and Swimwear Series
Cheryl Yun, Purdue University
The Geisha Within? History and Translatability in Miwa Yanagi’s My Grandmothers
Miriam Wattles, University of California, Santa Barbara
Purging the Criminal Compulsion—The Ritualization of Deviant Female Acts
Catherine E. Bell, Monash University
Subject: Photography
Douglas Crimp, University of Rochester
Liz Deschenne, independent artist
Natasha Egan, Museum of Contemporary Photography
Douglas Nickel, Center for Creative Photography, University of Arizona
Joel Snyder, University of Chicago
ARTspace
Ephemeral Art and the Tyranny of Preservation
Performance and Documentation: (Re)Presenting Ana Mendieta
Beth Nardella, West Virginia University
Liminality, Memory, and the Ephemeral
Michele Brody, independent artist, New York
From Ruin to Rise: The Contradictions of Gordon Matta-Clark’s Building Fragments
Ellen Moody, Pomona College
Acquisition, Alteration, and Ambivalence: The Preservation of the Noah Purifoy Sculpture Park
Linda Lui, independent scholar, Alameda, California
Very Large Collections and Ephemeral Art: The Joseph Selle Collection of Street Vendor Photography
Andrew Eskind, Visual Studies Workshop; David Mount, Visual Studies Workshop
Transformations of Time and Place in Moving-Image Work in the Digital Age, Part II
Divorced Horizons: Form, Effect, and Notions of Documentary
Benjamin Gerdes, Massachusetts Institute of Technology
The Simultaneity of Time in New Media Art: The Work of Melik Ohanian
Christine Ross
“In All Its Quantized Splendor”: Gary Hill from Pixel to Grid
Zabet Patterson, University of California, Berkeley
Digitalization, Installation, and Contradiction: Approaching the Digital as Concept
Michael Graham, Sheffield Hallam University
Studio Art Open Session
The Field of Abstraction and the Thickness of Paint
When Action Painting Is a Monochrome
Annika Marie, University of Texas, Austin
From Depth to Surface: Material, Rhetorical, and Historical Dimensions of Loss
Jennifer Way, University of North Texas
Expedient Facture: Ryman, Nozkowski, and Zurier
Vittorio Colaizzi, St. Mary’s College of Maryland
Trend Report
Joanne Greenbaum, independent artist, New York
Electric Orange Paisley
Mark Harris, University of Cincinnati
Venturing Overseas: Best Practices in Study Abroad Programs in the Visual Arts
Time, Space and Inspiration: The Lessons of Study Abroad
Timothy Emlyn Jones, Burren College of Art
Safe and Sound: Sifting through Current International Studies Experiences
Ginger Sheridan, Jacksonville University; Scott Tayloe, Jacksonville University
MICA Korea: Intercultural and Interdisciplinary Program
Mina Cheon, Maryland Institute College of Art
Ecstasy in situ: The Discovery of Baroque Art on Study Abroad
Terry Kirk, American University of Rome
Discussant: Nevin Brown, International Partnership for Service-Learning and Leadership
Tradition Unbound: Contemporary Responses to Art's Past, Part II
Then and Now/Here and There: Nomadism and Poetry in the Art of Francesco Clemente
Anna Mecugni, Graduate Center, City University of New York
Wellspring or Dam? The Politics of Tradition in Contemporary Art in Iran
Alisa Eimen, Minnesota State University, Mankato
Between the Traditional and the Modern: Contemporary Art in India and Nigeria
Margaret Richardson, George Mason University
Revisiting Tradition in Contemporary African Art
Kimberly Allen-Kattus, Northern Kentucky University
Global Africa: Contemporary Art of the Black Atlantic World
Carol Thompson, High Museum of Art
Ecology and Ethics of Art | Science Projects
Activist Discourses: Inside the Lab Context
Jill Scott, Hochschule für Gestaltung und Kunst Zürich; Daniel Bisig, Artificial Intelligence Lab, University of Zurich
Morphing Art and Science Labs: Negotiating Unknown Terrain
James Gimzewski, University of California, Los Angeles
