All Sessions (198)

Pietro da Cortona's Corpus of Drawings after the Antique

Jorg Martin Merz, Universität Wien

Cornelis Dusart’s Use of Copying Within His Own Corpus

Susan Anderson

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

Mary Vaccaro, University of Texas, Arlington

Paolo Veronese and Drawing Practice in Renaissance Verona

Diana Gisolfi, Pratt Institute

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

Susan Maxwell, University of Wisconsin, Oshkosh

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

Sheryl E. Reiss, University of California, Riverside

Sticks & Stones: A Collaborative Exchange Examining Labeling and Stereotyping

Pamela A. Beverly, University of Colorado, Boulder

Collaborative Methods and Strategies: A Case Study in Community Awareness

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

The New Designers: Enabling Identity, Building Community

Thomas Hapgood, University of Arkansas

Transformation: Moving from Cooperative to Collaborative Learning in Design Education

Kelly Leslie, University of Arizona

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

Dawn Hachenski, James Madison University

The Other Africa

Vivien Greene, Solomon R. Guggenheim Museum

Waiting for the Barbarians: The Futurist Myth of African Primitivism

Lucia Re, University of California, Los Angeles

Longhi, Venturi, and the Italian Primitives

Andrée Hayum, Fordham University

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

Sharon Hecker, independent scholar, Milan

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

Stephanie Pilat, University of Michigan

Origins of Masking in Bronze Age China

Elizabeth Childs-Johnson, Old Dominion University

Context and Significance of Sanxingdui Bronze Masks

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

Safeguarding/Masking the Deceased in Late Bronze Age China

Susan N. Erickson, University of Michigan, Dearborn

Antlered Tomb Monsters of the Chu

Cortney E. Chaffin, University of Pennsylvania

Discussant: Nancy Steinhardt, University of Pennsylvania

Susanna Coffey

Marilyn Minter

Ena Swansea

Alexi Worth

John Zinsser

Discussant: Stephen Maine

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

Paroma Chatterjee, University of Chicago

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

Margaret Hadley

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

Sara Taylor

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

Julie Shean

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

Cecile Fromont

Restaging Modernism

Jenny Anger, Grinell University

Modernizing Without Modernism: Asger Jorn's Modifications

Karen Kurczynski, Museum of Modern Art

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

Francesca Dal Lago, Leiden University

Georges Bataille and the Limits of Modernism

Raymond Spiteri, Victoria University of Wellington

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

Juan Ledezma, Columbia University

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

Stephen Petersen, University of Pennsylvania

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

Reiko Tomii, independent scholar, New York

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

Gwen Allen, Maine College of Art

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

Benjamin Lima, Yale University

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

Emily Hage, Philadelphia Museum of Art

Elizabeth Schlatter, University Museums, University of Richmond

Olga Kopenkina, independent curator, Brooklyn

Joshua Decter, independent curator and critic, New York

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

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

Taming the Beast: Bridging Critical Theory with Studio Art

Kelly Phillips, Emily Carr Institute

Can’t We Just Be Artists?

David Kamm, Luther College

Rethinking Foundations: From Start to Finish

Mary Stewart, Northern Illinois University

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

Peet Cocke, Cuesta College

Cavalry and Cult in Early Greece

Erin Walcek Averett, University of Missouri, Columbia

The Roman Fornix: Development of a Triumphal Monument

Anne Hrychuk, Institute of Fine Arts, New York University

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

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

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

Michael L. Thomas, Tufts University

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

Peter E. Nulton, Rhode Island School of Design

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

Lauren Kinnee, Institute of Fine Arts, New York University

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

Kara L. Schenk, Maryland Institute College of Art

Is Bonnard a Modernist?

Karen Stock, Winthrop University

Late-Style Mondrian

Marek Wieczorek, University of Washington

Arrested Development? George Grosz’s Late Montages

Michael White, University of York

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

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

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

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

From Collecting to Collaboration

Kermit Bailey, North Carolina State University

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

Hannah Higgins, University of Illinois, Chicago

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

Bernard L. Herman, University of Delaware

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

Conrad Gleber, LaSalle University

Working from the Perimeter

Willie Ray Parish, University of Texas, El Paso

Hillbilly Happiness: The Barnstormers' Pilgrimage Down South

David J. Brown, Southeastern Center for Contemporary Art

From the Big Picture to the Small Object

Kate Bonansinga, University of Texas, El Paso

Beautiful Losers

Christian Strike, Atelier Noir, Iconoclast Editions

Clay Lewis, National Endowment for the Humanities

Lisa Kahn, National Endowment for the Humanities

Ask the Lawyer

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

Jean-Étienne Liotard, the Turkish Painter

Kristel Smentek, Frick Collection

Piranesi, the Aesthetic of Eclecticism, and His Stile Egiziano

Sarah Lawrence, Cooper-Hewitt National Design Museum

James Gillray’s China: A Late Mercantile Critique

Douglas Fordham, University of Virginia

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

Natasha Eaton, University College, London

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

Erin Campbell, University of Victoria

On Seeing and Viewing in Early 18th-Century Isfahan

Renata Holod, University of Pennsylvania

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

Allison Thompson, Barbados Community College

The Birth of Haitian Art as a “Renaissance”

Legrace Benson, Arts of Haiti Research Project

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

Veerle Poupeye, Emory University

Curating with/out a Jamaican Accent

Catherine Amidon, Plymouth State University

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

Edward Sullivan, New York University

Discussant: Judith Bettelheim, San Francisco State University

On Painting Architecture Black

Michael Linzey, University of Auckland

Maya Baroque Facades

Carol Ventura, Tennessee Technological University

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

Lama Tone, University of Auckland

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

Richard A. Sundt, University of Oregon

Rangiatea: Gothic Provocations

Robin Skinner, Victoria University of Wellington

Modeling Visual Learning between East and West

Ann Shafer, American University in Cairo

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

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

Present (Re)Present: Toward a Contemporary Regional Identity

Chris Kienke, Savannah College of Art and Design

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

Ilgim Veryeri Alaca, Bilkent University

Grids Meet the Arabesque: Design Education in Doha, Qatar

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

The Studio after Reconstruction: The Atelier Brancusi as Model

Jon Wood, Henry Moore Institute

Studio Vertigo: Mark Rothko

Morgan Thomas, University of Canterbury

The Studio as Test Site: Bruce Nauman

MaryJo Marks, School of Visual Arts

Back to the Studio: The Making of the Male Artist

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

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

Philip Ursprung, University of Zurich

Discussant: Kirsten Swenson, Case Western Reserve University

Three Pleasures of the Medium

Will Pappenheimer, Pace University

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

Michele White, Tulane University

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

Roberto Bocci, Georgetown University

Early Generative Aesthetics and Contemporary Art Movements

Christoph Klütsch, International University, Bremen

Collaboration in New Media

Patrick Lichty, Columbia College, Chicago

The Kitchen as Exemplary Space from Renaissance Treatise to Period Room

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

The Venetian “Portego”: Family Piety and Public Prestige

Margaret Morse, Washington and Lee University

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

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

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

Susan Wegner, Bowdoin College

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

Mott Haven: A Case Study in Gentrification

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

Off the Grid: Connecting Creative Corridors

Erin Donnelly, Lower Manhattan Cultural Council

The Question Is the Tension Among Various Poles

Heng-Gil Han, Jamaica Center for Arts and Learning

Pawel Althamer and Katarzyna Kozyra, Performing New Realities

Paulina Pobocha

Beyond Freedom or beyond Democracy?

Piotr Piotrowski, Adam Mickiewicz University

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

Richard Langston, University of North Carolina, Chapel Hill

Expanding the Present: Michael Wesely and the Intractability of Time

Lutz Koepnick, Washington University, St. Louis

Affective Interruptions: Mapping with Transition

Clare Pritchard

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

Lisa De Boer, Westmont College

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

Barbara Yontz, St. Thomas Aquinas College

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

Sandra Lotte Esslinger, Mt. San Antonio College

Teach Art History? I Can Do That

Robert Sites, Norfolk State University

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

Bertha Steinhardt Gutman, Delaware County Community College

Discussant: Beth Stewart, Mercer University

Dizz/placement: Half Moon Eyes

Mina Cheon, Maryland Institute College of Art

The New Great Game: The New Colonization in Globalization

Sarina Khan Reddy, Eastman Kodak Company Research Laboratories

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

Daria Dorosh, University of East London

Compassionate Actions: Art Envisions a World without Borders

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

Speaking into the Silence

Karen Frostig, Lesley University

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

John E. Moore, Smith College

Political Fireworks: The Chinea of 1745

Jill Deupi

Fragonard’s Trees between Scenic Artifices and Metaphors

Patrick Coue, University of Pennyslvania

Jailhouse Rocks: Pierre-François Palloy’s Movable Monuments

Richard Taws, McGill University

The Short Life of Neoclassical Chairs

Ethan Lasser, Yale University

American Idol and the Rise of Mediocrity

Peet Cocke, Cuesta College

Critique as Critical Reflection

Mariah Doren, Central Michigan University

The Enhancement of Critical Thinking through Critique

Neil Matthiessen, Arkansas State University

Who Is the Programmer

Jere Williams, St. Paul’s School

Discussant: Elaine King, Carnegie Mellon School of Art

Pier Consagra

Diana Cooper

David Humphrey

James Siena

Fostering Diversity of American Cultural Diplomacy Abroad

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

Gail Tremblay, Evergreen State University

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

Edgar Heap of Birds, University of Oklahoma

Devotional Art for the Feminine Divine

Nadema Agard, Red Earth Studio Consulting/Productions

Doré in America: Recent Discoveries

Eric Zafran, Wadsworth Atheneum

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

Aida Audeh, Hamline University

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

Lisa Small, Dahesh Museum of Art

Doré and Gérôme: Classical Sculptors?

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

Van Gogh Remembering (with) Doré

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

Gustave Doré and the Graphic Novel

Patricia Mainardi, Graduate Center, City University of New York

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

Joaneath Spicer, Walters Art Museum

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

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

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

Richard E. Stone, Metropolitan Museum of Art

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

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

Katy Siegel, Hunter College, City University of New York

Invisible -ism

Robert Mertens, University of Wisconsin, Whitewater

Luc Tuymans and the Use Value of Irony

George Anastasias Magalios, independent artist

Discussant: Barry Schwabsky, independent critic and poet

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

Bonnie Burnham, World Monuments Fund

Christina Cameron, Canadian Delegation to the World Heritage Committee

Ray Wanner, Americans for UNESCO

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

Leatrice Mendelsohn, independent scholar, New York

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

Melissa Hyde, University of Florida

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

Issa Lampe, American University

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

Rebecca J. DeRoo, Washington University, St. Louis

Art and Eros: Love as Politics in the 1960s

Jonathan D. Katz, Smithsonian Museum of American Art

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

Nizan Shaked, California State University, Long Beach

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

Anne Helmreich, Case Western Reserve University

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

Patricia de Montfort, University of Glasgow

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

Martina Droth, Henry Moore Institute

The Chenil: An Artists’ Colony for Chelsea

Ysanne Holt, University of Northumbria

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

Andrew Stephenson, University of East London

The Habitat Diorama and the Integration of Academic Art for Science

Kevin J. Avery, Metropolitan Museum of Art

Seeing and Believing: Dioramas in the Thyer-Roosevelt Debates

Matthew Brower, York University

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

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

Double Take: Dioramas, Photography, Representation

Robert Silberman, University of Minnesota

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

Katerina Lanfranco, independent artist, New York

The Art-Historical Use of the Baroque under National Socialism

Evonne Levy, University of Toronto

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

Daniela Bohde, Kunstgeschichtliches Institut, Goethe-Universität, Frankfurt

Painterly Formalism and National Socialism: Wölfflin and Greenberg

Daniel Adler, University of Guelph

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

Veronica Davies, Open University

Discussant: Paul B. Jaskot, DePaul University

Nuances: Understanding the Fundamentals of Motion Design

Sarah Lowe, University of Tennessee

Reshaping the Meaning of Type with Sound and Motion

Bonnie Blake, Ramapo College of New Jersey

Application of a Sketchbook to a Motion Graphics Project

Ravinder Basra, University of San Francisco

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

Chris Corneal, Michigan State University

Disruptive Creative Process in the Interactive Classroom

Kim Grable, University of North Texas

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

Anne E. Beidler, Agnes Scott College

Going Beyond the Studio Walls: A Liberal-Arts Partnership

Pamela Flynn, Holy Family University

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

Mark Klassen, Beloit College

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

Jessica L. Smith, University of West Alabama

Comparative Art-Educational Experiences from Community College to Graduate School

Natalie Funk

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

Roberta Tucci, Delaware State University

The Thinking Image: Beyond Interpretation

Hanneke Grootenboer, University of Amsterdam

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

Lisa Lipinski, Corcoran College of Art and Design

Return to Damisch

Kent Minturn, Sarah Lawrence College

Just Noticeable Difference and the Thresholds of Artistic Perception

Joan Hart, Indiana University

Functions of Historiography

Elizabeth Sears, University of Michigan

Close Reading

Alexander Nemerov, Yale University

Interpretation in the Age of the Digital Zoom

Michael Leja, University of Pennsylvania

The Single-Artist Museum: Problems and Solutions

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

Object Lessons

Sylvia Yount, High Museum of Art

A Touching Compassion: Dürer’s Haptic Theology

Shira Brisman, Yale University

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

Geraldine A. Johnson, Oxford University

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

Andrew Casper, University of Pennsylvania

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

Charles Peterson, University of California, Santa Barbara

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

Mindy Nancarrow, University of Alabama

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

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

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

Dana Leibsohn, Smith College

Nanban Art between Nagasaki, Macao, and Acapulco

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

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

Sara K. Klein, independent scholar, Chicago

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

Florina H. Capistrano-Baker, Ayala Museum

Discussant: Thomas DaCosta Kaufmann, Princeton University

Rang de Nila (Color Me Blue)

Siona Benjamin-Kruge, Drew University

In the Pandemonium of Image: Derek Jarman’s Blue

Ignaz Cassar, University of Leeds

Blue Jeans: America’s National Pants

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

The Blue Glass Cure

Joanna Merwood-Salisbury, Parsons, New School for Design

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

Vibeke Olson, University of North Carolina, Wilmington

Experiential Blue and the Architecture of the Swimming Pool

Jada Schumacher, University of Wisconsin, Stout

Post-Partum Blues

Mariangeles Soto-Diaz, Hampshire College

Picasso: Relooking at Africa

Suzanne Preston Blier, Harvard University

Metropolitan Fetish: African Sculpture in the Spaces of French Modernism

John Monroe, Iowa State University

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

Julie L. McGee, Bowdoin College

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

Maureen Murphy, Université Paris I Sorbonne

Cultural Heritage and the Popularity of Primitivism

Peter M. Probst, Tufts University

Discussant: Steven Nelson, University of California, Los Angeles

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

Tamsin Whitehead, independent scholar, Northwood, New Hampshire

Elaine Reichek’s Modern-Day Samplers

Paula J. Birnbaum, University of San Francisco

An Ambivalent Reappearance of the Orientalist Hamam

Michel Oren, California State University, Fullerton

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

Karin J. Zitzewitz, University of Chicago

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

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

Anatomical Drawings and Florentine Identity in the 16th Century

Jennifer Bird, Bryn Mawr College

Why Robert Hooke Stopped Drawing

Matthew C. Hunter, University of Chicago

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

Daniel Harkett, Columbia University

Contesting Identity and the Meta-praxis of Drawing

Anthony Auerbach

Discussant: Pamela H. Smith, Columbia University

The Endogamous Eugenic Japanese Nude: Koide Narashige

Bert Winther-Tamaki, University of California, Irvine

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

Sarah Teasley, University of Massachusetts, Dartmouth

Virtuous Beauty or Beautified Virtue?

Seokyung Han, Binghamton University

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

Shim Chung, New York University

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

Sandy Ng, University of Hong Kong

Alice Aycock, independent artist, New York

Julian LaVerdiere, independent artist, New York

Harriet Senie, Graduate Center, City University of New York

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

Margaret Hanni, Simmons College

Commercial Art and the Making of an Artist

Sister Ellen Gavin, Emmanuel College

Religious Symbolism in Medieval Art and Architecture

Allyson Sheckler, Stonehill College

Angela Rosenthal, Dartmouth College

Lowery Stokes Sims, Studio Museum in Harlem

Julian Stallabrass, Courtauld Institute of Art

Anne Wagner, University of California, Berkeley

Practical Applications for Managing Personal Digital Image Collections

Virginia Hall, Johns Hopkins University

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

Kathe Hicks Albrecht, American University

Should Quality Matter? The Gritty Truth About Images and Art

Christine Sundt, visual resources consultant

Hegemony Cricket: The Voice of One Crying in the Wilderness

Thomas Kleese, University of Wisconsin, Richland

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

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

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

Temma Balducci, Arkansas State University

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

Roberto Ferrari, Graduate Center, City University of New York

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

Natasha Ruiz Gomez, University of Pennsylvania

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

Eleanor Stansbie, Birkbeck College, University of London

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

Cindy Stelmackowich, Binghamton University

Lap Swimmer, Crossing

Micaela Amato Amateau, Penn State University

The Beauty of Disorder

Cara Judea Alhadeff, independent artist

Reflections of a Second Generation: The Grass Is Always Greener

Deborah Rader, independent artist

Journey into the Past

Carolyn H. Manosevitz, Colorado Mountain College

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

Lee Ann Garrison, University of Wisconsin-Milwaukee

After the Sheepskin

Joe Seipel, Virginia Commonwealth University

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

Sue Gollifer, University of Brighton

Anne Pasternak, Creative Time

Debra Singer, The Kitchen

Matthew Higgs, White Columns

Benjamin Weil, Artists Space

Intimacy in New Media Art

Andrea Ackerman, independent artist and psychiatrist

On the Geek as Humanist

Claudia Hart, Sarah Lawrence College; NY/Polytechnic University

Beyond Functional: Embedding Responsive Art into Human Systems

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

Animate Objects, and the Evocation of Empathy

John Slepian, Wesleyan University

The Beautiful and the Terrifying

Gail Wight, Stanford University

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

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

Seurat’s Gravity

Richard A. Shiff, University of Texas, Austin

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

Charles W. Haxthausen, Williams College

Discussant: Linda Hutchon, University of Toronto

Toward an Understanding of Washington Allston and Samuel Taylor Coleridge

Todd Smith, Gibbes Museum of Art

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

Katherine Manthorne, Graduate Center, City University of New York

Violet Oakley and Edith Emerson

Bailey van Hook, Virginia Polytechnic Institute and State University

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

Anna Kamplain, Boston University

General Idea’s Exquisite Corpse: Configuring the Collaborative Body

Deborah Barkun, Millersville University of Pennsylvania

Catherine de Zegher

Discussant: Norie Sato, independent artist, Seattle

Where We Come From: Mobility and Belonging in Contemporary Art

T.J. Demos, University College, London

Going Astray: Network Transformations and the Asymmetries of Globalization

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

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

Grant Kester, University of California, San Diego

Discontinuous States: Art on the Border

Krista Geneviève Lynes, San Francisco Art Institute

From Nomadism to Cosmopolitanism

James Meyer, Emory University

Building an Understanding of Architectural History

Craig Eliason, University of St. Thomas

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

Lana A. Burgess, Florida State University

Engaging Masquerades: Ritual Performance in the Classroom

Carol Magee, University of North Carolina, Chapel Hill

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

William Stargard, Pine Manor College

The Visual Essay Project: Thinking Visually, Conceptually and Synthetically

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

Why the PhD Studio?

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

Ante Magazine: What Are the Stakes?

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

1957 Brain Rush

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

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

Tanya J. Tiffany, University of Wisconsin, Milwaukee

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

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

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

Marta Bustillo, National College of Art and Design, Dublin

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

Laura R. Bass, Tulane University

Discussant: John Elliott, Oxford University

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

The Weight of An Expressive Silence

Rie Hachiyanagi, Mount Holyoke College

The Mummy’s Curse

Sandy Kinnee

Paper Dolls: Women Sculptors and the Body in Pulp

Virginia Maksymowicz, Franklin and Marshall College

Empire on Course

Eve Ingalls

Paper Keeps the Pace

Rachel Foullon, Public-Holiday Projects

The Student Movement

Molly Nesbit, Vassar College

Interiority

Ewa Lajer-Burcharth, Harvard University

The Twilight Zone: Photography and the Uncanny

Abigail Solomon-Godeau, University of California, Santa Barbara

Of Aby Warburg, Writing, and Time

Moira Roth, Mills College, Oakland

Discussant: Linda Nochlin

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

Wendy Ikemoto, Harvard University

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

Sarah Caylor, Duke University

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

Mary Ann Calo, Colgate University

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

Kirsten Hoving, Middlebury College

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

Michael Hatt, Yale Center for British Art

Daniel H. Weiss, Lafayette College

Kimerly Rorschach, Nasher Museum of Art, Duke University

Jessica Stockholder, Yale University

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

Hsin-Mei Agnes Hsu, Brown University

Hadrian’s Hydraulic Vision of Roman Cultural Identity

Brenda Longfellow, University of Iowa

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

Valentina Follo, University of Pennsylvania

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

Aleca Le Blanc, University of Southern California

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

Carol Payne, Carleton University

Christopher Lowtner, Indiana University

Amy Yao, Yale University

Legions in Mourning: Reconstructing Communities in the Roman Provinces

Alvaro Ibarra, University of Texas, Austin

Art without Objects: Michael Asher’s Empty Spaces

Jennifer King, Princeton University

Dymaxicrat Architecture: Buckminster Fuller at Black Mountain College

Eva Diaz, Princeton University

The Notion of Family: Family Work 2002–6

LaToya Frazier, Syracuse University

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

Kate Palmer Albers, Boston University

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

Christopher Bedford, J. Paul Getty Museum

Matters of Fluency

Erica Duffy, University of Northern Iowa

Disability as Divine: Special Bodies in Ancient American Art

Rebecca Rollins Stone, Emory University

Aesthetics of Accessibility

Jon Berge, independent artist, Columbus, Ohio

Seeing Disability

W.J.T. Mitchell, University of Chicago

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

Lennard Davis, University of Illinois, Chicago

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

Tracy Chapman Hamilton, Sweet Briar College

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

Amanda Luyster, College of the Holy Cross

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

Maureen Quigley, Saint Louis University

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

Stephen Perkinson, Bowdoin College

Fairfield Porter and the “American Cramp”

Ted Leigh, independent artist and scholar, York, Pennsylvania

The Interwoven World of Fairfield Porter

George Rush, Yale University

Porter the Painter, Illuminated by His Short Reviews

Anne Devaney, University of Missouri, Kansas City

The Art and Writings of Fairfield Porter

Mario Naves, New York Observer

Fairfield Porter: Memoir

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

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

Jordan Bear, Columbia University

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

Richard Turnbull, Fashion Institute of Technology

Vale Photography

Geoffrey Batchen, Graduate Center, City University of New York

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

Wendy Babcox, University of South Florida

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

Kevin Henry, Columbia College, Chicago

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

Linda Dalrymple Henderson, University of Texas at Austin

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

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

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

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

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

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

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

“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

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

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

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

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

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

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

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

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

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

“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

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

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

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

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

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

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 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

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

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

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

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

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

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

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

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

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

Anoka Faruqee, California Institute of the Arts

Pepon Osorio, Temple University

Terry Adkins, University of Pennsylvania

Discussant: Howard Singerman, University of Virginia

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

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

Glenn Harper, International Sculpture Center, Sculpture magazine

Dawn Molignano, International Sculpture Center

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

Peter Nesbitt, Art on Paper magazine

Dusica Kirjakovic, Lower East Side Printshop

Franklin Sirmans, Menil Collection

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

Ulrich Lang, Museum of Moderne Kunst, Frankfurt

Jochen Saueracker, Independent Artist

Rodolf Freiling, San Francisco Museum of Modern Art

C. Conrads, Nelson-Atkins Museum of Art

Stephanie Fay, University of California Press

Francis Pohl, Pomona College

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

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

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

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

Jane Hammond

Jeanne Silverthorne

Fred Tomaselli

Janine Antoni

Charles Long

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

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

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

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

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

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

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

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

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 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

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

Kraig Binkowski, Yale Center for British Art

Max Marmor, ARTstor

Sharon Helgason Gallagher, D.A.P. Distributed Art Publishers

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

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

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

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

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

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

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

Robert Colesecott

Eric Fischl

Mernet Larsen

Judith Linhares

Beverly McIver

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

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

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

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

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

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

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 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

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

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

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

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

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

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

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

Carol Becker, School of the Art Institute of Chicago

Mary Heilmann, independent artist

Romi Crawford, School of the Art Institute of Chicago

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

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

Jeffrey Deitch, Deitch Projects

Mera and Don Rubell, private collectors, Miami

Jerry Saltz, critic, Village Voice

Peter Plagens, independent artist and critic, New York

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

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

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

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

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

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

Bruce Metcalf, artist and independent scholar, Bala Cynwood, Pennsylvania

Mia Reinoso Genoni, University of Richmond

Virginia B. Spivey, University of North Carolina, Asheville

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

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

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

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

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

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

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

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

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

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