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
View only this session
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
