Friday Sessions (58)

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