Saturday Sessions (42)

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