Thursday Sessions (62)

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