Nothing and Everything

Julia Morrisroe, University of Florida

Navigating the Gulf between Compulsion and Irony in Contemporary Painting

Brian Bishop, University of Alabama

Painting the Wasteland: The Environmental Critique in Contemporary Painting

Liz Ward, Trinity University

Paying My Dues: Defining or Defying Disciplinary Boundaries?

Matthew Reynolds, Center for the Arts in Society, Carnegie Mellon University

Researching the Visual Culture of Urban Africa: Shifts in Awareness and Disciplinary Analysis

Till Förster, Universität Basel

Beyond the Visual: Toward a Kinesthetic Art History

Nell Andrew, Northwestern University

A Study of the Cover Pages of a Calligraphy Journal -- A Visual Studies Approach

Sophia Suk Mun Law, Lingnan University, Hong Kong

Teaching the Wrong Madonna in the Desert Southwest: Valuing Contemporary Visual Culture in a Culturally Conservative Place

Stephanie L. Taylor, New Mexico State University

Beyond Spirituality: Sacramental and Liturgical Aesthetics in Contemporary Art

Daniel A. Siedell, University of Nebraska, Omaha

The Pursuit of Beauty vs. The Aesthetics of Worldmakers

Arthur Pontynen, University of Wisconsin, Oshkosh

A Secular Trinity? The Transformation of Christian Iconography in a Post-Christian Age

Michelle Lang, University of Nebraska, Kearney

Linda Montano and the Tensions of Monasticism

Karen Gonzalez Rice, Duke University

Visual Culture and the Sacred: Creative Acts of Resistance and Redemption in Art, Film, and New Media

Scott Parsons, Augustana College

Mediation: From Design History to Cultural History?

Grace Lees-Maffei, University of Hertfordshire

Political Histories of Design; or, the State in Design History

Bess Williamson, University of Delaware

Defining the Design Deficit in Bangladesh

Lisa Farooque, Purdue University

Surveying the Design History Survey

Sarah Lichtman, Parsons the New School for Design

Designing Graphic Design History

Teal Triggs, London College of Communication, University of the Arts, London

Computer Modeling, Architectural Studies and Electronic Publications: Reconstructions of the Mastaba of Knomhotep from Drawings and Surveys of the Metropolitan Museum of Art Egyptian Expedition

David Sherratt Johnson, Museum of Reconstructions

The Virtual Monastery: Digital Re-presentation of Archaeology, Architecture and Texts at Saint-Jean-des-Vignes, Soissons

Sheila Bonde, Brown University; Clark Maines, Wesleyan University

Auteur or Architectural Historian? Rendering the YMCA with Rhinoceros

Paula Rachel Lupkin, Washington University

Discussant: Judith Thorpe, University of Connecticut

Discussant: Bruce Myren, University of Connecticut

Discussant: Kelly Dennis, University of Connecticut

Same as It Ever Was: Rereading the New Topographics

Toby Jurovics, Smithsonian American Art Museum

The Cinematic Landscapes of Antonioni and Godard and Their Influence on the New Topographics Photographers

Larisa Dryansky, Université de Paris, I Pantheon-Sorbonne

The New Topographics and Minimalism

Greg Foster-Rice, Columbia College, Chicago

Real Estate Opportunities

Britt Salvesen, Center for Creative Photography, University of Arizona

New Topographics Now: Simulated Landscape and Degraded Utopia

Christopher Burnett, University of Toledo

Only This Now: Literature in the Studio

Abigail Donovan, University of Delaware

In Illustration, Where Is the Story and What Does It Say?

J. Anne Montgomery, independent artist, South Bend, Indiana

Diderot's Salons: Exhibitions without Pictures

Kristin O'Rourke, Dartmouth College

Commerce into Culture: Wenda Gu's Neon Calligraphy Series

David Cateforis, University of Kansas

Word Up: The Literal Art of Glen Ligon

Jody Cutler, University of Central Florida

Continuities in Clay: Teracotta Images from Calabar, Nigeria

Christopher Slogar, California State University, Fullerton

Groupe Bogolan Kasobane

Janet Goldner, independent scholar and artist, New York

Journey to Conversion: How the Paul and Ruth Tishman Collection of African Art became the Walt Disney/Tishman Collection at the National Museum of African Art, Smithsonian Institution

Deborah Stokes

The Reinstallation of the African Collection at the Neuberger Museum of Art: The Challenge of Transformation

Marie-Therese Brincard, Neuberger Museum of Art

Giving the Etruscans Their Due

Jocelyn Penny Small, Rutgers University, State University of New Jersey

The Murder of Clytemnestra on Etruscan Bronze Mirrors

Alexandra A. Carpino, Northern Arizona University

The Judgment of Paris in Etruria

J. Keith Doherty, Boston University

Mistress and Master: Political Iconography in Early Urban Italy

Anthony Tuck, University of Massachusetts

Etruscan Vogue: Borrowed Aesthetic or Italic Beauty?

Bridget K. Sandhoff, University of Missouri, St. Louis

Discussant: Jenifer Neils, University of California, Berkeley

Leveraging Great Minds in the Graphic Design Classroom

Meta Newhouse

Hindsight: The Moving Image and the Post-Photographic

John Aasp

Loop

Ayelet Zohar

The Literary Imperative in the Video Works of Steve Reinke and William E. Jones

Justin Lincoln, Virginia Commonwealth University

Monkey Theater: Put-ons and Propaganda

Craig J. Peariso, Columbia University

Re-directing the Green Arrows: Recycling Campaigns and Conservationist Narratives

Max Liboiron, New York University

Potemkin Village

Stéphanie Benzaquen, Zavod K6/4

Discussant: Michael Aurbach, Vanderbilt University

Discussant: Joe Seipel, Virginia Commonwealth University

Greg M. Thomas, University of Hong Kong

Colin Rhodes, University of Sydney

Sophie Levy, Musée d'Art Américain Giverny

Jochen Wierich, Cheekwood Botanical Garden and Museum of Art

Carlos Rovelo, Richland and Cedar Valley College

Fredrick M. Asher, University of Minnesota

Building Bridges between Artists and Educators

Mary Stewart, Florida State University

Figure/Ground: Difference as an Opportunity for Learning

John Howell White, Kutztown University

Arts Based Research and Visual Culture Inquiry: Critical Connections

B. Stephen Carpenter II, Texas A&M University

Rebalancing Art Pedagogy in Terms of Form + Theme + Context

Renee Sandell, George Mason University

Barbara Moore, Bound and Unbound

Andrew Perchuk, Getty Research Institute

Milan Houston, Museum of Modern Art, New York

The Elements: Experimental Philosophy in 18th-Century Performing and Visual Arts

Elizabeth Liebman

Novel Words for Art: An Exchange of Critical Language in the 18th Century

Barbara Anderman, Lebanon Valley College

Eros and Mythos in Late 18th-Century French Art

Dorothy Johnson, University of Iowa

The Tactility of Vision; or, Experiencing Painting and Sculpture in Scarpa’s Castelvecchio and Canoviano Galleries

Nathaniel Coleman, New Castle University

Trace and Artifice

Jill Moser, independent artist, New York

Threshold Connections: Dialectics of Cybernetic Dematerialization and the Physicality of Painting

Derek Brueckner, University of Manitoba

In Search of the Tactilists: A Survey of Contemporary Haptic Aesthetes

Jennifer Justice, independent scholar, Chicago

Touch Is Essential: The "magic of the real world" in the Work of Peter Zumthor

Phoebe Crisman, University of Virginia

Discussant: Scott Poole, Virginia Tech

Rereading the Sarpedon Krater

Jenifer Neils, University of California, Berkeley

Animal Love: The Iconography of Zoophilia in Greek Art

Annetta Alexandridis, Cornell University

Captives and Patrons: Persian Precedents for the Ethnic Personifications on the Sebasteion at Aphrodisias

Benjamin Rubin, University of Michigan, Ann Arbor

Intra hanc definitonem: Domitian and the Ara Incendii Neroniani on the Quirinal

Lea K. Cline, University of Texas, Austin

New Light on a Neglected Medium: Late Roman Wall Paintings and the Evidence of Diocletian's Imperial Cult Chapel

Susanna McFadden, University of Pennsylvania

Flavin Judd, Judd Foundation

Judd on Phenomena

Adrian Kohn, University of Texas, Austin

Donald Judd: Black as Space

Tim Martin, De Montfort University

Discussant: David Raskin, School of the Art Institute of Chicago

"A Picture, and therefore a Model": Facture and Frivolity in Painting After Richter

Christopher Bedford, Courtauld Institute, and Los Angeles County Museum of Art

A Few (Mainly First-Person) Observations on Various Failed Strategies (Some More Interesting than Others)

Kevin Zucker, Rhode Island School of Design

Just Do It? Painting and the Problem of Intention

Jonathan TD Neil

The Treachery of Images

Hilary Wilder, Virginia Commonwealth University

Air Pollution and Public Agency

Beatriz da Costa, University of California, Irvine

Real Costs and Oil Standard

Michael Mandiberg, College of Staten Island, City University of New York

Breathtaking: Climate Science in Art and Media

Andrea Polli, Hunter College, City University of New York

Eco-tech Strategies: Digestive Table and Other Works

Amy Youngs, Ohio State University

Discussant: Linda Weintraub, independent scholar

Charles and Ray Eames in India

Saloni Mathur, University of California, Los Angleles

Pang Xunqin: Assimilating the World and the Native in Modern Design

Xiaoqing Zhu, University of Maryland

In the Name of "Modernization": The Design of the Chairman Mao Memorial and the Rise and Fall of Hua Guofeng

Shuishan Yu, Oakland University

Asian Modernities and Olympic Games: The Cases of Japan and China

Jilly Traganou, Parsons the New School for Design

Discussant: Sarah Teasley, Northwestern University

Laura Richard Janku, independent writer

Paul Slocum, independent artist

Garnet Hertz, University of California, Irvine, and California Institute for Telecommunications and Information Technology

David Nunez, independent artist and scholar

Golan Levin, Carnegie Mellon University

Stuart Davis and Georgia O’Keeffe: Making Modernism in New Mexico

Emily Ballew Neff, Museum of Fine Arts, Houston

Wolfgang Paalen, European “Indianism,” and the New York School

Amy Winter, Godwin-Ternbach Museum, Queens College

Cultures at a Crossroads: Would the Hopi Call Them Surrealists or Realists?

Jessica Welton, Virginia Commonwealth University

Savage by Design: The American Indian Primitive in Western Photography

Aleta Ringlero, Arizona State University

Modernists and Head-Hunters: Edward S. Curtis’s Indians in Film and Photography

Shannon Egan, Gettysburg College

Discussant: Barbara McCloskey, University of Pittsburgh

Mix It Up

Samantha Krukowski, University of Texas, Austin

The Shaped Canvas in the 1930s: The Sculptural Paintings of Abraham Joel Tobias and Their Sources, Influences, and Expressive Techniques

Herbert R. Hartel, Brooklyn College, City University of New York

"The Loveliest Flesh Charred Beyond Recognition": Bruce Conner, Painting, and the Art of Assemblage

Kevin Hatch, Princeton University

Paintings like Pictures, Pictures like Paintings--Image, Object, Illusion, and Representation? The Paintings of Richard Heipp

Richard Heipp, University of Florida

Painting in the Expanded Field: Emergence of the Non-Painting-Centric Practice

Robert Bubp, Wichita State University

The Construction of Continuity: Edmond de Goncourt’s Japonisme

Pamela Warner, University of Rhode Island

Decadence: Japanese Painterly Responses to Japonisme, 1893-1910

Chelsea Foxwell, Columbia University

Marketing Cultural Fantasy: Japan’s Teahouse at the Louisiana Purchase Exposition

Hsuan Tsen, Stanford University

French Body Orientalized: Tsuguharu Foujita’s Reclining Nudes of the Early 1920s

Ikuyo Nakagawa, City University of New York

Kandinsky and the Utopian in Japanese Modernism

Alicia Volk, University of Maryland

Self-Portrait as a Bulletin Board; or, John F. Peto's Piecemeal Self

Meredith Paige Davis, Ramapo College of New Jersey

On Last-Chance Gulch: Cabinet Cards of African Americans and Asians by JP Ball in Helena, Montana, c. 1887-1900

Theresa Leininger-Miller, University of Cincinnati

Reinventing Portrait Photography: Zaida Ben-Yusuf and the Roots of Modernist Portraiture

Frank H. Goodyear, III, National Portrait Gallery, Smithsonian Institution

Precious Objects: Miniature Painting at the Turn of the Century

Carrie Rebora Barratt, Metropolitan Museum of Art

Figure and Ground: John Singer Sargent's Divided Social Body

Susan Sidlauskas, Rutgers, State University of New Jersey

Eve and Adam: Investigating the Prototypes’ Prototypes: Jan van Eyck, Hugo van der Goes, Albrecht Dürer

Carol J. Purtle, University of Memphis

The Influence of Technical Analyses on the Study of Jan van Eyck

Noëlle Streeton, University College, London

Open Sesame: On the Openings and Closings of Early Netherlandish Triptychs and Their Impact on Meaning

Lynn F. Jacobs, University of Arkansas

Reading Northern Narratives: Hans Memling’s Scenes from the Advent and Triumph of Christ

Sally W. Coleman, University of Texas, Austin

The Ideal Flemish City as a Living Panorama to Frame Early Netherlandish Art

Hans J. Van Miegroet, Duke University

The Time Warp of the Everyday: Surrealism and the Outmoded

Abigail Susik, Columbia University

In the Space of the City: Daniel Buren’s "Affichages Sauvages"

Jennifer Farrell, Yale University Art Gallery

Claes Oldenburg’s Theater of Vision: Experiencing Everydayness at "The Store" (1962)

Nadja Rottner, Columbia University

Common Sense: Class, Creativity, and the Everyday in the Work of Richard Billingham

Vanessa Corby, York St. John University

Drifters: Plastics, Pollutants, and Personhood

Pam Longobardi, Georgia State University

The 100-Mile Suit: Costume as an Exercise in Regionalism

Kelly Cobb, Maryland Institute College of Art

Michael Rakowitz and the Anti-Craft Tradition

Bibiana Obler, Johns Hopkins University

Making and Faking: Industrial Distillation of the Crafted Mark

Rod Northcutt, Rochester Institute of Technology

Doing Time: Women, Hand-Spinning, and Quiltmaking in Lancaster County, Pennsylvania, 1800-1880

Patricia Keller, McNeil Center, University of Pennsylvania

Un-Express; or, Delivering Slowness as Political Ploy

Kristine Woods, Maryland Institute College of Art

Un-Express; or, Delivering Slowness as Political Ploy

Christopher Whittey, Maryland Institute College of Art

A Houston-Based Artist

Lynn McCabe

The Display of Knowledge: Martha Rosler's Library

Catherine Caesar, University of Dallas

Kabakov and Koons: The Artist in the Collective

Marian Mazzone, College of Charleston

Collecting as a Vocation: The Aesthetic Project of Dominique and John de Menil

Pamela Smart, Binghamton University

Curating the Rachofsky Collection

Allan Schwartzman, Rachofsky Collection

The Polychromic Classroom

Anthony Fontana, Bowling Green State University

What Are Words For?

Juan Juarez, Syracuse University

What about Creativity?

David Kamm, Luther College

Changing the Sheets: Textbooks for New Learning Strategies

Ralph Larmann, University of Evansville

Marjorie Devon, Tamarind Institute, University of Mexico

Dan Rockhill, University of Kansas

Brent Skidmore, University of North Carolina, Asheville

Thoreau, Elbert Hubbard, and the American Arts and Crafts Movement

Jonathan Clancy, Graduate Center, City University of New York

Crafting a Civic Utopia in Newark, New Jersey: John Cotton Dana’s Newark Library and Museum

Ezra Shales, Alfred University

Can Craft, Utopia, and Modernism Coexist? Norman Bel Geddes’s "War Models" at the Museum of Modern Art

Nicolas P. Maffei, Norwich School of Art and Design

Authenticity and the Handmade at Paolo Soleri’s Arcosanti

Elissa Auther, University of Colorado, Colorado Springs

Discussant: Julia Bryan-Wilson, University of California, Irvine

Robert S. Duncanson as “Positively” American

Wendy Katz, University of Nebraska, Lincoln

Augustus Washington and the Origins of African Photography

Kevin Mulhearn, Graduate Center, City University of New York and University of South Carolina Upstate

Double-Consciousness in Three-D: Modernist and Global Perspectives in the Sculpture of Nancy Elizabeth Prophet

Amalia K. Amaki, University of Alabama

Marketing Haiti: Imperialism, Primitivism, and the Golden Age of Tourism

Lindsay J. Twa, Augustana College

The Work of Art in the Age of Hip Hop

Krista A. Thompson, Northwestern University

Antiwar Art--and Feminist?

Sue Malvern, University of Reading

Traces of Class and Gender in the Photographic Representation of Soldiers

Owen Mundy, University of California, San Diego

"Girls say yes to boys who say no": Contemporary Art during the War on Terror

Siona Wilson, College of Staten Island, City University of New York

The Wars at Home

Arnaud Gerspacher, Case Western Reserve University

Gendering the War on Terror: Transnational Perceptions and Misperceptions of Women in the Middle East

Sharon Parker, College for Women, Kuwait University

From Place to Place: Provenience, Provenance, and Archaeology

Rosemary A. Joyce, University of California, Berkeley

From Mariette to Joullain: Provenance and Value in French Auction Sales Catalogues (1741-83)

Sophie Raux, University of Lille

Provenance and Institutional Critique in the Works of Hans Haacke and Maria Eichhorn

Jeannine Tang, Courtauld Institute of Art

Provenance as Pedigree

Elizabeth Pergam, Dian Woodner Collection

On Rethinking Provenance as the Social Life of Art

Anne Higonnet, Barnard College

America's First Public Turner: the Metropolitan Museum of Art's Brief Turn with Turner's "Slave Ship" and Its Early Reception in Boston

Nancy J. Scott, Brandeis University

Reading Ruskin/Misreading Turner: Fitz H. Lane's Compromised Seascapes

Robert Slifkin, Yale University

The Language of Landscape: Reading Detail in JMW Turner and Frederic Church

Jennifer Raab, Yale University

Hveragardi, Iceland as a Collaborative Site

Jo Yarrington, Fairfield University; Marion Belanger

Performing the Photograph with Minor White

Mary Goodwin, University of Alaska, Fairbanks

Trappings

Tiffany Ludwig, independent artist and media consultant, Montclair; Renee Piechocki

I Wish to Say

Sheryl Oring, independent artist, Brooklyn

Electric Girls and the Invisible World

Laura Larsen, Ohio University

Experimental Wanderings in the Drawings of Robert Desnos

Mary Ann Caws, Graduate Center, City University of New York

Stopping Painting: Picasso, Automatism, and the Exquisite Corpse

Susan Laxton, Princeton University

Joan Miró's Automatic Drawing

Charles Palermo, College of William and Mary

Remedios Varo's Mexican Drawings

Rosa Berland, Museum of Modern Art, New York

A Figure in the Margins: "La Pomme d'Ebène," Surrealism and the Post-World War II Body

Ellen E. Adams, Miami University

Stimulating Desire, Negotiating the Market: Frans van Mieris's "Cloth Shop" in Context

Angela Ka-Yan Ho, University of Michigan, Ann Arbor

Marketing and Masculinity: Van Dyck among the Daughters of Lycomedes

Suzanne Walker, Tulane University

Pennies from Heaven: Men, Money, and Morality in Northern Renaissance Art

Diane Wolfthal, University of Arizona

Gendered Economies: Masculine Markets and Feminine Reproduction in Early Modern Art

James Bloom, Vanderbilt University

Cornelis Ketel, Fingerpainter: Procreation and Profit in Perspective c. 1600

H. Perry Chapman, University of Delaware

Replicating the Buddha: The Great Miracle of Śrāvastī, the Divyāvadāna and Ajanta’s Cave 26

Leela Aditi Wood, Detroit Institute of Arts

Recovering the Guru: Corporeal Presence and Architectural Embodiment in 10th-Century India

Tamara Sears, New York University

Making Heads or Tails of It: Figuring Out Realism in Early Mughal Painting

Yael Rice, University of Pennsylvania

The Eviscerated Body: Gender and Nationalism in Swadeshi Art

Niharika Dinkar, Boise State University

Mimetic Desire in Pushpamala’s Photographs

Ajay Sinha, Mount Holyoke College

The Spirit and the Psyche: 19th-Century Automatic Drawings

Rachel Oberter, University of North Carolina, Chapel Hill

Hysterical Manipulation: Hypnosis and Electrotherapy in Late 19th-Century Paris

Mary Hunter, McGill University

Kinaesthetic Sketching: Hermann Obrist's Occult Modernism

Zeynep Alexander, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

Louis Eilshemius's Artistic/Mesmeric Practice

Catherine McNickle Chastain-Elliott, University of Tampa

Discussant: Nancy Locke, Pennsylvania State University

Great Expectations: Encounters between Pictures and People in the Museum of Modern Art's Collection

Sarah Ganz, Museum of Modern Art

Dialogical Encounters

Rika Burnham, Metropolitan Museum of Art

Intervention and Interpretation: Artists' Projects and Audience Reception in Contemporary Museums

Karen Moss, Orange County Museum of Art

Different Publics, Different Readings: Creating Personal History in the Chelsea Jeans Memorial

Susie Wise, Stanford University

Untitled

Jill Baird, Museum of Anthropology at the University of British Columbia

Discussant: Elizabeth Rodini, John Hopkins University

The Need for Neuroarthistory

John Onians, University of East Anglia

From a Neuroesthetics to a Neuroarthistory: Visual System Responses to Cultural Responses

James E. Cutting, Cornell University

Mirror Neurons and Mimetic Regimes

Thomas Habinek, University of Southern California

Understanding Motor Responses

David Freedberg, Columbia University

Toward a Cognitive Image History

Barbara Stafford, University of Chicago

Moving On, Moving Out: Future Scenarios for Design Education

Susan K. Roth, Virginia Commonwealth University

Anthropological Theory: Transdisciplinary Intersections in Ethical Design

Elizabeth Tunstall, University of Illinois, Chicago

Printed Books, Their Inherent Conventions, and Their Consequent Limiting Effects on Design Thinking and Practice

Rudi Meyer, Nova Scotia College of Art and Design

Theory and Practice in the Era of the Unsustainable: Looking Back to Look Forward

John Calvelli, Pacific Northwest College of Art

Dehomogenizing the Future of the Design Process One Subculture at a Time

Michael Gibson, University of North Texas

Photography vs. Visibility: Seeing Unseen Aspects of a City

Elisabeth Neudoerfl, Academy of Visual Arts Leipzig

Out-side: Dominique Gonzalez-Foerster's City Spaces

Stephen Monteiro, Université de Paris I, Panthéon-Sorbonne

Urban Archaeologies: Embodied Viewership in Recent Media Art

Robin Clark, St. Louis Art Museum

Reimagining the Urban

Nana Last, Rice University

Type A; or, How I Learned to Stop Worrying and Love My Dremel Tool

Chris Brady, Hinds Community College

War Birds: Large-Scale Print Collages

Dale Clifford, Savannah College of Art and Design

Satirical Large-Scale Prints: Outlaw Printmaking and Beyond

Tom Huck, Washington University, St. Louis

Make It Big: Don’t Make It Red, Make It Blue!

Barbara Madsen, Mason Gross School of the Arts, Rutgers University

Papercuts

Carlyle Wolfe, University of Mississippi

Lil Ole Lady, Living Large

Sheri Fleck Rieth, University of Mississippi

Drawings and the Colore/Disegno Debate in Renaissance Italy

Thomas McGrath, Suffolk University

The Cutting Edge: When the Artist Puts Down the Pencil and Takes Up the Knife

Ken Grant, Harry Ransom Humanities Research Center, University of Texas, Austin

Preserved on Paper: Artists' Drawing Albums in Antebellum America

Joy Peterson Heyrman, University of Maryland

Interventions: Framing Pedagogical Practices of Drawing in the Empire and the Colony

Amy Kantawala, Teachers College, Columbia University

Teaching Drawing in America

Jan Howard, Museum of Art, Rhode Island School of Design

Monogram as “Glocal” Icon: Rauschenberg and Contemporary Globalism

Hiroko Ikegami, Osaka University

Rauschenberg’s Index: Toward Mediation and Indeterminacy in the Art of the 1960s

Julia E. Robinson, Princeton University

Rauschenberg and the Embodied Image

Marie Shurkus, Pomona College

Refuting Hierarchy: Rauschenberg and Contemporary Korean Art

Hee-Young Kim, Hanyang University

Broken Narratives: From Rauschenberg to Neo Rauch

Roni Feinstein, independent scholar, Westport, Connecticut

Discussant: Jonathan D. Katz, Sterling and Francine Clark Art Institute

Save Our Slides! Part 1: Scholars’ Legacy Collections in Digital Archives

Kathleen Arthur, James Madison University

Save Our Slides! Part 2

Sara Nair James, Mary Baldwin College

Faculty Collections in the ARTstor Digital Library

Barbara Rockenbach, ARTstor

Sharing the Legacy: Modern Latin American Images

Jacqueline Barnitz, University of Texas, Austin

Discussant: Sigrid Knudsen, University of Texas, Austin

Defining the Diaspora: Appropriating Public Spaces in Salvador da Bahia, Brazil

Heather Shirey, University of St. Thomas

None So Blind as He Who Will Not See: Islam and Early American Visual Culture

Elizabeth Kuebler-Wolf, University of St. Francis

The Social Life of West African Photographers in New York City

Harriet J. Walker, City University of New York

Gold Coasts of the Mind: Chris Ofili

William Ian Bourland, University of Chicago

Ecoart Practice: Art Made in Response to Environmental Crisis

Patricia Watts, Sonoma County Museum of Art

Sustainability by Design

Heidrun Mumper-Drumm, Art Center College of Design

The Pedagogical Challenge of the Invisible Incremental

Linda Weintraub, independent scholar

Hazardous Traditions: A Short History of the Environmental Impact of Art Practice

Patricia Flores, California College of the Arts

Trial by Fire; or, The Implementation of Culture Change in the Art School and the Studio Setting

Duane Slick, Rhode Island School of Design

Personal and Environmental Sustainability: Self, Disaster, Revolution

Jae Rhim Lee, Massachusetts Institute of Technology

The Roy Lichtenstein Catalogue Raisonné and the Authentication of Editioned Sculpture

Yolande Trincere, Roy Lichtenstein Foundation

Surprises on the Catalogue Raisonné Trail: Frederick W. MacMonnies's Public and Private Sculpture Commissions

E. Adina Gordon, independent scholar, Englewood, New Jersey

Lawless Bronze: Forgeries in the Sculpture of Frederic Remington and Charles M. Russell

Rick Stewart, Amon Carter Museum

Nametagged Captives in Classic Maya Art: A Conflation of Text and Image

Catherine E. Burdick, University of Illinois, Chicago

Foreign Characters: Visualizing Identity in the 21st-Century Guatemalan Highlands

Rhonda Taube, University of California, San Diego

Negotiating Nationalism: Jean Charlot and Modern Mexican Art

Arden Decker, Graduate Center, City University of New York

Canova's Connoisseurship Games

Christina R. Ferando, Columbia University

Carolus-Duran’s "Portrait de M***": Portraying (and Performing) the Black-clad Parisienne

Justine Renee DeYoung, Northwestern University

Reading Tolstoy: Russian History and Pictorial Narratives of the “Patriotic War,” 1812-1912

Andrew M. Nedd, Savannah College of Art and Design

Learning to Look: Illustrated Surveys and Popular Art History in the 19th Century

Amy M. Von Lintel, University of Southern California

A Touch of Blossom

Alison Mairi Syme, University of Toronto

The Matrix Medieval Reborn: Frankenstein and "Quasimodo"--Architects of Revival and the Making of an Artist

Tina Waldeier Bizzarro, Rosemont College

"A Better Way to Read Great Books": Romantic Lithographs in Gaugain's "Scott Suite" of 1829

Beth S. Wright, University of Texas at Arlington

On the Order(s) of a Man of Letters— Vincent van Gogh’s “Studio of the South”

Kurt Rahmlow, University of Iowa

Keeping Printmaking Viable in the Era of Digital Media

Todd D. Anderson, Southern Illinois University, Edwardsville

The Art of the Future: The Future of Art

Shaurya Kumar, Bowling Green State University

Embedded Practices

Kevin Haas, Washington State University

State of the Art: A National Survey on the Impact of Digital Technology on Academic Printmaking

Sandra Murchison, Millsaps College

Margaret Meehan, University of Texas, Austin

John Byrd, University of South Florida

Ayumi Horie

Chris Gustin

Digital Aesthetics and the Collapse of Contemporary

Warren Sack, University of California, Santa Cruz

The Persistence of Grids

James Nesbit, Stanford University

The Personalized Surface within Fine-Art Digital Printmaking

Paul Coldwell, FADE (Fine Art Digital Environment), University of the Arts, London

Electronic Ritual and Ceremony

Joan Truckenbrod, School of the Art Institute of Chicago

(Web)Site-specific: Public Art on the World Wide Web

Annie Gérin, Université du Québec, Montréal

Homage to LMJ Delaissé: The Rouses in Context

Robert G. Calkins, Cornell University

What's in a Name? Jean Pucelle, Jean Le Noir, and Their Collaborators

Anna D. Russakoff, American University of Paris

Everybody Wants to Rule the World: The "Livre des merveilles" as Princely Propaganda

Andrea G. Kann, University of Iowa

The Illuminator-"Libraire" and the Book of Hours: The Case of the Boucicaut Workshop

Christine Geisler Andrews, Smith College

Discussant: Richard H. Rouse, University of California, Los Angeles

Imagining the Antique in Milanese Renaissance Sculpture

Charles R. Morscheck, Jr., Drexel University

Giuliano da Sangallo, the Crypta Balbi, and Reconstruction as Narrative

Cammy Brothers, University of Virginia

Piranesi’s Imperfect Ruins

Heather Hyde Minor, University of Illinois, Urbana-Champaign

“Speaking Ruins:” Piranesi and Desprez at Pompeii

John Pinto, Princeton University

Rodolfo Lanciani’s Romes

Susan M. Dixon, University of Tulsa

Searching for a Modern Opicinus in Louisiana: Psychoanalysis and Outsider Art

Deborah H. Cibelli, Nicholls State University

Orphans, Urchins, and Safe Bets: Canonicity and Outsider Art

Colin Rhodes, Sydney College of the Arts, University of Sydney

Canon Formation in a Field of Many Names

Charles Russell, Rutgers, State University of New Jersey, Newark

The Self-Taught Canon and the Modernist Eye

Jenifer P. Borum, American Folk Art Museum

The Ephemeral as Metaphor: Self-Taught and Mainstream

Alison Weld, independent artist and curator, New York

Gender in the New York Video Collectives: Women in the "Global Village"

Deanne Pytlinski, Metropolitan State College of Denver

Spray Paint, Vandalism, and Reclamation: Gordon Matta-Clark's Graffiti Truck and the Urban Ritual of Art-Making

Jeffrey Thompson, Western Michigan University

The Fox: A Critical Position in and on 1970s Art Discourse

Mary Keane Leclère, University of Virginia

Jo Baer, the Problem of Painting, and Modernism's Last Stand: New York, 1975

Patricia Kelly, DePaul University

Crosstown Traffic

Alan W. Moore, University of South Florida

The City as a Shirt: Visual Culture across Mediums in the Ancient Andes

Maya Stanfield-Mazzi, Tulane University

Performing Images: The Spanish Viceregal City and Public Spectacle

Ray Hernandez-Duran, University of New Mexico

Occupation: Cuba 1899

Stephanie Schwartz, Bryn Mawr College

Urban Form and the Modern Nation: Parque Mexico and Mexico City

Kathryn O'Rourke, University of Pennsylvania

Discussant: David Craven

Splendor and Misery of French Painting: Revisiting the School of Paris's Exclusion from the Canon

Catherine Dossin, University of Texas, Austin

How Screams Became "Pieces of Clear Ice": Looking for Wojnarowicz in González-Torres

Mysoon Rizk, University of Toledo

Silence around John Cage

Sandra Skurvida, Fashion Institute of Technology

The Resurrection of Julia Thecla (1896-1973): Canonization or Disease?

Joanna P. Gardner-Huggett, DePaul University

Jewish American Artists and the Formation of the American Art Canon

Samantha Baskind, Cleveland State University

Encaustic Painters of Ancient Times

Richard Frumess, R & F Handmade Paints

Contemporary Encaustic Painting

Joanne Mattera, Massachusetts College of Art and Montserrat College of Art

Reveal/Conceal

Kristy Deetz, University of Wisconsin, Green Bay

Mapping Topographies: Wax Surfaces and Digital Shimmer

Peter Dykhuis, Dalhousie Art Gallery

Material, Memory, and Meaning

Lorraine Glessner, Tyler School of Art

Heated Drawing

Cheryl Goldsleger, Georgia State University

Recent Work in Wax and Plaster

Heather Harvey, independent artist, Big Stone Gap, Virginia

Hammer, Tape, Torch, Mesh, and Wax: Approaches within an Encaustic Process

Jeffrey Hirst, independent artist, Minneapolis

Divas and Chefs Discussed

Timothy McDowell, Connecticut College

Takin’ It to the Street and Stickin’ It to the Man: Cultural and Political Resistance in Contemporary Sticker Art

Catherine Tedford, St. Lawrence University

Printed Skin

Jessica Meyer, Western Kentucky University

The Relational Print

Cedar Lorce Nordbye, University of Memphis

Reproduction on Reverse: The Paradoxical Production of Pygoya

Monica Kjellmann-Chapin, Emporia State University

Kartoon Kings: The Graphic Work of Simon Grennan and Christopher Sperandio

Christopher Sperandio, Carnegie Mellon University

Abstract Expressionism: Mind Over Materials?

David Anfam, Independent Scholar

Yves Klein's Painting Process

Corey D'Augustine, Museum of Modern Art

Knowledge Gained From A Technical Examination of the Dallas Museum of Art's Jackson Pollock and Arshile Gorky Paintings

Inge-Lise Eckmann, Independent Conservator

Technical Aspects of Barnett Newman's Paintings in the Menil Collection

Bradford Epley, Menil Collection

Discussant: Richard Shiff, University of Texas, Austin

The Apotheosis of Cute: The Sacred and Profane in the Work of Mark Ryden

Acacia Warwick, Winona State University

The Girl with a Child in Her Eyes: Cuteness as Hierarchy Solvent in Morrison, Manet, and Ayu

Joon Lee, Rhode Island School of Design

Not So Cute: Kawaii as Critique

Kirstin Ringelberg, Elon University

'It Always Floats': Cuteness as the Aesthetic Frame

Catherine Wilcox-Titus, Worcester State College

High? Medium? Low? Adjusting the Trajectory: Why Boston Brahmins Launched Three Distinctly Different Institutions for Teaching Adults How to Make Art

Paul Dobbs, Massachusetts College of Art

What Lies Beyond the Bauhaus? The Political “Logics” of College Art Pedagogy

John Baldacchino, Teachers College, Columbia University

Art School Pedagogy: Teaching and Learning in a Complex World

Monique Fouquet, Emily Carr Institute of Art and Design

Inside the Trenches: A Critical Evaluation of Redesigning Art and Design Education

Parme Giuntini, Otis College of Art and Design

Discussant: Timothy Emlyn Jones, Burren College of Art

Bauen: Expressionism and the Course of Modern Architecture

Kai Gutschow, Carnegie Mellon University

Screen Radio Orator: The Comintern Project of Gustavs Klucis

Maria Gough, Stanford University

The Room of the Present (1930-32). A Radical Failure in Alexander Dorner’s Attempts to Reinvent the Museum for the 20th Century

Ines Katenhusen, Leibniz University, Hanover

Made in America: Kurt Schwitters’s "Merzbau" at the Museum of Modern Art, New York

Rachel Churner, Columbia University

Discussant: Michael White, University of York

Arshile Gorky’s "Urban Cubism" Inside and Out

Ara Merjian, Stanford University

Flight from Reality? A Reconsideration of Gorky’s Abstract Aviation Murals

Jody Patterson, University College, London

Gorky's Storytelling: Performance and Painting

Dickran Tashjian, University of California, Irvine

“Le Déclic Analogique”: Arshile Gorky and André Breton

Isabelle Dervaux, Morgan Library and Museum

Mark Antliff, Duke University

S. Hollis Clayson, Northwestern University

Michael Leja, University of Pennsylvania

Cécile Whiting, University of California, Irvine

Robert L. Herbert, Mount Holyoke College

The Regions of the Zodiaque Series on Romanesque Art

Janet Marquardt, Eastern Illinois University

Water, Architecture, and Myth in Early Modern Venice

Daniel Savoy, Institute of Fine Arts, New York University

Convergence of Architecture and Geography: The Maps of an Architectural Historian

Tülay Atak, Southern California Institute of Architecture

Insularity: Images of Islandhood in Ireland

Yvonne Scott, Trinity College, University of Dublin

Jim Crow, Geography, and the Graphic Power of Design

Elizabeth Guffey, Purchase College, State University of New York

Now and Then: Adventures in Rephotography

Holly Markovitz, Boston University

Plowing the Geographical Field: Response and Summation

Diane Favro, University of California, Los Angeles

James Shulman, ARTstor

Mallarméan Cinepoetics: "Expanded Cinema" in Early and Late Vanguardism

Christophe Wall-Romana, University of Minnesota

Mallarmé in the Cage

Andrei Molotiu, University of Louisville

"Quant au Livre": Mallarmé, Authorship, and Artists' Books

Katie Brandon, University of Manchester

The Shadow of Mallarmé

Alastair R. Noble, Lafayette College

Badiou's Mallarmé and Picasso's Ontology

David Lewis, City University of New York

Baroque and Beyond: Rethinking the Aesthetics of Fascism in Visconti's "The Damned"

Jennie Hirsh, Maryland Institute College of Art

Modern Architecture after Fascism at the Quartiere Cesate

Jonathan Mekinda, University of Pennsylvania

"Musica novissima": Italy and the Arts 1945-58

Romy Golan, City University of New York

TV or not TV? Lucio Fontana’s “Luminous Images in Movement”

Anthony White, University of Melbourne

Arte Povera: Toward a Theory of Alchemical Ambivalence

Karen Pinkus, University of Southern California

Harmonious Letters and Musicians' Paintbrushes: Adriano Banchieri and Artistic Traditions in Bologna during the First Half of the 17th Century

Raffaella Morselli, Università di Teramo

Men and Women in the Moon: Artemisia Gentileschi, Galileo, Judith, and the Virgin Mary

Elena Ciletti, Hobart and William Smith Colleges

The Profession of Portrait Painter in 17th-Century Florence

Elena Fumagalli, Università di Modena e Reggio Emilia

Severed Torsos and Metaphorical Transformations: Christina of Sweden's Sala delle Muse and Sala di Clytie in the Palazzo Riario-Corsini

Lilian Zirpolo, "Aurora: The Journal of the History of Art"

Lo Spazio di uno sposalizio: the Iconography of Identity and the Proliferation of the Nuptial Allegory in Early Modern Venice

Esther Brummer, University of Cambridge

Bringing the Arts into the Mainstream: New Directions in Liberal Arts Education

Pamela Franks, Yale University Art Gallery

A Faculty Fellow at the RISD Museum

Andrew Raftery, Rhode Island School of Design

Faculty and Student Voices in the Museum

Susan J. Bender, Skidmore College

Transforming Facades: A Case Study of Engagement between Architecture and Art on Campus

Scott Murray, University of Illinois, Urbana-Champaign

Study Centers: Sites for Disciplinary and Interdisciplinary Learning and Collaboration

Celka Straughn, Harvard University Art Museums

Discussant: Alison Barnes, Skidmore College

From Gods to Sculptures: The Secularization of the Musée Guimet

Ting Chang, Carnegie Mellon University

A Museum Revolution: Radical Displays for the Soviet Masses

Masha Chlenova, Columbia University

The Silence of Pure Painting: Greenbergian Formalism and Habits of Installation in the Art Museum

Eik Kahng, Walters Art Museum

Mining Art Exhibitions: Discovering Layers of Me(aning) through Intertextual Narrative Exhibition

Elizabeth B. Reese, Texas A&M University

Precarious Museum, Permanent Masterpiece?

Sarah Lookofsky, University of California, San Diego

Comparing Militaristic Imagery of Chichen Itza and Tula with That of Mississippian Polities

Jeff Karl Kowalski, Northern Illinois University

The Functional and Social Dimensions of Change in Ancient Maya Ceramics

Dorie Reents-Budet, Museum of Fine Arts, Boston

The Zapotec Urn Revisited: Recontextualizing Ceramic Effigy Vessels from Oaxaca

Ellen Hoobler, Columbia University

The Precolumbian Palimpsest

Bryan R. Just, Princeton University Art Museum

Signs and Syntax: Toward a Moche Epigraphy

Margaret Jackson, Miami University

The Future of Death at the Temple of the Inscriptions, CE 683, Palenque, Chiapas, Mexico

Elizabeth Drake Olton, University of New Mexico

Quatremère, Girodet, and the Politics of Originality in the French Revolution

Susan Houghton Libby, Rollins College

Making Images/Image Makers in Troubled Times: Notes for a Social History of Printmaking

Stéphane Roy, Yale Center for British Art

Seeing Nobody: The Display of Death in Hennequin's "Remorse of Orestes"

Lela Greybill, University of Utah

Horace Vernet's "L'atelier" Revisited

Albert Alhadeff, University of Colorado, Boulder

A New Importation: Pluralism and the Definition of "Straight Photography"

Lauren Kroiz, Massachusetts Institute of Technology

From Shanshui (Mountain and River) to Fengjing (Landscape): Photography, Locality, and the Conceptual Change in Chinese Landscape Painting, 1911-37

Yi Gu, Brown University

"How Biddy Served": Staged Stereotypes in Late 19th-Century American Stereographs

Mazie McKenna Harris, University of Arizona

Screens With a Memory: Moholy-Nagy's Theorization of the Cameraless Photograph (Photogram)

Noam M. Elcott, Princeton University

The Photobook as Historical Witness: Intertextual and Interracial Collaborations in Richard Wright and Edwin Rosskam's "12 Million Black Voices"

Andrea Nelson, University of Minnesota

Painting Lesson: Hantai and His Critics

Ágnes Berecz, independent scholar, New York

Outtakes: Picturing Masculinity in the Work of Lorna Simpson

Huey Copeland, Northwestern University

Interviewing Artists

Phyllis Tuchman, independent scholar, New York

Off Limits

Richard Meyer, Universtiy of Southern California

Response

Discussant: Johanna Burton, Princeton Univiersity

A Brief Biography of Abu Zayd

Sheila S. Blair, Boston College

The Meaning of a Pictorial Narrative: An Aquamanile in the Hermitage Museum

Elizabeth S. Ettinghausen, Princeton Research Forum

Surrendering to India: Nadir Shah's Delhi Loot and the 18th-Century Aesthetic of the Exotic

Sussan Babaie, University of Michigan

A History of Ottoman Art History through the Private Database of Edwin Binney, 3rd

Keelan Hall Overton, University of California, Los Angeles

Crescent Moon Rising: Hilal Kazan and a New Generation of Female Master Calligraphers

David Simonowitz, University of California, Santa Barbara

"Des couleurs primitives": Miscegenation and French Painting of Algeria

Peter Miller, independent scholar, Paris

Picturing the Prehistoric: Charles Knight, Henry Osborn, and the Natural History Museum

Victoria Cain, University of Southern California

Natural History and Cultural History: The Art History of Elie Faure

Serena Keshavjee, University of Winnipeg

Outing Hysterical Men: Artists and Neurological Scientists of Male Hysteria

Fae Brauer, University of New South Wales

The Ether and the Fourth Dimension: The 19th-Century Roots of Modernism's "Meta-Realities"

Linda Henderson, University of Texas, Austin

A Wrinkle in the Mind: Notes from an Emigrant-Immigrant Daughter

Noga Wizansky, independent scholar and artist

Tongue Kisses: Language, National Identity, and the Complications of Desire

Cyriaco Lopes, Stetson University

Images of Alien Subjectivity: Chun-Shan Yi and Natsu Onoda's "Aliens of Extraordinary Ability"

Katie Brewer Ball, New York University

Proyecto Internacional de Teirra-Boya

Linus Lancaster, California State University, Sonoma

(Sub)Urban Homicide: The Real Effect of a Fictional Scenario

Heather Layton, University of Rochester

"Many Old Heathen Imperial Pennies and the Like Antiquities"

Miriam Hall Kirch, University of North Alabama

The Utility of Likeness: Portraits and the "Historical" Epistemology of the Munich Kunstkammer

Katharina Pilaski, independent scholar, Berlin

Quasi dalla Natura dipinti: Painting on Stone in Late 16th- and 17th-Century Italy

Ioana Magureanu, National University of Art, Bucharest

Suitable for Framing: The Kunstkammer and Early Still Life Painting

Janice L. Neri, Boise State University

Judd's Scale

David Raskin, School of the Art Institute of Chicago

Drawing Dragging; or, Michael Heizer’s Misadventure in the Motor City

Julian Myers, California College of the Arts

How One Diagram Made 1970s Sculpture Intelligible for Us; or, Dark Voids, Suspended Structures, and the Ever-Expanding Expanded Field

Eve Meltzer, New York University

Tracing out a Feeling

Ann Reynolds, University of Texas, Austin

Aesthetic Syncretism and Globalizing Ideology: "Jahangir Seated on an Allegorical Throne" by Bichitr (1625)

Valerie Gonzalez, Savannah College of Art and Design

The Portuguese Legacy in Goa

Mallica Kumbera Landrus, Rhode Island School of Design and Brown University

Chini Khana and Ragamala: Painted Decoration in the Govind Mandir Palace at Datia

Edward Rothfarb, University of California, Los Angeles

Penwork, Production, and Patronage: Reexamining 17th-Century Kalamkari

Gita V. Pai, University of California, Berkeley

Between Home and Diaspora: 17th-Century Transculturalism in Later Marwari Architecture

Alka Patel, University of California, Irvine

Reinventing the Past: Modernism and Tradition in British Art Criticism, c. 1880-1914

Anna Gruetzner Robins, University of Reading

Victorian Art Critic Cosmo Monkhouse: A Conservative Reconsidered

Dana M. Garvey, University of Washington

From "Magnificent" Papers to "Whitewashed Walls": William Morris and His Critics

Imogen Hart, Yale Center for British Art

Generations of Modernism: Edmund Gosse and Sculptural Modernity, c. 1894-95, c. 1907

Jason Edwards, University of York

W. G. Collingwood: Artist, Art Historian, Critic, Archaeologist, and Anglo-Saxonist: Continuities and Ruptures, 1883-1907

Jane Hawkes, University of York

Inventing the Authentic: Ugo da Carpi’s "Saint Veronica Altarpiece"

Nicole Lawrence, Harvard University and Courtauld Institute of Art

Mastering the Model: Emulation and Authenticity in the Age of Le Brun

Paul Duro, University of Rochester

Authentic Irony: Primitivism and Its Aftermath

Frances Connelly, University of Missouri, Kansas City

Other Pictures: The "Artless Authenticity" of Vernacular Photography

Catherine Zuromskis, University of California, Berkeley

Architecture Exhibitions and the Confrontation with Authenticity

Wallis Miller, University of Kentucky

The Question of Omission: What Gets Left Out?

Susan Aberth, Bard College

Beyond the Museum: Looking at Local Art and Culture in AP Art History

Doug Darracott, Plano West Senior High

The "Obstacle Race" Revisited: Women Artists and the Art-History Survey

Susan Bakewell, University of Texas, Arlington

Discussant: Robert Nauman, University of Colorado, Boulder

Collapse: The Erasure of Time, History, and Memory in the Urban Landscape of Northern Ireland

Kate Catterall, University of Texas, Austin

The Visual Rhetoric of the Ming- and Qing-dynasty Chinese Silk Design

Lee A. Talbot, Textile Museum

The Essential Outline: John Flaxman and the Search for Meaning in a Single Line

Jane Webb, Manchester Metropolitan University

Iced up and Platinum Plus

Ryan Molloy, Eastern Michigan University

Discussant: Miodrag Mitrasinovic, Parsons the New School for Design

Film Screening: "Strange Culture" by Lynn Hershman Leeson

On Religious Women Artists in Renaissance Pavia

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

"Arte Rustica" Refined: The Photographs of Contessa Maria Ponti Pasolini at the Prima Biennale Romana (1921)

Lindsay Harris, Institute of Fine Arts, New York University

Carla Accardi and Feminist Aesthetics in Postwar Italy

Patrizia Costa Frezza, Texas Tech

Mark Lombardi

Robert Hobbs, Virginia Commonwealth University and Yale University

Walk Ways

Stuart Horodner, Atlanta Contemporary Art Center

Space Is the Place

Toby Kamps, Contemporary Art Museum, Houston

Un Naturally

Mary-Kay Lombino, Frances Lehman Loeb Art Center, Vassar College

Situation Comedy

Michael Rooks, Honolulu Academy of Arts

The Paintings of a Playwright: Literary Promotion in the Oeuvre of Charles-Antoine Coypel

Esther Susan Bell, New York University

François Boucher and the Rituals of Display in 18th-Century Conchology

Jessica Priebe, University of Sydney

Manufacture of the Fair Queen: Kitty Fisher as Cleopatra

Aimee Marcereau DeGalan, Cleveland Museum of Art

Boudoir Arabesque: François-Joseph Bélanger and Architectural Decoration in 1780s Paris

Meredith Martin, Wellesley College

The Kilohana Art League: Americanizing Hawaiian Art and Culture, 1894-1913

Stacy L. Kamehiro, University of California, Santa Cruz

Without Boundaries: Contemporary Oceania Artists, a Movement Happening Now

Jewel Castro, MiraCosta College and Mesa College

Positioning Cultures: Contemporary Asian American, Hawaiian, and Pacific Islander Artists of Hawai’i

Margo L. Machida, University of Connecticut

Painting a "Vocal Fabric": Paul Klee, Max Kinger, and Silent Reading

Annie Bourneuf, Princeton University

Montage Is the Message: Weimar Photomontage and the Legacy of German Colonialism

Brett M. Van Hoesen, University of Nevada, Reno

Crystalline Ideologies, Blurry Aesthetics: Framing Socialist Realism in Yugoslav Architecture 1945-48

Vladimir Kulic, Florida Atlantic University

Brad Kligerman, Ecole Nationale Supérieure d'Architecture de Paris-Malaquais and Building with Immaterials

Marisa Olson, Rhizome at the New Museum of Contemporary Art

Joel Slayton, CADRE Laboratory, San Jose State University

World Art: Moral and Intellectual Issues

John Onians, University of East Anglia

Perspective Matters: An Inquiry-Based Approach to Teaching World Art

Melanie Herzog, Edgewood College

Intellectual Property and the Ownership of Aesthetic Experience

Sergio Munoz-Sarmiento, Volunteer Lawyers for the Arts

Catherine Asher, University of Minnesota

Sussan Babaie, University of Michigan

David Roxburgh, Harvard University

Ethel Sara Wolper, University of New Hampshire

Irene Bierman, University of California, Los Angeles

Can Anyone Be a Critic?

Terrie Sultan, Blaffer Gallery

Tyler Green, Modern Art Notes

David Pagel, Los Angeles Times

Rainey Knudson, Glasstire.com

Anjali Gupta, Artlies

Toward Absolute Time: Guano, Peru, Mexico and Time's Shape

Mary Miller, Yale University

Back to the Future: Lawrence Alloway, George Kubler, and New York's Downtown Scene

Shelley Rice, New York University

Classifying Kubler

Ellen K. Levy, Independent Artist, New York

Prime Objects and Body Doubles

Suzanne Anker, School of Visual Arts

Whither "The Wrestlers"?

Ilene Susan Fort, Los Angeles County Museum

Memories of Louis Picozzi Bregler

James Maroney

Looking Like a Lesbian: Narrating the Queer Subject of Deborah Bright's "The Management of Desire"

Jacqueline Asher, University of California, Riverside

Thomas Eakins and Mood Disorders

Pedro Delgado, University of Texas Health Science Center at San Antonio

A Musician Looks at Thomas Eakins's "The Concert Singer"

David Bamberger, Cleveland Institute of Music Theater and Cleveland Opera

Epistemology of "The Gross Clinic"

Amy Werbel, St. Michael's College

Constructing a Germanic Spanish Identity: The Restitution of the Treasure of Guarrazar

Matilde Mateo, Syracuse University

Looted Modernism: State Sanctioned Modernist Art in the Third Reich

Gregory Maertz, St John's University

Securing Looted Art: How the Art Market and International Security Shape the Restitution Process

Erik Nemeth, independent scholar, Santa Monica

Vita Brevis, Ars Longa? Monuments Protection Legislation and the Question of US Participation

Carolyn C. Guile, Colgate University

Plunder and Restitution: Cultural Heritage Law in the 21st Century

Lucille A. Roussin, Fashion Institute of Technology, SUNY

18th-Century Visual Arts and the Idea of Modernism

Elizabeth Mansfield, University of the South

Toward a Newer 18th Century

Laura Auricchio, Parsons the New School for Design

Rewinding Fried’s "Absorption and Theatricality"

Kevin Chua, Texas Tech University

Cultural Consumption and the Expanding Field of 18th-Century Art

Heather McPherson, University of Alabama at Birmingham

Discussant: Darcy Grimaldo Grigsby, University of California, Berkeley

An Anonymous Venetian Panegyric for Sultan Süleyman

Ana Pulido-Rull, Harvard University

Mamluk Glass Mosaic in Context: The Mural Medium across the Medieval Mediterranean

Ellen Kenney, independent scholar, New York

Problems of Hybridity: Crafting and Using the “Siculo-Arabic” Ivories

Anthony Cutler, Pennsylvania State University

The Politics of Architectural Mimesis in Italy and the Islamic World: The Case of the Dome of the Rock

Kathryn Blair Moore, New York University

Discussant: Gülru Necipoğlu, Harvard University

The Society of Dilettanti and the Culture of Dilettantism in the British Enlightenment

Jason Kelly, Indiana University and Purdue University at Indianapolis

The Moral Economy of Mary Delany

Alicia Weisberg-Roberts, Yale Center for British Art

Painting Improved Breeds in the Age of Enlargement

Leah Modigliani, State University of New York, Stony Brook

Aesthetic Pursuits at the Margins: Amateur Arts in British India in the Early 20th Century

Renate Dohmen, Birkbeck College

"Folk Archive": A New British Art

Mark Edwards, University College London

Creating National and International Identities: The Futurist Exhibitions at the Venice Biennale under Fascism, 1928-42

Laura Beiles, Hunter College, and Museum of Modern Art

Marinetti’s "La Cucina futurista": Experimentation with Food and Art in Italy under Fascism

Daria Valentini, Stonehill College

“Casa del Fascio Tipo:” The Design of Fascist Party Centers, 1931-39

Lucy Maulsby, Northeastern University

Illuminating Modern Italy: Pietro Chiesa and Early 20th-Century Lighting Design

Chloe Chelz, Parsons the New School for Design

Ardengo Soffici and Giorgio De Chirico: Tradition, Nationalism, and the Metaphysical School

Mariana Aguirre, University of the South

Technology and Revolution? D. A. Siqueiros and the Mural for the Electricians’ Syndicate

Jennifer Jolly, Ithaca College

Space, Movement, Light: Kinetic Gadgets, Optical Games, and the Promise of a New Era

Martha Sesín, University of British Columbia

From Communication to Containment: Technology in Argentine Art, 1966-72

Daniel R. Quiles

The Brazilian "Open Source" Approach to Art History, Theory, and Criticism

Simone Ostoff, Pennsylvania State University

Technology as Metaphor and Medium: Mexico City as Subject in the Work of Francis Alÿs, Rafael Lozano-Hemmer, and Melanie Smith

Adriana Zavala, Tufts University

Visual Preaching in the Early Middle Ages: The Healing Arts in the Frescoes of the Carolingian Monastery of St. John in Müstair, Switzerland

Kirsten Ataoguz, Florida State University

Redefining the Late Medieval Canon: The Case of Italian and Turkish-Seljuk Ateliers in Service to the Byzantine Emperor at Trebizond

Sarah Brooks, State University of New York, Stony Brook

"Yet, inspired by love, I designed these figures": The Poet Francesco da Barberino, the Sculptor Tino di Camaino, and Art Engaging Late Medieval Allegorical Literature

Giovanni Freni, Princeton University

Framing Civic Devotion in Trecento Siena: The Creation, Context, and Meaning of the Reliquary Frame in the Cleveland Museum of Art

Virginia Brilliant, Cleveland Museum of Art

Tharbis and the Ring of Forgetfulness: Romance and Devotional Practice in Gothic Prayerbooks

Anne Rudloff Stanton, University of Missouri, Columbia

Worshipers and Walls: Renaissance Art and Jewish Vision in the Italian Ghetto

Jeremy Glatstein, University of Southern California, and J. Paul Getty Museum

Mimesis and Translation in Mexico-Tenochtitlan

Patrick Hajovsky, Southwestern University

Markers: Le Moyne de Morgues in 16th-Century Florida

Todd Olson, University of Califoria, Berkeley

Visual Knowledge/Facing Blindness

Bronwen Wilson, University of British Columbia

Ruptured Vision: Disease, Decay, and Restoration in the Napoleonic Description de l’Egypte (1809-28)

Elizabeth Oliver, National Gallery of Art, Washington, DC

Abu Ghraib: America's Torture and Fernando Botero's Response

Peter Selz, University of California, Berkeley

Domestic Tension: Dynamic Encounter

Wafaa Bilal, School of the Art Institute of Chicago

War, Technology, and Feminist Utopias in the Works of Martha Rosler and Carolee Schneemann

Christine Filippone, Rutgers, State University of New Jersey

Endgame Strategies: Art as Advocacy and Restoration in the Former Yugoslavia and Burma

Pamela Blotner, University of San Francisco

To China and Back: Circularities in European Art and Gardens, 1700-1900

Greg M. Thomas, University of Hong Kong

Chlorophyll Prints: Transmigrations of Memories and Bodies

Binh Dahn, independent artist, San Jose

Monstrous Demonstrations: Bioteknica and the Tissue Culture & Art Project's Teratological Prototypes

Lindsay Kelley, University of California, Santa Cruz

Malraux's Buddha Heads

Gregory Levine, University of California, Berkeley

Velázquez and Tintoretto: Tirato via di pratica

Giles Knox, Indiana University

“Una España nueva que nadie mejor que nosotros la podríamos hacer”: Spanish Artists on Spanish Art, 1900-1930

Deborah L. Roldán, New York University

The Face of Empire: Portraiture and the History of the Academy of New Spain

Michael Alexander Brown, New York University

Spanish Art at the American Centennials: Nationalism and Internationalism in Argentina, Mexico, and Chile

M. Elizabeth Boone, University of Alberta

Delacroix after Delacroix

Barthélémy Jobert, Université de Paris, Sorbonne

Of Morocco and Modernity: Revisiting Delacroix's Orientalism

Jennifer Olmsted, Wayne State University

Passive Aggressive: Delacroix without the Drama

Margaret MacNamidhe, University College Dublin

Delacroix's Agony: A Religious Crisis in 19th-Century France

Cynthia Bland, University of Wisconsin, Stout

Eugène Delacroix and America

Shaw Smith, Davidson College

Discussant: Joseph J. Rishel, Philadelphia Museum of Art

Queering Failure, or Glub! Glub!

Anna Campbell, Grand Valley State University, Allendale

Cruising the Aisles: Christ in Queer Majesty in the Nation's Capital

Dominic Janes, Birkbeck College, London

Fat Is a Queer Issue: A Politics of Visual Representation

Stefanie Snider, University of Southern California

Past Present Future: A Collaborative Installation and Performance

Jessica Lawless, Pitzer College

Manet, Modernist Critic

John Zarobell, Philadelphia Museum of Art

Cézanne, Manet, and the Portraits of Zola

André Dombrowski, Smith College

Musical Language and Art Criticism: The Case of Fantin-Latour

Anne Leonard, Smart Museum of Art, University of Chicago

Kandinsky and the Education of the Viewer

Riccardo Marchi, University of South Florida

Interviewing Johns

Amy Kelly Hamlin, Institute of Fine Arts, New York University

Sidney Tillim, Artist/Sidney Tillim, Critic

Diane Radycki, Moravian College

Nobody Will Hurt You: Drawings and Installations

Terri Lindbloom, Florida State University

Mother Earth, Changing Woman: Installation, Performance, Video/DVD

Kyra Belán, Broward Community College

Past, Present, and Future: Experimentation and Innovation in North Florida

Debra Murphy, University of North Florida

Reflecting and Refracting

Wendy Wischer, Ringling School of Art and Design

Work in the World: Art in Public Places

Maria Artemis, independent artist, Atlanta

Seeing Is Believing? Remains in Delhi

Catherine Asher, University of Minnesota

South Indian Goddesses in Ruins and Museums

Padma Kaimal, Colgate University

Weighing Authenticity: The "Indian Temple Hall" at the Philadelphia Museum of Art

Darielle Mason, Philadelphia Museum of Art

Discussant: Amy Lucker, New York University

“Let’s Have some Surj”: Drinking Coffee and Creating Community in the Armenian Diaspora

Ramela Abbamontian, Los Angeles Pierce College

Constructing a Religious Identity: Chromolithographs and the Ethiopian Orthodox Church

Briana Simmons, California State University, Northridge

The Everyday and the Distant: Ottoman and Egyptian Costume in the Paintings of Tintoretto

Sean Roberts, University of Southern California

A Fast Food Education?

Trudi Abram, Glendale Community College

The Administrator's Role: Arts in Community Colleges Today

Sheldon Hurst, Adirondack Community College

Tradeoffs: Educational Institutions vs. Research Institutions

Thomas Morrissey, Community College of Rhode Island

Joseph M. Siry, Wesleyan University

Douglas Klahr, University of Texas, Arlington

John P. Maruszczak, University of Texas, Arlington

The Matrix of Collecting: Fashioning Identity in Early 19th-Century China

Marion S. Lee, Ohio University

From "Muslim" to "Spanish": Antigüedades árabes de España and the Formation of a National Artistic Tradition

Andrew Schulz, University of Oregon

Rodin, Gaudier-Brzeska, and the Erotics of Modern Sculptural Practice

David G. Getsy, School of the Art Institute of Chicago

Masculinity and Sociability in the Group Portraiture of Fantin-Latour

Bridget Alsdorf, University of California, Berkeley

Discussant: Marnin Young, Texas Christian University

Collaboration in Art, Option or Elemental?

Melissa Wolf, independent artist, New York

Some Collaborators Are More Equal Than Others: Models of Collaboration in Contemporary Australian Art

Jacqueline Millner, University of Western Sydney

Space and Collective Action: A Report from Boston and Beyond

Catherine D'Ignazio, independent artist, Boston

Loose Minds in a Box: Many Minds Working in Many Different Ways

Helen-Nicole Kostis, University of Maryland, Baltimore County, and Scientific Visualization Studio, Goddard Space Flight Center/National Aeronautics and Space Administration

Illegal Art: Interactive Public Art

Otis Kriegel, independent artist, New York

Are There Hybrid Visual Cultures? Reflections on the Orientalizing Phenomena in the Mediterranean of the First Millennium BCE

Nassos Papalexandrou, University of Texas, Austin

The Space Between: Placing "Culture" in Artistic Exchange: Iranian and Chinese Identity in 6th-Century Xi'an

Bonnie Cheng, Oberlin College

Iconography of the Other: Images of Cultural Identity on the Silk Road during the Sui-Tang Transition

Kate A. Lingley, University of Hawai'i, Manoa

Between Constantinople, Kiev, and Kwarazm: Investiture and the Limits of Meaning on the Black Sea Littoral

Warren T. Woodfin, University of Pennsylvania

Patterns of Flight: Middle Byzantine Appropriation of the Chinese Feng-Huang Bird

Alicia Walker, Washington University, St. Louis

Introduction: Imperial Artists in the British Empire

Julie Codell, Arizona State University

The Colonizing Camera of Geraldine Moodie

Susan Close, University of Manitoba

The Other Victoria: Priestley and Dunbar's Figure for the Cawnpore Ghats

Mary Ann Steggles, University of Manitoba

Baron of Bengal: Robert Clive and the Birth of an Imperial Image

Romita Ray, Syracuse University

Te kai-hautu o te waka/Director of the Canoe: The Statue of Sir George Grey in Auckland

Mark Stocker, University of Otago

“Bronzed and Muscular Bodies”: Jinrikishas, Tattooed Bodies, and Yokohama Tourist Photography

Luke Gartlan, University of St. Andrews

Divided Objects of Empire. British Artists’ Portraits of the Ottoman Sultans

Mary Roberts, University of Sydney

"A Strongly Shaded Picture": Representations of Othello and Desdemona in Victorian Visual Culture

Nancy Rose Marshall, University of Wisconsin, Madison

Discussant: Andrew Stephenson, University of East London

What's There, What's Not in Three Paintings of Spanish (or "Spanish") Dancers

Nancy G. Heller, University of the Arts

Dance as a Boyish Muse in Byzantine Art

John Hanson, Dumbarton Oaks Research Library and Collections

Gérôme's "Almeh" Dancer: An Autochthonous Interpretation

Rihab Kassatly Bagnole, Ohio University, Athens

Inspired Movement or Static Uniformity: A Comparison of Trecento and Quattrocento Dance Images

Barbara Sparti, independent scholar, Rome

Dance as a Weapon: Isamu Noguchi's "History as Seen From Mexico, 1936"

Ellen G. Landau, Case Western Reserve University

Antoine Vollon and the Perversion of Butter

Marni Reva Kessler, University of Kansas

Setting the Modern Table in Imperial Vienna

Heather Hess, Busch-Reisinger Museum, Harvard University Art Museums

Fernand Léger’s "Pot au Feu": A Stew of Hunger, Desire, and Revulsion

Maureen G. Shanahan, James Madison University

You Are What (and How) You Eat: Paul McCarthy's Food-Flinging Festivities

Cary S. Levine, University of North Carolina, Chapel Hill

Martin Kippenberger's "Avant-Garde of the Belly"

Gregory Williams, Boston University

Becoming Mr. Antinori: Posing Problems in Renaissance Portraiture

Allison Levy, University College, London

"Come le imagini scolpite nelle pietre si dica havere effetto": Constructing Masculinity through the Magical Power of Images on Carved Gems

Liliana Leopardi, Chapman University

Visual Pleasure and Narrative Painting: Annibale Carracci's "Sleeping Venus" and the Male Gaze in Early Seicento Rome

Opher Mansour, Dartmouth College

The Art of Friendship: Utrecht Artists, Fraternity, and alba amicorum c. 1600

Elizabeth Nogrady, Insitute of Fine Arts, New York University

Fortitude, Fortune, and Fame: The Celebration and Commemoration of Male Friendship in Two Works by Salvator Rosa

Alexandra Hoare, University of Toronto

Illustrated Windows: Drawing Crowds at the Maison Aubert

Jillian Taylor Lerner, University of British Columbia

Hieroglyphs of Commerce: The Visual Rhetoric of the German "Sachplakat"

Kathleen Chapman, Robert Gore Rifkind Center for German Expressionist Studies, Los Angeles County Museum of Art

Selling Perceptions of Space: Bell Telephone Print Ads, 1908-30

Emily Bills, Woodbury University

Pontiac Hood Ornaments: Chief of the Sixes

Mona Hadler, Brooklyn College and Graduate Center, City University of New York

Armani and the Time of Space: Minimalism, Display, and the Evolution of Timelessness

John Potvin, University of Guelph

Fictional Realism

Robert Jessup, University of North Texas

Painting: Constructing Truths, Lies, and Temporary Meanings

Matthew Bourbon, University of North Texas

The Space in Between: Pictorial Storytelling

Elaine Pawlowicz, University of North Texas

Human Perception versus the Camera: The Virtues of Drawing from Life

Lari Gibbons, University of North Texas

Developing Site-Specificity in the Sculpture Park: Three Site Projects at the Laumeier Sculpture Park in the 1980s

Rebecca Reynolds, University of Chicago

Isamu Noguchi's Landscape as Sculpture

Larry List, independent curator, New York

Garden, Park, and Cityscape: Little Sparta and the Public Installations of Ian Hamilton Finlay

Patrick Eyres, Columbus State University

The Garden as a Site of Contemplation and Collection

M. Kathryn Shields, Guilford College

Topiary Plinth: The Sculptural Modification of Trees

Amanda Hellman, Williams College

Michael James, University of Nebraska, Lincoln

Patricia Malarcher, Surface Design Association

Exuberant Gluttony: Bruegel's Overeaters

Yemi Onafuwa, Columbia University

The Early Modern Lottery in the Netherlands: Charity as Festival and Parody

Jane Kromm, Purchase College, State University of New York

Bean Kings and Brawling Priests: Pairing Ephiphany and Easter in Baroque Haarlem

Kimberlee A. Cloutier-Blazzard, independent scholar, Gloucester, Massachusetts

Bakhtinian Carnivalesque in the Clown Images of Rouault

Soo Kang, Chicago State University

"La Cedille qui sourit": Aesthetic Research under the "Sign of Humor"

Rosemary O'Neill, Parsons the New School for Design

Instinct and Intuition: Reordering the Jumble

Josette Urso, independent artist, Brooklyn

Introducing One Type of Visual Language into the Field of Another

John Sparagana, Rice University

Documenting Place through Color

Hearne Pardee, University of California, Davis

Making the Case for Evolutionism in Art History

Robert Bork, University of Iowa

Alois Riegl and Hegelianism

Inge Lise Mogensen, Thorvaldsens Museum

“Cultural Selection”: The Object in History

Larry Silver, University of Pennsylvania

Evolutionism Is Dead; Long Live the Theory of Evolution!

Lauren Golden, independent scholar, London

Preparing High School Art Students for Post-Foundation College Work

Charlotte Chambliss, Booker T. Washington High School for the Performing and Visual Arts

Mel Chin, independent artist

Cory Arcangel, independent artist, New York

Laura Carton, independent artist, New York

Caterina Sforza, Countess of Imola and Forl

Joyce DeVries, Auburn University

Catherine de' Medici-Valois, Queen of France

Sheila Ffolliott, George Mason University

Bianca Cappello de' Medici, Grand Duchess of Tuscany

Jacqueline Marie Musacchio, Wellesley College

Animated Change: Shifts in Approaches to Objects in turn-of-the-century Histories of Art

Spyros Papapetros, Princeton University

20 Years of Monkey Bizness with the Guerrilla Girls

Frida Kahlo, independent artist and art historian, Guerrilla Girls

Memories Made Visible: From Knots to Pictures in Three Colonial Peruvian Manuscripts

Thomas Cummins, Harvard University

Artist Presentation

Heyd Fontenot, independent artist, Austin

Artist Presentation

Wura Natasha-Ogunji, independent artist, Austin

Artist Presentation

Angela Piehl, independent artist, Austin

Artist Presentation

Chuck Ramirez, artist, San Antonio

Artist Presentation

Chris Sauter, independent artist, San Antonio

Martin Berger, University of California, Santa Cruz

Jacqueline Francis, University of Michigan, Ann Arbor

Kymberly Pinder, School of the Art Institute of Chicago

Cherise Smith, University of Texas, Austin

Nisga’a and Tsimshian Longhouses as Performance Spaces

Nancy Mackin, University of British Columbia

Preserving Heritage in a Native American Tribal Archive: A Case Study of the Shasta Nation

Brian Isaac Daniels, University of Pennsylvania

Structuring Knowledges: Caching Inuit Architecture through Igloolik Isuma Productions

Erin Morton, Queen's University; Taryn Sirove, Queen's University

Amalia Mesa-Bains, California State University, Monterey Bay

Celia Alvarez Munoz, independent artist, Arlington

Yolanda Lopez, independent artist, San Francisco

Delilah Montoya, University of Houston

Color and Corners in Thomas Eakins's "Professor Benjamin Howard Rand" and Dan Flavin's "Pink Out of a Corner--To Jasper Johns"

Tiffany Johnson Bidler, University of Minnesota, Twin Cities

The Seine of Instruction: Pedagogy in the Water Works of Thomas Eakins

Allan Doyle, Princeton University

The Pulse of a Portrait: Models of Interiority in Thomas Eakins's "Mrs. Mary Hallock Greenewalt"

Lynn W. Saltonstall, Yale University

Bobby's Pure Intention and the Question of the Animal in Eakins

Alan C. Braddock, Harvard University

"Mere Thinking": The Racial Mind in Thomas Eakins's "Negro Boy Dancing" (1878)

Sarah E. Blackwood, Northwestern University

Autonomic Horses and Uncanny Doubles: Muybridge, Eakins, and Art Criticism

Mary Peterson Zundo, University of Illinois, Urbana-Champaign

From the Synthesis of the Arts to the "Activated Spectator"

Larry Busbea, University of Arizona

Folds of the Visible: Reading the Intervals of the Ultra-Sensuous Surface

Ananda Shankar Chakrabarty, Ontario College of Art and Design

Offering the Body, Retracting Touch: The Ethics of Ana Mendieta's "Silueta Series"

Amanda Boetzkes, Harvard University

Jerky Nearness: Film Theory, Immersive Media, and the (Dis)Embodied Spectator

Karen Beckman, University of Pennsylvania

Embodiment in and for the Historiography of Art History

Catherine M. Soussloff, University of California, Santa Cruz

Video Art and the Politics of Representation in Contemporary Armenian Art

Angela Harutyunyan, University of Manchester

Pushing Porno’s Buttons: Spectator Pleasures in Hard-Core Narrative Pornography

Naima N. Lowe, Temple University

Reading Video

Sönke Hallmann, independent theoretician, Maastricht

Video as Reading

Karolin Meunier, Jan van Eyck Academie

A “Plains” Ledger Book from the Collection of Miguel Covarrubias: Hidatsa or 20th-Century Mexican?

Janet Catherine Berlo, University of Rochester

Ceci n’est pas une pipe: The Manipulation of Hopewell Effigy Images for Pseudo-Scientific and Commercial Purposes

Johanna Minich, Virginia Commonwealth University

Tlingit Daggers: Attributes of Authenticity

Ashley Verplank, University of Washington

Authenticity and Ethnicity: Non-Native Carvers of Northwest Coast Totem Poles

Aldona Jonaitis, University of Alaska

Hopi Doll Look-Alikes: A Flourishing Industry

Zena Pearlstone, California State University, Fullerton

Gary Keown, Southeasten Lousiana University

Matthew James Board, Casper College

Maureen Nappi, Long Island University

Patrick Lichty, Columbia College, Chicago

Paul Thirkell, University of West England

Poussin, Gombauld, and the Creation of "Diana and Endymion"

Troy Thomas, Pennsylvania State University, Harrisburg

“Give Mignard a Mason”: The Roles of Sculptors during the Ancien Régime

Anne Betty Weinshenker, Montclair State University

Painting and Poetry in Artemisia Gentileschi’s Self-Portraits

Jesse Locker, Johns Hopkins University

Professional Women Artists of the Iberian Golden Age: What Were the Odds?

Casey Gardonio-Foat, Institute of Fine Arts, New York University

Reevaluating the Late Lievens

Lloyd K. DeWitt, Philadelphia Museum of Art

Collaboration, Interdisciplinarity, and the Concealment of Strategic Appropriation

Sean Lowry, University of Newcastle

The Collaborative Biennial: Two Recent Andean Case Studies

Bill Kelley, Jr., independent scholar, Los Angeles

Reflections on Differing Interdisciplinary and Transdisciplinary Projects and Related Collaboration Methodologies

Bill Seaman, Rhode Island School of Design

Renegotiating Value through Collaboration, Community, and Exchange

Claire Schneider, Albright-Knox Art Gallery

Art, Public Places, and Collaborative Spaces

John Powers, independent scholar, Berlin

Terra Italia: The Peasant Subject as Site of National and Socialist Identities in Guttuso’s "Marsigliese Contadina" and De Santis’s "Caccia Tragica"

Lara Pucci, University of Manchester

Roma Anno Zero: Marcello Piacentini and Architectural Continuity in Post-World War II Rome

Susan E. Schafer, Institute of Fine Arts, New York University

Cultural Encounters at the Venice Biennale in 1964

Rebecca Zurier, University of Michigan

The Status of Objects in Italian Film and Art

Angela Dalle Vacche, Georgia Institute of Technology

Discussant: Emily Braun, Graduate Center, City University of New York

Reinventing Democracy in Art

Charlotte Bydler, Södertörn University College

Radical Democracy/Reactionary Politics: Subversive Art?

Jennifer Friedlander, Pomona College

Public of Sensation--Public of Spectacle: Olafur Eliasson and the Democratic Debate

Noit Banai, Tufts University, and School of the Museum of Fine Arts

The Interactive Work of Art in the Age of Antidemocratic Participation

Alison Pearlman, California State Polytechnic University, Pomona

Art After Democracy

Discussant: Anthony Gardner, University of New South Wales

From Start to Finish: Challenges and Rewards of a Food-Based Exhibition

Sarah Tanguy, independent curator and critic, Washington, DC, and Art in Embassies Program

The Im/Materiality of the Everyday

Marilyn Waligore, University of Texas, Dallas

Knife

Mary Beth Heffernan, Occidental College

On the Front Burner: Food as a Studio Discovery Process

Mary Magsamen, Mary Magsamen & Stephan Hillerbrand, Houston

Orphic Fodder: Studies in Edibility

Mimi Oka, Mimi Oka & Doug Fitch, New York

Modersohn-Becker: The National, Regional, and the Modern

Shulamith Behr, Courtauld Institute of Art

Rediscovering Helene Funke: The Invisible Foremother

Julie M. Johnson, University of Texas, San Antonio

Rethinking Virility and Domination in German Vanguard Painting: The Case of Marta Hegemann 1894-1970

Dorothy Rowe, University of Bristol

Prague Strategies: Toyen, Feminism, and the Czech Avant Garde

Karla Huebner, University of Pittsburgh

Gender in the GDR: Ursula Mattheuer-Neustädt's Conceptualization of the Female Sublime

Catherine J. Wilkins, Tulane University

Rendering the Indian Ocean World: Reconsidering Animal Paintings under Jahangir

Nancy Um, State University of New York, Binghamton

Conceptualizing the Classical Sura: An Investigation of an Art-Historical Term

Tarek Kahlaoui, University of Pennsylvania

Between Amulet and Devotion: Islamic Miniature Books in the Lilly Library, Indiana University

Heather M. Coffey, Indiana University

The Construction of Ceremonial Space in the Alhambra: The Case of the Facade of Comares in the Cuarto Dorado

Olga Bush, independent scholar, Poughkeepsie

Studying Islamic Art: Historically and Visually

Sara Sharaf, independent scholar, Cairo

Georges Seurat, Science, and the Limits of Perception and Representation

Michelle Foa, Mount Holyoke College

Vivisections: August Strindberg's Symbolism and the Theory of Art Fortuit

Alison Morehead, King's College, Cambridge

Frantisek Kupka: Working on the Crossroads of Science and Art

Isabelle Wunsche, Jacobs University, Bremen

Missing Links: The Spritual Evolution of George Grey Barnard's "The Two Natures"

Brian Hack, Kingsborough Community College, City University of New York

Depicting Neandertal: Constant Roux's "Man of La Chapelle-aux-Saints"

Maria Gindhart, Georgia State University

Like It Was a Movie: Public Sound Art as Physical Cinema

Betsey Biggs, Princeton University

Composing with Media: Evolution of Sound Art and Time-Based Forms

Randall Packer, American University

Sounds of Contexts

Preston Poe, Salisbury University

Sound Discourse: The Problem of Critical Attitudes on the Aural

Jeffrey Saletnik, University of Chicago

Media Ecology

Jeffrey Thompson, Transart Institute Linz

The Attraction of Neuroart History: Getting at Mark Rothko and Barnett Newman

Oliver Elbs, independent scholar, Tübingen

A Neural Basis for the Origin of Art

Helen Coleman, University of East Anglia

"Le goust de nostre nation": A Neuroart-historical Enquiry into Italian and French 17th-Century Reflections on Architecture

Carlos Pena Buján, Universidad de Santiago de Compostela

Implicit Memory in Modern Figurative Art: the Case of Max Beckmann

Beatrice von Bormann, University of Amsterdam

Exploring Spatial Aesthetics with fMRI: A Pilot Project

Claire Bonney, Berne University of Applied Sciences

Cameron Schoepp, Texas Christian University

Frances Bagley, independent artist, Dallas

Tom Orr, independent artist, Dallas