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SESSIONS
Studio Art Open Session: Painting
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
A Disciplined Muse: Distinguishing Art History, Visual Studies, and Visual Culture
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 Belief: Theo/Esthetics or Just Old-Time Religion?
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
Design Studies Forum
The Current State of Design History
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
Continuous Crossroads: Research and Pedagogy, Problems, and Opportunities with Digital Models, Archaeology and Art History
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
ARTspace: Landscape: Fact and Fiction
Discussant: Judith Thorpe, University of Connecticut
Discussant: Bruce Myren, University of Connecticut
Discussant: Kelly Dennis, University of Connecticut
Reframing the New Topographics Movement
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
Word and Image: Intersections of Art and Literature
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
Art History Open Session: African Art
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
Cultural Identity and Etruscan 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
Studio Art Open Session: Video Art
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
Visual Culture Caucus
The Fresh New Look of Sheepherding
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
ARTspace: Artists' Residencies/Worldwide Opportunities
Mid America College Art Association
Transforming Art and Design Schools: Physical Space and Programmatic Change
Discussant: Michael Aurbach, Vanderbilt University
Discussant: Joe Seipel, Virginia Commonwealth University
National Council on Education for the Ceramic Arts
Clay in the Age of Mechanical Reproduction
CAA International Committee
National and International Organizations of Art Historians and Artists: Aims, Interests, and Activities
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
National Art Education Association
Contemporary Perspectives on Art Teaching and Learning
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
Collecting the Avant Garde: The Institutional Perspective--Taming the Untame
Barbara Moore, Bound and Unbound
Andrew Perchuk, Getty Research Institute
Milan Houston, Museum of Modern Art, New York
American Society for 18th-Century Studies
Perspectives in 18th-Century Art
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 Search for Vision's Body: The Role of Touch in the Practice of Painting and Architecture
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
Art History Open: Session Greek and Roman Art
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
Donald Judd
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
Painting and Critique in the Age of the Market
"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
Greenmedia Futures: Combining Art And Technology to Promote Sustainability
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
Beyond the West: Asian Modernism and Design
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
Electronic and Emergent Media Art and Their Relationship to Culture, Society, Identity, and Politics
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
Modernist Primitivism Revisited: North American Prehistories
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
Painting as Mixed Media? Questions of Language, Materials, Illusion, and Unconventional Surface
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
Japonisme/Occidentalism
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
Gilded-Age Portraiture: Another Look
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
Art History Open Session: Northern Renaissance Art
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
Contesting Everydayness: Situations of Art and the Quotidian
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
ARTspace: Gestures of Resistance: Craft, Performance, and the Politics of Slowness
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
Collecting and Collectivity: Contemporary Art at the Interstices of Acquisition and Community
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
Foundations in Art: Theory and Education
Teaching Gen M (the Millennium Generation)
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
CAA Publications Committee
Censorship and Publishing in the Arts
Enabling Creativity and Preserving Processes: Partnerships between Academia, Artists and Communities
Marjorie Devon, Tamarind Institute, University of Mexico
Dan Rockhill, University of Kansas
Brent Skidmore, University of North Carolina, Asheville
Handmade Utopias
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
African American Art and Globalization: Critical Perspectives
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
Radical Art Caucus
Power and the Gendered Imagery of Contemporary Global Politics
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
Provenance: The Transformative Power
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
Turner in America
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
Photography after Photography
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
Surrealist Drawing, 1915-50: Tracing the Subversive Line and the Wayward Mark
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
Historians of Netherlandish Art
Gender and the Market in Netherlandish Art
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
Art History Open Session: Corporeality and Figuration in South Asia
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 Self Within: Art between Mesmer and Freud
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
Museum Encounters between Objects and the Public
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
Neuroscience and the History of Art
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
Contemporary Design Theory and Practice
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
Urban Image Now: Photographic and Filmic Manifestations of a Subjective City Experience
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
ARTspace: Immense Prints
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
CAA Advocacy Session: Cultural Patrimony in Iraq
Drawing Concern: Issues in the Practice and Reception of a Neglected Art
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
Rauschenberg and After
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
Visual Resources Association
The Visual Resources Curator and Art Historian Partnership: Legacy Images in University Databanks
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
Arts Council of the African Studies Association
(Re)Claiming Africa in the African Diaspora
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
CAA Education Committee
Teaching Art in a Troubled World: Eco-Practice as Pedagogy
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
ARTspace: The Sustainable Studio
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
Association of Historians of American Art
The Impermanent Collection
Catalogue Raisonné Scholars Association
Why Sculpture is Never Boring
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
Association for Latin American Art
Emerging Scholars Session
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
Association of Historians of 19th-Century Art
New Directions in 19th-Century Art History
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
Grant Opportunities for Art Historians and Art Museums
Association for Textual Scholarship in Art History
Bridging the Arts: The Juncture of Literature, Criticism, and Art in the 19th Century
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
Southern Graphics Council
Digital Printmaking: A Knight in Shining Armor, a Death Sentence, or Another Tool in the Toolbox for Traditional Printmaking?
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
Association of Art Museum Curators
What Makes a Collector a Philanthropist? Lessons from the Miracle in Dallas
Studio Art Open Session: Narrative in Contemporary Ceramics
Margaret Meehan, University of Texas, Austin
John Byrd, University of South Florida
Ayumi Horie
Chris Gustin
Toward a Digital Aesthetic
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
International Center of Medieval Art
Current Perspectives on Manuscript Illumination in Late Medieval Paris
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 Past: Reassessing Historical Reconstructions of the Antique
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
Art History Open Session: Self-Taught and Outsider Art Today
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
Those Were the Days: New York in the 1970s
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 Latin American City
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
Beatified but Not Canonized
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
ARTspace: The Divas and Iron Chefs of Encaustic
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
The Vernacular Print in Contemporary Art
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
American Institute for Conservation of Historic and Artistic Works
Abstract Expressionist Painting: Looking Closely
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
Cute
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
What’s the Use? Critical Histories of Art and Design Colleges
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
Radical Failures: Unrealized Exhibitions and Publications of the Early 20th-Century Avant Garde
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
Rethinking Arshile Gorky
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
Distinguished Scholar Session Honoring Robert L. Herbert
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
Common Terrain: Surveying Geography in Histories of Art, Architecture, and Visual Culture
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
ARTstor User Group Meeting
James Shulman, ARTstor
Stéphane Mallarmé and 20th-Century Art, Theory, and Criticism
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
Italian Art after Fascism: 1945-75
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
Art History Open Session: 17th- and 18th-Century European Art
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
CAA Museum Committee
Curricular Connections: The College Art Museum as Site for Teaching and Learning
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
Art History Open Session: Objects in Museums
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
Art History Open Session: Pre-Columbian Art
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
The Visual Arts in Revolutionary and Napoleonic France (1789-1815)
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
Art History Open Session: Photography before 1954
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
“I’ll Be Your Mirror;" or, Why and How We Work on Living Artists
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
Art History Open Session: Islamic Art
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
Association of Historians of 19th-Century Art
Art and Science in the 19th Century
"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
Art on the Borderline
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
Back to the Kunstkammer: New Approaches and New Research
"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
Sculpture/Drawing
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
Transculturalism in 17th-Century Indian Art
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
Association for Textual Scholarship in Art History
Don’t Mind the Gap: Continuities in British Art Criticism, 1880-1914
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
ARTspace: Living Locally, Exhibiting Nationally: A Conversation with Vernon Fisher, David Bates and, Melissa Miller
Concepts of Authenticity in the Visual Arts
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
CAA Book and Trade Fair Exhibitor Session
Teaching the College Art-History Survey Course
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
Design Studies Forum
Visual Rhetoric and the Special Eloquence of Design Artifacts
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
Women's Caucus for Art
Borderlands: Feminism and Popular Culture
Radical Art Caucus
Art in the Age of the Post-Patriot Act: The Case of the Critical Art Ensemble
Film Screening: "Strange Culture" by Lynn Hershman Leeson
Italian Art Society
Art by Italian Women
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
Exhibitions as Modes of Thinking
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
Historians of 18th-Century Art and Architecture
18th-Century Session: Emerging Scholars
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
Pacific Arts Association
Art and Identity in Oceania, Revisited
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
Historians of German and Central European Art and Architecture
Emerging Scholars
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
New Media Caucus
Not Learning from Net.Art: The Rise of Newer Media
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
Special Session
CAA Committee on Diversity Practices
World Art: A Panhuman Narrative for Egalitarian Teaching
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
Ask the Lawyer
Intellectual Property and the Ownership of Aesthetic Experience
Sergio Munoz-Sarmiento, Volunteer Lawyers for the Arts
Historians of Islamic Art
Teaching the History of Islamic Art and Architecture in the 21st/15th Century
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
International Association of Art Critics
Can Anyone Be a Critic? The Collision between Traditional Criticism and Blogging
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
CAA Services to Artists Committee
ARTspace: Then and Now: What George Kubler's Book, "The Shape of Time," Means Today
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
New Perspectives on Eakins
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
CAA International Committee
Looted Art
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
Historians of 18th-Century Art and Architecture
Critical Influences: The 18th Century, the 1980s, and a Generation of Scholarship
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
Italian Art Society
Islamic and Italian Art: Creating Shared Histories
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
Historians of British Art
For Love and Delight: Amateurs, Dilettantes, and the Story of British Art
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
New Perspectives on 20th-Century Italy
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
Association for Latin American Art
Sighting Technology in Contemporary Latin American Art
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
Art History Open Session: Medieval Art: Addressing and Engaging the Audience
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
Seeing across Cultures: Visuality in the Early Modern Period
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
Persons of Interest: Locating the Artist in Times of Conflict
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
Transplants: "Foreign" Objects in Visual Culture
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
The Glass Is Half Full: Embedding Feminism and Feminist Art
American Society for Hispanic Art Historical Studies
Was There a “Spanish School”? Spanish Artistic Interchange with Europe and the Americas, 1400-1900
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
Deliberating Delacroix
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
Queer Caucus for Art
Queer Love Boat? The Politics of Inclusion in Visual Culture
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
Art History Open Session: New Criticism and an Old Problem
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
JSAH Online: Demonstration of the Multimedia Pilot Session
Coalition of Women in the Arts Organization
Mothers of Innovation: Exploring Mixed Media, New Media
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
National Endowment for the Arts: Grant Opportunities
CAA Student and Emerging Professionals Committee
What Your Next Boss is Looking For
American Council for Southern Asian Art
Ruins and Museums
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
Art Libraries Society of North America
Virtually the Same: Doing Research in the Digital Library
Discussant: Amy Lucker, New York University
Art Historians of Southern California
Representing Material Culture around the World
“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
Community College Professors of Art and Art History
Give Them What They Want or Give Them What They Need?
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
Art History Open Session: Architecture and Urbanism: Dallas, a Case in Point
Joseph M. Siry, Wesleyan University
Douglas Klahr, University of Texas, Arlington
John P. Maruszczak, University of Texas, Arlington
Art History Open Session: The Long 19th Century
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
The Contemporary Collaborator in an Interdisciplinary World
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
Theorizing Cross-Cultural Interaction among the Ancient and Early Medieval Mediterranean, Near East and Asia
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
Art of Transculturation: Imperial Artists, Borders, and Encounters
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
Imaging Dance: What Paintings, Sculptures, Prints, and Photographs of Dancers Reveal--and/or Conceal
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
Food for Art, Part I
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
Studio Art Open Session: Latino Art (and Artists): In the Crossfire between Community and Mainstream Institutions
Masculinity and Early Modern Art
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
Visual Merchandising: The Art of Selling
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
ARTspace: Fictional Realism
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
The Sculptor and the Garden
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
The Evolution of Contemporary Quilt Art
Michael James, University of Nebraska, Lincoln
Patricia Malarcher, Surface Design Association
Parody and Festivity
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
Studio Art Open Session: Contemporary Collage
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
Is Evolutionism Still Dead?
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
Getting It Right: Teaching toward the Advanced Placement Studio Art Portfolio
Preparing High School Art Students for Post-Foundation College Work
Charlotte Chambliss, Booker T. Washington High School for the Performing and Visual Arts
Portrait of the Artist as an Organizing Principle
Mel Chin, independent artist
Cory Arcangel, independent artist, New York
Laura Carton, independent artist, New York
Society for the Study of Early Modern Women
Portraits, Power, Propoganda: Peripheral Medici Women of the 15th and 16th centuries
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
Change
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
Queer Caucus for Art
¿Y QUÉ? Queer Art Made in Texas
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
Roundtable on Critical Race Art History: Theories, Strategies, Practices
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
CAA Museum Committee
The Gallery and the Classroom
Society of Architectural Historians
Indigenous Architecture and Landscape: Memory, Performance, and Place
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
ARTspace: Chicana Art: The Politics of Spiritual and Aesthetic Altarities
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
New Perspectives on Eakins, Part II
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
Resisting Closure: Phenomenology as a Critical Practice in Art, Architecture, and Art Writing
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 Needs Art History like a TV Set Needs a Plinth
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
Not Native American Art: Falsification and Misattribution in Native North American Art
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
Toward a Digital Aesthetic, Part II
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
Art History Open Session: 17th- and 18th-Century European Art, Part II
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
The Contemporary Collaborator in an Interdisciplinary World, Part II
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
New Perspectives on 20th-Century Italy, Part II
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
Art After Democracy
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
Food for Art, Part II
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
Historians of German and Central European Art and Architecture
Feminism and Modernity in Central Europe
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
Art History Open Session: Islamic Art, Part II
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
Association of Historians of 19th-Century Art
Art and Science in the 19th Century, Part II
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
Sound Art
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
Neuroscience and the History of Art, Part II
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
ARTspace: Studio Art Open Session: Sculpture
Cameron Schoepp, Texas Christian University
Frances Bagley, independent artist, Dallas
Tom Orr, independent artist, Dallas





