Program Sessions

All sessions will be held at the Hilton New York unless otherwise noted.

Friday, February 15, 9:30 AM–12:00 PM

Italian Art Society
Bad Boys, Hussies, and Villains
Gramercy B, 2nd Floor
Chair: George R. Bent, Washington and Lee University

Repatriating the “Anghiari Faction”, or Brooding over a Villainous History of Florentine Renaissance Art
Roger Crum, University of Dayton

Aut Cesar, Aut Nihil: The Visual Staging of Cesare Borgia
Elizabeth Bemis, University of Florida

Girls Just Want to Have Fun—And Still Go to Heaven: Reading Courtesans in Renaissance Portraits and Life
Cynthia Stollhans, Saint Louis University

Damnatio memoriae: Images and Relics of Carlo Borromeo in Former Humiliati Churches
Julia Miller, California State University, Long Beach

The Composite Villain: Manzoni’s L’Innominato in Ottocento Painting
Laura Sommer, Daemen College

Divos, Diavolos, and La Dolce Vita: Contemporary Italian Art between Past and Present
Laura Petican, University of Western Ontario


Reframing Painting: A Call for a New Critical Dialogue
Trianon Ballroom, 3rd Floor
Chairs: Brian Bishop, Framingham State University; Lance Winn, University of Delaware

There Is No Such Thing as Painting
Saul Ostrow, independent critic and Critical Voices/21STPROJECTS

The “Irrelevance” of Robert Rauschenberg’s White Paintings
Christina Chang, Minnesota Museum of American Art

Not Ready for Bed: Abstraction’s Permanent, Irreversible Condition
Vittorio Colaizzi, Old Dominion University

Discussants: Clayton Merrell, Carnegie Mellon University; Carrie Moyer, Hunter College, City University of New York


Cultural Negotiations of the “Readymade”
Petit Trianon, 3rd Floor
Chairs: Orianna Cacchione, University of California, San Diego; Birgit Hopfener, Freie Universität Berlin

The Readymade as Transcultural “Inter-esse”
Stefan Römer, Leuphana University

Ready to Make Things that Resonate Transculturally: Nam June Paik’s objet sonores in 1962–3
Franziska Koch, Heidelberg University

From the Periphery: New Forms of Readymade
Marcus Moore, Massey University

Akasegawa’s Uchuu no Kansume (Kani-kan) (Canned Universe)
Jaimey Hamilton, University of Hawai’i, Manoa

The Case of the “Fake” Pot: Negotiating the Transcultural Readymade in the Work of Ai Weiwei
Ros Holmes, University of Oxford


From Lesser to Tanya Ury: German-Jewish Artists, 1890–2010, Part I
West Ballroom, 3rd Floor
Chair: Peter Chametzky, University of South Carolina

Jewish Art Circles: The Studio of Hermann Struck
Celka Straughn, University of Kansas

German Romanticism and the “Jewish Prince”: Reconciling Zionism and Orientalism in the Drawings and Performance Art of Else Lasker-Schüler
Catherine Wilkins, Edison State College

Pictures that Satisfy: Irma Stern and German-Jewish Identity in South African Modern Art
LaNitra Berger, George Mason University

A Turbulent Relationship: The Prussian Academy of Art and Jewish Artists, 1900–1933
Helga Aurisch, Museum of Fine Arts, Houston

Lea Grundig and Miriam Novitch: Art, Remembrance, and Politics in the Cold War
Oliver Sukrow, University of Heidelberg


The Modern Interior as Space and Image, Part I
East Ballroom, 3rd Floor
Chairs: Hollis Clayson, Northwestern University; Anca I. Lasc, Shippensburg University

“Partly a Chapel, Partly a Boudoir”: Interiors, Interiority, and Canova’s Penitent Magdalene
Christina Ferando, Columbia University

Théophile Gautier and “Marilhat”: Romanticism’s Decorated Interior
Marika Knowles, Yale University

Model Cottages: Imagining Working Class Interiors at the Great Exhibition of 1851
Edward Hollis, University of Edinburgh

The Domestic Interior as a Tactile Space: Aimé-Jules Dalou and Pierre-Auguste Renoir
Kathryn Brown, Tilburg University

The Automobile Domesticated: Subjects, Objects, and the Afterlife of Ornament
Daniel Marcus, University of California, Berkeley


Entering the Spielraum: The Global Grotesque
Gramercy A, 2nd Floor
Chair: Frances S. Connelly, University of Missouri-Kansas City

The Comic Grotesque, or Grotesque Comics
Patricia Mainardi, New York University

Fracture and Productivity: The Grotesque in Otto Dix’s Weimar Portraits
Elizabeth Berkowitz, The Graduate Center, City University of New York

Damnation and Desire: The Spielraum of Roée Rosen’s Justine Frank
Carol Zemel, York University

Perverting Minimalism: Santiago Sierra
Andrés Montenegro, University of Essex

The Glance of Grotesque in the Contemporary Urban Landscape of Street Art
Maria Antonietta Malleo, Academy of Fine Arts of Palermo


The Photographic Record: Images of and as Objects
Beekman Parlor, 2nd Floor
Chairs: Catherine Craft, Nasher Sculpture Center; Janine Mileaf, The Arts Club of Chicago

Documents, Artworks, and/or “Critical Propaganda”: Alfred Stieglitz’s 291 Gallery Installation Photographs
Katherine Hoffman, St. Anselm College

The Curious Case of Compass in the Photography of Man Ray
Caitlin Condell, Cooper-Hewitt, National Design Museum

“Quaker Oz” and Dada’s Missing Objects
Michael White, University of York

Sculpture as Multiple: Joseph Beuys’s Arena
Marin R. Sullivan, University of Leeds

Discussant: Blake Stimson, University of California, Davis


Design Studies Forum
Research Informing Design
Sutton Parlor North, 2nd Floor
Chair: Brian Donnelly, Sheridan College

Bauhaus Pedagogy: Hannes Meyer’s Holistic Design Research
Dara Kiese, The Graduate Center, City University of New York

Site of Research: Fermilab and Architecture
Nana Last, University of Virginia

Teaching Design Research: A Case Study
Maia Wright, Texas State University-San Marcos

The Context Problem: Writing and Research in Art and Design
Sarah Butler, Parsons The New School for Design

Towards an Open Source Model for Design Research
Christopher Moore, Concordia University

The Ad Hoc Atlas: Experimental Methods in Design Research and Graphic Design Practice
Joshua Singer, San Francisco State University


Design and Business: Strange Bedfellows or Two Sides of the Same Coin
Gibson Room, 2nd Floor
Chair: Chris Garvin, The University of the Arts

Learning to Do What I Say: Incorporating Entrepreneurial and Design Thinking in Building Curriculum
Neil Kleinman, The University of the Arts

What Is Art Thinking in the Context of Design Thinking
Amy Whitaker, Sotheby’s Institute of Art

The Path to Combining Design and Business at a University
Andrea Marks, Oregon State University

New Approaches to Theory and Research in Art- and-Design-Led Educational Programs
Borja and Peinado, École Parsons à Paris


A General Theory of Last Night: A Constructed Panel Discussion
Rendezvous Trianon, 3rd Floor
Chair: Pablo Helguera, The Museum of Modern Art


Historians of Netherlandish Art
Wood, Glass, Wax, Stone: Beyond Panel Painting in the Northern Renaissance and Baroque
Madison Suite, 2nd Floor
Chair: Ellen Konowitz, State University of New York at New Paltz

The Aesthetics of Spectacle: The Bruges Mantlepiece to Charles V
Ethan Matt Kavaler, University of Toronto

Material as Medium and Meaning: Margaret of Austria’s Church at Brou as Gesamtkunstwerk
Laura D. Gelfand, Utah State University

In Their Place: The Spaces of the Peasants in the Très Riches Heures
Lynn F. Jacobs, University of Arkansas

Nature vs. History: The Imagery of the Ruin in Sixteenth- and Early Seventeenth-Century German Intarsia
Andrew Morrall, Bard Graduate Center: Decorative Arts, Design History, Material Culture

Time Travel: Automata and Waxworks in the Labyrinth Gardens of Early Modern Amsterdam
Angela Vanhaelen, McGill University


ARTspace
Pieces and Bits: Hybrid Art that Combines Physical Forms with Internet Components
Murray Hill Suite, 2nd Floor
Chair: Robert Lawrence, University of South Florida

Possible Taxonomies of Hyperbridity and an Introduction to Contradiction Aesthetics, Now that Friend Is a Verb
Robert Lawrence, University of South Florida

Digital Anonymity as Physical Autonomy
Brad Troemel, independent artist

The Aesthetic Internet as Source, Matrix, Tool
Abigail Susik, Willamette University

Bridging Bits and Bricks: Integrating Digital Artworks into Gallery Contexts
Robert Hult, Klaus Von Nichtssagend Gallery

Virtual Performance: Implication and Potentialization Online
Nathaniel Stern, University of Wisconsin, Milwaukee


Technical Art History and the University Curriculum
Bryant Suite, 2nd Floor
Chairs: Michele Marincola, Institute of Fine Arts, New York University; Charlotte Nichols, Seton Hall University

The Creation of Historically Accurate Reconstructions of Old Master Paintings in University Education
Brian Baade, University of Delaware

Teaching Technical Art History at the Graduate Level: The Summer Institute in Technical Art History at the Institute of Fine Arts
Michele Marincola, Institute of Fine Arts, New York University

The Summer Teachers Institute in Technical Art History (STITAH): A Case Study in Teaching the Technical
Sarah Barack, Yale University Art Gallery

Discussants: Robin Clark, independent curator; Scott Gerson, The Museum of Modern Art


Engagements between Indigenous and Contemporary Art
Sutton Parlor Center, 2nd Floor
Chair: Ian McLean, University of Wollongong

“Gallery, Alcove, or Riverbank”: Threads of Postminimalism, Land Art, and (Native) America
Larry M. Taylor, Graduate Theological Union

Postmodern Allegorists: Twenty-First-Century Native American/American Painting
Lisa Roberts Seppi, State University of New York at Oswego

Interrogating Media in Contemporary African Art: A Preference for the Indigenous?
Victoria L. Rovine, University of Florida

Historicizing Indigenous Contemporary Art: The Rise of the Indigenous Curator
Mario A. Caro, New York University

Articulating Coauthorship in Contemporary Indigenous Art
Quentin Sprague, University of Wollongong


Historians of Eighteenth-Century Art and Architecture
Art in the Age of Philosophy?
Nassau Suite, 2nd Floor
Chair: Hector Reyes, University of California, Los Angeles

The Allegorical Tomb of Locke, Boyle, and Sydenham: A Celebration of Empiricism
Anne Betty Weinshenker, Montclair State University

Faithful Impressions: Fuseli, Lavater, and the Physiognomic Pursuit of Knowledge
Stephanie O’Rourke, Columbia University

Happy Fathers and Other New Ideas in French Art: Genre, Masculinity, and Philosophy in the Final Decades of the Old Regime
Ryan Whyte, Ontario College of Art and Design University

Aesthetic Discourse in Science: The Rococo and the Natural World
Lauren Cannady, Institute of Fine Arts, New York University

Radical Thought: Connecting Guardi, Newton, Vico, and Damasio
Johanna Fassl, Franklin College Switzerland

Feminism Meets the Big Exhibition: 2005 Onwards
Sutton Parlor South, 2nd Floor
Chair: Hilary Robinson, Middlesex University

From “Art” and “Feminism” to Konstfeminism: Sweden, 2006
Whitney Chadwick, San Francisco State University

Feminist Art History and the Feminist Revolution: Revision, Recovery, and Inclusivity in WACK! (2007)
Elizabeth Adan, California Polytechnic State University, San Luis Obispo

Gestures of Inclusion and Colonial Hauntings in Global Feminisms (2007)
Kimberly Lamm, Duke University

“A history about which there is nothing feminine at all”: elles@centrepompidou as a Nonfeminine Exhibition of Art by Women (2009–2011)
Amelia Jones, McGill University

The Exhibition that Did Not Happen: Feminism and British Art Politics
Griselda Pollock, University of Leeds


The Art of the Gift: Theorizing Objects in Early Modern Cross-Cultural Exchange
Regent Parlor, 2nd Floor
Chairs: Nancy Um, Binghamton University; Leah R. Clark, Saint Michael’s College

Artists as Ambassadors in the Early Modern Mediterranean
Sean Roberts, University of Southern California

Solicitous Gifts: Kunstkammer Memory, Iberian Diplomacy, and the Translation of Antwerp Art Overseas
Jessica Stevenson-Stewart, University of California, Berkeley and Zentralinstitut für Kunstgeschichte, München

The Moor’s Last Gift: Portraits and Patronage in Les marques d’honneur de la maison de Tassis (Antwerp, 1645)
Cristelle Baskins, Tufts University

Gifting and “Regifting” the Old Indies: The Mobility of the Gift in Early Modern Europe
Carrie Anderson, Boston University

Chinoiseries for the Qing
Kristel Smentek, Massachusetts Institute of Technology


Public Art Dialogue
Reconsidering Mural Painting: New Methodologies
Morgan Suite, 2nd Floor
Chair: Sally Webster, Lehman College and The Graduate Center, City University New York

In the Making: Mural Painting and the Look of Reform in Theodore Roosevelt’s America
Annelise K. Madsen, The Art Institute of Chicago

Picturing Jewish History in 1920s Hollywood: The Murals in the Wilshire Boulevard Temple
MacKenzie Stevens, University of Southern California

“No Vain Glory”: Cartography and Murals in the American War Cemeteries in France
Kate C. Lemay, Brigham Young University

Looking Beyond “The Wall”: Reconstructing City Walls’ Gateway to Soho
Andrew Wasserman, State University of New York at Stony Brook

The Renewed “Spirit of Hyde Park”: A Case Study in Mural Restoration
Emily Scibilia, School of the Art Institute of Chicago

Discussant: Sarah Schrank, California State University, Long Beach