Program Sessions

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

Wednesday, February 13, 9:30 AM–12:00 PM

The Proof Is in the Print: Avant-Garde Approaches to the Historical Materials of Photography’s Avant-Garde
Rendezvous Trianon, 3rd Floor
Chairs: Mitra Monir Abbaspour, The Museum of Modern Art; Lee Ann Daffner, The Museum of Modern Art

The Platinum and Palladium Initiative: Tools and Strategies for Interdisciplinary Collaboration
Constance McCabe, National Gallery of Art

Tzara’s Mark: The Vintage Photographic Print, Unique and Proliferating
Adrian Sudhalter, Dedalus Foundation

Failure to Launch: Photography and the Modern American Mural
Kara Fiedorek, Institute of Fine Arts, New York University

“You Have Seen Their Pictures”: Towards a Material History of New Deal Photography
Stephen Pinson and Erin L. Murphy, The New York Public Library


Destruction of Cultural Heritage in European Countries in Transition, 1990–2011
Sutton Parlor Center, 2nd Floor
Chair: Rozmeri Basic, University of Oklahoma

Impossible to Silence: Enduring Trauma and the Legacy of Vernacular Architecture in the Middle Gediz Valley, Western Turkey, 1900–2011
Christina Luke, Boston University

Transitional Territories and Berlin’s East German Cultural Heritage
Kristine Nielsen, University of Illinois

The Neglected Murals of Macedonia with Special Emphasis on the Holy Mother of God Peribleptos Church, Ohrid, Macedonia
Rolf Achilles, independent art historian

New Memorials for New Countries: Substituting Collective Memory for Spite
Rozmeri Basic, University of Oklahoma

Discussant: Ekaterina Kudryavtseva, Stetson University


Transmaterialities: Materials, Process, History
Beekman Parlor, 2nd Floor
Chairs: Richard Checketts, University of Leeds; Marta Ajmar, Victoria and Albert Museum

The Generative Possibilities of Base Materiality in Postwar Conceptions of Art and Architecture
Alex Potts, University of Michigan

The Material Means of Bauhaus Paper Studies
Jeffrey Saletnik, Amherst College

Sese oblectari in dies: The Meditative Function of the Wierix Prints Pasted into the Cistercian Prayerbook of Martinus Boschman
Walter S. Melion, Emory University

Miraculous Matter of Neapolitan Baroque Art
Helen Hills, University of York

Discussant: Alexander Nagel, Institute of Fine Arts, New York University


Nordic Modernism at Home and Abroad, 1880–1920
Morgan Suite, 2nd Floor
Chairs: Kirsten Jensen, Hudson River Museum; Leslie Anne Anderson, University of Copenhagen

Krøyer’s Beach: Nordic Modernism and the Reemergence of Denmark, 1880–1910
Thor J. Mednick, University of Toledo

Nordic “Genius”: German Patronage of Edvard Munch’s Art
Hilde Marie Jamessen Rognerud, Nasjonalmuseet for kunst, arkitektur og design, Oslo

Creating a Finnish National Identity at the 1900 Paris Universal Exposition
Margaret Herman, The Graduate Center, City University of New York

The Norwegian Contributions to the 1912–3 Scandinavian Art Exhibition and Their Impact on North American Painting
Clarence Burton Sheffield, Rochester Institute of Technology

Discussant: Patricia G. Berman, Wellesley College


Multiples in Context: The Early Years
Sutton Parlor North, 2nd Floor
Chairs: Meredith Malone, Mildred Lane Kemper Art Museum, Washington University in St. Louis; Bradley Bailey, Saint Louis University

Paradox of the Original and Its Reinterpretation: Marcel Duchamp and Man Ray’s Editioned Replicas
Adina Kamien-Kazhdan, The Israel Museum

Art à prix modéré: Spectacle and Social Democracy in the GRAV’s Multiples
Lily Woodruff, Michigan State University

Samples without Value: Piero Manzoni’s Art of Distribution
Gregory Tentler, Rhode Island School of Design

The “Expandable, Renewable” Artwork
Liz Kotz, University of California, Riverside


Seeing/Knowing: Image Theory and Learning Strategies across the University Curriculum
Madison Suite, 2nd Floor
Chair: Natalie R. Marsh, Graham Gund Gallery, Kenyon College

Seeing, Knowing, Showing: Experiments in “Visualizing the Liberal Arts”
Laurel Bradley, Carleton College

Seeing, Knowing, and Showing: Curricular Exhibitions in the Library
Margaret Pezalla-Granlund, Carleton College

From Visual Pedagogies to Learning Theories: Using Academic Museums to Catalyze Campus-Wide Learning
Steven S. Volk and Liliana Milkova, Oberlin College

Yo Veo: Visual Interventions
Robert Colby, University of North Carolina at Chapel Hill

Platform: The University Museum as Propagator and Disseminator of Cross-Disciplinary Research
Kathryn Bonansinga, University of Cincinnati


Beyond Good or Bad: Practice-Derived Epistemologies of Studio Critique
Regent Parlor, 2nd Floor
Chairs: Adelheid Mers, School of the Art Institute of Chicago; Judith Leemann, Massachusetts College of Art and Design

Getting Closer: Critique as an Integral Source in Learning through Making
Sara Black, Antioch College

Demystifying Critique: Exploring Language and Interaction with Non-Native Speakers of English
Allison Yasukawa, Maryland Institute College of Art

Working Space: Online Models for Studio Art Critiques
David MacWilliam, Emily Carr University of Art and Design

Sometimes the Work Has to Risk Not Being Art: Studio Critique, Truthtelling, and Generosity
Randy Lee Cutler, Emily Carr Institute of Art and Design

Expanding the Critique: Contemporary Art as Practice
Joey Orr, Emory University

Crit-Space as a Research Place
Graeme Sullivan, Pennsylvania State University


To What End? Eschatology in Art Historiography
Petit Trianon, 3rd Floor
Chair: Jeanne-Marie Musto, Fordham University

Projecting the Future in German Art Historiography of the Nineteenth Century: Franz Kugler, Karl Schnaase, and Gottfried Semper
Henrik Karge, Technische Universität Dresden

Delacroix, Chenavard, and the End of Art History
David O’Brien, University of Illinois Urbana-Champaign

The Rest is Silence: The Sense of Roger Fry’s Endings
Benjamin Harvey, Mississippi State University

Origin and Immanence: Benjamin’s Art Historiography in the Trauerspiel Book
Jenny Doussan, Goldsmiths, University of London

World Art Histories and the Cold War
Robert Born, Humboldt Universität zu Berlin and Geisteswissenschaftliches Zentrum Universität Leipzig


Plato’s Dilemma: Unweaving the Threads Binding Art and Religion
West Ballroom, 3rd Floor
Chair: Donald Preziosi, University of California, Los Angeles

Attentiveness, Decreation, Immanence: Benjamin, Weil, Deleuze
Jae Emerling, University of North Carolina, Charlotte

An Icon for Nonconformists
Andrei Pop, University of Basel

A Queer Cross: Art, Religion, and the Thorns of Desire
Horace Ballard, Brown University

From Ritual Objects to the Avant-Garde: Jews and the Search for Religious Meaning in Art
Jeffrey Abt, Wayne State University

Against the Day: Chiasmatic Disconcordances and Semblances amongst the Ungoverned
Scott Contreras-Koterbay, East Tennessee State University


ARTspace
On the Practice of Artist Arbiter
Murray Hill Suite, 2nd Floor
Chairs: Shannon Rae Stratton, threewalls and School of the Art Institute of Chicago; Duncan Mackenzie, Columbia College Chicago

With Our Powers Combined: Queer Collaboration, Distribution, Intervention, Gentrification
Anthea Black, independent artist

Where’s the Art? Hosting/Framing Creativity
Laurie Beth Clark, University of Wisconsin-Madison

Migrating Archives: How I Became a Matchmaker and Archive Activist
E. G. Crichton, University of California Santa Cruz

Parallel Practice: The Artist as Curator
Reni Gower, Virginia Commonwealth University

On Nested Authorship
Philip von Zweck, Columbia College Chicago


Studio Art Open Session
The Empathetic Body: Performance and the Blurring of Private Self in Contemporary Art
Sutton Parlor South, 2nd Floor
Chair: Tricia Van Eck, 6018NORTH

Encountering the Empathetic Audience in Contemporary Art
Tricia Van Eck, 6018NORTH

Kate Lorenz, Hyde Park Art Center

Vesna Krstich, Upper Canada College

Potluck: Bring/Do/Be What You Can
Amy M. Mooney, Columbia College Chicago

Discussant: Katrina Chamberlin, independent artist


Pacific Arts Association
Rethinking Pacific Art: The Currency of the Object
Bryant Suite, 2nd Floor
Chairs: Caroline Vercoe and Nina Tonga, The University of Auckland

Contemporary Hawiian Feather Art: Plucking from Tradition to Renegotiate Place and Space
Teresa Wilkins, Indiana University

The Digitizing of Maori Cultural Heritage: Blurring the Boundaries of an Object, Its Documentation, and Its Distribution
M. Brinker Ferguson, University of California, Santa Cruz

Performing Culture: The Art Practice of Ani O’Neill
Caroline Vercoe, The University of Auckland


New Media Caucus
Art in the Age of High Security
Nassau Suite, 2nd Floor
Chairs: Jenny Vogel and David Stout, University of North Texas

Images for an Unknown Public
Jenny Vogel, University of North Texas

Noise, Art, and Weaponized Abstraction
David Stout, University of North Texas

Building a More Perfect Drone
Nadav Assor, Connecticut College

How Does a Patriot Act?
Clark Shaffer Stoeckley, Bloomfield College

Discussant: David Schwarz, University of North Texas


Cultivating Nature as Art: Dialogues on the Rustic Garden in the Long Eighteenth Century and the Contemporary Practice of Organic Art in the Landscape Post-1960
Gibson Room, 2nd Floor
Chairs: Susan Wilson, independent scholar; Yuen Lai Winnie Chan, University of Oxford

The Rustic Taste in Holland’s Early Nineteenth-Century Landscape Garden
Vanessa Bezemer Sellers, New York Botanical Garden

“Humble and Simple”: Rustic Summerhouses in Nineteenth-Century American Landscape Gardens
Kerry Dean Carso, State University of New York at New Paltz

Michael Singer and Xu Bing: On the Nature of the Contemporary Garden
David Henry Ehrenpreis, James Madison University

From Colonial Roots to the Rhizome: Location, Dislocation, and Translocation in Contemporary Artists’ Organic Art Practices in the Anthropocene Age
Edwina Fitzpatrick, Wimbledon College of Art

Discussant: Xin Wu, The College of William and Mary


Wednesday, February 13, 12:30 PM–2:00 PM

Association of Academic Museums and Galleries
A Two Way Street: How Academic Museum and Gallery Programming Can Achieve Curricular Impact
Beekman Parlor, 2nd Floor
Chair: Leonie Bradbury, Montserrat College of Art Galleries

Using Art Museums to Leverage Campus-Wide Learning: Two Case Studies from Oberlin College
Steven S. Volk and Taylor Allen , Oberlin College

Art and Science in Dialogue: Object-Based Workshops at the Smart Museum
Anne Leonard and Sidney R. Nagel, University of Chicago

Academic Galleries as Learning Laboratories: Bridging Theory and Practice at Columbia College Chicago
Neysa Lillian Page-Lieberman and Robert John Blandford, Columbia College Chicago


Society for Photographic Education
Traversing the Void: Synchronized Community Projects
Gramercy B, 2nd Floor
Chair: Shannon Lee Castleman, Nanyang Technological University


CAA International Committee
International Collaborative Arts: Conversations on Practice, Research, and Education
Sutton Parlor Center, 2nd Floor
Chairs: Diane Derr and Radha Dalal, Virginia Commonwealth University in Qatar

Planetary Collegium and the I-Node: The Right to Knowledge
Katerina Karoussos, I-Node, Planetary Collegium

Leading through Collaboration: A Chairperson/Faculty Perspective
Muneera Spence, Virginia Commonwealth University in Qatar

Postnational Technollaboration within the Postbiotanical Village
Max Kazemzadeh, Gallaudet University


National Council of Art Administrators
Hot Problems/Cool Solutions in Arts Leadership
Morgan Suite, 2nd Floor
Chair: Jim Hopfensperger, Western Michigan University

Nan Goggin, University of Illinois, Urbana-Champaign

Sergio Soave, The Ohio State University

Kristina Olson, West Virginia University

Kim Russo, California Institute of the Arts

Colin Blakely, Eastern Michigan University

Richard Heipp, University of Florida

Steve Bliss, Savannah College of Art and Design

Cora Lynn Deibler, University of Connecticut


American Council for Southern Asian Art
Thinking beyond Royalty: Reassessing Temple Patronage in Premodern South Asia
Bryant Suite, 2nd Floor
Chairs: Katherine E. Kasdorf, Columbia University; Risha Lee, National University of Singapore

Divine Kingship Revisited: Indian Temple Art and Patronage in the Sixth to Eighth Centuries
Julie Romain, Los Angeles County Museum of Art and University of California, Los Angeles

Mapping Artistic Space: Style and the Kaveri River
Padma Kaimal, Colgate University

Between “Temple” and “Shrine”: Merchants and Mendicants along the Madhumati
Tamara I. Sears, Yale University

Elite Collaborations for a Hoysala Style: Merchants, Kings, and Temple Patronage in Dorasamudra (Twelfth-Thirteenth Centuries)
Katherine E. Kasdorf, Columbia University

Discussant: Risha Lee, National University of Singapore


ARTspace
CAA Services to Artists Committee
Meta-Mentors: How to Make a Living as an Artist, With or Without a Dealer
Murray Hill Suite, 2nd Floor
Chairs: Sharon Louden, independent artist; Sharon Butler, Eastern Connecticut State University

Hudson, Feature Gallery

Matthew Deleget, Minus Space

Jay Gorney, Mitchell-Innes and Nash Gallery

Michelle Grabner, School of the Art Institute of Chicago

Magdalena Sawon, Postmasters Gallery


Catalogue Raisonné Scholars Association
Collaborative Understanding through Technical Investigations: Art Scholar, Conservators, and Scientists Researching in Tandem
Madison Suite, 2nd Floor
Chairs: Steven Manford, independent scholar; Joyce Hill Stoner, University of Delaware and Winterthur Museum

Revealing Hidden Layers in Late Rembrandt Paintings
Annelies van Loon and Petria Noble, Mauritshuis, The Royal Picture Gallery

“Edgar Degas Sculpture”: An Innovative Systematic Catalogue
Suzanne Lindsay, University of Pennsylvania; and Shelley Sturman, Daphne Barbour, Barbara Berrie, Michael Palmer, and Suzanne Lomax, National Gallery of Art

The Techniques of Henry O. Tanner
Amber Kerr-Allison, Smithsonian American Art Museum; and Anne Marley, Pennsylvania Academy of Fine Arts

Scientific Analysis in Attribution Questions: High Expectations, Necessary Collaborations, and a Question of an Early Vincent van Gogh
Jennifer Mass, Winterthur Museum; Kristin de Ghetaldi, University of Delaware


Pacific Arts Association
The Home, the Museum, and the Gallery: Illuminating the Nexus between Identity, Materiality, and Visual Culture in the Pacific
Nassau Suite, 2nd Floor
Chairs: Fiona P. McDonald, University College London; Bronwyn Labrum, Massey University

Leaving Home: Representing Material Histories
Bronwyn Labrum, Massey University

Biculturalism and Its Discontents: Making Maori Art in the Museum
Conal McCarthy, Victoria University of Wellington

The Mutable Woolen Blanket: In the Home, the Studio, the Museum, and the Gallery
Fiona P. McDonald, University College London


Appraisers Association of America
Today’s Qualified Appraiser: An Essential Ally for Artists, Museums, and University Galleries
Gibson Room, 2nd Floor
Chair: Anne Frances Moore, AFM-MFM Fine Art

Amy J. Goldrich, Lynn and Cahill LLP

Sylvia Leonard Wolf, Sylvia Leonard Wolf, Inc.


Volunteer Lawyers for the Arts, Inc.
Ask the Lawyer: Fair Use, Risk Management, Contracts, Corporations, and More
Gramercy A, 2nd Floor
Kathryn E. Wagner, Volunteer Lawyers for the Arts, Inc.


CAA Committee on Women in the Arts
Gender Politics in the Workplace, Part I
Rendezvous Trianon, 3rd Floor
Chair: Claudia Sbrissa, St. John’s University

Xabier Arakistain, independent curator

Shelly Bahl, independent artist

Carey Lovelace, independent critic and curator

Martha Rosler, independent artist

Patricia Villalobos Echeverria, Western Michigan University


CAA Education Committee
What We Teach: Perspectives on the Logic, Scope, and Value of Art Appreciation
Petit Trianon, 3rd Floor
Chairs: Brian Seymour, Community College of Philadelphia; Julia A. Sienkewicz, Duquesne University

From Critical to Creative Thinking: The Role of Art Appreciation in the Curriculum
Henry Sayre, Oregon State University, Cascades

Appreciating Art in an Online Environment
Alison Fleming, Winston-Salem State University

From “Art Appreciation” to “Art and Visual Literacy”: Designing a Curriculum for Twenty-First-Century General Studies
Deanne Pytlinski, Metropolitan State University of Denver

To Thematize or Not to Thematize: The Construction of an Art Appreciation Course
Kathy Anne Quick, Providence College


Visual Culture Caucus
Visual Representations of Success and Crisis: Negative and Positive Branding of Cities and Urban Spaces
Sutton Parlor South, 2nd Floor
Chair: Lina Tegtmeyer, Freie Universität Berlin

Lisa Kahane, independent artist

Ineffably Urban: Imaging Buffalo
Miriam Paeslack, University at Buffalo, State University of New York

Lyrical City: Charles Sheeler and Paul Strand’s Manhatta
Kristen Oehlrich, Brown University


International Association of Art Critics
Art Criticism and Social Media
Regent Parlor, 2nd Floor
Chair: Phyllis Tuchman, independent critic

Sarah Douglas, New York Observer

Lindsay Pollock, Art in America

Walter Robinson, independent artist

Barry Schwabsky, poet and independent critic


Association of Art Historians
The Future Role of Art History in Curating Historic Collections
Sutton Parlor North, 2nd Floor
Chair: Alison Yarrington, University of Hull

Veronica Davies, The Open University


Wednesday, February 13, 2:30 PM–5:00 PM

Art History Open Session
Northern European Art, 1400–1700: Recent Discoveries through Technical Art History
Trianon Ballroom, 3rd Floor
Chair: Maryan Wynn Ainsworth, The Metropolitan Museum of Art

The Fishing Party in the Louvre by Jan van Eyck?
Claudine A. Chavannes-Mazel, University of Amsterdam

Image Processing for Research on the Ghent Altarpiece
Maximiliaan Martens and Annick Born, University of Ghent

From the Naked Eye to the Super Computer: New Light on Dirk Bouts’s Canvas Paintings
Diane Wolfthal, Rice University; and Catherine Metzger, National Gallery of Art

Reconstructing the So-Called “Berlin Sketchbook”: New Insights Resulting from Material Analysis
Ilona van Tuinen, Leiden Gallery

The Adjustments of a Triptych by Pieter Claeissens I: An Exceptional Situation or Common Practice?
Anne van Oosterwijk, Groeningemuseum and University of Ghent


The Watercolor: 1400–1750
Bryant Suite, 2nd Floor
Chairs: Susan Anderson, Harvard University Art Museums; Odilia Bonebakker, Harvard University

British Art Theory of Limning from Hilliard to Norgate
Ulrike Kern, Goethe University

Watercolor in French Manuscript Painting: The Songe du Pastourel (Vienna, Österreichische Nationalbibliothek, Cod. 2556)
Christoph Brachmann, University of North Carolina at Chapel Hill

The Artful Evolution of Catherine Perrot’s Career: Painter, Teacher, Academician, Author
Joanne McKeown, Moravian College


ARTspace
Design as Intermedia Practice
Murray Hill Suite, 2nd Floor
Chair: Jacki Apple, Art Center College of Design

Annie Chu, Chu and Gooding Architects and Woodbury University

Kati Rubinyi, Civic Projects Foundation

Nobuho Nagasawa, Stony Brook University, State University of New York

Ini Archibong, Design by INI

Joe Doucet, Joe Doucet Studio


About Face: Looking Beyond the Icon’s Gaze
Gibson Room, 2nd Floor
Chair: Charles Barber, University of Notre Dame

The Anaphoric Icon: The Traveling Virgin of Naupaktos
Anthony Cutler, Pennsylvania State University

Asleep and Awake: At the Scene of “Private Devotion” with the Byzantine Man of Sorrows
Mitchell Merback, Johns Hopkins University

Face of the Icon, Avatar of the User: The Procedural Rhetoric of the Byzantine Icon
Roland Betancourt, Yale University

The Nonvisual Face in Levinas and Byzantine Art
Rico Franses, American University of Beirut


What is Yucatecan about Yucatán: Art Historical Discourse in Yucatán’s Visual Culutre, Precolumbian through Contemporary
Madison Suite, 2nd Floor
Chairs: Charles Cody Barteet, University of Western Ontario; Amara Solari, Pennsylvania State University

Painting in the Vernacular: Contextualizing Chichen Itza and the Roots of Yucatecan Identity
Victoria Lyall, Los Angeles County Museum of Art

The Puuc Style of Yucatán: An Architectonic Aesthetic as an Expression of Regional Sociopolitical Statuses and Cultural Identities
Jeff Karl Kowalski, Northern Illinois University

The “Yucatecan Vision” of Fernando Castro Pacheco
George Scheper, Johns Hopkins University

Time, Tourism, and Politics of Maya Architecture: Modern Development at Chichén Itzá and Its Relationship to Yucatán Cultural Identity
Kristin Barry, Pennsylvania State University

Discussant: Linda K. Williams, University of Puget Sound


Beyond the Paragone
Sutton Parlor North, 2nd Floor
Chairs: Sarah Betzer, University of Virginia; Laura Weigert, Rutgers, The State University of New Jersey

The Virtual Holy: Gaudenzio’s Stagings at Varallo
Roberta Panzanelli, Polimoda: International Institute of Fashion Design and Marketing

Severed Heads: The Aftermath of Violence in Spanish Still-Life Painting
Krystel Chehab, University of British Columbia

Lady Sherman’s Attitudes
Cordula Grewe, Columbia University

A Performative Paragone: The Dusseldorf State Art Academy, ca. 1968
Colin Lang, Virginia Commonwealth University

Discussant: Jacqueline Lichtenstein, Université Paris Sorbonne


The Darwin Effect: Evolutionary Theory, Art, and Aesthetic Thought
Regent Parlor, 2nd Floor
Chairs: Michael Dorsch, The Cooper Union for the Advancement of Science and Art; Jean Marie Evans, The Oriental Institute of the University of Chicago

Sculpting a Sumerian Race: The Nineteenth-Century Reception of Sumer
Jean Marie Evans, The Oriental Institute of the University of Chicago

Inscribing Darwin: Nineteenth-Century Representations of Evolution
Judith Berman Kohn, Cambridge University

Evolving From “Savages”: Mannequin Displays of Prehistoric Humans and Race
Linda Kim, Drexel University

Seeing and Not Seeing: The Post-Darwinian Eye and Aesthetics in Great Britain
Barbara Larson, University of West Florida

Origins, Loss, and Desire in Gauguin’s Tahitian Eve
Martha Lucy, Drexel University


Art and Artists in the Field of Cultural Production: Reception Studies, Part I
Gramercy A, 2nd Floor
Chair: Ruth E. Iskin, Ben-Gurion University of the Negev

The Reception of Fiber as a Medium of Art: The Case Study of Sheila Hicks
Elissa Auther, University of Colorado, Colorado Springs

Reading Modern Women Artists in Interwar France
Paula Birnbaum, University of San Francisco

In the Eye of the Beholder: Foujita and His Critics in Japan, France, and the United States
Ikuyo Nakagawa, The Graduate Center, City University of New York

John Singer Sargent’s Exile
Susan Sidlauskas, Rutgers, The State Unversity of New Jersey

Visualizing Reception: The Shape of the Art Market around 1800
Christian Huemer, Getty Research Institute


Interventions into Postcolonialism and Beyond: A Call for New Sites, Objects, and Times
Petit Trianon, 3rd Floor
Chairs: Kivanc Kilinc, Izmir University of Economics; Saygin Salgirli, Sabanci University

A Call for a Spatial and Temporal Turn in Postcolonial Studies
Kivanc Kilinc, Izmir University of Economics; Saygin Salgirli, Sabanci University

Migrating Sites of Cultural Reproduction: The Rhetoric of Empire in Richard Long’s Land Art
Eric Matthew Stryker, Southern Methodist University

Rethinking Egypt as a Paradigm of Periphery: The Temple of Dendur as the Center of Hybrid Culture at the Edge of a Global Roman Empire
Erin Peters, University of Iowa

Reanimating the Muted Site of Modernity
Shima Baradaran Mohajeri, Texas A&M University

Indigenous Archaeologies of Ottoman Anatolia: Decolonizing Spolia
Benjamin Anderson, Cornell University

Submerged Stories from Eastern Turkey: Dams, Archaeology, and the Unnamed “Colonial”
Laurent Dissard, University of California, Berkeley


Myth and Modernism: New Perspectives on the 1913 Armory Show
West Ballroom, 3rd Floor
Chairs: Marilyn Kushner and Kimberly Orcutt, New-York Historical Society; Stephanie A. D’Alessandro, The Art Institute of Chicago

Who Bought What at the Armory Show: Forgotten and Not-So-Famous Collectors
Vivian Endicott Barnett, independent scholar

How Futurism Got Left Out at the Armory: A Case Study in the Politics of Exhibition and Its Repercussions
Zoe Marie Jones, Humboldt State University

American Beauty: The New York Times, the Armory Show, and Artistic Authority
Alexis L. Boylan, University of Connecticut

Beyond the “Shingle Factory”: The Armory Show in the American Mass Media after 1913
Melissa Renn, Fogg Museum, Harvard University Art Museums


Photography in Doubt, Part I
Rendezvous Trianon, 3rd Floor
Chairs: Sabine Tania Kriebel, University College Cork; Andres Mario Zervigon, Rutgers, The State University of New Jersey

Daguerreotypes: Fugitive Subjects, Contemporary Objects
Lisa Saltzman, Bryn Mawr College

The Doubtful User: W. H. F. Talbot’s Early Attempts of the Advancement of Photography
Mirjam Brusius, Max Planck Institute for the History of Science; Chitra Ramalingam, University of Cambridge

The Authority of the “Never-Seen”: Abstraction as Obfuscation in Surrealist Photograms
Susan Laxton, University of California, Riverside

Picturing Doubt: A Cold War Theory of Photography
John J. Curley, Wake Forest University

Frater meus, patria mea: Passionate Attachment and Photographic Doubt
Eve Meltzer, New York University


Association for Latin American Art
Questioning Feminisms in Latin America’s Art Histories
Beekman Parlor, 2nd Floor
Chairs: Aleca Le Blanc, Getty Research Institute; Harper Montgomery, Hunter College, City University of New York

Sacred Transformations, Indigenous Influences: Mary Magdalene and Other Case Studies in Colonial Art
Charlene Villaseñor Black, University of California, Los Angeles

Jesus as Mother: The Politics of Gendering the Sacred Heart in New Spain
Lauren Grace Kilroy, Brooklyn College, City University of New York

Women’s Trajectory in the Mexican Academy of San Carlos: Her Incorporation into the Art World
Elizabeth Fuentes Rojas, Universidad Nacional Autónoma de México

Incorporated Vision: A Feminist Critique of Development Discourse
Ana Maria Reyes, independent scholar

Now We See You, Now We Don’t: Feminisms in Argentine Art, 1980s–1990s
Marta García Barrio-Garsd, independent scholar


Uneasy Guardians: Ensuring the Future of Intractable Art Forms
Gramercy B, 2nd Floor
Chairs: Megan Metcalf, University of California, Los Angeles; Holly Rachel Harrison, Los Angeles County Museum of Art

Coproduction at The Museum of Modern Art
Glenn Wharton, New York University and The Museum of Modern Art; Fernando Domínguez Rubio, Centre for Research on Socio-Cultural Change and University of San Diego

Of Mutability: The Ethics of Curating and Re-presenting Ephemeral Artworks
Chrissie Iles, Whitney Museum of American Art

Negotiating the Ineffable
Martha Buskirk, Montserrat College of Art

Changing Understandings of Change
Corey D’Augustine, independent scholar


The Experience of the Studio: Master-Pupil Relationships in Europe and China, 1400–1700
Morgan Suite, 2nd Floor
Chairs: Christina Neilson, Oberlin College; Michele Matteini, Reed College

Augsburg Painters and Their Pupils from the Fifteenth to the Early Seventeenth Centuries
Danica Brenner, University of Trier

The Master, the Pupil, and the Thief: The Life of Frans Floris and the Issue of Artistic Transmission in Karel van Mander’s Theory of Art
Valentin Nussbaum, National Taiwan Normal University

The Combined Brush: Shen Zhou and Wen Zhengming as Dual Masters in Ming China
Lihong Liu, Institute of Fine Arts, New York University

In Dialogue: Anthony Van Dyck in Peter Paul Rubens’s Workshop
Eva Struhal, Université Laval

Secrets under the Pillow: The Practice and Legacy of the Album to See the Large within the Small
Ching-Ling Wang, Kunsthistorisches Institut in Florenz and Museum für Asiatische Kunst, Staatliche Museen zu Berlin


Reframing Post-Black
Sutton Parlor South, 2nd Floor
Chair: Kathleen Reinhardt, Freie Universität Berlin

Ming Wong, Jean-Ulrick Désert, and the Parallax View of European Otherness
Tavia Nyong’o, New York University

Kori Newkirk, independent artist

Naima J. Keith, The Studio Museum in Harlem

Shinique Smith, independent artist

Kalup Donte Linzy, independent artist


The Changing Complexion of Theory
Nassau Suite, 2nd Floor
Chair: Ian Verstegen, independent scholar

Gazing at Humanized Terror: Boteromorphs at Abu Ghraib
Neli Dobreva, University of Paris 1 Panthéon-Sorbonne

The Uses of Theory
Deborah Haynes, University of Colorado

Re-Viewing Neoliberalism: European Theory, Transnational Feminism, and the Visual
Robin James, University of North Carolina at Charlotte

Thursday, February 14, 7:30 AM–9:00 AM

Art Historians of Southern California
State of the Discipline: The Position of Nonwestern Art in Art History
Sutton Parlor Center, 2nd Floor
Chairs: Kristen Chiem and Cynthia S. Colburn, Art Historians of Southern California

Globalization and the Art History Survey
Cynthia Colburn and Kristen Chiem, Pepperdine University

(Non)Western Art Historiography and Eclectic Taste in Nineteenth-Century Iran and India
Talinn Grigor, Brandeis University

When Is It Western and When Isn’t It? The Role of Lebanese Art in (Western) Art History
Kirsten Scheid, American University of Beirut

Reading Iranian Photography
Elahe Helbig, Rheinische Friedrich-Wilhelms-Universität Bonn


Association for Latin American Art
Business Meeting
Regent Parlor, 2nd Floor


Catalogue Raisonné Scholars Association
Business Meeting
Sutton Parlor South, 2nd Floor


Thursday, February 14, 8:00 AM–9:00 AM

Education/Algorithms: Artsy Talks about The Art Genome Project and Discovering Art Online
Beekman Parlor, 2nd Floor
Chairs: Christine Kuan and Matthew Israel, Artsy


Thursday, February 14, 9:30 AM–12:00 PM

CAA THATCamp: What Happened and What’s Next
Beekman Parlor, 2nd Floor

Steven Zucker, Khan Academy

Beth Harris, Khan Academy

Barbara Rockenbach, Columbia University

Carole Ann Fabian, Columbia University

Diane Zorich, independent consultant

Paul Jaskot, DePaul University

Ileana Selejan, Institute of Fine Arts, New York University


The Decorative Arts within Art Historical Discourse: Where Is the Dialogue Now, and Where Is It Heading?
Nassau Suite, 2nd Floor
Chairs: Christina M. Anderson, University of Oxford; Catherine L. Futter, The Nelson-Atkins Museum of Art

Not Material Culture but Moveable Culture: A Consideration of the Decorative Arts
Megan Aldrich, Sotheby’s Institute of Art, London

Listening to Objects: An Ecological Approach to the Decorative Arts
Erin Campbell, University of Victoria

The Decorative and Warhol’s Flower Factory, 1964
Liam Considine, Institute of Fine Arts, New York University

Plastering over the Decorative Arts
Conor Lucey, University College Dublin

Beyond Terminology
Deborah Krohn, Bard Graduate Center: Decorative Arts, Design History, Material Culture


Local Modernisms
Morgan Suite, 2nd Floor
Chair: Geoffrey Batchen, Victoria University of Wellington

Abstraction as Resistance in 1950s India
Atreyee Gupta, University of California, Berkeley

Critiquing the Critique: The Reception of El Anatsui
Sunanda Sanyal, The Art Institute of Boston at Lesley University

Mahmoud Mukhtar: “The First Sculptor in the Land of Sculpture”
Alexandra Seggerman, Yale University

Starting from Mexico: Estridentismo as an Avant-Garde Model
Tatiana Flores, Rutgers, The State University of New Jersey

Discussant: Ruth Phillips, Carleton University


Effects
West Ballroom, 3rd Floor
Chair: Huey Copeland, Northwestern University

The Smithson Effect
James Meyer, National Gallery of Art

Lights Out: Tom Lloyd and the Effect of Disappearance
Krista Thompson, Northwestern University

Entanglement
Jeannine Tang, Courtauld Institute of Art

No Drones: Louise Lawler and the Transference of War
Mignon Nixon, Courtauld Institute of Art

Side-Effect: Affect
Johanna Burton, Bard College


International Center of Medieval Art
Jerusalem: Medieval Art, History, and Sanctity through the Eyes of Many Faiths
Gibson Room, 2nd Floor
Chair: Cathleen A. Fleck, Saint Louis University

Dome of the Rock as Image of the Ancient Jewish Temple
Pamela Berger, Boston College

From Jerusalem to Civate: The Ciborium as Ark and Tomb
Gillian B. Elliott, Corcoran College of Art and Design

Between the Temple Mount and the Holy Sepulchre: Architectural Translation of Jerusalem to Twelfth-Century Pisa
Neta Bodner, The Hebrew University of Jerusalem

Referencing Solomon’s Temple: The Foliate Frieze as Golden Vine in French Gothic Churches
Mailan Doquang, McGill University

Representing Pilgrimage in Judaism, Christianity, and Islam
Bianca Kühnel, The Hebrew University of Jerusalem


Critiquing Criticality
Sutton Parlor North, 2nd Floor
Chairs: Pamela Lynn Fraser, University of Vermont; Randall David Szott

Fluxus and the Constructive Turn
Roger Rothman, Bucknell University

“Criticality Gone”: Jeff Koons’s Critique of Criticality in the Late 1980s
AnnMarie Perl, Institute of Fine Arts, New York University

Thinking through Criticality
Shona MacDonald, University of Massachusetts

Mediocrity Doesn’t Happen Overnight … It Takes a Lot of Hard Work
Michael Aurbach, Vanderbilt University

Uncritical Thinking
Charles Dobson, Emily Carr University of Art and Design

Consideration as an Alternative to Critique
Karen Schiff, independent artist

Hell Yeah
Andreas Fischer, Illinois State University

Writing with Images
Elisabeth Friedman, Illinois State University

AnnMarie Perl, Institute of Fine Arts, New York University


Association of Historians of Nineteenth-Century Art
Art and Product Placement, 1850–1918
Rendezvous Trianon, 3rd Floor
Chairs: Gloria Groom and Martha Tedeschi, The Art Institute of Chicago

Impressionism and the Industrialization of Time
André Dombrowski, University of Pennsylvania

Tobacco Served in an Artistic Package: Smoking, Still Life, and Consumer Culture in Gilded Age America
Ross Barrett, University of Chicago

Art vs. Merchandise: The Case of the Société d'Aquarellistes français
Jane Roos, Hunter College, City University of New York

Tattooing as High-Status Commodity Art in the Late Nineteenth-Century
Matt Lodder, University of Reading

Vallotton and the Art of Attraction
Bridget A. Alsdorf, Princeton University


Mad “Men” and the Visual Culture of the Long Sixties
Trianon Ballroom, 3rd Floor
Chair: Mona Hadler, Brooklyn College and The Graduate Center, City University of New York

The Mad Men, a Bank, and a Gallery: A Midcentury Award-Winning Advertising Campaign
Suzanne F. W. Lemakis, Center for Culture: Department of Fine Art, Citibank

The Ubiquitous Glass Box: Mad Men and the Rise and Critique of Viral Corporate Architecture at Midcentury
Scott Murray, University of Illinois at Urbana-Champaign

Executive Modern: Abstract Art and the Planning of Corporate Space
Alex J. Taylor, University of Oxford

Mad Men, Bad Men, and Empty Modernism
Kristina Wilson, Clark University

Becoming a Bachelor: Don Draper, the Apartment, and the Closet
Pamela Robertson Wojcik, University of Notre Dame

Discussant: Paola Antonelli, The Museum of Modern Art


The Particulars of Postidentity
Gramercy B, 2nd Floor
Chairs: Jessica L. Horton, Center for Advanced Study in the Visual Arts; Cherise Smith, University of Texas at Austin

Post-Black: Afro-Kitsch and the Queering of Blackness
Derek Conrad Murray, University of California, Santa Cruz

A Latino New Wave: Minimalism, Race, and Postidentity Politics in the Art of Juan Capistran
Rose G. Salseda, University of Texas at Austin

Post-Jewish/Post-Holocaust: Contemporary Jewish American Art and the Visual Language of Memory
Stacy R. Schwartz, San Jose State University

A Particular Commonality: Jimmie Durham’s Building a Nation and the Globalization of Dissent
Mark James Watson, Clayton State University

Spiral: Outside of Black and White
Andrianna Campbell, The Graduate Center, City University of New York


The Latin American Presence at International Exhibitions, 1855–Present
Sutton Parlor South, 2nd Floor
Chairs: Maya Jiménez, Kingsborough Community College, City University of New York; Michele Greet, George Mason University

Paintbrush Politics: Cultural Presence of Mexico and Brazil at the US Centennial, 1876
Katherine Manthorne, The Graduate Center, City University of New York

Cuban Art and Culture in and around the 1939 New York World’s Fair
Susanna Temkin, Institute of Fine Arts, New York University

Positioning the Americas: The Guggenheim and Carnegie Internationals of the Sixties
Delia Solomons, Institute of Fine Arts, New York University

Locating Latinidad at the Biennale di Venezia
María del Mar González-González, University of Illinois at Urbana-Champaign


CAA International Committee
Crossing Continents: Expatriate Histories of Art in the Twentieth Century
East Ballroom, 3rd Floor
Chair: Geraldine A. Johnson, University of Oxford

Inside/Outside: Germany/London
David Cast, Bryn Mawr College

Otto Brendel and Erwin Panofsky: On the Problems of Describing and Interpreting Art in the New World
Katharina G. Lorenz, University of Nottingham

Drawn From Memory: Reconstructing “The Hall of the Great Council of Florence” in Exile
Bruce L. Edelstein, New York University Florence

Facing Forward, Looking Backward: John Rewald’s Transatlantic Scholarship
Jorgelina Orfila, Texas Tech University

Concerning the Profane in Indian Art: Expatriate Art Historians and the Writing of Indian Art History
Devika Singh, University of Cambridge


Association for Textual Scholarship in Art History
For and Against Homoeroticism: Artists, Authors, and the Love that Dare Not Speak Its Name
Petit Trianon, 3rd Floor
Chairs: Jongwoo Jeremy Kim, University of Louisville; Christopher Reed, Pennsylvania State University

Cold-War Martyrdom: St. Sebastian and the Sexual Politics of a Queer Icon at Midcentury
Richard Kaye, Hunter College and The Graduate Center, City University of New York

Dandy, Decadent, Dissident: D’Annunzio, Ontani, and Saint Sebastian
Anna Mecugni, Vassar College

Masculinity in Repose: Homoerotic Referencing in the Work of Christopher Wood and David Hockney
Andrew Stephenson, University of East London

Outing Franz Xaver Messerschmidt, or Ernst Kris’s Creative Homophobia
Michael Yonan, University of Missouri-Columbia

Photography, Homosexuality, and Desire to Express: Novelist Yukio Mishima and Photographer Tamotsu Yat?
Yasufumi Nakamori, The Museum of Fine Arts, Houston

The Habitual Decryptors of Desire: Duane Michals, Hervé Guibert, and Michel Foucault
Nicholas de Villiers, University of North Florida


ARTspace
The Imaginary City in the Twenty-First Century
Murray Hill Suite, 2nd Floor
Chairs: Ayse Hazar Koksal, Mimar Sinan Fine Arts University; Ayse Nur Erek, Yeditepe University

High Speed Urbanization: Exploring the Rise of Urban Culture in Contemporary São Paulo
Alexander Lamazares, Bronx Community College, City University of New York

Flânerie’s Art and Measure of the Globalizing City
Kathryn Kramer, State University of New York College at Cortland

The Negotiation of Interstitial Space in the Glocal City at the Turn of the Twenty-First Century
Gabriel Gee, Franklin College

The City as Contact Zone
Bettina Lockemann, Braunschweig University of Art


Border Crossings: Rethinking Identity Questions in Art and Architecture
Sutton Parlor Center, 2nd Floor
Chair: Carol Herselle Krinsky, New York University

Between Shores: Henry O. Tanner, Transatlanticism, and the Margins of Space
Jeffrey G. Richmond-Moll, University of Delaware

Edward S. Morse’s Writings on Nineteenth-Century Japanese Culture as Ethnographic Allegory
Jonathan M. Reynolds, Barnard College-Columbia University

The Transformation of Hungarian Koloszvar into Romanian Cluj-Napolca
Samuel D. Albert, independent scholar

Medicina y Marginales: Middle-Eastern Diaspora and Immigrant Interventions in Modern Argentina
Caroline M. Wolf, Rice University

The Crossroads of Palmyra: Historic Preservation, Vernacular Architecture, and Civilizing Missions
Heghnar Watenpaugh, University of California, Davis


Mapping Spaces: Cartographic Practices in Art and Architecture, Part I
Bryant Suite, 2nd Floor
Chair: Min Kyung Lee, Swarthmore College

TRUE, the Polar Section of the World’s Edge—The Atlantic Basin Project—An Atlas of Emptiness and Extremity
Thomas Joshua Cooper, The Glasgow School of Art

Cartography as Simulacrum: The Construction of Place in Flemish City Views of the Mid-Sixteenth Century
Ryan E. Gregg, Webster University

Mapping Philosophy in Early Modern Europe
Susanna Berger, Center for Advanced Study in the Visual Arts

Anna Bella Geiger’s Mapas Elementares: Space and Place in Brazil during the 1970s
Elena Shtromberg, University of Utah

In the Map: Maya Lin’s Blue Lake Pass
Miriam Ashkin Stanton, Williams College Museum of Art


Crossing Oceans: Visual Culture and the History of Exchange in Colonial Latin America
Madison Suite, 2nd Floor
Chairs: Dana Leibsohn, Smith College; Meha Priyadarshini, Columbia University

Transatlantic Booty: Thevet and Hakluyt Abduct the Codex Mendoza
Todd Olson, University of California, Berkeley

Urban Images and Mental Maps: Representations of Havana and Veracruz in the Seventeenth Century
Joseph Clark, Johns Hopkins University

The Annual Permission Ship and Furniture Production in Eighteenth-Century New Spain
Teresa Calero Martínez de Irujo, Universidad Anahuac Norte

The Folding Screen in Colonial Mexico: The Reinterpretation of a Japanese Art Form
Sofia Sanabrais, Los Angeles County Museum of Art

The Translations of Nebrija: Ancient Rome, Early Modern Vernaculars from the Philippines to Tuscany, and the Interpretation of Mesoamerican History
Byron Hamann, The Ohio State University


Historians of Islamic Art Association
Between Maker, Agent, Collector, Curator, and Conservator: Interdisciplinary Approaches to the Study of Islamic Tilework
Regent Parlor, 2nd Floor
Chairs: Keelan Overton; Jonathan Bloom, Boston College

Remonumentalizing Islamic Tilework: A New Biography of Window Grilles from Islamic Iran
Yuka Kadoi, University of Edinburgh

Shining Bright: Luster Mihrabs from Medieval Iran
Sheila Blair, Boston College

“In the Absence of Originals”: Replicating the Tilework of Safavid Isfahan for the Victoria and Albert Museum
Moya Carey, Victoria and Albert Museum

From Damascus to Cambridge: William Morris and the Iznik Tile Panels at the Fitzwilliam Museum
Rebecca Bridgman, The Fitzwilliam Museum


CAA Committee on Women in the Arts
Take Two: Early Feminist Performance Art in Contemporary Practice
Gramercy A, 2nd Floor
Chair: Kathleen Wentrack, Queensborough Community College, City University of New York

Changes in Feminist Artistic Practice: Mónica Mayer, the Feminist Studio Workshop, and Mexican Art, 1978–1993
Alberto McKelligan, The Graduate Center, City University of New York

Being Ana: Tania Bruguera’s Tribute to Ana Mendieta
Drew Elizabeth Bucilla, The Graduate Center, City University of New York

A Chip Off the Old Block: Carolee Schneemann and Kate Gilmore Get Messy
Harry Weil, Stony Brook University, State University of New York

New Maternalisms: Pedagogy and Performance in Contemporary “Mama-Art”
Natalie S. Loveless, University of Alberta

Performing Dissent: The Rhetoric of Opposition in Reenactment Performance
Natalie Musteata, The Graduate Center, City University of New York


Thursday, February 14, 12:30 PM–2:00 PM

Association for Latin American Art
Emerging Scholars
Regent Parlor, 2nd Floor
Chair: Constance Cortez, Texas Tech University

Portraits, Potatoes, and Perception: Toward a Sense of Moche Artistic Vision
Lisa Senchyshyn Trever, Dumbarton Oaks and Harvard University

Remaking the Sacred: The Señor de Santa Teresa and the Miraculous “Renovation” of Statues in Viceregal Mexico
Derek Burdette, Tulane University

Transnationalism and Abstraction in Colombian Art of the 1950s: A New Historiographic Model
Ana M. Franco, Universidad de los Andes


National Endowment for the Arts
Grants Workshop
Nassau Suite, 2nd Floor
Chairs: Wendy Clark and Meg Brennan, National Endowment for the Arts


Exhibitor’s Session
How to Get Published and How to Get Read
Gibson Room, 2nd Floor
Chairs: Loren Diclaudio and Natalie Foster, Routledge


Foundations in Art: Theory and Education
Issues Surrounding the Online Foundations Experience
Bryant Suite, 2nd Floor
Chair: Sara Dismukes, Troy University

Jeff Davis, The Art Institute of Pittsburgh

Martha Horvay, University of Nebraska-Lincoln

Valerie Powell, Sam Houston State University

Marcela Iannini, Miami International University of Art and Design


Southeastern College Art Conference
The Place of the Viewer, 1950s–1960s
Sutton Parlor North, 2nd Floor
Chair: Kerr Houston, Maryland Institute College of Art

Who Cares if You Look?
Todd Cronan, Emory University

“…models for a kind of visual experience”: Claes Oldenburg’s Sculptural Strategies in the 1960s
Katherine Smith, Agnes Scott College

The Southern Civil Rights Movement and Let Us Now Praise Famous Men
Keri Watson, Auburn University at Montgomery


ARTspace
CAA Services to Artists Committee
Meta-Mentors: Hybrid Practices
Murray Hill Suite, 2nd Floor
Chairs: Vesna Pavlovic, Vanderbilt University; Niku Kashef, California State University, Northridge

Yvette Brackman, independent artist

Samantha Fields, California State University, Northridge

Hope Ginsburg, Virginia Commonwealth University

Max Schumann, Printed Matter, Inc

Jenna Spevack, New York City College of Technology, City University of New York


Exhibitor’s Session
The Future of Art Magazines
Trianon Ballroom, 3rd Floor
Chair: Lindsay Pollock, Art in America

Gwen Allen, San Francisco State University

Ben Davis, Artinfo.com

Dan Fox, Frieze

Peter Russo, New York Art Book Fair and Triple Canopy

Anton Vidokle, e-flux journal


ArtTable
Afterlives of Performance in Visual Art
Madison Suite, 2nd Floor
Chair: Susan Rosenberg, St. John’s University

Christine Frohnert, Bek and Frohnert LLC

Julie Martin, Experiments in Art and Technology

Jenny Schlenzka, MoMA PS1

Barbara Clausen, University of Quebec in Montreal


CAA Museum Committee
The Position of Academic Programs in Campus Art Museums: What, Why, Who, and Where To?
Petit Trianon, 3rd Floor
Chairs: N. Elizabeth Schlatter, University of Richmond Museums; Celka Straughn, Spencer Museum of Art, University of Kansas

Katherine Hart, Hood Museum of Art, Dartmouth College

Mariët Westermann, The Andrew W. Mellon Foundation

Rebecca Martin Nagy, Samuel P. Harn Museum of Art, University of Florida


National Endowment for the Humanities Funding Opportunities
Beekman Parlor, 2nd Floor
Chair: Danielle Shapiro, National Endowment for the Humanities

Mary Downs, National Endowment for the Humanities

Stefanie Walker, National Endowment for the Humanities


Northern California Art Historians
The Cult of Beauty: Aestheticism in Late Nineteenth-Century Britain
Gramercy B, 2nd Floor
Chair: Jan Newstrom Thompson, San Jose State University

The Cult of Beauty Exhibition
Lynn Federle Orr and Melissa E. Buron, Fine Arts Museums of San Francisco

The Cult of Beauty: Aestheticism in Late Nineteenth-Century Britain
Melody Barnett Deusner, Indiana University

Edward Burne-Jones’s Love Among the Ruins
Liana DeGirolami Cheney, University of Massachusetts Lowell


CAA Professional Practices Committee
Senior Exhibition Requirements for BFA and BA Programs
Sutton Parlor Center, 2nd Floor
Chair: Robert Tynes, University of North Carolina at Asheville

Advantages of Requiring Solo Senior Exhibitions for Undergraduates
Robert Tynes, University of North Carolina at Asheville

BFA Exhibition Requirements and Program Assessment: A Case Study from San Francisco Art Institute
Jennifer Rissler, San Francisco Art Institute

Team Teaching in a Small Studio Art Program
Nancy Campbell, Mount Holyoke College

Artwalk: An Assessment of Maryland Institute College of Art’s BFA Senior Exhibit
Paul Jeanes, Maryland Institute College of Art

Senior Exhibition Requirements under Review: Does Everyone Have to Show in the Museum?
Anne Galperin, State University of New York at New Paltz

BFA Exhibit: Rite of Passage and Real World Experience
Julie Ganser, University of Wisconsin-Madison


Association of Historians of American Art
Business Meeting
Sutton Parlor South, 2nd Floor


Design Studies Forum
Business Meeting
Rendezvous Trianon, 3rd Floor


Diasporic Asian Art Network
Business Meeting
Morgan Suite, 2nd Floor


Leonardo Education and Art Forum
Business Meeting
Gramercy A, 2nd Floor


Thursday, February 14, 2:30 PM–5:00 PM

Open Session
French Art, 1715–1789
West Ballroom, 3rd Floor
Chair: Colin B. Bailey, The Frick Collection

The Chinese Elephant: Unpacking an Improbable Pachyderm
Judy Sund, Queens College and The Graduate Center, City University of New York

Dogsbodies: Animal Combat Paintings and Human Hierarchies in Eighteenth-Century France
Amy Freund, Texas Christian University

Donning the Friar’s Habit: Mademoiselle de Charolais “en Cordelier”
Melissa Percival, University of Exeter

Gabriel Huquier (1695–1772), an Archival Portrait
David Pullins, Harvard University

Below the Radar: Etching and Camaraderie at the Académie de France in Rome
Perrin Stein, The Metropolitan Museum of Art


Historians of British Art
Parallel Lines Converging: Art, Design, and Fashion Histories
Beekman Parlor, 2nd Floor
Chair: Julie Codell, Arizona State University

Gothic Architecture, Ornament, and Sexuality in the Circle of Horace Walpole
Matthew M. Reeve, Queen’s University

St. Martin’s Lane: Artists and Artisans in Mid-Eighteenth-Century London
Stacey Sloboda, Southern Illinois University

“A Wild Kind of Imagination”: Fashionable Eclecticism and Excess in Thomas Johnson’s “English Rococo” Designs
Brigid von Preussen, Columbia University

Roses and Castles Art: The Floating Population’s Claim to Citizenship
Susanna D. L. Cole, Columbia University

“A bon-vivant in a buttoned-down city”: F. C. B. Cadell’s Paintings of Edinburgh Interiors in the 1920s
Ysanne Holt, University of Northumbria

Art as Fashion in the Name of Social Revolution: Eileen Agar’s Angel of Anarchy and Ceremonial Hat for Eating Bouillabaisse
Susan King Obarski, University of California, Irvine


Open Session
Art Criticism: Taking a Pulse
East Ballroom, 3rd Floor
Chair: Holland Cotter, The New York Times

Suzanne Preston Blier, Harvard University

Ben Davis, independent critic

Amelia Jones, McGill University

Chris Kraus, independent critic

Daniel J. Martinez, independent artist


Art and “The War on Terror”: Ten Years On
Petit Trianon, 3rd Floor
Chair: August Jordan Davis, Winchester School of Art, University of Southampton

Martha Rosler, independent artist

Jonathan Harris, Winchester School of Art, University of Southampton

Nicholas Mirzoeff, New York University

Rijin Sahakian, Sada (Echo) for Contemporary Iraqi Art

Kathy Battista, Sotheby’s Institute of Art

The Enemy Within: Political Fear and Censorship
Pierre Saurisse, Sotheby’s Institute of Art, London

Creative Time in the Age of Bush: The Public Art Institution as Agent of Political Response
Jennifer K. Favorite, The Graduate Center, City University of New York

Controlling the Frame
Dora Apel, Wayne State University


ARTspace
The Artist as Ethicist: Who Is Responsible?
Murray Hill Suite, 2nd Floor
Chair: Blane de St. Croix, Indiana University Bloomington

Sara Reisman, Percent for Art  

Jeffrey Gibson, independent artist

Martha Schwendener, independent critic

Dread Scott, independent artist


Arts of Transition: Visual Culture, Democracy, and Disillusionment in Latin America
Sutton Parlor South, 2nd Floor
Chairs: George F. Flaherty, University of Texas at Austin; Luis M. Castañeda, Syracuse University

CAYC al aire libre: Democratic Conceptualism in 1970s Argentina
Daniel Quiles, School of the Art Institute of Chicago

Dystopia Embodied: Homenaje a la necrofilia and the Corporealized Object
Sean Nesselrode, New York University

The Nonmagical Realism of Claudio Perna: Counterimagining Venezuela under the Sign of Disillusionment
Juan Ledezma, independent scholar

Brick by Brick: Responses to Notions of Progress and Development in Colombian Contemporary Art
Gina Tarver, Texas State University, San Marcos

The Arts of Transitional Justice: Narrative Emplotment and Memory Techniques in Peru
Cynthia Milton, Université de Montréal


Medieval Art and Response, ca. 1300–ca. 1500
Gramercy B, 2nd Floor
Chairs: Theresa Flanigan, The College of Saint Rose; Holly Flora, Tulane University

Re-formed and Reborn in the Holy Font: Images, Materials, and Viewer Reception in the Orthodox Baptistery of Ravenna
Carly Jane Steinborn, Rutgers, The State University of New Jersey

The Power of Picture Books: Le Somme Le Roi and the Moral Imperative of Visual Literacy
Alexa Sand, Utah State University

The Role of Touch in Medieval Devotion. Really?
Martina Bagnoli, The Walters Art Museum

Experiencing the Magdalene: Seeing, Smelling, and Hearing Salvation in Northern Devotional Art
Penny Howell Jolly, Skidmore College

Seeing Magic, Feeling Magic: A Sixteenth-Century Embodied Response to Engraved Images on Precious Gems
Liliana Leopardi, Hobart and William Smith Colleges


Art History Open Session
New Approaches to the Study of Historical Arts in Africa
Sutton Parlor North, 2nd Floor
Chair: Susan Elizabeth Gagliardi, The City College, City University of New York

Unraveling the Foundation of African Arts in New York during the Modernist Era
Yaëlle Biro, The Metropolitan Museum of Art

When a Statue of a Colonial Agent Turns Out To Be a Pende Power Object: Joining Science, Field, and Archive
Richard B. Woodward, Virginia Museum of Fine Arts

A Muslim Masquerade in Southwestern Burkina Faso?
Lisa Homann, Wayne State University

Textiles as the Material of African Art History
Sarah C. Brett-Smith, Rutgers, The State University of New Jersey

Discussant: Steven Nelson, University of California, Los Angeles


CAA Distinguished Scholar Session Honoring Wen C. Fong
Trianon Ballroom, 3rd Floor
Chair: Robert E. Harrist, Jr., Columbia University

The Five Hundred Luohans Revisited
Yukio Lippit, Harvard University

Searching for a New “Great Synthesis”: The Art Historical Writing of Wen C. Fong from a Chinese Perspective
Shih Shou-chien, Academia Sinica
Brushwork and Beyond: The Study of Chinese Calligraphy in America and Europe
Amy McNair, University of Kansas

Brushes East and West
David Rosand, Columbia University

Remarks
Wen C. Fong, Princeton University
Closing Remarks
Robert E. Harrist, Jr., Columbia University


Material and Narrative Histories: Rethinking the Approach to Inventories and Catalogues
Nassau Suite, 2nd Floor
Chairs: Anne Helmreich, Getty Foundation; Francesco Freddolini, Luther College, University of Regina

Why Cauldrons Come First: Exogenous and Endogenous Taxonomies in the Earliest Chinese Antiquarian Catalogs
Jeffrey Moser, McGill University

The Inventory as Negative Description
Allison Stielau, Yale University

Between Notary and Maestro di Casa: Florentine Inventories during the Principato
Cinzia Maria Sicca, Università di Pisa

The Salon Livret and the Origins of the Modern Picture Title
Ruth Bernard Yeazell, Yale University

Between List and Legacy: Enumerating the Hugh Lane Collection
Morna Elizabeth O’Neill, Wake Forest University


Sexing Sculpture: New Approaches to Theorizing the Object
Regent Parlor, 2nd Floor
Chairs: Jillian Hernandez, Rutgers, The State University of New Jersey; Susan Richmond, Georgia State University

Material Specificity and the Index of the Feminine
Rachel M. Lachowicz, Claremont Graduate University

Object Lessons: Thinking Gender Variance through Minimalist Sculpture
R. E. H. Gordon, Parsons The New School for Design

Broadway Flesh: Dan Flavin’s Early Dedications
David J. Getsy, School of the Art Institute of Chicago

The Stand: Possessing Powers
Lily Cox-Richard, University of Michigan

Rethinking Vaginal Iconography in Hannah Wilke’s Sculpture
Rachel Middleman, Utah State University


Model Images
Rendezvous Trianon, 3rd Floor
Chair: Juliet Koss, Scripps College

Rivals, Catalysts, Accomplices
Reinhard Wendler, University of the Arts, Zurich

Drawing Michelangelo’s Models
Carolyn Y. Yerkes, Columbia University

Thomas Demand, independent artist

Didactic Dismemberment in Seventeenth-Century England
Kimberley Skelton, independent scholar

Model Use
Maria Gough, Harvard University


American Council for Southern Asian Art
Art in Indonesia: Continuities and Change
Gibson Room, 2nd Floor
Chair: Cecelia Levin, Harvard University

Balinese Hinduism and Its Art
Bokyung Kim, Whitman College

Continuity of Pre-Islamic Heritages in Javanese Muslim Minds: Parallelism, Adaptation, and Creation
Hee Sook Lee-Niinioja, Oxford Brookes University

Framing Shadows: Nationalism, Mysticism, and Wayang Kulit in Claire Holt’s Art in Indonesia: Continuities and Change
Elizabeth Emrich, Cornell University and Herbert F. Johnson Museum of Art

The Japan Factor: Great Asianism and the Birth of Indonesian Modern Art (1942–5)
Farah Wardani, Indonesian Visual Art Archive


American Society for Hispanic Art Historical Studies
Representations of “Race” in Iberia and the Ibero-American World
Morgan Suite, 2nd Floor
Chair: Pamela A. Patton, Southern Methodist University

The Black Madonna of Montserrat: An Exception to Concepts of Dark Skin in Medieval and Early Modern Iberia?
Elisa A. Foster, Brown University

The Color of Salvation: The Materiality of Blackness in Sandoval’s De Instauranda Aethiopum Salute
Grace T. Harpster, University of California, Berkeley

From Incas to Indios: Race in Colonial Andean Visual Culture
Ananda Cohen Suarez, Cornell University

From Casta to Costumbrista: Racialized Social Spaces in Eighteenth- and Nineteenth-Century Mexican Painting
Mey-Yen Moriuchi, Saint Joseph’s University

The Form of Race: Architecture and “Casta” in Modern Spain
Matilde María Mateo-Sevilla, Syracuse University


Receptions of Antiquity, Receptions of Gender? Ancient Mythology, Sculpture, and Identity in Art of the Fourteenth to Sixteenth Centuries
Bryant Suite, 2nd Floor
Chairs: Marice Rose, Fairfield University; Alison Poe, Fairfield University

The Liminal Feminine: Multidimensional Reception in the Illuminations of the Ovide Moralisé
Ashley Simone, Columbia University; K. Sarah-Jane Murray, Baylor University

Gendering Violation, Response, and Revenge in the Myth of Philomela
Hetty Joyce, The College of New Jersey

Gender Issues in the Arena Chapel: Giotto’s Virtue Fortitude Reexamined
Mary D. Edwards, Pratt Institute

Queer Fragments: Sodoma, the Belvedere Torso, and Saint Catherine’s Head
Timothy B. Smith, Birmingham-Southern College

Male and Female, Antiquity, Nudity, and Sexuality in Sixteenth-Century Personifications of Florence
Claudia Lazzaro, Cornell University


Face the Scientists
Gramercy A, 2nd Floor
Chairs: Francesca Gould Samsel, independent artist; Daniel Keefe, University of Minnesota

Koan Baysa, M.D. and curator

Ellen Levy, Institute for Doctoral Studies in the Visual Arts

Daniel Keefe, University of Minnesota

Carol Marcus, New York University

Ann Fink, New York University

Rachel Bernstein, New York University

Raphael Rosen, science communications


Photography and Race
Sutton Parlor Center, 2nd Floor
Chair: Tanya Sheehan, Rutgers, The State University of New Jersey

Black Ops: Photography, Race, and Modernist Subjectivity
Camara Dia Holloway, University of Delaware

Flash Photography and African American Visibility, 1938–1956
Kate Flint, University of Southern California

The “Panographed” Soldiers’ Stand: Recording/Recoding Race in the Great War
Vera Grant, Harvard University

Picturing Imperial Citizens: Race and Sovereignty in the Colonial Office Visual Instruction Committee’s Photographs, 1902–1945
Gabrielle Moser, York University

The Photograph as Contact Zone: Negotiating Racial Identities in Inuit Photography
Carol Payne, Carleton University


Midwest Art History Society
Civilizing the Midwest
Madison Suite, 2nd Floor
Chairs: Paula Wisotzki, Loyola University Chicago; Joseph Antenucci Becherer, Aquinas College and Frederik Meijer Gardens and Sculpture Park

The Nerman Museum of Contemporary Art: A Nationally Significant Collection at a Community College in Kansas
David Cateforis, University of Kansas

“Pictures of the Best Kind”: Charles Hackley and the Making of Michigan’s Muskegon Museum of Art
E. Jane Connell, Muskegon Museum of Art

Businessmen-Patrons and the St. Louis Museum Movement
Julie Dunn-Morton, University of Missouri-St. Louis

John White Alexander, Andrew Carnegie, and Refinement in Pittsburgh at the Turn of the Century
Don Meyer, Yale University

Joseph Randall Shapiro’s Framing of Chicago Collections and Latin American Art during the Third Pan American Games and 1959 Festival of the Americas
Mary Caroline Simpson, Eastern Illinois University


Thursday, February 14, 5:30 PM–7:00 PM

American Institute of Graphic Arts
Collaboration, Interaction, Participation: What Does the Rise of Participatory Culture Mean for Art and Design Education and Practice?
Beekman Parlor, 2nd Floor
Chairs: Helen Armstrong, Miami University; Lee Vander Kooi, Indiana University-Purdue University Indianapolis

Design as Conversation
Helen Armstrong, Miami University

Competencies for Collaboration: Teaching, Learning, and Doing Collaborative and Community-Based Work
Lee Vander Kooi, Indiana University-Purdue University Indianapolis

Cocreation vs. Collaboration: Similarities and Differences in Ways of Working Together
Zvezdana Stojmirovic, Maryland Institute College of Art

Designer as Editor: Creating a Garden from the Jungle of User Generated Content.
Nathan Davis, Montana State University

Mass Customization and Product Individualization
Richard Elaver, Appalachian State University


National Coalition Against Censorship
Art Institutions Facing Controversy: Fear, Self-Censorship, and the Commitment to Curatorial and Artistic Freedom
Murray Hill Suite, 2nd Floor
Chair: Carol Becker, Columbia University School of the Arts
 
Carin Kuoni, Vera List Center for Art and Politics

Gordon Knox, Arizona State University Art Museum

Kathy High, Rensselaer Polytechnic Institute

Svetlana Mintcheva, National Coalition Against Censorship


Mid America College Art Association
Designing Foundations
Petit Trianon, 3rd Floor
Chair: Steven Bleicher, Coastal Carolina University

What Is the Value of an Art and Design Education?
Chris Kienke, Savannah College of Art and Design

Expulsion from the Garden of Eden: New Directions in Fine Craft Foundations
Jeffrey Adams, Kentucky School of Craft

A Systems Approach to Color and Drawing
Rosanne Gibel, The Art Institute of Fort Lauderdale

The Problem with Digital Foundations
Lauren Kalman, Wayne State University


American Society for Hispanic Art Historical Studies
The Role of Spanish and Hispanic Art in the Collections and Exhibitions of New York Museums
Sutton Parlor North, 2nd Floor
Chair: Marcus Bruce Burke, Hispanic Society of America

Spanish Art Exhibits at the Frick Collection
Susan Galassi, The Frick Collection

Hispanic Arts in the Collections and Exhibitions of the Metropolitan Museum
Walter Liedtke, Metropolitan Museum of Art

Hispanic Arts Acquisitions in the Brooklyn Museum
Richard Aste, Brooklyn Museum

Discussant: Marcus Bruce Burke, Hispanic Society of America


Association for Textual Scholarship in Art History
Stained Glass Windows: Radiance and Symbolism
Trianon Ballroom, 3rd Floor
Chair: Liana De Girolami Cheney, University of Massachusetts Lowell

Between Art and Literature: The Role of Stained Glass in Symbolism
Anna Mazzanti, Politecnico di Milano

Sarah Wyman Whitman’s Stained Glass Windows 
Jennifer Ehlert, Harvard University

Symbolist Stained Glass Windows in Early Twentieth-Century Italian International Exhibitions
Lucia Mannini, independent scholar


Association of Historians of American Art
The Art History of American Periodical Illustration
Sutton Parlor South, 2nd Floor
Chairs: Jaleen Grove, State University of New York at Stony Brook; Doug B. Dowd, Washington University in St. Louis

Reading Late-Nineteenth Century Periodical Illustrations: Scribner’s Monthly as Model
Page Knox, Marymount Manhattan College

Illustration, Cartooning, and Problems of Nomenclature: Visual Matter in Collier’s Weekly, 1935–1940
Douglas B. Dowd, Washington University in St. Louis

Beyond the Auteur: The Illustration as a Word/Image Object
Jarrod Waetjen, Northern Virginia Community College

Affective Illustration
Jennifer A. Greenhill, University of Illinois at Urbana-Champaign

Discussant: Michele H. Bogart, State University of New York at Stony Brook


Midwest Art History Society
Utrecht Caravaggism in the Midwest: Hendrick ter Brugghen’s St. Sebastian Tended by Irene
Gibson Room, 2nd Floor
Chair: Henry Luttikhuizen, Calvin College

Hendrick ter Brugghen, Dirck van Baburen, and the Representation of St. Sebastian in Utrecht Painting
Wayne Franits, Syracuse University

Toward Beauty: St. Sebastian in Ter Brugghen’s Religious Paintings
Natasha Seaman, Rhode Island College

Spiritual Comfort and Charitable Healing in Ter Brugghen’s St. Sebastian Tended by Irene
Valerie Hedquist, University of Montana


Towards a New Apprenticeship Model: The Case for Experiential Learning
Gramercy B, 2nd Floor
Chair: Stephanie Moore, The Center for Craft, Creativity, and Design

The New Apprenticeship Project
Mark Shapiro, independent artist

Making as Knowledge: The Role of Apprenticeships in Craft Education Today
Ethan Lasser, Harvard Art Museum

Erin Fletcher, independent artist and North Bennett Street School

Alex Matisse, independent artist

Ken Sager, independent artist


Leonardo Education and Art Forum
Art and Medicine: Reciprocal Influence
Gramercy A, 2nd Floor
Chairs: Patricia Olynyk, Washington University in St. Louis; Adrienne G. Klein, The Graduate Center, City University of New York

Reconceived Bodies
Patricia Olynyk, Washington University in St. Louis

Art and Medicine: Reciprocal Influence
Adrienne G. Klein, The Graduate Center, City University of New York

Transplantation, Transpeciation and Patricia Piccinini’s Transgenic Art
Fae Brauer, University of East London and the University of New South Wales

Is There a Doctor/Curator on Board?
Kóan Jeff "KJ" Baysa, Institute for Art and Olfaction

Art and Medicine: Anecdote or Antidote
Justine Cooper, independent artist


Visual Resources Association
Archaeology Archives: Excavating the Record
Regent Parlor, 2nd Floor
Chairs: Jenni Rodda, Institute of Fine Arts, New York University; Trudy Buxton Jacoby, Princeton University

Digital Projects at Abydos
Ileana Selejan, Institute of Fine Arts, New York University

From Dusk till Shelf: The Aphrodisias Archive at the Institute of Fine Arts, New York University
Alexander Sokolicek, Institute of Fine Arts, New York University

Hidden Collections Become Digital Treasures
Trudy Jacoby, Princeton University

The Digital Dig: ArchaeoCore and the Discovery of Hidden Collections
Lucie Stylianopoulos, University of Virginia


Diasporic Asian Art Network
Reconceptualizing the “Invisible” Hyphen
Morgan Suite, 2nd Floor
Chair: ShiPu Wang, University of California, Merced

Alexandra Chang, New York University

Laura Kina, DePaul University

Viet Lê, California College of the Arts

Susette Min, University of California, Davis


ArtTable
Business Meeting
Madison Suite, 2nd Floor


Association of Historians of Nineteenth-Century Art
Business Meeting
Nassau Suite, 2nd Floor


Foundations in Art: Theory and Education
Business Meeting
Bryant Suite, 2nd Floor


Queer Caucus for Art
Business Meeting
Sutton Parlor Center, 2nd Floor


Radical Art Caucus
Business Meeting
Rendezvous Trianon, 3rd Floor


National Coalition Against Censorship
Art Institutions Facing Controversy: Fear, Self-Censorship, and the Commitment to Curatorial and Artistic Freedom
Murray Hill Suite, 2nd Floor
Chair: Carol Becker, Columbia University School of the Arts
 
Carin Kuoni, Vera List Center for Art and Politics

Gordon Knox, Arizona State University Art Museum

Kathy High, Rensselaer Polytechnic Institute

Svetlana Mintcheva, National Coalition Against Censorship

Friday, February 15, 7:30 AM–9:00 AM

Community College Professors of Art and Art History
Business Meeting
Gibson Room, 2nd Floor


Historians of British Art
Business Meeting
Beekman Parlor, 2nd Floor


Italian Art Society
Business Meeting
Gramercy B, 2nd Floor


National Committee for the History of Art
Business Meeting
Sutton Parlor Center, 2nd Floor


Northern California Art Historians
Business Meeting
Sutton Parlor North, 2nd Floor


Women’s Caucus for Art
Business Meeting
East Ballroom, 3rd Floor


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


Friday, February 15, 12:30 PM–2:00 PM

Association of Art Museum Curators
The Curatorial Career: Perspectives on the Profession
Beekman Parlor, 2nd Floor
Chair: Judith F. Dolkart, The Barnes Foundation

Dan Byers, Carnegie Museum of Art

Judith F. Dolkart, The Barnes Foundation

Ann Temkin, The Museum of Modern Art


American Council of Learned Societies
Twenty Years of Scholarship: The Luce/ACLS Dissertation Fellowships in American Art
Bryant Suite, 2nd Floor
Chair: Steven C. Wheatley, American Council of Learned Societies

Alan C. Braddock, College of William and Mary

Claire de Dobay Rifelj, Institute of Fine Arts, New York University

Hayes P. Mauro, Queensborough Community College, City University of New York
Judith Rodenbeck, Sarah Lawrence College


Italian Art Society
Disegno
Gramercy B, 2nd Floor
Chair: Diana Gisolfi, Pratt Institute-Pratt in Venice

Pliny and the Birth of Disegno
Sarah Blake McHam, Rutgers, The State University of New Jersey

Nicholas of Cusa and the Theological Foundations of Disegno
Il Kim, Pratt Institute

The Practice of Design in Baroque Naples
Paola d’Agostino, The Metropolitan Museum of Art


ARTspace
CAA Services to Artists Committee
Meta-Mentors: Double Duty
Murray Hill Suite, 2nd Floor
Chairs: Niku Kashef, California State University, Northridge; Timothy Nolan, independent artist

Phong Bui, The Brooklyn Rail

David Brody, Maryland Institute College of Art

Christopher Joy, Gorky’s Granddaughter

Austin Thomas, Pocket Utopia

Amelia Winger-Bearksin, Art Art Zine and Vanderbilt University

 

Queer Caucus for Art: The Lesbian, Gay, Bisexual, and Transgender Caucus for Art, Artists, and Historians
Not I: The Desire of the Nonsubject Queer
Petit Trianon, 3rd Floor
Chairs: Dan Taulapapa McMullin, independent artist; Clifford Eberly, independent artist

Hunter Reynolds, independent artist

James M. Saslow, Queens College and The Graduate Center, City University of New York

Michael Angelo Tata, nebu[lab]

Kris Harzinski, Hand Drawn Map Association

William Haughery, independent artist


Association of Historians of Nineteenth-Century Art
Future Directions in Nineteenth-Century Art History
Regent Parlor, 2nd Floor
Chair: Morna O’Neill, Wake Forest University

Frederick Henry Evans and the Gothic Inheritance
Andrea Wolk Rager, Case Western Reserve University

American Genre Painting, the Transnational Print Trade, and the Global Nineteenth Century: The Case of Richard C. Woodville
Marie-Stéphanie Delamaire, Columbia University

Painting Spectacles: The Military Paintings of the Salle de Crimée in Versailles
Julia Bischoff, Courtauld Insitute of Art


Women’s Caucus for Art
Women’s Caucus for Art’s Blockbuster Exhibitions: Renewal, Activism, and Innovation
East Ballroom, 3rd Floor
Chair: Priscilla Otani, Women’s Caucus for Art

Priscilla Otani, Women’s Caucus for Art

Brenda Oelbaum, independent artist

Marcia Annenberg, Teachers College, Columbia University

Karen Gutfreund, Women’s Caucus for Art

Tanya Augsburg, San Francisco State University

Jill O’Bryan, independent scholar


Historians of Eighteenth-Century Art and Architecture
New Scholars Session: International Artists Working in Eighteenth-Century Great Britain
Rendezvous Trianon, 3rd Floor
Chair: Amelia Rauser, Franklin and Marshall College

Quacks, Peddlers, and Pastellists: Jean-Etienne Liotard (1702–1789) and Jean-Baptiste Perronneau (1715–1783) in London
Francesca Whitlum-Cooper, Courtauld Institute of Art

The Bel Composto: The Role of Inset Paintings in Robert Adam’s Interiors
Katherine McHale, Hunter College, City University of New York

Family, Students, and Legacy: Benjamin West’s Workshop and the Shaping of an American School of Art
Abram Fox, University of Maryland


CAA Publications Committee
Book Reviews and Beyond: caa.reviews at Fifteen
Sutton Parlor Center, 2nd Floor
Chair: Sheryl E. Reiss, University of Southern California

Robert S. Nelson, Yale University

Larry Silver, University of Pennsylvania

Frederick M. Asher, University of Minnesota

Lucy Oakley, Grey Art Gallery, New York University

Steven F. Ostrow, University of Minnesota

Laura Auricchio, The New School


Radical Art Caucus
Reconsidering Mural Painting, Part II: Working Walls, Mural Painting, and Labor in the 1930s
Morgan Suite, 2nd Floor
Chairs: Sylvia Rhor, Carlow University; Heidi A. Cook, University of Pittsburgh

David Alfaro Siqueiros’s Como se pinta un mural: Workers Labor against Fascism
Andrea Lepage, Washington and Lee University

Art, History, Labor, and Politics in Ernest Fiene’s History of the Needlecraft Industry
Ellen Wiley Todd, George Mason University

The Apotheosis of Power: Corporate Mural Commissions in Los Angeles during the 1930s
Monica Jovanovich-Kelley, University of California, San Diego


Art Historians Interested in Pedagogy and Technology
Rock the Pedagogical Boat: Open Mic + Tweet #caa2013rock
Gramercy A, 2nd Floor
Chairs: Janice Robertson and Gale Justin, Pratt Institute


Public Art Dialogue
Time, Transience, Duration
Sutton Parlor North, 2nd Floor
Chair: Norie Sato, independent artist

Penny Balkin Bach, Association for Public Art

Renee Piechocki, independent artist and consultant

Marisa Lerer, University of Denver


American Society for Hispanic Art Historical Studies
Business Meeting
Nassau Suite, 2nd Floor

 

Historians of German and Central European Art and Architecture
Business Meeting
Sutton Parlor South, 2nd Floor


Historians of Islamic Art Association
Business Meeting
Madison Suite, 2nd Floor


New Media Caucus
Business Meeting
Trianon Ballroom, 3rd Floor


Friday, February 15, 2:30 PM–5:00 PM

ARTspace
Annual Distinguished Artists’ Interviews
Murray Hill Suite, 2nd Floor

Mira Schor will be interviewed by Stuart Horodner, Atlanta Contemporary Art Center, and Janine Antoni will be interviewed by Klaus Ottmann, The Phillips Collection.


Precolumbian Ceramics: Form, Meaning, and Function
Petit Trianon, 3rd Floor
Chairs: Michael D. Carrasco, Florida State University; Maline Werness, Humboldt State University

Are Colima Gadrooned Vessels Pumpkins or Barrel Cacti? Emic Classification, Representation, and Embodiment in Precolumbian Mexican Ceramics
Khristaan D. Villela, Santa Fe University of Art and Design

The Women’s Terracotta Army: Large Scale Sculpture from El Zapotal, Veracruz, Mexico
Cherra Wyllie, University of Hartford

Exploring the Effigy Funerary Urn Genre: A Highland Maya Interpretation of Mortuary Space
Kathleen McCampbell, Florida State University

Zoomorphs, Religion, and Nationhood in Precolumbian Caribbean Ceramics
Lawrence Waldron, independent scholar

Netted within Bounds: Cupisnique Ceramics in Northern Peru
Kimberly L. Jones, University of Texas at Austin


Putting Design in Boxes: The Problems of Taxonomy
Bryant Suite, 2nd Floor
Chair: Craig Eliason, University of St. Thomas

Catachresis and Contronymity: The Paradoxical Taxonomy of Beaux Arts Architecture as Exemplified in the Work of Henry Hornbostel
Charles L. Rosenblum, Carnegie Mellon University

The Formalists’ Revenge: Tags, Buildings, and Doing Architectural History Online
Gabrielle Esperdy, New Jersey Institute of Technology

Design Artifacts as Primary Sources: Using Faceted Classification and Discursive Method
Katherine Hepworth, Swinburne University of Technology

Fleeing the Boxes: The Systematic Description of the Fused Languages of Form in the Context of Typeface Design
Catherine Dixon, Central Saint Martins, University of the Arts London

Discussant: David Shields, Virginia Commonwealth University


The New Connoisseurship: A Conversation among Scholars, Curators, and Conservators
West Ballroom, 3rd Floor
Chairs: Gail Feigenbaum, Getty Research Institute; H. Perry Chapman, University of Delaware

Maryan W. Ainsworth, The Metropolitan Museum of Art

Carmen C. Bambach, The Metropolitan Museum of Art

David Bomford, Museum of Fine Arts, Houston

E. Melanie Gifford, National Gallery of Art

Elizabeth A. Honig, University of California, Berkeley

Michele Marincola, Institute of Fine Arts, New York University


Performativity, the Performative, and Performance in Contemporary Art
Gramercy A, 2nd Floor
Chair: Robert Gero, State University of New York at Old Westbury

Performance Nominalism and Its Discontents
Bruce Barber, Nova Scotia College of Art and Design

Toward a Theory of the “Enacted Turn”
Jessica Wyman, Ontario College of Art and Design University

Artist, My Barbarian
Malik Gaines, Hunter College, City University of New York

Discussants: Micol Hebron, Chapman University; Mike Smith, University of Texas at Austin


Building for the “Common Good”: Public Works, Civic Architecture, and Their Representation in Bourbon Latin America
Morgan Suite, 2nd Floor
Chairs: Luis J. Gordo-Peláez, University of Texas at Austin; Paul B. Niell, Florida State University

The Real Casa de Moneda of Mexico City. Vitruvian Architecture in the Bourbon Regime
Oscar Flores Flores, Instituto de Investigaciones Esteticas, Universidad Nacional Autónoma de México

Commemorating Community in the Viceroy Portraits of Late Colonial Lima
Emily A. Engel, Indiana University

Civic Architecture, Public Patronage, and the Modern Self in Late Colonial Havana, Cuba
Paul B. Niell, Florida State University

Discussant: Susan Deans-Smith, University of Texas at Austin


Indigeneity on the Global Stage
Madison Suite, 2nd Floor
Chair: Elizabeth Hutchinson, Barnard College, Columbia University

Stop (the) Gap: International Indigenous Art in Motion, Adelaide International Film Festival, 2011
Brenda Croft, National Institute for Experimental Arts, College of Fine Arts, University of New South Wales

It’s about Time: Indigenous Art in the 2010 and 2012 Sydney Biennales
Susan Kennedy Zeller, Brooklyn Museum

“Can You Include Edward Curtis Photographs?” Taking 200 Pieces of Contemporary Native American Art to Russia
Suzanne Newman Fricke, University of New Mexico

Anticipating Sakahàn: The First International Quinquennial of New Indigenous Art
Jolene Rickard, Cornell University


The Visual Culture of Global Trade: Early American Interactions with Asia and the Pacific
Rendezvous Trianon, 3rd Floor
Chair: Patricia Johnston, College of the Holy Cross

Beyond Hemp: The Manila-Salem Trade
Florina H. Capistrano-Baker, Ayala Museum, Philippines

Captains to Cabin Boys: Porcelain Ownership in Federal America
Jessica Lanier, Bard Graduate Center: Decorative Arts, Design History, Material Culture and Salem State University

Cultivating the Chinese Manner into Early American Garden Design
Judy Bullington, Belmont University

Embedded Exchange: Tattoos as Markers of American/Pacific Islander Interaction in the Late Eighteenth and Early Nineteenth Centuries
Anna Felicity Friedman, University of Chicago

Discussant: Caroline Frank, Brown University


Art History Open Session
Ancient Greek and Roman Art
Trianon Ballroom, 3rd Floor
Chair: Christine Kondoleon, Museum of Fine Arts, Boston

Cults in Common? Greek-Italic Religious Connections in South Italian Vase Painting
Keely Elizabeth Heuer, independent scholar

The Recycling and Restoration of Funerary Monuments in Late Classical Athens
Rachel Kousser, Brooklyn College, City University of New York

What Demeter Wore to the Eleusinian Mysteries: Cult and the Art of Dress on Makron’s Skyphos in the British Museum
Anthony Mangieri, Salve Regina University

The Arch of Septimius Severus in the Roman Forum: Memory Distortion in Imperial Rome and Modern Scholarship
Maggie Popkin, Institute of Fine Arts, New York University

Rhetoric and Cross-Cultural Exchange in Gandharan Sculpture
Kristen Seaman, Kennesaw State University


Arts Council of the African Studies Association
Bodies of Knowledge: Interviews, Interlocutors, and Art Historical Narratives
Sutton Parlor Center, 2nd Floor
Chairs: Carol Magee, University of North Carolina at Chapel Hill; Joanna Grabski, Denison University

Beyond Words: Some Reflections on Visual Experience and the Promises and Failures of Interviews
Till Förster, Unversity of Basel

Whose Voice Is the Loudest? Negotiating Rival Histories of New Orleans Black Indian Masking
Cynthia Becker, Boston University

Picturing War: Interviews, Images, and the Writing of History
Drew A. Thompson, Williams College

Beyond Interviews, beyond Art Criticism: Sharing Time, Learning More
Fiona Siegnethaler, University of Basel

Conversations with Oshitola
David Doris, University of Michigan


Historians of German and Central European Art and Architecture
Central Europe’s Others in Art and Visual Culture, Part I
Nassau Suite, 2nd Floor
Chairs: Elizabeth Otto, University at Buffalo, State University of New York; Brett Vanhoesen, University of Nevada, Reno

Central Europe’s Others, Now and a Thousand Years Ago: The Exhibition Europe’s Center around AD 1000
William J. Diebold, Reed College

Site/Sight of Alterity: Albrecht Dürer’s The Men’s Bathhouse of ca. 1496
Bradley J. Cavallo, Temple University

Savages on Display: The European Peasant and the Native North American at Central European Fairs in the Nineteenth Century
Rebecca Houze, Northern Illinois University

Otto Dix’s Jankel Adler and the Materiality of the Eastern Jew in Weimar Culture
James A. van Dyke, University of Missouri-Columbia

The Roma Pavilion: Contemporary Art and Transnational Activism
Brianne Cohen, Université catholique de Louvain

Discussant: Maria Makela, California Collge of the Arts


Society for the Study of Early Modern Women
Gender and Artistic Practice in Early Modern Europe: Media, Genres, and Formats
Sutton Parlor South, 2nd Floor
Chairs: Andrea Pearson, American University; Melissa Hyde, University of Florida

Masculine Voices and Feminine Bodies: Gendering Margaret of York’s Le Dyalogue de la duchesse (Add. Ms. 7970)
Erica O’Brien, University of Bristol

The Trouble with Pasiphae: Gender and Mythological Painting at the Gonzaga Court
Maria F. Maurer, University of Alabama at Birmingham

Juan Sánchez Cotán’s San Diego Still Life Painting as Vehicle for Gender Transformation
Martina Pfleger Hesser, San Diego Mesa College

Women, Men, and the Needle’s Art in Early Modern England
Jennifer L. Hallam, New York University

Crafting Identities and Creating Place: Empress Marie-Louise’s Watercolor Album at the Museo Glauco-Lombardi, Parma
Lindsay Dunn, University of North Carolina at Chapel Hill


Open Session in Indian Art
Landscapes of Fear and Desire
Regent Parlor, 2nd Floor
Chairs: Tamara Sears, Yale University; Molly Emma Aitken, The City College of New York, City University of New York

Montane Metonyms: Ibex in/as Landscape
Robert Linrothe, Northwestern University

Where Death Is Conquered
Nachiket Chanchani, University of Michigan and Smithsonian Institution

Moving Mountain(s): An Epic Encounter between Divine and Demonic Realms
Parul Pandya Dhar, University of Delhi

Fortified Memories: Picturing Chitor in Eighteenth-Century Poems and Paintings
Dipti Khera, Yale University

Discussant: Pika Ghosh, University of North Carolina at Chapel Hill


Craft after Deskilling?
Gramercy B, 2nd Floor
Chair: T’ai Smith, University of British Columbia

Handcrafted Readymades: Manual Work at the Turn of the Twentieth Century
Ileana Parvu, Geneva University of Art and Design

Studio Craft Extends an Invitation
Bibiana Obler, George Washington University

From Maria Martinez to Kent Monkman: Performing Sloppy Craft in Native America
Elizabeth Kalbfleisch, McGill University

Crafting the Social: Craft and Collaboration in Recent Art
Lisa Vinebaum, School of the Art Institute of Chicago

The Work Is the Thing: The State of the ILSSA Union
Emily Larned, University of Bridgeport


Disaster and Creativity
Beekman Parlor, 2nd Floor
Chairs: Gennifer Weisenfeld, Duke University; Yoshiaki Shimizu, Princeton University

Late Eighteenth-Century Eruptions of Vesuvius: From Natural Disaster to Sublime Science
Thomas Beachdel, The City College of New York, City University of New York

Imaging Technological Disasters in Nineteenth-Century American Photography and Art
Julie Wosk, State University of New York, Maritime College

1945 and 2011: The Postwar Japanese Photobook as a Record of Trauma
Russet Eve Lederman, School of Visual Arts

Fashion and Creativity in Response to Disaster
Valerie Rangel, Dominican University and The Illinois Institute of Art

Between Awe and Anger: Young Japanese Artists Respond to Tohoku and Fukushima
Julia Friedman, Arizona State University


Tapestry and Reproduction
Sutton Parlor North, 2nd Floor
Chairs: K. L. H. Wells, University of Southern California; Barbara Caen, The Frick Collection

Border Zones: Reproduction and Change in Raphael’s Designs for Tapestries
Lorraine Karafel, Parsons The New School for Design

Raphael/Not Raphael: The Curious Case of Loreto’s Acts of the Apostles Tapestries, and the Similar Sets in Zaragoza and Bryn Athyn
Jonathan Kline, Temple University

“Painting, with Silk and Gold”: Boucher’s Intermediality
Susan Wager, Columbia University

Critical Reception of the Marie Cuttoli Tapestries, 1930s–1960s
Virginia Gardner Troy, Berry College

Reproduction/Interpretation/Transformation: Postwar Tapestry Making at Dovecot Studios, Edinburgh
Francesca Baseby, University of Edinburgh


Women’s Caucus for Art
Building a Legacy for Women Artists
East Ballroom, 3rd Floor
Chair: Barbara A. Wolanin, United States Capitol Historical Society

Changing the Future: The Women’s Caucus for Art and The Feminist Art Project
Anne Swartz, Savannah College of Art and Design

Etched in Memory: Rutgers Institute for Women and Art, Feminist Art Activism, and Legacy Building at a Public Institution
Ferris Olin, Institute for Women and Art, Rutgers, The State University of New Jersey

Making History: Art, Gender, and the Women’s Museum
Susan Fisher Sterling, National Museum of Women in the Arts

Women Artists’ Legacies: Forming Foundations and Documenting Works
Joan Marter, Woman’s Art Journal

The Sylvia Sleigh Legacy Campaign
Janice Nesser-Chu, St. Louis Community College, Florissant Valley


Revolutions in China’s Printed Image: Print in Modern China
Gibson Room, 2nd Floor
Chairs: Shaoqian Zhang, Oklahoma State University; Sonja Kelley, Maryland Institute College of Art

Beyond the Mustard Seed Garden: Researching Multiplicity in Early Modern Chinese Painting Manuals
J. P. Park, University of Colorado Boulder

Combat and Collaboration: The Clash of Propaganda Prints between the Chinese Guomindang and the Japanese Empire in the 1930s–1940s
Shaoqian Zhang, Oklahoma State University

Shrink to Fit, Fit to Survive: The Printed Image and the National Engagement of Regional Ink Painting
Yang Wang, The Ohio State University

Red Nostalgia and Amateur Artists: Peasant Prints in Qijiang, China in the Late Twentieth Century
Sonja Kelley, Maryland Institute College of Art

Making a Case for Woodblock Prints: Chen Qi, Printmaking, and a Print Market for Contemporary China
Claire Cuccio, independent scholar

Discussant: Julia Andrews, The Ohio State University


Friday, February 15, 5:30 PM–7:00 PM

CAA Annual Business Meeting and Reception
Rendezvous Trianon, 3rd Floor

Announcement of New Members of the CAA Board of Directors.

Please join us at 6:30 p.m. for a reception to toast the anniversaries of The Art Bulletin and caa.reviews.


Community College Professors of Art and Art History
Teaching All of Our Students: Few Majors, Fewer Transfers, Many Others
Gibson Room, 2nd Floor
Chair: Susan Altman, Middlesex County College

Teaching Watercolor: Something for Everyone
Bertha Steinhardt Gutman, Delaware County Community College

Other speakers to be announced.


National Council on Education for the Ceramic Arts
An Overwhelming Trust in Progress: The Artwork of Dylan J. Beck
Petit Trianon, 3rd Floor
Chair: Dylan Beck, Kansas State University


New Media Caucus
Computation and the Nonhuman: New Directions in Queer Theory and Art
Trianon Ballroom, 3rd Floor
Chair: Micha Maya Cárdenas, University of Southern California

Fag Faces and the Facial Weaponization Suite
Zach Blas, Duke University

Sexuality, Biotechnology, Excess
Pinar Yoldas, Duke University

On Uncomputable Numbers: Turing, Wittgenstein, and the Origins of Queer Computing
Jacob Gaboury, New York University and Rhizome

Femme Disturbance: Wearable Electronics and Fashion Hacking
Micha Maya Cárdenas, University of Southern California

Additive Race and Gestural Gender: Erasing the Human in Performance Capture Technologies
Alison Reed, University of California, Santa Barbara


Historians of German and Central European Art and Architecture
Emerging Scholars
Sutton Parlor South, 2nd Floor
Chair: Keith Holz, Western Illinois University

The Eye and the Hand: Caspar David Friedrich and the Organic Instruments of Artistic Creation
Nina Amstutz, University of Toronto

Impressions of Inflation: Prints, Paper, and Prices in Germany, 1918–1923
Erin Sullivan, University of Southern California

Historical Overhangs: Problematizing Cold War Era Temporal Frameworks in Polish Architectural History
Anna Jozefacka, Institute of Fine Arts, New York University


International Association of Word and Image Studies
From the Wall, to the Press, to the Streets
Madison Suite, 2nd Floor
Chairs: Eve Kalyva, University of Buenos Aires; Ignaz Cassar, independent artist

Pasted and Posted: Ray Johnson’s Networked Art, 1955–1965
Miriam Elizabeth Kienle, University of Illinois at Urbana-Champaign

Across North and South: Conceptual Art Practices in a Variety of Contexts
Eve Kalyva, University of Buenos Aires

“I Can’t Imagine Ever Wanting to Be White”: The Resonant Afterlife of Those Notorious Museum Tags
Jody Cutler, St. John’s University


Association for Critical Race Art History
Subaltern Rising: Racialization and Visual Culture in the Wake of Independence
Regent Parlor, 2nd Floor
Chairs: José Esteban Muñoz, New York University; Erica Agyeman, independent curator

Strategic Ricanness: The Colonial Man of Tomorrow
Sandra Ruiz, University of Illinois

Nigeria’s Independence House: Anxiety and Promise
Erica Agyeman, independent curator

Recharting Art Import/Export Routes in India: The Kochi-Muziris Biennale
Annie Paul, Small Axe: A Caribbean Journal of Criticism

Discussant: José Esteban Muñoz, New York University


Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey
A Revolution in Art? The Arab Uprisings and Artistic Production
Bryant Suite, 2nd Floor
Chairs: Dina A. Ramadan, Bard College; Jennifer Pruitt, Smith College

Can There Be an Art of a Revolution? The Counter-Example of the Politics of Painting in 1950s Baghdad
Saleem Al-Bahloly, University of California, Berkeley

When Artists Become Martyrs: Understanding the Place of Art in the “Revolution”
Dina Ramadan, Bard College

“King of Kings of Africa”: Racializing Gaddafi in the Visual Output of the 2011 Libyan Revolution
Christiane Gruber, University of Michigan

Painted Discontent: The Role of Street Art in the Egyptian Revolution
Jennifer Pruitt, Smith College


Art Libraries Society of North America
Artist’s Publications: Beyond Artist’s Books and Zines
Beekman Parlor, 2nd Floor
Chair: Tony White, Maryland Institute College of Art

Recent Museum Experiments with Print on Demand
Jennifer Tobias, The Museum of Modern Art

Collecting the Twenty-First-Century Art Publication
Rebecca K. Friedman, Princeton University

A Half-Century of Print on Demand: One Artist’s Experience
Richard Minsky, independent artist


Critical Craft Forum
Craft in the Skill/Deskill/Reskill Debates

Gramercy B, 2nd Floor
Chairs: Namita Gupta Wiggers, Museum of Contemporary Craft in partnership with Pacific Northwest College of Art; Elisabeth Agro, Philadelphia Museum of Art

Doug Bucci, The University of the Arts and Tyler School of Art, Temple University

Cat Rossi, Kingston University, London

Josh Faught, California College of the Arts


Art Historians Interested in Pedagogy and Technology
Business Meeting
Gramercy A, 2nd Floor

Art, Literature and Music in Symbolism and Decadence
Business Meeting
Nassau Suite, 2nd Floor


Japan Art History Forum
Business Meeting
Morgan Suite, 2nd Floor


Public Art Dialogue
Business Meeting and Awards Ceremony
Sutton Parlor North, 2nd Floor

The 2013 PAD Award for Achievement in the Field of Public Art
will be given to Penny Balkin Bach.

Saturday, February 16, 7:30 AM–9:00 AM

Art Historians of Southern California
Business Meeting
Sutton Parlor Center, 2nd Floor


Saturday, February 16, 9:00 AM–11:00 AM

ARTspace
The Artist as Activist: Art as a Catalyst for Social Change, a Critical Assessment
Murray Hill Suite, 2nd Floor
Chair: Blane de St. Croix, Indiana University, Bloomington

Mel Chin, independent artist

Maureen Connor, Queens College, City University of New York

Elizabeth M. Grady, smARTpower, Bronx Museum

Martha Schwendener, independent critic

Sacha Yanow, Art Matters Foundation


Saturday, February 16, 9:30 AM–12:00 PM

Creative Kitchens: Art, Food, and the Domestic Landscape after World War II
Beekman Parlor, 2nd Floor
Chairs: Silvia Bottinelli, Tufts University; Margherita D’Ayala Valva, Scuola Normale Superiore, Pisa

Kitchen Culture and Postwar Feminist Art
Jody B. Cutler, St. John’s University

Kitchen Interventions: Elżbieta Jabłońska’s Art Actions
Barbara Kutis, University of Delaware

Food Decay and Disgust: Paul McCarthy’s Bossy Burger as Contemporary Still Life
Anja Foerschner, Getty Research Institute

Free Lunch? The Presumption of Generosity in Relational Art
Michael Peterson, University of Wisconsin-Madison


Queer Caucus for Art: The Lesbian, Gay, Bisexual, and Transgender Caucus for Art, Artists, and Historians
Color Adjustment: Revisiting Identity Politics of the 1990s
Sutton Parlor North, 2nd Floor
Chair: Tara Burk, The Graduate Center, City University of New York

“Listen Up to the Grand Diva Rap”: Marlon Riggs’s Inclusive Didactic Address
Carolyn J. Trench, University of Pennsylvania

On the Ropes
Jordana Moore Saggese, California College of the Arts

Look At Me: The Black Woman’s Body in the Art of Renée Cox
Tracy M. Zuniga, University of California, Riverside

Identity Predicated on Absence: Diasporic Narratives and Felix Gonzalez-Torres’s Queer Candy Spills
Elissa Yukiko Weichbrodt, Washington University in St. Louis

Painting Pleasures: Queer Voices in Glenn Ligon’s Earliest Text Paintings and Beyond
Alex Fialho, independent scholar


Making Art, Making Time
Sutton Parlor South, 2nd Floor
Chairs: Ignaz Cassar, independent artist; Eve Kalyva, University of Buenos Aires

Contemporaneity and the “Unframability” of Time(s)
Christine Ross, McGill University

The Tensed Object of Performance
Mechtild Widrich, Eidgenössische Technische Hochschule Zürich

Cotemporality
Terry Smith, University of Pittsburgh

Twenty-Second Delay: Time, Memory, and the State of Here and There
Patricia Kelly, Emily Carr University of Art and Design

Acts of Time/Endurance: 9 Encounters in Twenty-Seven Hours in Berlin, Tokyo, Mumbai
Katherine Mezur, independent scholar


Roman Art History: The Shock of the New
Morgan Suite, 2nd Floor
Chairs: Kimberly Cassibry, Wellesley College; James Frakes, University of North Carolina at Charlotte

New to Look Old: The Archaizing Terracottas from the Temple of Apollo on the Palatine
Barbara Kellum, Smith College

Imperial Politics Was Local at Sessa Aurunca: The Sculptural Program of the Antonine Theater
Susan Wood, Oakland University

The Reuse of Sculpture in Late Antique Shrines in Rome and across the Empire
Blair Fowlkes-Childs, Birkbeck College, University of London

The Palace of Diocletian at Split: Using New Comparanda to Expand Old Views of Late Roman Palaces
Anne Hunnell Chen, Columbia University

New Evidence Generates New Narratives: Maxentius, Constantine, and the Basilica Nova
Elisha Ann Dumser, University of Akron


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

The Reluctant “Other”: E. M. Lilien’s Female Imagery and the Ambivalent Desire for Home
Lynne Swarts, University of Sydney

The Art and Artists of Das jüdische Prag
Nicholas Sawicki, Lehigh University

The “Significant Other”: Lucia, Laszlo, or Both?
Rose-Carol Washton Long, The Graduate Center, City University of New York

Becoming Wolf Vostell
Erin Hanas, Duke University

Self-Portrait of a Self-Hating Jew
Tanya Ury, Leiden University


The Modern Interior as Space and Image, Part II
Concourse A, Concourse Level
Chairs: Hollis Clayson, Northwestern University; Anca I. Lasc, Shippensburg University

Frederic Edwin Church, Landscape as Design
Katie Pfohl, Harvard University

Fashioning the (Masculine) Interior: Tissot, Portraiture, and the Fashion Plate
Justine De Young, Harvard University

The “Uncozy” Interior: Gustave Caillebotte’s “Intérieurs Démeublés”
Elizabeth Benjamin, Northwestern University

Imperial Anxiety and Aggressive Décor: Imaging the Domestic Interior of the German Kaiserreich
Marianne Eggler, Fashion Institute of Technology

“Faire Tapisserie”: Édouard Vuillard’s Decoration for Dr. Vaquez
Cindy Kang, Institute of Fine Arts, New York University


Online Education in Fine Arts: Helpful Way In or Easy Way Out?
Sutton Parlor Center, 2nd Floor
Chair: Jessica Doyle, Institute for Doctoral Studies in the Visual Arts

Synchronously Significant: The Effectiveness of Online vs. Traditional Studio Instruction
Amy Sands, Minneapolis College of Art and Design

There Go My Students
Annette Cyr, National University

Virtual Reality: Creating New Online Venues for Fine Art Studio Education
Joy Rosenthal, Virginia Polytechnic Institute and State University

Automating Qualitative Assessment (Computer-Based Critique)
Brian Evans, University of Alabama

Technology Serving Pedagogy: Teaching the Fine Arts Online
Lucinda Bliss, Montpelier Academic Center, Union Institute and University


Military and the Landscape: Revealing and Reflecting
Madison Suite, 2nd Floor
Chair: Ruth A. Dusseault, independent artist

Play War: Homemade Recreational Battlefields
Ruth A. Dusseault, independent artist

Nuclear Weapons and Shrines: Public Weapons in America
Paul Shambroom, University of Minnesota

Omniscience and Contingency: Landscapes of Military Intelligence and Terror Simulation
Steve Rowell, independent artist

Technologies of Vision: The Radical Cartographies of Harun Farocki and Trevor Paglen
Kristin M. Brockman, The Ohio State University

Miniature War in Iraq and Now in Afghanistan
Brian Conley, California College of the Arts

The Military Industrial Marketing Machine: Leveraging the Media Landscape
Owen Mundy, Florida State University


Art/History and the Small Liberal Arts College
Gramercy B, 2nd Floor
Chair: Christine Y. Hahn, Kalamazoo College

The Historian in the Studio
Rachel Epp Buller, Bethel College

Using Collaboration to Model Professional Studio and Research Practices within the Senior Seminar
Sarah Archino and Molly Morin, Millsaps College

Teaching Nonwestern Art in a Hybrid Studio/Art History Format
Anne-Marie Bouché, Florida Gulf Coast University

Art in the Walls: History, Practice, and Engagement with Architectural Tile in Turkey
Martina Lantin and Felicity Ratté, Marlboro College


Art Worlds in Asia
Regent Parlor, 2nd Floor
Chair: Sonal Khullar, University of Washington

A Kalamkari World: Seventeenth-Century Painted Cottons and a Theory of Asian Networks
Sylvia Houghteling, Yale University

The Art World of the Thirteen Factories
Winnie Wong, Harvard University

Omissions and Revisions: The Vexed Role of Mass-Produced Media in Tibetan Buddhist Art Worlds
Melissa R. Kerin, Washington and Lee University

Mekong as Metaphor: Charting the Rise of Regionalism in Southeast Asian Art
Pamela N. Corey, Cornell University

“A Simultaneous Validity of Coexisting Cultures:” J. Swaminathan, the Bharat Bhavan, and Contemporaneity
Katherine F. Hacker, University of British Columbia


Imagining Creative Teaching Strategies in Art History
Gibson Room, 2nd Floor
Chairs: Lise Kjaer and Marit Dewhurst, The City College of New York, City University of New York

Acting Out: Reenactment in the Art History Classroom
Jessica Santone, independent scholar

Modeling What the Professionals Do: Holding a Miniconference in an Art History Survey Course
Marie Gasper-Hulvat, East Stroudsburg University

Archive Paradigm Learning in Art History
Robert Petersen, Eastern Illinois University

Guided Discovery for Research: Exploring, Evaluating, and Selecting
Miriam Wattles, University of California, Santa Barbara

Guided Discovery for Research: Exploring, Evaluating, and Selecting
Chizu Morihara, University of California, Santa Barbara


Leonardo Education and Art Forum
Re/Search: Art, Science, and Information Technology/ASIT: What Would Leonardo da Vinci Have Thought?
Gramercy A, 2nd Floor
Chair: Joseph S. Lewis, University of California, Irvine

Entrepreneurship and Experimentation: Nineteenth-Century Art Worldwide as a Case Study of Funding an Online, Open Access Journal
Petra ten-Doesschate Chu, Seton Hall University; Emily Pugh, Center for Advanced Study of the Visual Arts

New Resourcing Models for Hybrid Arts and Sciences Research Praxis
Shawn Brixey, University of Washington

Walking through Time: iPhone App and the Comob Net App
Chris Speed, University of Edinburgh

Artists as Connectors: In Education, Research, and Technology
Richard Jochum, Teachers College, Columbia University

Discussant: Juli Carson, University of California, Irvine


Harems Imagined and Real
Petit Trianon, 3rd Floor
Chair: Heather Madar, Humboldt State University

Refracted Reflections: Self and Other in European and South Asian Representations of the Harem
Saleema Waraich, Skidmore College

Seeing through “The Veil Trick”: Visuality and Eroticism in Monti’s Sculpture Circassian Slave in 1851
Joan DelPlato, Bard College at Simon’s Rock

The Harem Comes Home: Imperial Décor and the Politics of Chintz
Samantha Burton, McGill University

Shifting the Imagined Erotic Object to a Heterogenous Modernist Subject: Maghrebi Female Interiors as Painted by French Women Orientalists, 1890–1930
Mary Healy, University of Limerick

The Constructed Harem: Matisse’s Odalisques and Contemporary French Women in Orientalist Dress
Nikoo Paydar, independent scholar


Interpreting Animals and Animality
Bryant Suite, 2nd Floor
Chair: Susan Michelle Merriam, Bard College

Human and Animal Conversions: Caricature and the Delineation of Human Faciality, ca. 1600
Bronwen Wilson, University of East Anglia

Charles Le Brun’s Animal Passions, the Ménagerie, and the Galerie des Glaces at Versailles
Sheila McTighe, Courtauld Institute of Art

Hunting Birds: François Boucher’s Diana’s Return from the Hunt (1745)
Catherine Girard, Harvard University

“That Sort of Love Is Unseemly”: Bestiality and the Passion for Horses in Hans Baldung Grien’s Bewitched Groom (ca. 1544)
Pia F. Cuneo, Univeristy of Arizona

Rewilding the Museum of Rudolf II
Sarah R. Cohen, University at Albany, State University of New York


CAA Student and Emerging Professionals Committee
The Impact of Contingent Faculty: Changing Trends in Teaching and Tenure
Nassau Suite, 2nd Floor
Chairs: Jennifer Laurel Stoneking-Stewart, University of Tennessee; Amanda Hellman, Emory University

Adjunct Advocacy: An Activist’s Account
Jeanne K. Brody, Villanova University and Saint Joseph’s University

The Art History Society of the Americas (AHSA)
Victoria H. F. Scott, European Postwar Contemporary Art Forum

The Deprofessionalization of the Profession
Michael F. Bérubé, Pennsylvania State University

Contingent, Adjunct, Part-Time, Temporary: Making It Work
Joe A. Thomas, Kennesaw State University

Cause and Effect: Trends in Higher Education
John W. Curtis, American Association of University Professors


A Renaissance Remnant: The Political Iconography of Justice
Rendezvous Trianon, 3rd Floor
Chairs: Ruth Weisberg, University of Southern California; Judith Resnik, Yale University

Seeing Like a Lawyer: Legal Emblems and the Art of Justice
Peter Goodrich, Yeshiva University

Giustizia Fascista: The Representation of Justice in Marcello Piacentini’s Palace of Justice, Milan, 1932–1940
Lucy Maulsby, Northeastern University

The Multiple Perspectives of Justice at Siena’s Palazzo Pubblico
Alick M. McClean, Syracuse University in Florence

Discussant: Dennis Curtis, Yale University


Photography in Doubt, Part II
Concourse G, Concourse Level
Chairs: Andres Mario Zervigon, Rutgers, The State University of New Jersey; Sabine Tania Kriebel, University College Cork

August Strindberg’s Self-Portraits of the Soul: The Photographer as Medium, the Medium of Photography
Jennifer Raab, Institute of Fine Arts, New York University

Suspect Plasticities and Fraudulent Exposures: Artifice and Authenticity in Fin-de-siècle Ectoplasm Photography
Lucy Traverse, University of Wisconsin-Madison

Sketch Reporting after Press Photography
Jason E. Hill, Terra Foundation for American Art and Institut National d’Histoire de l’Art

Simulated Photomontage in the Posters of the Khrushchev Thaw (1956–1964)
Masha Kowell, University of Pennsylvania

Precarious Marks: Thomas Ruff’s Jpegs
Vered Maimon, Tel-Aviv University


Saturday, February 16, 11:00 AM–1:00 PM

ARTspace
The Artist and the Law: Testing Boundaries, Challenging Limits
Murray Hill Suite, 2nd Floor
Chair: Blane de St. Croix, Indiana University, Bloomington

Aissa Deebi, American University of Cairo

Amy J. Goldrich, Lynn|Cahill LLP

Alix Lambert, The Brooklyn International Theater Company

Jenny Marketou, independent artist

Dread Scott, independent artist


Saturday, February 16, 12:30 PM–2:00 PM

Art, Literature, and Music in Symbolism and Decadence
Symbolist Dualities
Bryant Suite, 2nd Floor
Chair: Deborah H. Cibelli, Nicholls State University

The Ideal and Matter: Gustave Moreau’s Ambiguous Dualities
Peter Cooke, The University of Manchester

George Minne and Maurice Maeterlinck
Albert Alhadeff, University of Colorado Boulder

The Vicious Wallpaper: Destabilizing Structures in Edouard Vuillard and Charlotte Gilman Perkins
Martin Sundberg, Universität Basel

Leonardo da Vinci and Odilon Redon: Ambivalent Beauty of the fin-de-siècle
Rosina Neginsky, University of Illinois at Springfield


CAA Committee on Diversity Practices
Diversity and Retention in the Academy
Petit Trianon, 3rd Floor
Chair: Kevin C. Concannon, Virginia Polytechnic Institute and State University

M. Renee Baker, Rochester Institute of Technology

Peggy Blood, Savannah State University

Lee A. Gill, The University of Akron

Karen A. Clinton Jones, Virginia Polytechnic Institute and State University

Susan D. Zurbrigg, James Madison University


Independent Curators International
Thinking Contemporary Curating: Terry Smith in Conversation with Julian Myers
Sutton Parlor North, 2nd Floor
Chair: Kate Fowle, Independent Curators International


AP Art History and AP Studio Art
Working with the Sketchbook Page
Gramercy B, 2nd Floor
Chairs: Yu Bong Ko, Tappan Zee High School and Dominican College; Dale Clifford, Savannah College of Art and Design


Design Studies Forum
Deterritorializing Design: Rethinking the Relationship between Theory and Practice
Rendezvous Trianon, 3rd Floor
Chair: Betti Marenko, Central Saint Martins, University of the Arts London

Redesigning the Objectile: Deleuze and the Science of Imaginary Solutions
Derek Hales, University of Huddersfield

To the Edge of Chaos: A Deleuzian Approach to an Emergent Innovation
Jamie Brassett, Central Saint Martins, University of the Arts London

Deleuzian Design: How to Catalyze an Encounter between Philosophy and Design
Betti Marenko, Central Saint Martins, University of the Arts London


CAA Committee on Intellectual Property
Developing a Fair Use Code for the Visual Arts
Beekman Parlor, 2nd Floor
Chair: Christine Leszczynski Sundt, Visual Resources: An International Journal of Documentation
 
 
Society of Contemporary Art Historians
The Social, the Relational, and the Participatory: A Reevaluation
Gramercy A, 2nd Floor
Chairs: John Tain, Getty Research Institute; Kirsten Swenson, University of Massachusetts Lowell

Anton Vidokle, e-flux

Julia Robinson, New York University

Martha Rosler, independent artist

Shannon Jackson, University of California at Berkeley


Southern Graphics Council International
Reproducing Authenticity
Sutton Parlor Center, 2nd Floor
Chair: Jason Urban, Printeresting.org

Truth and Reproducibility
Beauvais Lyons, University of Tennessee, Knoxville

Studio, Museum, Print: Problems of Virtual Authenticity
Julia V. Hendrickson, Courtauld Institute of Art

“... originality doesn’t exist anyway, only authenticity”
Lauren van Haaften-Schick, independent curator

Craving the Mark
Lisa Bulawsky, Washington University in St. Louis


Japan Art History Forum
The Role of Japan in Modern Chinese Art
Gibson Room, 2nd Floor
Chair: Toshio Watanabe, University of the Arts London

The Guangzhou-Tokyo Print Exchanges of 1935 and 1936
Julia Andrews, The Ohio State University

The Role of China in Modern Japanese Art: From the Wu Liang Shrine to Hirafuku Hyakusui
Tamaki Maeda, independent scholar

The Japanese Impact on the Construction of Art History as a Modern Discipline in Republican China
Kuiyi Shen, University of California, San Diego

Discussant: Joshua Fogel, York University


CAA Student and Emerging Professionals Committee
Gender Politics in the Workplace, Part II: The Next Generation
Nassau Suite, 2nd Floor
Chairs: Megan Koza Young, University of Kansas; Anitra Haendel, California Institute of the Arts

Brittany Lockard, Nelson-Atkins Museum

Lisi Raskin, independent artist


American Council for Southern Asian Art
Business Meeting
Madison Suite, 2nd Floor


Association for Critical Race Art History
Business Meeting
Morgan Suite, 2nd Floor


Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey
Business Meeting
Regent Parlor, 2nd Floor


Saturday, February 16, 1:00 PM–2:00 PM

ARTspace
Attention and Experience: Public Dialogue
Murray Hill Suite, 2nd Floor

Mel Chin, independent artist

Maureen Connor, Queens College, City University of New York

Blane de St. Croix, Indiana University, Bloomington

Amy J. Goldrich, Lynn|Cahill LLP

Elizabeth M. Grady, smARTpower, Bronx Museum

Alix Lambert, The Brooklyn International Theater Company

Jenny Marketou, independent artist

Martha Schwendener, independent critic

Dread Scott, independent artist

Sacha Yanow, Art Matters Foundation


Saturday, February 16, 2:00 PM–4:00 PM

ARTspace
Film and Video as a Social Art: Contemporary Moving Images and Social Practice
Murray Hill Suite, 2nd Floor
Chairs: Caryn Coleman, independent curator and writer; Jenny Krasner, independent artist

A play off of Amos Vogel’s seminal avante-garde film anthology, Film as a Subversive Art (1974), this program explores the function of film and video in prescribing meaning as it positions this affective medium as an attempt to increase a collective understanding of the world. The panel and program will look at film and video works that inscribe a documentary approach (often co-mingling fact with fantasy) in the post-9/11 landscape. Artists include Josh Azzarella, My Barbarian, Karl Erickson, Alix Lambert, Stephanie Sinclair, and several others.


Saturday, February 16, 2:30 PM–5:00 PM

Funktioning with Nothing but the Funk: Black Art and Design, the Final Frontier in Reconstruction
Sutton Parlor South, 2nd Floor
Chair: Xenobia Bailey, independent artist

The Funk of Black Contradictions
Rickey Vincent, University of California, Berkeley and City College of San Francisco

Spit Do Make Babies: The Long Black Inseminating Tongue of the Dogon, George Clinton, and the God Rakim: A Study of Linguistic Play, Paganism, and Alchemy in Post-African Griot “Kulcha”
Greg Tate, independant scholar

The Art of Bessie Harvey: African Juju in the Forest of North American
Brooke Davis Anderson, independent scholar

The Art, Design, and the Mojo of the Groove in the Key of Life: Black Music as a Model for Progressive Design in North America
Xenobia Bailey, independant artist


Visual Culture Caucus
Life’s Edge: A Thinking-Feeling Lab in the Risks, Powers, and Possibilities of Forms-of-Life
Gramercy B, 2nd Floor
Chair: Jill H. Casid, University of Wisconsin-Madison

Rebecca Schneider, Brown University

José Muñoz, New York University

Nao Bustamante, Rensselaer Polytechnic Institute

Kandice Chuh, The Graduate Center, City University of New York

Steve Kurtz, University at Buffalo, State University of New York


South Asian Encounters: Anthropologies of Travel and the Visual
Gibson Room, 2nd Floor
Chairs: Renate Dohmen, University of Louisiana at Lafayette; Natasha Eaton, University College London

“Life Injected with Life”: Locating Tolerance in Nasreen Mohamedi’s Abstraction
Robin Simpson, University of British Columbia

Bombay to Goa: Travel, Escape, and Desire in Bombay Cinema
Ayesha Matthan, Jawaharlal Nehru University

Touristic Agencies: Aditi and the Living Exhibit at the Festival of India, 1985–6
Rebecca Brown, Johns Hopkins University

Filipiniana: Visual, Temporal, and Virtual Voyages across the Pacific (and between the Philippine and South China Seas)
Nadine Wasserman, independent curator and critic

Refugee to Celebrity: Changing Subjects (and Narratives) in Photographs of Travel by Water
Jennifer Way, University of North Texas


Studio Art Open Session
Performative Acts in Video and Film: Contrasting the Forty-Year History with Current Themes that Are Prevalent in Emerging Artists
Morgan Suite, 2nd Floor
Chair: Jefferson Godard, Columbia College Chicago

Rachelle Beaudoin, independent artist

Kate Gilmore, independent artist

Chelsea Knight, independent artist

Mary Lucier, independent artist

Bryan Zanisnik, independent artist


Making Inroads, Paving the Way: Postwar Architecture, Design, and the Formation of Jewish-American Identity
Sutton Parlor Center, 2nd Floor
Chairs: Kai K. Gutschow, Carnegie Mellon University; Lynnette Widder, Columbia University

Newish and Jewish from Europe: Refugees, Survivors, and the Spread of Modernism in Postwar America
Samuel D. Gruber, Syracuse University

Non-Jewish Architecture for Jews: The Jersey Homesteads after Auschwitz
Daniel S. Palmer, The Graduate Center, City University of New York

A Symbolic Landscape for Suburbia: Baltimore Chizuk Amuno’s Hebrew Culture Garden
Jeremy Kargon, Morgan State University

The Faith of Albert Kahn
Claire Zimmerman, University of Michigan


Reconsidering the Nineteenth Century through Asian Art
Madison Suite, 2nd Floor
Chairs: Ellen Chang Huang, University of San Francisco; Sunglim Kim, Dartmouth College

Reclaiming Past Glory: Antiquarian Trends in Late Nineteenth-Century Chinese Court Art
Ying-chen Peng, University of California, Los Angeles

Mirroring Korean Art in the Nineteenth Century: Foreign Accounts of Korean “Art”
Virginia Moon, University of Southern California

Representing the Cerebral Mind: Translation and Visuality in Modern Japan
Stephanie Su, University of Chicago

Ambivalent Exchange: The Gift of Photographic Albums between Korea and Japan in 1876
Hye-ri Oh, State University of New York at Binghamton

Global Textiles and the Dress Culture of Nineteenth-Century Jiangnan Women
Rachel Silberstein, University of Oxford


Art and Artists in the Field of Cultural Production: Reception Studies, Part II
Gramercy A, 2nd Floor
Chair: Ruth E. Iskin, Ben-Gurion University of the Negev

“All the World’s a Kaleidoscope”: A Media Archaeology of Abstract Imagery
Erkki Huhtamo, University of California, Los Angeles

Can You See Me Now? The Reception of the First Modern Woman Artist
Diane J. Radycki, Moravian College

Bianca Eshel-Gershuni: Innovator and Outsider
Ayelet Carmi, Ben-Gurion University of the Negev

Suzy Lake, National Treasure: Consecration in the Canadian Context
Michelle Meagher, University of Alberta

“Free German Art”: The Reinterpretation of German Expressionism at the Museum of Modern Art during World War II
Jennifer McComas, Indiana University Art Museum


Olfactory Art
Concourse A, Concourse Level
Chairs: Adrian Kohn, Massachusetts College of Art and Design; Chandler Burr, Museum of Arts and Design

Perfume Is the Next Photography
Chandler Burr, Museum of Arts and Design

What Sound Does a Scent Make?
Clara Ursitti, Glasgow School of Art

The Use of Smell in Art, an “Olfactology” Art Research
Peter De Cupere, MAD-Faculty, Hasselt

Olfactory Landscapes
Christian Stayner, University of Michigan, Ann Arbor

Inhaling the History of Art: On the Role of Olfaction during the Avant-Garde
Caro Verbeek, Rijksmuseum Amsterdam and Royal Academy of Arts, The Hague

The Olfactory Imaginary in Modern and Contemporary Art
Jim Drobnick, Ontario College of Art and Design University


Studio Art Open Session
Painting: The Elastic Frontier
Trianon Ballroom, 3rd Floor
Chair: Anna Kunz, Columbia College Chicago

Dan Levenson, Little Switzerland

Gelah Penn, independent artist

Stephen Maine, School of Visual Arts

Jose Lerma, School of the Art Institute of Chicago

Nicole Awai, Yale University

Dannielle Tegeder, Lehman College, City University of New York

Sabina Ott, Columbia College Chicago

Jonathan Miller, Illinois Institute of Technology


Mapping Spaces: Cartographic Practices in Art and Architecture, Part II
Concourse G, Concourse Level
Chair: Min Kyung Lee, Swarthmore College

Icons of Space: Grids, Maps, and Pictures ca. 1300
Karl Whittington, The Ohio State University

Pictorial Maps and Maplike Paintings in Mid-Imperial China
Julia Orell, University of Zurich

Mapping Heterotopian Spaces: Affective Cartography as Artistic Practice
Simonetta Moro, Institute for Doctoral Studies in the Visual Arts

Barry Le Va: The Map and the Void
Michael Maizels, University of Virginia

Nancy Graves: Mapping from Space
Christina Hunter, Columbia University and Nancy Graves Foundation


The Work of Art Criticism in the Age of Blogs and Ezines
Beekman Parlor, 2nd Floor
Chairs: Diana Spitzer McClintock, Kennesaw State University; Susan Todd-Raque, independent curator

Make to Know: Towards Art Critical Transmedia Literacies
Charlotte Frost, University of Wisconsin-Milwaukee

140 Characters or Less
Renee McGarry, Sotheby’s Institute of Art

The Field of Content Production: Art Writing in the Twenty-First Century
Jeanne Willette, Otis College of Art and Design


Artists, Architects, Libraries, and Books, 1400–1800
Bryant Suite, 2nd Floor
Chairs: Sarah McPhee, Emory University; Heather Hyde Minor, University of Illinois at Urbana-Champaign

Leon Battista Alberti as Author and Architect in De re aedificatoria
Heather Horton, Purchase College, State University of New York

All in a Day’s Work: The Publications of Juan Gomez de Mora, Royal Architect to the Spanish Habsburgs
Jesús Escobar, Northwestern University

George Clarke’s Library-Laboratory of Architecture
Eleonora Pistis, Oxford University

An Italian Art Library under the Polar Star
Martin Olin, Nationalmuseum, Stockholm

Architecture and Erudition: Carlo Fontana (1638–1714)
John Pinto, Princeton University


Abstraction and Totality
Regent Parlor, 2nd Floor
Chairs: Ara Hagop Merjian, New York University; Anthony George White, University of Melbourne

The Radicality of Abstract Expressionism
Valerie Hellstein, The Phillips Collection and George Washington University

Abstraction and Communism in China: The Works of Qiu Deshu
Hayoon Jung, University of California, San Diego

Lines of Dissolution: Arab Nationalism and Abstraction in Syria, 1936–1952
Anneka Lenssen, The American University in Cairo

The Ideology of the Square: Cultural Critiques of Geometric Abstraction in Soviet Russia
Maia Toteva, University of Cincinnati Blue Ash College

Abstraction as Ornament: Visualizing Volksgemeinschaft
Michael Tymkiw, University of Chicago


Historians of German and Central European Art and Architecture
Central Europe’s Others in Art and Visual Culture, Part II
Nassau Suite, 2nd Floor
Chairs: Elizabeth Otto, University at Buffalo, State University of New York; Brett Van Hoesen, University of Nevada, Reno

A Black Jewish Astrologer in a German Renaissance Manuscript
Paul H. D. Kaplan, Purchase College, State University of New York

Czech, Slovak, and Rusyn: Nationbuilding in First Republic Czechoslovakia
Karla Huebner, Wright State University

The Outsider’s Vision: Bohumil Kubišta as Social Critic
Eleanor Moseman, Colorado State University

To Hell and Back: “Helhesten” and Cultural Resistance in World War II Denmark
Kerry Greaves, The Graduate Center, City University of New York

From Fiction to Fact: The Need to Document in Post-Yugoslav Art
Nadia Perucic, The Graduate Center, City University of New York

Discussant: Steven A. Mansbach, University of Maryland


“Assembly Instructions Included”: Balancing Structure and Freedom in Studio Art Courses
Petit Trianon, 3rd Floor
Chairs: Casey Ruble, Fordham University; Lynn Sullivan, Hunter College, City University of New York

Robert DiMatteo, Drexel University and Raritan Valley Community College

Glenn Goldberg, Queens College, City University of New York

Alex Phillips, Emily Carr University of Art and Design

Peter Rostovsky, New York University

Gregory Sholette, Queens College, City University of New York

Roger White, Rhode Island School of Design


Dystopia: Space, Architecture, and the Filmic Imaginary
Sutton Parlor North, 2nd Floor
Chair: Sadia Shirazi, independent curator and architect

Sara Eliassen, independent artist

Ivor Shearer, independent artist


Association of Historians of American Art
The Body of the Artist and the Artist as Body in American Artistic Practice
Rendezvous Trianon, 3rd Floor
Chairs: Robin Veder, Pennsylvania State University; Elizabeth Lee, Dickinson College

Benjamin West’s Legs: Urban Exercise and Manly Health in A Drayman Drinking
Lauren Lessing, Colby College Museum of Art

Augustus Saint-Gaudens’s Cancerous Body and the Phillips Brooks Monument
Elizabeth Lee, Dickinson College

Visualizing the Irradiated Body of László Moholy-Nagy
Keely Orgeman, Boston University

Fluxus Medicine: George Maciunas’s Prescribed Performances
Colby Chamberlain, Columbia University

Discussant: Robin Veder, Pennsylvania State University