Wednesday PROGRAM SESSIONS All sessions will be held at the Los Angeles Convention Center (LACC) unless otherwise noted.

Wednesday, February 22 The Materiality of Art: Evidence, Interpretation, Theory, Part I 9:30 AM–12:00 PM Concourse Meeting Room 405, Level 2 Chairs: Francesco Lucchini, University of Warwick; Kathryn B. Gerry, Redefining Mediterranean Aesthetics University of Kansas Concourse Meeting Room 406AB, Level 2 Memory and Materiality in Ancient Maya Monuments Chairs: John Baldacchino, University College Falmouth; Megan E. O’Neil, College of William and Mary Elena Stylianou, European University Cyprus Rupestrian Paintings: On the Vibrant Ontology of Picture Making Christoforos Savva’s Ifasmatografies (1959–1968): Avant-Garde on in the Early Modern Period the Periphery, as a Manifestation of “Mediterranean Aesthetics”? Christopher J. Nygren, University of Pennsylvania Antonis Danos, Cyprus University of Technology Shimmer: The Materiality of Domestic Objects in Early Modern Wanted! Dead or Alive: The Influence of Politics on Archaeology and England and America Contemporary Art on the Island of Cyprus Ann Smart Martin, University of Wisconsin, Madison Yiannis Toumazis, Frederick University and Pierides Foundation; Sophia Antoniadou, Pierides Foundation Ephemeral Materiality: Toward an Understanding of Jean-Léon Gérôme’s Ultra-Thin Facture Art in the Balkans: The Condition of Contemporary Art in Croatia Gülru Çakmak, University of Massachusetts, Amherst Amy Vena, Rochester Institute of Technology Discussant: Francesco Lucchini, University of Warwick Constructing, Deconstructing, and Reconstructing the Mediterranean in Contemporary Greek Art: Kostas Tsoklis, Jannis Kounellis, Dimitris Alithinos Deconstructing Costume Histories: Rereading Identities Anna Tahinci, University of Minnesota and Minneapolis in Fashion Collections and Exhibitions College of Art and Design Concourse Meeting Room 409AB, Level 2 Chairs: Ian McDermott, ARTstor; Consuelo Gutierrez, Digital Representations of Interstitial Spaces between Seas, Lands, independent scholar and Skies: Artists’ Existences and Aesthetics in the Mediterranean Lanfranco Aceti, Sabanci University Inventing Arabian Nights: Twentieth-Century Qatari Dress Christina Lindholm, Virginia Commonwealth University Sharing the Paradox: How “Mediterranean” Is Mediterranean Aesthetics? “That Continual Vanishing Away”: Aesthetic Dress and Its Absences John Baldacchino, University College Falmouth Sally-Anne Huxtable, Northumbria University In Their Shoes: Telling the Histories of the Makers, Sellers, and Happenings: Transnational, Transdisciplinary Wearers of Dress Concourse Meeting Room 403B, Level 2 Elizabeth Semmelhack, The Bata Shoe Museum Chairs: Laurel Fredrickson, Duke University and North Carolina Locating Fashion’s Everyday State University; Erin Hanas, Duke University Cheryl Buckley, Northumbria University Destruction as Avant-Garde Creation and Critique: Marta Minujín’s Contemporary Fashion History in Museums: A Case Study of MoMu, First Happening the Fashion Museum of the Province of Antwerp Michaela de Lacaze, Columbia University Marco Pecorari, Stockholm University Guerrilla Tactics and International Happenings: An Expanded View of Brazilian Art of the Late 1960s and Early 1970s Historians of Islamic Art Association Anna Katherine Brodbeck, Institute of Fine Arts, The Interconnected Tenth Century New York University Concourse Meeting Room 404A, Level 2 Happening as Anti-Institutional Strategy: AWC and GAAG Events Chairs: Melanie D. Michailidis, Washington University in St. Louis as Happenings, 1969–1970 and St. Louis Art Museum; Glaire D. Anderson, University of Caroline Wallace, University of Melbourne North Carolina, Chapel Hill Yayoi Kusama’s Psychedelic Happenings: Sexual Revolution China among Equals: Recontextualizing the China-Abbasid Trade and Brain Change Connection in the Long Tenth Century Midori Yamamura, The Graduate Center, City University of Hsueh-man Shen, Institute of Fine Arts, New York University New York Samanid Silver and Trade along the Fur Route Another Dimension of Happenings in 1960s Japan: The Play’s Melanie Michailidis, Washington University in St. Louis and Voyages into Landscape St. Louis Art Museum Reiko Tomii, independent scholar

February 22 –25, 2012 33 Wednesday Islamicizing Ornament in Middle Byzantine Lead Seals: A Tenth- The Ethics of Picturing Suffering Fractured Atlas A Holistic Approach to Design Pedagogy Century Phenomenon Nora Jones, University of Pennsylvania Fundraising in a Box: Crowdsourcing Microgrants Christopher Moore, Concordia University Alicia Walker, Bryn Mawr College West Hall Meeting Room 511BC, Level 2 Do the Ends Justify the Means? Examining the Ethics of The Making of an Artist: The Mockumentary as a Chair: Dianne Debicella, Fractured Atlas Concealed Faith: The Architectural Realignment of the Progressive Art Production Collaborative Assignment for Engaging Diverse Learning Styles Fatimid Empire, ca. 1010 Alexandra Phillips, Emily Carr University of Art and Design Brian Meece, RocketHub and Disciplinary Motivations Jennifer Pruitt, Smith College Annika Marie, Columbia College Chicago Stephanie Pereira, Kickstarter Cordoban al-Mulk Wares and Caliphal Rivalry Urbanization and Contemporary Art in Asia “Who Are You and How Do You Learn?” An Emergent Ethics of Jesse Chorng, independent artist Glaire D. Anderson, University of North Carolina, Chapel Hill Concourse Meeting Room 403A, Level 2 Pedagogy within Graduate Art Education Chair: Meiqin Wang, California State University, Northridge Nadine M. Kalin, University of North Texas

Association of Art Museum Curators Where the Bodies Lie: Landscapes of Mourning, City of Inscription: Phone Numbers and Contemporary Art as Mapping Cultural Authority: Revisionism, Memory, and Concealment Tactics of Inscription ARTspace Provincialism, Marginalization West Hall Meeting Room 501ABC, Level 2 Elizabeth Parke, University of Toronto CAA Services to Artists Committee Concourse Meeting Room 406AB, Level 2 Chairs: Cynthia Mills, Smithsonian American Art Museum, [Meta] Mentors: Creating Community-Taking Control Intersections of the Public and the Private: Contemporary Chair: Carol S. Eliel, Los Angeles County Museum of Art emeritus; Kate C. Lemay, Georgia O’Keeffe Museum of Your Career Art in Mumbai Research Center Christa Clark, The Newark Museum West Hall Meeting Room 515A, Level 2 Margaret Richardson, Virginia Commonwealth University Chairs: Reni Gower, Virginia Commonwealth University; Civilizing Cemeteries: Portrait Gravestones in Colonial Charleston Cecilia Fajardo-Hill, Museum of Latin American Art To Demolish: Thinking about Urbanization in Rural China through Sharon Louden, independent artist Jennifer Van Horn, Towson University a Collaborative Art Project Guerrilla Girls Using Social Networking to Make Connections One Micron at a Time The Corpse Revealed: The Gisant and Modern Memorials at the Meiqin Wang, California State University, Northridge Georgiana Uhlyarik, Art Gallery of Ontario (Twitter, Tumblr, Flicker, Facebook, Delicious, Youtube, Vimeo) Fin de Siècle Black and White and Red all Over: Spaces of Urban Intervention Peter Baldes, Virginia Commonwealth University Caterina Y. Pierre, Kingsborough Community College, in Beijing Youth Daily’s 1994 Art Interior Design Series City University of New York CAA International Committee The Art of Self Publishing (Blogs, Online Exhibitions Peggy Wang, Denison University Internationalizing the Field: A Discussion of Global and Catalogs, Zines) In Flanders Fields: Collection Cemeteries for the German Dead Materiality in the City: Vivan Sundaram’s Work with Trash Networks for Art Historians Sharon Butler, Eastern Connecticut State University; Sharon Karen Shelby, Baruch College, City University of New York Karin Zitzewitz, Michigan State University West Hall Meeting Room 501ABC, Level 2 Louden, independent artist Remembering the Irish Famine: Commemorating the Famine Chair: Gwen Farrelly, The Graduate Center, City University Discussants: Alice Ming Wai Jim, Concordia University; DIY/Alternative Venues (Pop-Up Shows, Satellite Art Fairs, Art Labs) Graveyard and Workhouse, 1990–2011 of New York and the Museum of Modern Art Poyin Auyeung, Manhattan College Adrienne Outlaw, Seed Space Emily Mark-Fitzgerald, University College Dublin Kathryn Brown, Tilburg University Alternative Funding (Kickstarters, Indiegogo, Artist Shares) Until Death Do Us Part: National Politics, Modern Love, and Leonardo Education and Art Forum Asia Art Archive Melissa Potter, Columbia College Chicago Memorial to a Marriage Headlines! Environmental News, Artist Presenters, Patricia Cronin, Brooklyn College, City University of New York Townhouse Gallery Archive Map Project Audience Respondents Clare Davies, Institute of Fine Arts, New York University Association of Academic Museums and Galleries Discussant: Petra ten-Doesschate Chu, Seton Hall University West Hall Meeting Room 502AB, Level 2 An Element of Risk: Curatorial Experiments in Chair: Linda Weintraub, Artnow Publications College Art Spaces Midwest Art History Society ARTspace Chip Lord, University of California, Santa Cruz Concourse Meeting Room 409AB, Level 2 Icons of the Midwest: Henry Fuseli’s Nightmare Citizen Designer: Authoring a Definition Chair: Carin Jacobs, Doug Adams Gallery, Center for the Arts, Natalie Jeremijenko, New York University Concourse Meeting Room 405, Level 2 West Hall Meeting Room 515A, Level 2 Religion, and Education Chairs: Laura D. Gelfand, Utah State University; Judith W. Mann, Bright Ugochukwo Eke, independent artist Chairs: Gary Rozanc, Columbia College Chicago; Alyson Beaton, Saint Louis Art Museum James Harper, University of Oregon Columbia College Chicago Fernando Garcia-Lory, independent artist Living with Fuseli’s Nightmare Allison Agsten, Hammer Museum, University of California, Anna Rabinowicz, Parsons The New School for Design Salvador Salort-Pons, Detroit Institute of the Arts Los Angeles Patrick Hebert, Art Center College of Design “As I Was Perpetually Haunted by These Ideas”: Fuseli’s Influence on Lawrence Rinder, Berkeley Art Museum and Pacific Film Archive, Mary Shelley’s Mathilda and Frankenstein University of California, Berkeley Ed Akins Wednesday, February 22 Beth S. Wright, University of Texas at Arlington

12:30 PM–2:00 PM Dreams, Fiends, and Dream Screens CAA Committee on Women in the Arts Beyond Censorship: Art and Ethics Scott Bukatman, Stanford University Ten Years Postdegree: Professional Success of Women Artists Concourse Meeting Room 408B, Level 2 New York Foundation for the Arts and Art Scholars in the Critical Decade Postgraduation Chair: Gerald Silk, Tyler School of Art, Temple University The Arts and Entrepreneurship: Catalyzing Careers Concourse Meeting Room 402AB, Level 2 and Communities CAA Education Committee Blending Art and Ethics: Marco Evaristti’s Helena and Chairs: Donna L. Moran, Pratt Institute; Claudia Sbrissa, Concourse Meeting Room 408B, Level 2 Who Do We Teach? Challenges and Strategies in Recognizing the Killing Aesthetic St. John’s University Chair: Susan Ball, New York Foundation for the Arts Our Students, and Developing and Supporting Curriculum for Jonathan Wallis, Moore College of Art and Design Multiple Constituencies Christine Kuan, ARTstor Peter Cobb, New York Foundation for the Arts The Influence of Social Media on Controversy and Censorship Concourse Meeting Room 403A, Level 2 Jocelyn Foye, Art Institute of Pittsburgh in the Work of Guillermo Vargas and Nuno Ramos Eleanor Whitney, New York Foundation for the Arts Chairs: Joan Giroux, Columbia College Chicago; Cindy Maguire, Donna Moran, Pratt Institute Adelphi University Claudia Sbrissa, St. John’s University

Art that Pushes the Envelope: What Does It Achieve? A Foundational Experience Katherine Rohrbacher, independent artist Joe Zammit-Lucia, WOLFoundation.org Tera Galanti, California Polytechnic State University Yao-Fen You, Detroit Institute of Arts Ali Smith, independent artist 34 college art association 100 February 22 –25, 2012 35 Wednesday Society for the Study of Early Modern Women Design Studies Forum Function, Ritual, and Sculpture: Holy-Water Stoups in Centennial Session Feminism and Early Modern Art Business Meeting Early Modern Tuscany Performance Evaluations Concourse Meeting Room 407, Level 2 West Hall Meeting Room 515B Francesco Freddolini, Getty Research Institute West Hall Meeting Room 515B, Level 2 Chair: Andrea Pearson, American University Chair: Malik Gaines, Hunter College, City University of New York Treillage in Sixteenth-Century Italy and France: Between Shaping Feminine Conduct in Renaissance Florence Historians of German and Central European Art and Architecture Art and Craft Jennifer Doyle, University of California, Riverside Jane C. Long, Roanoke College Business Meeting Natsumi Nonaka, University of Texas at Austin Andrea Fraser, University of California, Los Angeles Concourse Meeting Room 404A The Word of God on Women’s Shoulders? Pulpits in the Beguine “Modern in an Antique Way”: Giulio Romano’s Designs for Living Martin Kersels, California Institute of the Arts Churches of the Southern Low Countries, ca. 1650–1725 Valerie Taylor, independent scholar Sarah Joan Moran, Universität Bern New Media Caucus Tavia Nyong’o, New York University Winds, Farts, and Bellows: The Airy Imagery of Early Business Meeting From Early Modern to Postmodern, from Female to Feminisms to Modern Ornament Prints Concourse Meeting Room 404B Feminizing: Where Do We Find Our Subjects and Ourselves after 100 Madeleine C. Viljoen, New York Public Library Re-Viewing Fluxus Years in the College Art Association? West Hall Meeting Room 501ABC, Level 2 Corine Schleif, Arizona State University Chairs: Donna Gustafson, Zimmerli Art Museum, Rutgers, CAA Committee on Women in the Arts Wednesday, February 22 The State University of New Jersey; Jacquelynn Baas, Discussant: Mary D. Garrard, American University Necessary Positions: Intergenerational Collaboration in independent scholar 2:30 PM–5:00 PM Feminist Art and Activism Concourse Meeting Room 407, Level 2 Fluxus 2.0: On the Future Prospects of a Now Historic Getty Research Institute Chair: Maria Elena Buszek, University of Colorado, Denver Nonmovement Pacific Standard Time About Time in the Ancient Americas Martin Patrick, Massey University Concourse Meeting Room 408A, Level 2 West Hall Meeting Room 511BC, Level 2 (RE)PRESENT: An Ongoing Intergenerational Collaboration Chair: Andrew Perchuk, Getty Research Institute Chairs: William Landon Barnes, University of St. Thomas; Nancy Azara, independent artist; Katie Cercone, School The Fluxus Virtual, Actually Bryan R. Just, Princeton University Art Museum of the Visual Arts Natilee Harren, University of California, Los Angeles Lucy Bradnock, Getty Research Institute Expressing Time before the Mesoamerican Calendars Still Partying: A Collective Response to Judy Chicago’s Re-Collecting Fluxus: Jean Brown’s Avant-Garde Archive Jennifer Sorkin, University of Houston Carolyn Tate, Texas Tech University “Dinner Party” Marcia Reed, Getty Research Institute Richard Meyer, University of Southern California Margaret Cuonzo and Liz Rudey, Long Island University, History and Time in the Aztec Codex Borbonicus Go with the Flow: The Impact of Fluxus on a Teaching Museum Brooklyn Campus Catherine DiCesare, Colorado State University Juliette M. Bianco, Hood Museum of Art, Dartmouth College International Center for the Arts of the Americas, Losing the Mother/Daughter Plot? Bridging the Generational Divide Perpetual Histories: Myth Making in the Ancient Andes Fluxus Re-Viewed Museum of Fine Arts, Houston in Feminist Art Practice, Theory, and History George Lau, University of East Anglia Peter Frank, Riverside Art Museum Convergent Practices: The Artist as Writer in Latino-America Joanne Heath, University of Leeds West Hall Meeting Room 503 Inka Control of Time Paradise in Her Hands: Blasts of Inspiration, the Activation of Creative Chairs: Mari Carmen Ramírez and María C. Gaztambide, Jessica Christie, East Carolina University Design, from “California Dreamin’” to “Designed in Flow, and the Discovery of the Wonder-Worlds of Fiber International Center for the Arts of the Americas, California,” ca. 1965–2012 Discussant: Emily Umberger, University of Arizona Xenobia Bailey, independent artist Museum of Fine Arts, Houston Concourse Meeting Room 406AB, Level 2 Necessary Positions: A Dialogue Chairs: James Housefield, University of California, Davis; Stuart Olga Herrera, University of Notre Dame National Alliance of Artists from Historical Black Suzanne Lacy, Otis College of Art and Design, and Andrea Bowers, Kendall, California College of the Arts Cristina Rossi, Universidad de Buenos Aires Colleges and Universities independent artist Perceptions and Assumptions: Whiteness Simulating Spatial Experience in the People’s Berkeley: The Urban Pilar García de Germenos, Museo Universitario Arte Concourse Meeting Room 402AB, Level 2 Design Experiments of Donald Appleyard and Kenneth Craik Contemporáneo ARTspace Chairs: Peggy Blood, National Alliance of Artists from Anthony Raynsford, San Jose State University Contemporary Collaboratives and Collectives Historical Black Colleges and Universities; Zelana Davis, April Greiman and California’s Technology of Enchantment West Hall Meeting Room 515A, Level 2 Radical Art Caucus Savannah State University Elizabeth Guffey, Purchase College, State University of New York Chairs: Sharon L. Butler, Eastern Connecticut State University; Administrative Abuses and Faculty Resistance in the Fine Arts: Visual Media Micol Hebron, Chapman University Steve Jobs, Architect Case Studies in Academic Labor Zelana Davis, Savannah State University Simon Sadler, University of California, Davis Concourse Meeting Room 403B, Level 2 An Xiao, independent artist Chair: Kaylee Spencer, University of Wisconsin, River Falls Otherness California Design: What Are We Talking About? Ed Giardina, Finishing School Deborah Elaine Roberts, independent artist Bobbye Tigerman, Los Angeles County Museum of Art Branded and Betrayed: Art Programs and Administrative Nicole Cohen, Berlin Collective Actions in Academia Linnea Wren, Gustavus Adolphus College Art History Open Session: Renaissance Art Stephanie Allespach, LA Art Girls Mobile Art: The Aesthetics of Mobile Network Culture in Form and Function: Art and Design? Place Making, Part I The Peacock University: “Thinking Ahead” or “Falling Behind”? Aaron Koblin, independent artist Concourse Meeting Room 405, Level 2 Concourse Meeting Room 403A, Level 2 Kelly W. Knox, independent critic Chair: Antonia Madeleine Boström, J. Paul Getty Museum The League of Imaginary Scientists Chairs: Hana Iverson, Rutgers, The State University of New Jersey; Creators: Those Who Can Mimi Sheller, Drexel University The Separation of Form and Function: Challenging the Annette Schiebout, independent artist Historiography of Renaissance Pilgrim Flasks In a Network of Lines that Intersect: Placing Mobile Interaction Discussant: John L. Machado, Chaffey College Annette LeZotte, Wichita State University Teri Rueb, University at Buffalo, State University of New York

36 college art association 100 February 22 –25, 2012 37 Wednesday, THUR Wednesday, Situated Mobile Audio The Challenge of Nazi Art Thursday, February 23 Studio Sample Book as Equalizer: Commercial Photography Siobhan O’Flynn, Canadian Film Centre Media Lab West Hall Meeting Room 502AB, Level 2 in the Indian Metropolis 7:30–9:00 AM Chairs: James A. van Dyke, University of Missouri, Columbia; Deborah Hutton, The College of New Jersey Sounding Cartographies and Navigation Art: In Search of the Sublime Christian Fuhrmeister, Zentralinstitut für Kunstgeschichte Ksenia Fedorova, University of California, Davis Foundations in Art: Theory and Education Parvenu or Print Connoisseur: A Case Study for the Consumption and The Banality of Nazi Art: Vernacular Buildings, Conventional Images, Business Meeting Reception of Early Photographic Fine Art Reproductions Indeterminate Hikes and the Necessity of Art Historical Analysis Concourse Meeting Room 404A Margaretta S. Frederick, Delaware Art Museum Leila Nadir, Wellesley College Paul B. Jaskot, DePaul University On the Matronage of Stereography and Its Ideological Exclusion from En Route and Past City Future: Making Places, Here and There, What Is a German Home? Interior Domestic Design and National Northern California Art Historians the History of Photography

Now and When SDAY Identity in the Third Reich Business Meeting Melody Davis, Sage College of Albany Ian Woodcock, University of Melbourne Despina Stratigakos, University at Buffalo, State University Concourse Meeting Room 404B Radical Photo Spaces: The Building Workers’ Unions Exhibition of New York (Berlin 1931) An Open Forum for Liberation Aesthetics Beyond Modernism’s Other: Nazi Art International Vanessa M. Rocco, Pratt Institute Concourse Meeting Room 409AB, Level 2 Keith Holz, Western Illinois University Thursday, February 23 Chair: Timothy Allen Jackson, Savannah College of Art and Design The German War Art Collection as a Challenge to Traditional 8:00–9:00 AM Mobile Spectatorship in Video/Film Installations

Art History Concourse Meeting Room 404B, Level 2 Activating History, Activating Asia: East Asian Art Practice Gregory Maertz, St. Johns University SPEAKOUT! CAA’s Strategic Plan for the Chairs: Ursula Anna Frohne, University of Cologne; West Hall Meeting Room 503, Level 2 Annual Conference and You Eric C. H. de Bruyn, University of Leiden Chair: Yong Soon Min, University of California, Irvine Discussant: Karen A. Fiss, California College of the Arts Concourse Meeting Room 402AB, Level 2 Video Environments and the Subjects of Modern Architecture Dappled China: Making Untamed Histories around the China Brand Larry Busbea, University of Arizona Meiling Cheng, University of Southern California The “Man” in Mannequin: Humankind on Display Concourse Meeting Room 408A, Level 2 Thursday, February 23 Spectators in Brackets: Joëlle Tuerlinckx’s Aqui Havia June 4 to July 1: Counter-Hegemonic Practices in Hong Kong Chairs: Jennifer Wagelie, Indiana University Art Museum; Historia-Cultura Agora 0 (2002) Steven Lam, Cooper Union 8:00 AM–NOON Bridget Cooks, University of California, Irvine Beatrice von Bismarck, Academy of Visual Arts Leipzig Debates on “The Political”: A Case Study in South Korea The Mannequin in Print: Private Interiors, Industrial Design, and Women’s Caucus for Art Multitude on Screen Young Min Moon, University of Massachusetts, Amherst Commercial Displays in Late-Nineteenth-Century France Business Meeting Annette Urban, Ruhr-Universität Bochum The Gendered Politics of Representation: The Rise and Fall of Young Anca I. Lasc, University of Southern California Santa Anita C Room, Lobby Level, Westin Bonaventure Performing Spectatorship Women’s Photography in Nineties Japan From Life: Histories of Modeling Mankind at the Smithsonian Sven Luettiken, University of Amsterdam Thomas O’Leary, University of California Gwyneira Isaac, Smithsonian Institution New Media at a Crossroads: Platform and Place at Documenta 11 The Activism, Dialogical Art, and Minjung Legacy in South Korea Thursday, February 23 Fragmented Bodies: Nostalgia and the South African Museum Kevin Hatch, Binghamton University, State University of New York after the 1980s: A Case Study of the Daechuri Artists and “Bushmen” Mannequins 9:30 AM–12:00 PM Deulsaramdeul, 2003–2007 Jessica Stephenson, Emory University and Kennesaw Soyang Park, Ontario College of Art and Design Centennial Session State University Arts Council of the African Studies Association Seeing Is Doing, Doing Is Teaching Theorizing the Body Encounters in Wax: Presence, Lifelikeness, and Colonial West Hall Meeting Room 515B, Level 2 PhD for Artists: Sense or Non-Sense? Part I Concourse Meeting Room 403B, Level 2 Representation in the Tropenmuseum, Amsterdam Chair: Michael Ned Holte Concourse Meeting Room 408B, Level 2 Chair: Jean M. Borgatti, Clark University Minou Schraven, Leiden University Chairs: John S. Powers, Cleveland Institute of Art; Bruce A. Barber, Medusa as “Seduction of Excess” Andrea Bowers, independent artist Nova Scotia College of Art and Design University Basia Sliwinska, independent scholar Charles Gaines, California Institute of the Arts From Camp to Visual Culture: Accounting for “Bad” Art A New Horizon: What Is on Offer for the Artist with a PhD? since the 1960s Body of Work: Stylization and Ambiguity in the Benin Simon Leung, University of California, Irvine Brad Buckley, University of Sydney Concourse Meeting Room 404A, Level 2 Plaque Corpus Yvonne Rainer, University of California, Irvine The Theory and Practice Dyad: A UK Perspective Chairs: Sandra Zalman, University of Houston; Rachel Middleman, Kathryn Wysocki Gunsch, New York University Liam Kelly, University of Ulster Utah State University Body Networks: Corporeality in Luba Art and Politics Doing Art/Criticism after Representation Artistic Research Formalized into Doctoral Programs Good Ideas Done Bad: Neil Jenney’s Bad Paintings Mary (Polly) Nooter Roberts, University of California, Los Angeles Concourse Meeting Room 403A, Level 2 Jan Kaila, Finnish Academy of Fine Arts Matthew Levy, Fashion Institute of Technology and Institute H(ai)rmeneutics Chair: renée carine hoogland, Wayne State University of Fine Arts, New York University Arts-Based Research as a Glass Box: Has It Been Practiced all Along? Shir Aloni Yaari, Courtauld Institute The Mirror and the Magic Lantern: Nan Goldin’s Challenge Rebecca Hackemann, University of the Arts London The Partial Rehabilitation of Popular Art Humorous Transformations into Abstraction: Layering Images to the Authority of Representation Michael Clapper, Franklin and Marshall College A Proactive Approach to Establishing a Studio Doctorate in Fine Art of Identity in the Art of Shahzia Sikander Sarah Ruddy, Wayne State University Virginia Maksymowicz, Franklin and Marshall College; Blaise Tobia, “Abject Bankruptcy” and “Academic Painting”: Photorealism Anneke Schulenberg, Radboud University, Nijmegen Affect and Appropriation: Deleuze, Guattari, and “Sensation Drexel University as Critical Scapegoat Reproducible to Infinity” Bridget Gilman, University of Michigan The Other Histories of Photography: The First One Christopher Tradowsky, St. Olaf College Women Artists and the Vulgarity of the Middle Hundred Years Susan Richmond, Georgia State University Concourse Meeting Room 408A, Level 2 Chair: Melody D. Davis, Sage College of Albany Selling Bad Art: Jeff Koons at Public Auctions Katya Kudriavtseva, Stetson University Seeing through Photography: Antoine Claudet’s 2, 4, 8, 12 and the Development of Binocular Vision Karen Hellman, J. Paul Getty Museum

38 college art association 100 February 22 –25, 2012 39 T

Experiencing Seeing: Knowledge and Affect in Contemporary The Alternative to the Alternative: Attitude-Driven Art Visual Culture Caucus ARTspace hur American Art Criticism Tony Labat, San Francisco Art Institute Ephemeral Visual Culture and the Making of Urban Space, Restaging the Readymade

Christa Noel Robbins, Cornell College Part I West Hall Meeting Room 515A, Level 2 sday Glittery and Costumed: Glitter Rock and the Performance of Concourse Meeting Room 405, Level 2 Chair: Nathaniel Stern, University of Wisconsin, Milwaukee The Pre-Postmodern Index: Reinterpreting the Meaning of Identity in Los Angeles ca. 1973 Chairs: Kevin D. Murphy, The Graduate Center, City University of What Has Been Kirsten Olds, University of Tulsa Restaging the Readymade New York; Sally O’Driscoll, Fairfield University Corey Dzenko, University of New Mexico Nicole Ridgway, University of Wisconsin, Milwaukee Watch Out for the Furniture: Bruce Conner Loves the Mutants Rewriting the Battles of Algiers: Ephemeral Tactics in the On the Existential Road: New Ontologies for Conceptual Art and the Cinthea Fiss, independent artist alwaysalreadymade City at War Embodied Experience of Technology Jon Cates, School of the Art Institute of Chicago “A Free-Form Climate”: Dadazines and Punk Zines in 1970s Sheila Crane, University of Virginia Charissa N. Terranova, University of Texas at Dallas San Francisco Readymade Biomatter: Art and Synthetic Biology Westernization, Ephemerality, and Postwar Egyptian Movie Posters Emily Hage, Saint Joseph’s University Jennifer Johung, University of Wisconsin, Milwaukee Kerr Houston, Maryland Institute College of Art Association for Latin American Art What Makes a Man Start Fires? Southern California Punk and Tout fait: Bergson, Time, and Choreographic Being-Made Photographic Practices in Latin America Read the Writing on the Wall: Murals, Newspapers, and the Public Politics of Immigration in Juan Capistran’s Minutemen Project Noyale Colin, Middlesex University West Hall Meeting Room 503, Level 2 Discourse of William Walker Rose Salseda, University of Texas at Austin Chairs: Anna Indych-López, City College of New York and Kymberly N. Pinder, School of the Art Institute of Chicago Rendezvous at the Unreadymade: Thing, Intent, Human The Graduate Center, City University of New York; Kennan Ferguson Let the Record Show: Queer Ephemera, Art, and Activism in Mercedes Trelles-Hernandez, University of Puerto Rico Stories between the Lines: Liminal Space in Precolumbian New York City, 1987–1995 and Colonial Latin American Images Between Drawing and Photography: Ramón Frade’s Construction Tara Burk, The Graduate Center, City University of New York Pop and Politics, Part I West Hall Meeting Room 511BC, Level 2 of Puerto Rican Identity Concourse Meeting Room 408B, Level 2 Chairs: Renee A. McGarry, The Graduate Center, City University Mercedes Trelles-Hernandez, University of Puerto Rico Chairs: Allison Unruh, independent scholar; Kalliopi Minioudaki, of New York; Ananda Cohen Suarez, The Graduate Center, Native American Surrealisms independent scholar Mathias Goeritz’s Photographic Operations: El Eco and Midcentury City University of New York, and Smith College Concourse Meeting Room 409AB, Level 2 Mexican Modernism in Le Musée Imaginaire Chairs: W. Jackson Rushing, University of Oklahoma; “Magic Art Reproducer”: Class and Reproduction in Family Ties and the Aztec Royal House: A Genealogy from the Jennifer Josten, Yale University Claudia Mesch, Arizona State University Warhol’s Superman Codex Mexicanus Anthony E. Grudin, University of Vermont Proof Positive: The Photographs of Argentina’s Disappeared Lori Boornazian Diel, Texas Christian University A Modernist Moment: Native Art and Surrealism at the as Objects of Subversion University of Oklahoma Tokyo as a Cold War Site: Jasper Johns’s Visit in 1964 Reading the Ancient Maya Body: How Deep Is Skin Deep? Marisa Lerer, The Graduate Center, City University of New York Mark Andrew White, Fred Jones Jr. Museum of Art, Hiroko Ikegami, Kobe University Catherine E. Burdick, independent scholar University of Oklahoma José Angel Toirac: Revolutionary Redux Pop Art in Dark Times: Masculinities and Mass Subjectivity in the Age Rites of Passage: Caves, Conversion, and Open Chapels of Stephanie Jill Schwartz, University College London “My World Is Surreal” of McCarthyism Early Colonial New Spain Charlotte Townsend-Gault, University of British Columbia Seth McCormick, Western Carolina University Nostalgic Photography as Critique in Contemporary Latin Rhonda Taube, Riverside City College American Art The Opposite of Snake Souvenirs for a Riot: Claes Oldenburg, Pop Art, and Chicago ‘68 Art between Two Caves: Cognition, Culture, and Caribbean Esther Gabara, Duke University Mary Modeen, University of Dundee, Scotland Tom Williams, Watkins College of Art, Design, and Film Speleothem Sculpture Reinaldo Morales, University of Central Arkansas Complexity and Contradiction in Native American Surrealism Political Pop or Anti-Pop? Axell, Chryssa Romanos, and Accumulation Robert Silberman, University of Minnesota Niki de Saint Phalle Liminal Objects and Spiritual Transition: Altar Cloths in Early Colonial Peru Concourse Meeting Room 404A, Level 2 Kalliopi Minioudaki, independent scholar Maya Stanfield-Mazzi, University of Florida Chairs: Nana Danielle Last, University of Virginia; Mark Cameron Historians of Islamic Art Association Boyd, Corcoran College of Art and Design Oleg Grabar’s Impact on the Practice and History of Art Art History Open Session Narrative in Gothic Art Contemporary Art and the Persistence of Plastic Concourse Meeting Room 402AB, Level 2 Deep Time: New Approaches to the Study of Ancient Art Concourse Meeting Room 407, Level 2 Amanda Boetzkes, Ohio State University Chair: Marianna Shreve Simpson, Historians of Islamic West Hall Meeting Room 501ABC, Level 2 Chair: Elizabeth Morrison, J. Paul Getty Museum Art Association Chair: Gregory Warden, Southern Methodist University Performing Labor Toward a Cultural Geography of Gothic Narrative Art Elise Richman, University of Puget Sound Border Problems: Oleg Grabar and Medieval Art in the Object-Generated Methodologies for Exploring Cross-Cultural Gerald Guest, John Carroll University Western Mediterranean Interaction in the Terracotta Figurines of Hellenistic Babylonia Tainted Goods: Isa Genzken and Rachel Harrison Narrative and Translation in New York Public Library Spencer Collection Lawrence Nees, University of Delaware Stephanie Langin-Hooper, Bowling Green State University Dan Adler, York University MS 22 and Related Manuscripts Domes of Heaven Reconsidered Race and Beauty in Ancient Greece: Aesthetics of Interpretation The Accumulative Atlas Julia Finch, University of Pittsburgh Nancy Steinhardt, University of Pennsylvania Ada Cohen, Dartmouth College Kate Palmer Albers, University of Arizona Visual Narrative and Penitential Prayer in the Tickhill Psalter The Work of Oleg Grabar as an Inspiration for Ritual Theory and the Interpretation of Ancient Greek Religious Art Who Is Afraid of Accumulation? Thomas Hirschhorn’s Exhibition Anne Rudloff Stanton, University of Missouri, Columbia Contemporary Visual Art Katie Rask, Ohio State University Swiss-Swiss Democracy Space and Narrative in Ambrogio Lorenzetti’s Scenes of the Life Philip Taaffe, independent artist Philip Ursprung, Swiss Federal Institute of Technology Zurich The Spatial Rhetoric of the Naples Philosopher Mosaic of Saint Nicholas Oleg Grabar in Conversation about Ornament with Alois Riegl, Tamara Durn, Case Western Reserve University Andrea Begel, Adelphi University E. H. Gombrich, and Me Punk Rock and Contemporary Art on the West Coast Visual Narrative in the Livre d’Eracles: Did a Formidable Gothic Tradition Margaret Olin, Yale University West Hall Meeting Room 502AB, Level 2 Shape Illuminations of Late-Medieval Examples? Chairs: Adam Lerner, Museum of Contemporary Art Denver; Discussant: Larry Silver, University of Pennsylvania Erin Donovan, University of Illinois and The Metropolitan Steven Wolf, independent curator Museum of Art

40 college art association 100 February 22 –25, 2012 41 T

Flights of Perception: Aerial Vision, Art, and Modernity CAA Student and Emerging Professionals Committee Have You Read the Specifics? Reading, Writing, and Research in hur Concourse Meeting Room 406AB, Level 2 What Makes a Competitive Candidate? Foundation Studio Classes. OMG! Thursday, February 23

Chair: Jason Weems, University of California, Riverside West Hall Meeting Room 501ABC, Level 2 Debra Malschick, Savannah College of Art and Design 12:30 PM–2:00 PM sday Chair: Steven Bleicher, Coastal Carolina University Synoptic Views: Constructing Orthogonal Plans of Paris What Students Already Read: Using Comics and Graphic Min Kyung Lee, Northwestern University and École des Hautes Scott Contreras-Koterbay, East Tennessee State University Novels within Foundations POSTER SESSIONS Études en Sciences Sociales Sara Dismukes, Troy University Concourse Foyer, Level 1, Los Angeles Convention Center Dennis Y. Ichiyama, Purdue University American Photography and the Russian Avant-Garde: Poster sessions are informal presentations for small groups Linda Neely, Lander University The View from Above Exhibitor Session displayed on poster boards by an individual. The poster dis- Myroslava M. Mudrak, Ohio State University Sam Yates, independent artist What Do You Want from an Ebook? play is usually a mixture of a brief narrative paper intermixed Concourse Meeting Room 407, Level 2 with illustrations, tables or graphs, and other presentation David Smith, the Aerial View, and Sculptural Abstraction Chairs: Patricia Fidler, Yale University Press; Michelle Komie, materials. With a few concisely written areas of focus, the Sarah Hamill, Oberlin College Association for Textual Scholarship in Art History Yale University Press poster display communicates the essence of the presenter’s Classicism, Idealism, and the Symbolist Avant-Garde “Beyond Direct Visual Experience”: Aerial Vision and the Emergence of research, synthesizing its main ideas and research direc- West Hall Meeting Room 511BC, Level 2 Elizabeth Childs, Washington University in St. Louis Conceptual Art in the Work of Douglas Huebler tions. Poster displays will be on view for the duration of the Chairs: Brendan Cole, Eton College; Rosina Neginsky, Larisa Dryansky, Centre National de la Recherche Scientifique and Aden Kumler, University of Chicago conference, beginning on Thursday morning. On Thursday University of Illinois, Springfield École Nationale Supérievre des Arts Décoratifs and Friday, from 12:30 to 2:00 PM, presenters will be avail- Scott Rothkopf, Whitney Museum of American Art Odilon Redon’s Transcendental Profiles of Light: Expressing the able at the Poster area. Andreas Gefeller’s Supervisions and the Fantasy of Aerial Vision Negative Poetics of Mallarmé through the Form of Fifteenth-Century Joshua Shannon, University of Maryland Isabel Taube, School of Visual Arts Florentine Portraits of Women Kristina Wilson, Clark University Where Kitsch Meets Custom: Recent Native American Cassandra Sciortino, University of California, Berkeley Architecture in Northern California Merging the Fork in the Road: Gustave Moreau’s Quest for Modernity Julia Alderson, Humboldt State University Thursday, February 23 Independent Curators International via the Language of the Past Curating and Education Reflecting Quetzalcoatl: Teaching Art and Social Change in 12:30 PM–2:00 PM Sarah Lippert, University of Michigan, Flint Concourse Meeting Room 405, Level 2 Middle Georgia Classicism, Idealism, and the Symbolist Landscape in Italy: Chairs: Chelsea Haines and Sofia Olascoaga, Independent Valerie Aranda, Georgia College; and Sandra Godwin, Presentation of CAA Awards of Distinction Toward Abstraction Curators International Georgia College West Hall Meeting Room 502AB, Level 2 Anna Mazzanti, Politecnico di Milano Fresco Hunting in Bulgaria Welcome and Introduction, Barbara Nesin, CAA President ARTspace Georgia Gene Berryhill, University of Maryland, Southeastern College Art Conference CAA Services to Artists Committee University College

Historicizing “the Local” in Contemporary Art [Meta] Mentors: Beyond Tenure—Taking It to the All at Once: Mark-Making, Writing, and the Ideation Process Association of Historians of Nineteenth-Century Art Concourse Meeting Room 408A, Level 2 Next Level Kristin Carlson, independent scholar Future Directions in Nineteenth-Century Art History Chairs: Jessica Dallow, University of Alabama, Birmingham; West Hall Meeting Room 515A, Level 2 Concourse Meeting Room 402AB, Level 2 Lucy Curzon, University of Alabama, Tuscaloosa Chairs: Reni Gower, Virginia Commonwealth University; Actively Teaching Artists Art Theory/Aesthetics Chair: Scott Allan, J. Paul Getty Museum Melissa Potter, Columbia College Chicago Kathleen Desmond, University of Central Missouri Regional Eccentricities: “The Ordinary” in Contemporary Photography Michelangelo as Model: Xavier Sigalon’s Copy of the Last Judgment Holly Markovitz Goldstein, Savannah College of Art and Design Artist as Administrator Visualizing Venice: Tracking Historical Change with Allan Doyle, Princeton University Tom Berding, Michigan State University New Technologies Represented by Earth: On Santiago Sierra’s Anthropometric Modules Alexandra Dodson and Erica Sherman, Duke University Ruskin’s Botticelli: Labyrinth and Grave Made from Human Faeces (2007) Artist as Independent Agent Jeremy Melius, Johns Hopkins University Craig Smith, University of Florida Virginia Derryberry, University of North Carolina, Asheville Looking at Greek Vases: Mobile Technology in Undergraduate Research and Education Reading from the Book of Gustave Doré: Religious Media and the An American Expat Making Art in Sana’a, Yemen Artist as Curator Mary C. Fournier, University of South Florida Shaping of Modernity Karla Freiheit, independent artist Reni Gower, Virginia Commonwealth University Sarah C. Schaefer, Columbia University Teaching Pranks Discussant: Lucy Curzon, University of Alabama, Tuscaloosa Artist as Advocate/Mentor Beauvais Lyons, University of Tennessee Amy Broderick, Florida Atlantic University The Object Game Historians of German and Central European Art and Architecture Foundations in Art: Theory and Education Artist as Producer Sheryl Oring, University of North Carolina, Greensboro; and Emerging Scholars Foundations in Literature: Developing a Culture of DeWitt Godfrey, Colgate University Edward Sterrett, University of California, San Diego Concourse Meeting Room 409AB, Level 2 Reading within the Art and Design Foundations Program Chair: Timothy O. Benson, Los Angeles County Museum of Art Concourse Meeting Room 404A, Level 2 Practicing Art in Public/Diversity Arts in Action Queer Caucus for Art: The Lesbian, Gay, Bisexual, and Chair: Sara Dismukes, Troy University Terry Plater, Cornell University Viva Durero! Albrecht Dürer and German Art in Nueva España Transgender Caucus for Art, Artists, and Historians Jennifer A. Morris, Princeton University Foundations in Literature: Creative Problem Solving Using Conversations on Affect and Archives Incorporating Research in the Studio: A Case Study of Faculty/ Edwin Abbott’s Flatland Concourse Meeting Room 403B, Level 2 Librarian Collaboration “Opium Rush”: Hans Makart, Richard Wagner, and the Aesthetic Greg Skaggs, Troy University Chairs: Tirza True Latimer, California College of the Arts; Shari Salisbury and Jane Lawrence, University of Texas at Environment in Ringstrasse Vienna Virginia Solomon, University of Southern California San Antonio Eric Anderson, Kendall College of Art and Design Exercises in Visual Imagination: Fiction as Departure Point in the Foundations Studio Julia Bryan-Wilson, University of California, Berkeley Architecture on Moscow Standard Time Lori Kent, Hunter College, City University of New York Richard Anderson, Columbia University Jeannine Tang, Courtauld Institute of Art Catherine Lord, University of California, Irvine

42 college art association 100 February 22 –25, 2012 43 T

Centennial Session CAA Committee on Diversity Practices Centennial Session hur Paying It Forward: Arts Mentorship and Transcending Compliance Models: Diversity in Theory CAA Distinguished Scholar Session Honoring LA RAW: Conversations on Art, Life, and Practice

Cross-Generational Dialogue and Practice Rosalind Krauss in Los Angeles sday West Hall Meeting Room 503, Level 2 Concourse Meeting Room 408B, Level 2 The Theoretical Turn West Hall Meeting Room 515B, Level 2 Chair: Richard Meyer, University of Southern California Chair: Jacqueline Taylor, University of Virginia West Hall Meeting Room 502AB, Level 2 Chair: Michael Duncan, independent curator Chair: Yve-Alain Bois, Institute for Advanced Study David Román, University of Southern California Camara Holloway, University of Delaware Carole Caroompus, Otis College of Art and Design Harry Cooper, National Gallery of Art Jaleel Mackey, University of Southern California Tina Takemoto, California College of the Arts Frohawk Two Feathers, independent artist Benjamin H. D. Buchloh, Harvard University Michael Ann Holly, Sterling and Francine Clark Art Institute Tobias Wofford, Johns Hopkins University Llyn Foulkes, independent artist Hal Foster, Princeton University Darby English, University of Chicago David Serlin, University of California, San Diego Stas Orlovski, Long Beach City College Ewa Lajer-Burcharth, Harvard University Ira Sachs, independent filmmaker T’ai Smith, Maryland Institute College of Art Charles Garabedian, independent artist Briony Fer, University College London Wu Tsang, independent artist John Sonsini, independent artist Visual Resources Association

Paint, Prints, and Pixels: Learning from the History of Northern California Art Historians Exceeding the Limits of Ancient Rome: New Studies Teaching with Images Jewish Art: Reevaluation, Recovery, Reclamation, Respect New Media Caucus in Early and Late Roman Art Concourse Meeting Room 403A, Level 2 West Hall Meeting Room 515B, Level 2 Magic and Media Concourse Meeting Room 405, Level 2 Chair: John Trendler, Scripps College Chair: Andrea Pappas, Santa Clara University West Hall Meeting Room 503, Level 2 Chairs: John North Hopkins, Rice University; Ashley Elizabeth Revisioning Art History: How a Century of Change in Imaging Chairs: Mina Cheon, Maryland Institute College of Art; Jones, Kunsthistorisches Institut in Florenz Sitting Pretty: The Rabbinical Subject and the Female Artist Technologies Helped to Shape a Discipline Lisa Paul Streitfeld, independent curator Maya Katz, Touro College Reconsidering the History of the Roman Arch: L. Stertinius Allan T. Kohl, Minneapolis College of Art and Design Endopsychic Genealogy in Dark City and the Monuments of the Middle Republic Homelessness, Hope, and “Homefulness” in Post-Postmodern Israeli Light Explorations: Teaching Nineteenth- to Twenty-First–Century Laurence A. Rickels, Academy of Fine Arts, Karlsruhe Anne Hrychuk Kontokosta, Pratt Institute Performance, Video, and Installation Arts Intersections of Photographic, Scientific, and Digital Technologies S. I. Salamensky, University of California, Los Angeles The Masked Magician: Enacting Archaic Desires Concepts of Materiality in the Early Use (and Reuse) of Marble Sheila Pinkel, Pomona College Sue Taylor, Portland State University in Mid- Republican Rome and Italy An Unprejudiced Stratum of Art History: Situating Jewish Art in Pictures of Art History: The Getty Research Institute’s Seth Bernard, University of Pennsylvania Early-Twentieth-Century German Discourses and Scholarship Today The Freak Show and Transformation in Michael Jackson’s Photo Study Collection Celka Straughn, Spencer Museum of Art Life and Work Bigger Is Better? Late Roman Painting and the Anne Blecksmith and Tracey Schuster, Getty Research Institute Rita Alves, independent artist Megalographic Tradition Discussant: Samantha Baskind, Cleveland State University New Challenges for a Digital Generation: An Information Literacy Susanna McFadden, Fordham University Trauma and the Internet Oracle Approach to Teaching Visual Literacy Evan Malater, independent scholar “Third Space”: Reconceptualizing Syncretism in the Art Historians Interested in Pedagogy and Technology Joanna Burgess, Reed College; Ann Medaille, University of Late Roman Near East Technology in the Art History Classroom: A Hands-On Nevada, Reno Karen Christina Britt, University of Louisville Learning Workshop Society of Architectural Historians Concourse Meeting Room 404B, Level 2 World Architecture and “Nonwestern” Stories Emblems of Power and the Changing Function of Art in the Chair: Sarah Jarmer Scott, Wagner College Thursday, February 23 West Hall Meeting Room 511BC, Level 2 Eastern Roman Empire Chair: Madhuri Desai, Pennsylvania State University Stephen D. Snyder, Fatih University Using Prezi 2:30 PM–5:00 PM Susan Healy, Metropolitan Community College The Elephanta Caves and the Romantic Imagination Niharika Dinkar, Boise State University Towards a Rock and Roll History of Contemporary Art VoiceThread Beyond the Oil Spill: Art and Ecology in the Americas Concourse Meeting Room 409AB, Level 2 Janice Lynn Robertson, Pratt Institute Concourse Meeting Room 408B, Level 2 Building Imperial Ethnographies in Late-Nineteenth-Century Chairs: Matthew Jesse Jackson, University of Chicago; Chairs: Florencia Bazzano-Nelson, Tulane University; Santiago Britain and France Getting Started Teaching Art History Online Robert Slifkin, Institute of Fine Arts, New York University Rueda Fajardo, independent scholar, Bogotá, Colombia Isabelle Flour, Université Paris 1 Panthéon Sorbonne Kelly Donahue-Wallace, University of North Texas The Sense of an Ending: Spiral Jetty and the Stones at Altamont Landscape Seen through the Eyes of Contemporary Art and Science Renaissance Architecture in Turkey: Rereading James Fergusson William Smith, Institute of Fine Arts, New York University Hugo Fortes, Universidade de São Paulo Sevil Enginsoy Ekinci, Middle East Technical University Association for Latin American Art “I Can’t Stand You”: The No Wave Makes the Art World Fractious Emerging Scholars of Latin American Art The Land, the Road, and the Freedom to Move On: Allegory vs. The Other Prison: Writing a Spatial History of Prisons in British India Sarah Evans, Northern Illinois University Concourse Meeting Room 406AB, Level 2 Documentary in Iracema, uma transa amazônica Mira Lynn Rai, University of California, Santa Barbara Chairs: Elena Shtromberg, University of Utah; Kim Richter, Erin Aldana, independent scholar, San Diego New Wavy Gravy: Raymond Pettibon and Hardcore Punk Water, Water, Everywhere: Charting New Courses for Getty Research Institute Cary Levine, University of North Carolina Environmental Crisis and Creative Response: Ala Plástica’s Architectural History Moche Marks of Distinction: Accessing Regionality and Interaction Magdalena Project Wayne Charney, Kansas State University Thus Spoke Hendrix: Hélio Oiticica’s Rock and Roll Turn through Moche Fine Line Painted Pottery Lisa Crossman, Tulane University Sergio Martins, University of London Discussant: Stephen Tobriner, University of California, Berkeley Ethan M. Cole, University of California, Los Angeles The Invisible Beginning: Imagining Trees in the Contemporary The Musician in the Garden: New Models of Display

The Lost Book of Paintings of José Antonio Aponte Urban Environment Prudence Peiffer, Columbia University Linda Rodriguez, Harvard University Gesche Würfel, Goldsmiths, University of London Remaking the Home: Media, Myth, and Maternity in Polvo de Gallina

Negra’s Mother for a Day Jamie L. Ratliff, University of Louisville

44 college art association 100 February 22 –25, 2012 45 T

The Engagement of Art and Architecture in Going Native: Victorian Portraits of Civilized Barbarity Crossing Disciplines: The Role of Precolumbian Art History Superdutch: Photography, Process, and the Internet-Polder hur Ritual Performance Julie Codell, Arizona State University and the Pursuit of Culture Jordan Tate, University of Cincinnati

Concourse Meeting Room 404A, Level 2 Concourse Meeting Room 407, Level 2 sday Second Rome or Seat of Savagery? The Case of Byzantium in Who Was Thomas Waterman Wood? Finding the Artist in the Art Chair: Carolyn M. Malone, University of Southern California Chairs: Ruth Anne Phillips, St. Mary’s College of Maryland; Nineteenth-Century European Imaginaries Jo-Ann Morgan, Western Illinois University Laura Amrhein, University of Arkansas, Little Rock Liturgy and the Five Senses in the Illustrations of the Cartulary of Maria Taroutina, Yale University The History of Mystery: Human Representation Sub Saint-Martin-du-Canigou Living Architecture at Chichen Itza: Using GIS, Urban Studies, Franz Kugler’s Handbuch der Kunstgeschichte: A Prussian View Specie Aeternitatis Eric Palazzo, Université de Poitiers and Phenomenology of Civilization and Its Others in 1842 Carol Ciarniello, independent artist Cynthia Kristan-Graham, Auburn University Cross and Book: Manuscript Space and the Material Cross in the Late Jeanne-Marie Musto, Fordham University Eighth Century Divining Order: Collecting and Classifying the Aztec Gods Historicizing Somaesthetics: Body–Mind Connections Beatrice Kitzinger, Harvard University Molly H. Bassett, Georgia State University Momentum: Women/Art/Technology in the Medieval and Early Modern Viewer Procession as Pilgrimage: The Ritual Topography of Tivoli’s Inchinata West Hall Meeting Room 501ABC, Level 2 Mixing Art with Science: Ancient American Art Illuminated by Concourse Meeting Room 404B, Level 2 and Transforming Conceptions of Urban Liturgical Performance in Chairs: Ferris Olin, Institute for Women and Art, Rutgers, The State Geology, Botany, Zoology, and Chemistry Chair: Allie Terry-Fritsch, Bowling Green State University Late Medieval Italy University of New Jersey; Muriel Magenta, Arizona State University Rebecca R. Stone, Emory University Sensing Devotion: Late Medieval and Early Modern Materializations Rebekah Perry, University of Pittsburgh Women/Art/Technology: Escalating the Dialogue Finding the Middle Ground within Loro Ceramics of the Crucified Christ Art and Architecture in Haitian Vodou Practice Muriel Magenta, Arizona State University Deborah Spivak, University of California, Santa Barbara Geraldine A. Johnson, University of Oxford Lisa Farrington, John Jay College, City University of New York Redefining Health through a Postcybernetic Aesthetic Unity in Diversity: Should Precolumbianists Cross Disciplines? The Body and the Book: Reading the Carrara Herbal Exorcism by Brush: Ritualizing Tomb Space in Middle-Period China Jennifer Hall, Massachusetts College of Art Laura Amrhein, University of Arkansas at Little Rock Sarah R. Kyle, University of Central Oklahoma Jeehee Hong, Syracuse University Cao-Fei: Empowering in Virtual Reality Art History’s New Coat: Trying It on for Size in Precolumbian Studies “Rush to the Embrace”: The Maulbronn Altarpiece and the Aileen June Wang, Penn State Erie, The Behrend College Ruth Anne Phillips, St. Mary’s College of Maryland Corporeal Limits of Vision CAA Services to Artists Committee David S. Areford, University of Massachusetts, Boston Digital Archives: Protecting the Future through the Past Speaking Out: A Public Forum for Artist Manifestos Lynn Hershman PhD for Artists: Sense or Nonsense? Part II Low Painting, Court Culture, and Bodily Pleasure in Renaissance Trent West Hall Meeting Room 515A, Level 2 Concourse Meeting Room 406AB, Level 2 Chriscinda Henry, Oberlin College Chair: Julia M. Morrisroe, University of Florida Queer Technologies, Viral Aesthetics, and Hypertrophic Chairs: John S. Powers, Cleveland Institute of Art; Bruce A. Barber, Transformation Fallen Fruit/Collaborative Understanding/Two Kinds of Public Nova Scotia College of Art and Design University Zach Blas, Duke University Historians of British Art David Burns, independent artist How to Qualify for This World, and Why? Future Directions in the History of British Art Victoria Vesna, University of California, Los Angeles Strategies: Moving Beyond the Confines of the Art World Hubertus von Ameluxen, Hochschule für Bildende Concourse Meeting Room 403B, Level 2 Kim Abeles, independent artist Discussant: Judith K. Brodsky, Institute for Women and Art, Rutgers, Künste, Braunschweig Chair: Peter Trippi, Fine Art Connoisseur Magazine and Projects in The State University of New Jersey 19th-Century Art, Inc. inside/outside/upside down/backwards Practice as Research: The Concentration in Art Practice at UCSD Buzz Spector, Washington University in St. Louis Grant Kester, University of California, San Diego Reconsidering John Gibson, Remolding British Sculpture Historians of German and Central European Art and Architecture Roberto C. Ferrari, The Graduate Center, City University of New York S.U.R.D.: A Manifesto for Abstract Painting, beyond the Research and Dissertation vs. Practice and Scholarship Picturing Urban Space in Central Europe since 1839 Death of Empathy Mathew Reichertz, Nova Scotia College of Art and Legal Thinking: The Rise of Eighteenth-Century British Art Concourse Meeting Room 403A, Level 2 Jeremy Diggle, University College Falmouth Design University Cristina S. Martinez, University of Toronto Chair: Miriam Paeslack, University at Buffalo, State University Why Touch Is Necessary in Real Time (or) Touch Me in Real Time of New York Do We Need What the Doctor Offers? Doing the Thing and the Thing Done: The Social World of the British Holly Hanessian, Florida State University Morgan T. Paine, Florida Gulf Coast University Sporting Print, 1750–1850 The Invisible City: Architectural Imagination and Cultural Identity Corey Piper, Virginia Museum of Fine Arts The End/Exhaustion of Modernism Represented in Competition Drawings from Sibiu 1880–1930 Approaching Terminus: Education as Capital Ron Janowich, University of Florida Timo Hagen, Ruprecht-Karls-Universität Heidelberg Tony Schwensen, School of Museum of Fine Arts Boston From the “Well-Laid Table” to the “Market Place”: The Architectural Association Unit System The Nature of “My Doggerel” Picturing the Nation: The Multifaceted Image of Hungary at the 1896 Irene Sunwoo, Princeton University Ulysses Jenkins, University of California, Irvine Millennium Exhibition in Budapest No Talking Allowed: Making a Visual Argument about Miklós Székely, Ludwig Museum, Museum of Contemporary Art History Art within Reach: The Popular Origins of Art History in Manifesto as Paradigm Production Art, Budapest Concourse Meeting Room 408A, Level 2 Victorian Britain Iain Kerr Chairs: Jean Robertson, Indiana University; Craig McDaniel, Amy M. Von Lintel, West Texas A&M University Architecture, Monuments, and the Politics of Space in Kolozsvár/Cluj Indiana University Paul Stirton, Bard Graduate Center: Decorative Arts, Design History, Discussant: Kimberly Rhodes, Drew University Association of Historians of Nineteenth-Century Art Material Culture Degas and Italy: A Pictorial Exegesis Civilization and Its Others in Nineteenth-Century Art, Part I Claire L. Kovacs, Coe College Concourse Meeting Room 402AB, Level 2 Urban Space as a Visual-Haptic Experience: Stereoscopic Views of Chair: David Joseph O’Brien, University of Illinois German Cities, 1880–1910 Dubai Referents Douglas Klahr, University of Texas at Arlington Julia Townsend, American University in Dubai Theism and the Civilizing Process in James Barry’s Society of Arts Murals Picturing Contested Space and Subjectivity in the Urban Milieus of The Political Ecology of Energy Consumption: An Official Guide Daniel Guernsey, Florida International University Budapest and Vienna Matthew Friday, State University of New York at New Paltz Dorothy Barenscott, Simon Fraser University Civilizing Rome: Anglo-American Artists and the Colonial Encounter Overlooked Sites of Neoconcretism: The Newsroom, the Dance Floor, Melissa Dabakis, Kenyon College and the Flooded Underground Simone Osthoff, Pennsylvania State University

46 college art association 100 February 22 –25, 2012 47 T

Thursday, February 23 National Endowment for the Humanities Friday, February 24 Epistemological Possibilities of American Art History: Modern hur National Endowment for the Humanities and Contemporary Korean American Art 5:30–7:00 PM 7:30–9:00 AM Funding Opportunities Eun Jung Park Smith, University of California, San Diego FRI sday, Concourse Meeting Room 406AB, Level 2 Coalition of Women in the Arts Organization Community College Professors of Art and Art History The Writing on the Wall: A Contemporary Art Project between Chair: Danielle Shapiro, National Endowment for the Humanities Asian American Women Artists: A Postmodern Perspective Balancing Demands of Transfer and Art Education in the Middle East and Australia West Hall Meeting Room 511BC, Level 2 Linda Komaroff, Los Angeles County Museum of Art Studio and Art History Darryn Ansted, Curtin University

Chairs: Kyra Belán, Coalition of Women in the Arts Organization; West Hall Meeting Room 511BC, Level 2 DAY Trying to See Eye-to-Eye, from Ethiopia to California Linda Inson Choy, independent curator Chair: Walter Meyer, Santa Monica College Public Art Dialogue Michel Oren, independent curator R(Evolution) Public Art in the Virtual Sphere Brian Seymour, Community College of Philadelphia Confrontations in Projecting African Art and Artists in the Art World Kay Kang, independent artist West Hall Meeting Room 501ABC, Level 2 Monica Hahn, Community College of Philadelphia Richmond Teye Ackam, Kwame Nkrumah University of Science Chairs: Mary M. Tinti, deCordova Sculpture Park and Museum; The Art of Being Asian: Art and Politics of Asian American and Technology John Craig Freeman, Emerson College Women Artists Now Getty Research Institute Linda Inson Choy, independent curator John Craig Freeman, Emerson College A Portal for Digitized Art-Historical Texts: Unified Access Visual Culture and Mathematics in the Early Modern Period, Part I Cultural Surrealism as a Platform for Feminist Activism Christiane Paul, The New School to the Early Literature of Art History Concourse Meeting Room 404B, Level 2 Cynthia Tom, independent artist Concourse Meeting Room 403B, Level 2 Ben Rubin, EAR Studio Chairs: Kathleen Salomon and Joseph Shubitowiski, Chair: Ingrid Alexander-Skipnes, independent scholar, Freiburg Getty Research Institute Artful Arithmetic: Barthel Beham’s Rechner and the Mid America College Art Association Critical Craft Forum Dilemma of Accuracy What Is Conceptual Thinking? What Is Contemporary about Craft? American Society for Hispanic Art Historical Studies Jessica Buskirk, Technical University Dresden West Hall Meeting Room 503, Level 2 Concourse Meeting Room 408A, Level 2 Business Meeting Chair: Steven Bleicher, Coastal Carolina University Giuseppe Porta Salviati: The Artist as Mathematician or the Chairs: Namita Gupta Wiggers, Museum of Contemporary Craft; Concourse Meeting Room 404A Mathematician as Artist? Applying Relevancy Elizabeth Agro, Philadelphia Museum of Art Blake de Maria, Santa Clara University Barbara Bergstrom, University of Arizona Historians of British Art Ezra Shales, New York State College of Ceramics at Alfred University Business Meeting “A Line is Produc’d by the Motion of a Point”: Euclid’s Elements Crisis to Concept: Developing Conceptual Thinking Elissa Auther, University of Colorado Concourse Meeting Room 404B in the Seventeenth Century Jane Venes, Iowa State University Caroline O. Fowler, Princeton University Glenn Adamson, Victoria and Albert Museum Why Figure Painting? Italian Art Society The Geometric Spirit in the Artist’s Studio: Bosse, Pascal, and the Margi Weir, Wayne State University Jenni Sorkin, University of Houston Business Meeting Question of Theory in the Académie de Peinture et Sculpture Concourse Meeting Room 406AB Damian Skinner, independent art historian and curator in the 1650s Creative Capital Foundation Tatiana Senkevitch, Cornell University Julia Bryan-Wilson, University of California, Berkeley National Committee on the History of Art Grant Recipients Business Meeting Concourse Meeting Room 403A, Level 2 Concourse Meeting Room 407 Women’s Caucus for Art Chair: Sean Elwood, Creative Capital Foundation Art Historians Interested in Pedagogy and Technology Multiplicities in Dialogue: From Political Caucus to Business Meeting Engaged Community Concourse Meeting Room 404B International Association of Art Critics Friday, February 24 Concourse Meeting Room 403B, Level 2 Art Criticism and Small Independent Magazines Chairs: Tanya Augsburg, San Francisco State University; Association of Historians of Nineteenth-Century Art 8:00–9:00 AM Concourse Meeting Room 409AB, Level 2 Deborah Thomas, Glendale College Business Meeting Chair: Josephine Gear, New York University Concourse Meeting Room 402AB SPEAKOUT! CAA’s Strategic Plan and Retirement Planning Forty Years of WCA: Celebrating History, Introducing the Phong Bui, The Brooklyn Rail Concourse Meeting Room 402AB, Level 2 Session Dialogists Latino Art Caucus Tanya Augsburg, San Francisco State University Anjali Gupta, Art Lies Business Meeting Elizabeth Stephens, University of California, Santa Cruz Robby Herbst, The Journal of Aesthetics and Protest Concourse Meeting Room 408B, Level 2 Friday, February 24 Annie Sprinkle, independent artist and scholar 9:30 AM–12:00 PM Leonardo Education and Art Forum Karen Frostig, Lesley University Association for Critical Race Art History Business Meeting CAA International Committee Writing Art Histories of Los Angeles Concourse Meeting Room 404A Yueh-mei Cheng, Finlandia University Concourse Meeting Room 405, Level 2 Confrontation in Global Art History: Past/Present; Pride/ Prejudice Surrounding Art and Artists Judith Baca, University of California, Los Angeles Chair: Kellie Jones, Columbia University Queer Caucus for Art: The Lesbian, Gay, Bisexual, and Transgender Concourse Meeting Room 402AB, Level 2, Cathy Salser, A Window Between Worlds Naima Keith, Studio Museum in Harlem Caucus for Art, Artists, and Historians Chair: Richmond Teye Ackam, Kwame Nkrumah University of Business Meeting Jenny Yoo, DIY Grad School Karin Higa, Japanese American National Museum Science and Technology Concourse Meeting Room 403B Dena Muller, ArtTable C. Ian White, independent artist Unintentional Categorization of Marginalized Artists in an Effort to Increase Public Awareness Carol Wells, Center for the Study of Political Graphics Roberto Tejada, Southern Methodist University Ayako Yoshida, independent curator Julie Orser, University of California, Los Angeles Rebecca Peabody, Getty Research Institute The Marginalized Art under the Brazilian Dictatorship Deborah Thomas, Glendale College and Pasadena City College Tatiane de Oliveira Elias, Stuttgart State Academy of Art Priscilla Otani, independent artist and Design

48 college art association 100 February 22 –25, 2012 49 FRI The Modern Gesamtkunstwerk FLAWED + FEMME + IN + (VISIBLE) = Abstracting Queerness Space, Seam, Scenario: The Many Operations of the Museum Label Sigmar Polke: (Art) History of Everything? West Hall Meeting Room 511BC, Level 2 Syniva Whitney, independent artist Laura H. Hollengreen, Georgia Institute of Technology West Hall Meeting Room 502A, Level 2 DAY Chairs: Juliet Bellow, American University; Jenny Anger, Chairs: Marcelle Polednik, Museum of Contemporary Art, Homo Home: Queer Identity and the Domestic Sphere “Countercheck Your Crude Impressions”: Interpretive Texts at the Grinnell College Jacksonville; Charles W. Haxthausen, Williams College Garth Amundson, Western Washington University; Museum of Fine Arts, Boston, 1872–1912 From Art to Artlessness: Richard Riemerschmid’s Transformation Pierre Gour, independent artist Kim Beil, University of California, Irvine “We Petty Bourgeois!” The Post-Pop of Polke and Co. of Gesamtkunstwerk to Alltagskunst Petra Lange-Berndt, University College London Leave Them Unconnected Nazi Wall Text: The 1937 Degenerate Art Show Freyja Hartzell, Yale University Andrew Campbell, University of Texas at Austin Kate Green, University of Texas at Austin Sigmar Polke’s Hot Cold War Dots Métachorie as Gesamtkunstwerk: Valentine de Saint-Point Rachel Jans, University of Chicago A Critical Embodiment of Queer Substitutes “Holy Rollers” and the Dual Nature of Labeling and Futurist Dance Jane Chin Davidson, University of Houston, Clear Lake Leo G. Mazow, University of Arkansas, Fayetteville Sigmar Polke’s Bernstein/Amber Series Alison W. Chang, University of Pennsylvania Faya Causey, National Gallery of Art, Washington, DC Warning: Explicit Display in Museums Matisse’s Decoration as Total Artwork Tourism (and) Culture, Part I Jennifer Tyburczy, Rice University Polke as Public Figure John Klein, Washington University in St. Louis West Hall Meeting Room 501ABC, Level 2 Gregory H. Williams, Boston University

The Global Gesamtkunstwerk Chair: Laurie Beth Clark, University of Wisconsin Centennial Session History in the Making: The Watchtower Series and Photography Matthew Biro, University of Michigan Reciprocal Views: Community-Based Art, Tourism, and the Yesterday, Today, and Tomorrow: CAA Town Hall Meeting Marcelle Polednik, Museum of Contemporary Art, Jacksonville Discussant: Juliet Koss, Scripps College Globalization of Rio de Janeiro’s Informal Housing Settlements West Hall Meeting Room 515B, Level 2 Discussant: Charles W. Haxthausen, Williams College Melissa Geppert, Southern Oregon University Chairs: Margaret Lazzari, University of Southern California

Breaking Laws in the Name of Art: New Perspectives on Seeing Patzcuaro, Imagining Mexico: Art, Tourism, and the Live Forever: Performance Art in the Changing Contemporary Latin American Art Reintegration of Postrevolutionary Mexico Finish Fetish Sculpture from Los Angeles 1960s–1970s: Museum Culture Concourse Meeting Room 408A, Level 2 Jennifer Jolly, Ithaca College Conservation Dilemmas West Hall Meeting Room 503, Level 2 Chair: Estrellita B. Brodsky, independent scholar and curator Concourse Meeting Room 406AB, Level 2 Cultural Capital: Selling Havana as a Tourist Destination in the 1950s Chairs: Sandra Skurvida, Fashion Institute of Technology, State Chair: Tom Learner, Getty Conservation Institute Brazilian Art in the 1960s and 1970s: An “Aesthetics of the Margins”? Erica Morawski, University of Illinois, Chicago University of New York; Jovana Stokic, independent scholar Claudia Calirman, John Jay College, City University of New York Light, Space, Surface: Poetics and Practicalities in the Display of Finish Mapping a Landscape of African American Travel, 1944–1964: Variations on an Audience Fetish Works of the 1960s and 1970s Something Old, Something New, Something “Borrowed”: William Invisibility, Mobility, and Autonomy Pablo Helguera, Museum of Modern Art, New York Robin Clark, Museum of Contemporary Art San Diego Cordova’s Laberintos (after Octavio Paz) and the Machu Picchu Jennifer Reut, National Museum of African American History and Immigrant Movement International: The Artist Is Working Artifacts at Yale Culture, Smithsonian Institute Light and Space: Specialty Shop and Hi-Tech Tania Bruguera, Immigrant Movement International Jennifer King, Princeton University Andrew Perchuk, Getty Research Institute Art, Tourism, and the Spectacle of the Southwest: Visually Enchanting Immortality as Aesthetics: Cryonic Suspension in a Performative Mode Censored: Tania Bruguera’s Radical Political Artistic Practice the Land of Enchantment The Real and Reflected Self: Finish Fetish and the Alter Ego Abou Farman, The Graduate Center, City University of New York Beth Rosenblum, University of California, Los Angeles Joy Sperling, Denison University Monica Steinberg, The Graduate Center, City University of New York Kathy Battista, Sotheby’s Institute of Art A-153167 and Regina Galindo: Radical Performance Art in Guatemala Discussant: Michael Peterson, University of Wisconsin Idurre Alonso, Museum of Latin American Art The Intersection of Art, Industry, and Craftsmanship: Exploring Criteria

for the Conservation of Finish Fetish Works of Art ARTspace Discussant: Coco Fusco, Parsons The New School for Design Centennial Session Rachel Rivenc, Getty Conservation Institute Out of Rubble Women, Surrealism, California, and Beyond West Hall Meeting Room 515A, Level 2 Bing Theater, Plaza Level, Bing Center, Los Angeles Time Central The Lens of Authenticity: Strategies for Retaining Evidence of Original Chairs: Susanne Slavick, Carnegie Mellon University; elin o’Hara Ephemeral Cinema: Film and the Other Arts Court entrance, East, Los Angeles County Museum of Art Fabrication While Conserving Finish Fetish Objects slavick, University of North Carolina, Chapel Hill Concourse Meeting Room 409AB, Level 2 Chair: Ilene Susan Fort, Los Angeles County Museum of Art John Griswold, Griswold Conservation Associates, LLC Chair: Kaira Cabañas, Columbia University Sorting through Rubble: Collage for the Subject of War Dawn Ades, University of Essex and Getty Institute Lisa Wainwright, School of the Art Institute of Chicago Fractured Film: Wallace Berman’s Disappearing Movie Design Education 2.0: Teaching in a Techno-Cultural Reality Lucy Bradnock, Getty Research Institute Whitney Chadwick, San Francisco State University Concourse Meeting Room 404A, Level 2 “And Now, over Germany, the Derelict Day Is Resumed”: British “What Doesn’t Exist Is Important”: Jack Smith’s Aesthetic of Deferral Tere Arcq, Museo de Arte Moderno, Mexico City Chair: Ashley John Pigford, University of Delaware and German Experiences 1945–1950 Veronica Davies, The Open University and University of Jacob Proctor, Aspen Art Museum Katherine Conley, Dartmouth College Coding for Interaction: A Survey of Current Tools for Designers East London and Makers “Invisible Adversaries” and the Remediation of Ephemeral Cinema Michael Taylor, Philadelphia Museum of Art Jennifer Stob, Colgate University Gwyan Rhabyt, California State University, East Bay Representing the Unrepresentable: The Photography of Nuclear Maria Elena Buszek, University of Colorado, Denver Affliction in Postwar Japan A Case Study on Interactive and Time-Based Design from Doha, Film as Model: On Superstudio’s Supersurface Claude Baillargeon, Oakland University Craig Buckley, Columbia University Cortney Andrews, independent artist Qatar: Exploring New Methods for Teaching Technology-Centric Courses in Graphic Design War Culture

Michael Hersrud and Levi Hammet, Virginia Commonwealth Kerry Oliver-Smith, Harn Museum of Art, University of Florida Queer Caucus for Art: The Lesbian, Gay, Bisexual, and Association of Art Museum Curators University in Qatar Transgender Caucus for Art, Artists, and Historians “Your Labels Make Me Feel Stupid”: Museum Labels as Keeping the Wound Open: The Paradox of Whitewashing Ruins Flagging: Aesthetic Tactics and Queer Signification Art- Historical Practice [R]evolution of a Program: Repositioning the Graphic and Media Kira van Lil, University of Colorado, Boulder Concourse Meeting Room 407, Level 2 Concourse Meeting Room 405, Level 2 Design Program at the Sage College of Albany

Chair: Anna Campbell, Grand Valley State University Chairs: Cody Hartley, Museum of Fine Arts, Boston; Sean Hovendick, Sage College of Albany Kevin M. Murphy, Crystal Bridges Museum of American Art Impersonating History: David Wojnarowicz’s Arthur Rimbaud in Collaborative Design Experience with Kinetic Sculpture New York, 1978–1979 Paul Stout and Erik Brunvand, University of Utah Jenevive Nykolak, University of Rochester

50 college art association 100 February 22 –25, 2012 51 FRI How Many Billboards? Contemporary Art and the Public Sphere Friday, February 24 ARTspace Concourse Meeting Room 408B, Level 2 CAA Services to Artists Committee DAY 12:30 PM–2:00 PM Friday, February 24 Chairs: Gloria Sutton, Northeastern University; Nizan Shaked, [Meta] Mentors: Artists and Industry California State University, Long Beach West Hall Meeting Room 515A, Level 2 12:30 PM–2:00 PM American Council for Southern Asian Art Chairs: Reni Gower, Virginia Commonwealth University; I-140 and Methods of Escape Intersecting Technologies and Publics: Circulation, Viewership, Vesna Pavlovic, Vanderbilt University POSTER SESSIONS Dee Hibbert-Jones, University of California, Santa Cruz and Access in South Asian Photography Concourse Foyer, Level 1, Los Angeles Convention Center Concourse Meeting Room 405, Level 2 Sculptural Effects and Fabrication for the Motion Picture Industry Artangel and the Changing Mediascape of Public Art in the UK: Chair: Gianna Michele Carotenuto, University of Washington Kirk Starbird, independent artist Poster sessions are informal presentations for small groups From Billboards to Broadcast Media and Beyond displayed on poster boards by an individual. The poster dis- Maeve Connolly, Bauhaus-Universität Weimar Photography of Desire: Politics of Representation and Circulation in John Michael Kohler Art Center: Arts/Industry Residency play is usually a mixture of a brief narrative paper intermixed Abbas Ali’s Nineteenth-Century Colonial Albums Sue Johnson, St. Mary’s College of Maryland Speech in the City with illustrations, tables or graphs, and other presentation Zainab Cheema, University of California, Irvine Kimberli Meyer, MAK Center for Art and Architecture MAK Center for Art and Architecture at the Schindler House materials. With a few concisely written areas of focus, the Opium Subjects: Photography and the Visual Public Sphere in Residence Program poster display communicates the essence of the presenter’s Sereno Late-Nineteenth-Century India Kimberli Meyer, MAK Center for Art and Architecture at the research, synthesizing its main ideas and research direc- Christina Fernandez, Cerritos College Hope Childers, Alfred University Schindler House tions. Poster displays will be on view for the duration of the Discussant: Ken Gonzales-Day, Scripps College conference, beginning on Thursday morning. On Thursday The People of India: Beyond the Binding Interactive Web for Digital Agencies and Friday, from 12:30 to 2:00 PM, presenters will be avail- Jessa Farquhar, University of California, Los Angeles Andre Yi, independent artist able at the Poster area. Radical Art Caucus Discussant: Gianna Michele Carotenuto, University of Washington Documentary Photography/Online Book Production Politics of the Panoramic: Spectacle, Surveillance, Resistance Dan Milnor, independent artist West Hall Meeting Room 502B, Level 2 Where Kitsch Meets Custom: Recent Native American Chair: Alan Wallach, The College of William and Mary Exhibitor Session Architecture in Northern California How to Get Published and How to Get Read: (Arts) Journals CAA Publications Committee Julia Alderson, Humboldt State University The Distant Present: Panoramas, Benjamin, and History in the Digital Age Art Criticism Frederick Bohrer, Hood College Reflecting Quetzalcoatl: Teaching Art and Social Change in Concourse Meeting Room 404B, Level 2 Concourse Meeting Room 403A, Level 2 Middle Georgia “A Complete Illusion”: Nineteenth-Century Battle Panoramas and Chair: Loren Diclaudio, Routledge, Taylor & Francis Group Chairs: Randall C. Griffin, Southern Methodist University; Valerie Aranda, Georgia College; and Sandra Godwin, Technologies of Totalizing Vision Anthony Elms, independent curator Georgia College Katie Hornstein, University of Michigan Art Historians of Southern California Saul Ostrow, Cleveland Institute of Art Fresco Hunting in Bulgaria Character Witnessing and Urban Surveillance: “Weegee the Famous” The State of the Discipline Michael Corris, Southern Methodist University Georgia Gene Berryhill, University of Maryland, in the Naked City West Hall Meeting Room 501ABC, Level 2 University College Catherine Zuromskis, University of New Mexico Chairs: Sandra Esslinger, Mt. San Antonio College; Deana Hight, Amanda Beech, University of Kent Mt. San Antonio College All at Once: Mark-Making, Writing, and the Ideation Process Virtual Panopticons: The Ethics of Observation in the Digital Age Kristin Carlson, independent scholar Johanna Gosse, Bryn Mawr College Rebooting Artistry and Its History, Theory, and Criticism CAA Museum Committee Donald Preziosi, University of California, Los Angeles Curators in the Spotlight: Dealing with Controversy and the Actively Teaching Artists Art Theory/Aesthetics Panoramas, Visual Persuasion, and Video Games Unexpected in Developing and Presenting Recent Exhibitions Kathleen Desmond, University of Central Missouri Annabel Wharton, Duke University A Labyrinth without a Thread: Decreating Art History Concourse Meeting Room 409AB, Level 2 Jae Emerling, University of North Carolina, Charlotte Visualizing Venice: Tracking Historical Change with Chairs: Holly Rachel Harrison, Los Angeles County Museum of Art; Black Venus: They Called Her “Hottentot” New Technologies Has Visual Studies Come of Age? Nancy Mowll Mathews, Williams College Museum of Art Concourse Meeting Room 403A, Level 2 Alexandra Dodson and Erica Sherman, Duke University Bridget R. Cooks, University of California, Irvine Chair: Deborah Willis, New York University Art, Politics, and Hitler’s Early Years in Vienna: Thoughts on Looking at Greek Vases: Mobile Technology in Undergraduate a Controversy The Baartman Diaries Research and Education Exhibitor Session Deborah M. Rothschild, Williams College Museum of Art Fo Wilson, Columbia College Chicago Mary C. Fournier, University of South Florida New Media and the Revival of Traditional Media Croatia Rising: Repackaging Cultural Patrimony Historic Retrievals: Confronting Visual Evidence and the Concourse Meeting Room 404A, Level 2 Teaching Pranks Laurel Reed Pavic, Oregon College of Art and Craft Imaging of Truth Chair: Mark Gottsegen, Art Materials Information and Beauvais Lyons, University of Tennessee Lisa Gail Collins, Vassar College Education Network From Local to Global: How a Small College Art Gallery Landed The Object Game on the World Stage A.K.A. Saartjie: The Hottentot Venus in Context Beth Bergman, National Art Materials Trade Association Sheryl Oring, University of North Carolina, Greensboro; and Leonie Bradbury, Montserrat College of Art Kellie Jones, Columbia University Edward Sterrett, University of California, San Diego George O’Hanlon, Natural Pigments

Cinderella Tours Europe Practicing Art in Public/Diversity Arts in Action Richard Frumess, R&F Handmade Prints Cheryl Finley, Cornell University National Council of Art Administrators Terry Plater, Cornell University Hot Problems/Cool Solutions in Arts Leadership Scott Gellatly, Gamblin Artists Colors Incorporating Research in the Studio: A Case Study of Faculty/ Virtual Baartman: Visualizing Saartjie Baartman in Second Life West Hall Meeting Room 503, Level 2 Librarian Collaboration Kalia Brooks, Museum of the African Diaspora Chair: Jim Hopfensperger, Western Michigan University Shari Salisbury and Jane Lawrence, University of Texas at The Hottentot Venus in Canada: Modernism, Censorship, and the Sergio Soave, Ohio State University San Antonio Racial Limits of Female Sexuality Charmaine Nelson, McGill University Jim Hopfensperger, Western Michigan University Sarah Baartman in Context Carla Williams, Rochester Institute of Technology

52 college art association 100 February 22 –25, 2012 53 FRI Association for Modern and Contemporary Art of the Arab World, Women’s Caucus for Art After-Images of Erasmus: The Humanist Portrait in Early Sixteenth- Making Awful Music Together: The Jam Sessions of Asger Iran, and Turkey Irregular Experiences: Multigenerational Stories of Feminists Century Netherlands Jorn and Jean Dubuffet DAY Artists in Times of War and Revolution in Art, Forty Years of the Women’s Caucus for Art Marisa Anne Bass, Columbia University Sarah K. Rich, Pennsylvania State University Concourse Meeting Room 408B, Level 2 Concourse Meeting Room 403B, Level 2 “A Rather Engaging Gaucherie”: Gerrit van Honthorst’s Portrait “There Really Is No Substitute for Participation!” The Chair: Pamela Karimi, University of Massachusetts, Dartmouth Chairs: Diane Burko, independent artist, Philadelphia Historié of King Charles I and His Wife Queen Henrietta Maria as Techno-Geographies of GRAV Wafaa Bilal, New York University Judith K. Brodsky, Institute for Women and Art, Rutgers, Apollo and Diana Ágnes Berecz, Pratt Institute The State University of New Jersey Sheila D. Muller, University of Utah Salwa Mikdadi, Emirates Foundation Les Orgues de Flandre and the Limits of Architecture Dail Chambers, Yeyo Arts Collective The Cuyp Workshop and the Construction of Social Identity Sean Weiss, Baruch College and The Graduate Center, Nada Shabout, University of North Texas in Dordrecht City University of New York Ann Sutherland Harris, University of Pittsburgh Sandra Skurvida, Fashion Institute of Technology, State University John Loughman, University College Dublin Été ‘70: The Plein-Air Exhibitions of Supports-Surfaces of New York Anu Sud Hittle, Washington University in St. Louis Rosemary O’Neill, Parsons, The New School for Design Niku Kashef, California State University, Northridge Concerning the Spiritual in Art: Kandinsky’s Elles Voient Rouge: Women’s Art in France Before and After ‘68 Association of Historians of American Art Radical Work at 100 Muriel Magenta, Arizona State University Rakhee Balaram, Jawaharlal Nehru University Ideology, Industry, and Instinct: The Art of Labor Concourse Meeting Room 408A, Level 2 Concourse Meeting Room 402AB, Level 2 Chairs: Susan J. Baker, University of Houston, Downtown; Chairs: Wendy Katz, University of Nebraska, Lincoln; Brandon K. American Institute of Graphic Arts Valerie Hedquist, University of Montana Is It Time to Question the “Privileging” of Visual Art? Ruud, Sheldon Museum of Art Business Meeting Concourse Meeting Room 409AB, Level 2 Wassily Kandinsky and the Ether of Space as the Meta-Reality and West Hall Meeting Room 502A Chairs: Greta Berman, The Juilliard School; Ellen K. Levy, Graphic Consciousness: The Visual Culture and Institutions of the Medium of Modernism independent artist, New York Industrial Labor Movement at Midcentury Linda Dalrymple Henderson, University of Texas at Austin Community College Professors of Art and Art History John Ott, James Madison University What Has Happened to the “Peak Shift” Theory and Other Related Business Meeting The Politics of “the Spiritual in Art” in Russia Ideas about Art? A Conversation with Elizabeth Laura Seckel Ad Reinhardt: Mystic or Materialist? Priest or Proletariat? West Hall Meeting Room 511BC Sarah Warren, Purchase College, State University of New York Greta Berman, The Juilliard School; Elizabeth Laura Seckel, Annika Marie, Columbia College Chicago Wassily Kandinsky’s Affective Formalism University of California, San Diego Diasporic Asian Art Network Local and Collective: Sharon Lockhart’s Lunch Break in Maine Todd Cronan, Emory University Business Meeting A Conversation about Ocular Centricity Beth Finch, Colby College Museum of Art Concourse Meeting Room 407 The Problem of Life and the Problem of Positivism: Kandinsky, Ellen K. Levy, independent artist, New York; Anjan Chatterjee, Nietzsche, and Wittgenstein on Art and Science University of Pennsylvania Italian Art Society Public Art Dialogue Michael R. Smith, Institute for Doctoral Studies in the Visual Arts An Interview with John Onians Urbanism in Italy: From the Roman City to the Modern Age Business Meeting Discussant: Riccardo Marchi, University of South Florida Carl Schoonover, Columbia University; John Onians, Concourse Meeting Room 406AB, Level 2 West Hall Meeting Room 502B University of East Anglia, Norwich Chairs: Areli Marina, University of Illinois, Urbana-Champaign; Phillip Earenfight, Dickinson College Centennial Session Brain Music Friday, February 24 The Eye, the Hand, the Mind: Revelations David Rosenboom, California Institute of the Arts Off the Grid: Urban Armatures and Traffic Jams in Ancient Rome West Hall Meeting Room 515B, Level 2 Diane Favro, University of California, Los Angeles 2:30 PM–5:00 PM Sniffing Booth Chair: Susan Ball, New York Foundation for the Arts Siddharth Ramakrishnan, Columbia University Brick Architecture and Political Strategy in Early Modern Siena Judith K. Brodsky, Institute for Women and Art, Rutgers, The State Max Grossman, University of Texas at El Paso ARTspace University of New Jersey Flying Solo: The Opportunities and Challenges Presented Monumental Transformations: Architecture and the Eternal Annual Distinguished Artists’ Interviews Craig Houser, City College of New York, City University of New York to the Solitary Art Historian in a Small College City in Flux West Hall Meeting Room 515A, Level 2 Concourse Meeting Room 405, Level 2 Guendalina Ajello Mahler, independent scholar Karen J. Leader, Florida Atlantic University Mary Kelly, University of California, Los Angeles, will be Chairs: Laura J. Crary, Presbyterian College; William Ganis, interviewed by Johanna Burton, Bard College Center for Ferris Olin, Institute for Women and Art, Rutgers, The State Wells College The Center for Craft, Creativity and Design, Inc. Curatorial Studies. Martin Kersels, California Institute of the University of New Jersey Curricular and Pedagogical Strategies for Solo Flyers in Windgate Fellowship Program: A Case for Funding Professional Arts, will be interviewed by Ian Berry, the Tang Museum. Julia Sienkewicz, Duquesne University Studio Departments Development Opportunities for Graduating Seniors Lisa DeBoer, Westmont College Concourse Meeting Room 408A, Level 2 Christine L. Sundt, Visual Resources: An International Journal Chair: Stephanie Moore, The Center for Craft, Creativity & Historians of Netherlandish Art of Documentation No Art Historian Is an Island Design, Inc. Affect and Agency: The Netherlandish Portrait (1400–1750) Amy Von Lintel, West Texas A&M University Holland Cotter, The New York Times West Hall Meeting Room 511BC, Level 2 Aaron McIntosh Between Scylla and Charybdis: One Educator’s Personal Chair: Ann Jensen Adams, University of California, Santa Barbara Stanley N. Katz, Princeton University Odyssey from Classicist to Generalist in Three Years Jeremy Holmes Facing North: Theory and Practice of Portraiture in Holland Kimberly Busby, Angelo State University Elizabeth Staiger around 1600 Avant ‘68: France and the Transnational Flow of Culture The Solitary Art Historian in a Liberal Arts College: Strategies Ricardo de Mambro Santos, Willamette University in the Global “Long Sixties” for Aligning Faculty and Student Research Concourse Meeting Room 404A, Level 2 Display of Faith: The Religious “Professional” Portrait in the Gregory Gilbert, Knox College Chairs: Noit Banai, Tufts University and School of the Museum Netherlands and the Question of Collective Identity in Troubled Times of Fine Arts; Hannah Feldman, Northwestern University Edward Wouk, The Metropolitan Museum of Art

54 college art association 100 February 22 –25, 2012 55 FRI Conceptual Art as Comedic Practice Paintings in Country Houses and the Development of British The Nef of St. Ursula: An Object Adrift Centennial Session Concourse Meeting Room 402AB, Level 2 Cultural Heritage Christina Normore, Northwestern University Connections: Architecture and Design in Los Angeles DAY Chairs: Heather Diack, Keene State College; Louis Kaplan, Jocelyn Anderson, Courtauld Institute of Art at Midcentury Blood Matters: Making Sense of Traces of Blood University of Toronto Bing Theater, Plaza Level, Bing Center, Los Angeles Time Central Branding Shakespeare: Boydell’s Shakespeare Gallery and the Beate Fricke, University of California, Berkeley Court entrance, East, Los Angeles County Museum of Art Ontological Indifference: On Comedy, Photography, and Politics of Display Kinks in the Fabric of Early Netherlandish Painting Chair: Ruth Weisberg, University of Southern California Conceptual Art Heather McPherson, University of Alabama at Birmingham Amy Powell, University of California, Irvine Aron Vinegar, Ohio State University Wim de Wit, Getty Research Institute

Conceptual Work and Domestic Play Information Visualization as a Research Method in Art History Wendy Kaplan, Los Angeles County Museum of Art Ambas Americas: Both Americas Emily Liebert, Columbia University West Hall Meeting Room 502A, Level 2 Concourse Meeting Room 403A, Level 2 Louis Danziger, graphic designer Chairs: Christian Huemer, Getty Research Institute; Lev Manovich, In Soviet Russia, the Joke Tells You: Humor in the Work of Komar Chair: Kathie Manthorne, The Graduate Center, City University of California, San Diego Ray Kappe, architect and Melamid University of New York Ksenya Gurshtein, National Gallery of Art Visualizing the Ecology of Complex Networks in Art History Gere Kavanaugh, designer Mary-Kate O’Hare, Newark Museum Maximilian Schich, Northeastern University Ludic Conceptualism: Bas Jan Ader, a Dutchman Playing Abroad Bobbye Tigerman, Los Angeles County Museum of Art Elizabeth Glassman, Terra Foundation for American Art Janna Schoenberger, The Graduate Center, City University of Geoinformatics and Art History: Visualizing the Reception of New York American Art in Western Europe, 1948–1968 Gabriel Perez-Barreiro, Coleccion Cisneros Los Angeles Writes Itself: LA Art Journals from the 1960s Catherine Dossin, Purdue University Comedy as Conceptual Art Strategy Jorge Daniel Veneciano, Sheldon Museum of Art to the Present Sara Greenberger Rafferty, Suffolk County Community College Interactive Mapping of the Agents of the Art Market in Europe Concourse Meeting Room 406AB, Level 2 Anne Whitelaw, Concordia University (1550–1800) Chairs: Damon Willick, Loyola Marymount University;

Sophie Raux, Université Lille Nord de France Kristina Newhouse, independent critic and curator Tracking the Movement of Investigatory Art Architecture and Race West Hall Meeting Room 501ABC, Level 2 Visualizing Art, Law, and Markets Jacki Apple, Art Center College of Design and High West Hall Meeting Room 502B, Level 2 Chairs: Martin Gantman, independent artist; Gina Dabrowski, Victoria Szabo, Duke University Performance Magazine Chair: Brian L. McLaren, University of Washington independent artist Lithics Visualization Project for Analysis of Patterns and Ellen Birrell, X-TRA Contemporary Art Quarterly Chinks in the Works: Race, Labor, and the Production of Modern Investigatory Art 1969–2010: Technological Innovation, Aesthetic Presentation Siamese Architecture in the Early Twentieth Century Susan Kandel, Art Issues and Artext Sociability, and Immediate Experience Georgia Gene Berryhill, University of Maryland Lawrence Chua, Cornell University Edward A. Shanken, University of Amsterdam Thomas Lawson, East of Borneo and California Institute of the Arts Information Visualization and Museum Practice “Hawaiianness” and the Fiftieth State Capitol Asking Questions: The Interview as Artistic Form Piotr Adamczyk, Google and University of Illinois, Robert Smith, Los Angeles Institute of Contemporary Art Kelema Lee Moses, Pennsylvania State University Ruth Erickson, University of Pennsylvania Urbana-Champaign

Ernst Neufert, National Socialism, and the Humanist Tradition Visualizing Global Resources: An Experiment in in Architecture Critical-Aesthetic Research Art History Open Session Friday, February 24 Nader Vossoughian, New York Institute of Technology Emily Eliza Scott, Zurich University of the Arts Theory, Method, and the Future of Precolumbian Art History 5:30 PM–7:00 PM Concourse Meeting Room 403B, Level 2 Tropical Architecture: Comfort and the Tropical Body The Disquieting Image: Tracing the Visual Essay Chair: Cecelia F. Klein, University of California, Los Angeles Vandana Baweja, University of Florida Luisa Greenfield, independent artist CAA Annual Members’ Business Meeting and Reception The Ethos of Conflict and Naturalistic Representation Urban Renewal and Its Discontents: Oswald Mathias Ungers’s A Sebaldian Method of Art West Hall Meeting Room 503, Level 2 Esther Pasztory, Columbia University Asihaus for IBA 1984–1987 Lise Patt, Institute of Cultural Inquiry Esra Akcan, University of Illinois, Chicago, and Berlin Institute for Keynote Address, April Greiman Now You See It, Now You Don’t: Ancient American Art Keywords Project: Historicizing the Concept as Action in Advanced Study You are cordially invited to toast the conclusion of the and the Museum Investigatory Art Practice Centennial year. Mary Miller, Yale University Orianna Cacchione, University of California, San Diego Intersections between Art and Dance in the Twentieth Century What Do You Say When There Are No Words? Concourse Meeting Room 404B, Level 2 Elizabeth Hill Boone, Tulane University Historians of Eighteenth-Century Art and Architecture Chair: Robert R. Shane, College of Saint Rose Society of Contemporary Art Historians Pictures in Place: Depicting Location and the Siting of Looking Back at the Future of the History of Precolumbian Art Digging Where You Stand Tango Magic City Representation in the Eighteenth Century Thomas Bitting Foster Cummins, Harvard University Concourse Meeting Room 409AB, Level 2 Tara Ward, Boston University Concourse Meeting Room 408B, Level 2 Chairs: Suzanne Hudson, University of Illinois; Richard Meyer, Discussants: Carolyn Dean, University of California, Santa Cruz; Chair: Craig Ashley Hanson, Calvin College Sophie Taeuber’s Visceral Abstraction University of Southern California Claudia Brittenham, University of Michigan Nell Andrew, University of Georgia Place as a Thing: Chinese Screens in Dutch Colonial Contexts Kellie Jones, Columbia University

Dawn Odell, Lewis and Clark College “I’d Like to Dance Like a Madman”: Flamenco and Surrealism International Center of Medieval Art Michelle Kuo, Artforum Analisa Leppanen-Guerra, DePaul University From “Salon” to Altar: Relocating Religious Art in Res et significatio: The Material Sense of Things in the Frank Smigiel, San Francisco Museum of Modern Art Eighteenth-Century Paris Middle Ages Modern Shenanigans at a Filling Station Designed by Paul Cadmus Hannah Williams, University of Oxford Concourse Meeting Room 407, Level 2 Jane Dini, Detroit Institute of Arts Chairs: Aden Kumler, University of Chicago; Christopher Lakey, A Surplus of Frames: Allegorizing Collecting in the 1720 Collaboration, Movement, Projection: The Interdisciplinary Johns Hopkins University Stallburg Installation Structure of Lucinda Childs’s Dance, 1979 Julie M. Johnson, University of Texas at San Antonio The Matter of Ornament: Translation and Making in the Jennie Goldstein, Stony Brook University, State University of Eleventh Century New York Ittai Weinryb, Bard Graduate Center

56 college art association 100 February 22 –25, 2012 57 FRI Arts Council of the African Studies Association Advanced Placement Program in Art History, The College Board Saturday, February 25 Max among Some of His Favorite Dolls: Max Ernst’s Tourist Aesthetic What Is the What: Time and Variability in African Art Teaching with Fire: Creative Pedagogy for Art History Carolyn Butler Palmer, University of Victoria DAY 9:30 AM–12:00 PM Concourse Meeting Room 404B, Level 2 Concourse Meeting Room 403B, Level 2

The Journey West: Seeing and Selling America in Beijing , Chair: Karen E. Milbourne, National Museum of African Art, Chairs: Allie Terry-Fritsch, Bowling Green State University; Dan Wang, Columbia College Chicago; Stephanie Rothenberg, SA Smithsonian Institution John Gunnin, The College Board and Corona del Mar High School Pacific Arts Association

University at Buffalo, State University of New York TUR The Body Politic: The Role of Body Art and Anthropomorphic Time in Relation to Art Production Depictions in Oceanic Societies Rubbernecking from the White Cube: The Art of Disaster Tourism

Theo Eshetu, independent artist Art Libraries Society of North America DAY Concourse Meeting Room 404A, Level 2 and Post-Katrina New Orleans Collaboration, Access, Sustainability: The Future of Image Challenges in Conserving Time-Based Artworks Chair: Anne E. Guernsey Allen, Indiana University Southeast Megan Koza Young, Spencer Museum of Art, University of Kansas Research Collections Jeffrey Martin, independent scholar West Hall Meeting Room 511BC, Level 2 Bodily Transformations: The Sociopolitics and Symbolic Inversions Discussant: Kate Flint, University of Southern California Time-Based Media Chairs: Tony White, Indiana University Bloomington; of Men as Pigs and Pigs as Men in a Pacific Island Chieftainship Sue Williamson, independent artist Laura Graveline, Dartmouth College Nancy Lutkehaus, University of Southern California Agents of Social Change: Women Artists and Women Patrons African Metropole—Sonic City, Lagos Picturing the Future: Private Collections and Public Institutions Body Ornaments and Tattooing; Canoes, Shields, Images: Ornamental in Postrevolutionary Mexico John Peffer, Ramapo College Inge Reist, Frick Art Reference Library Equivalences and Translations as Social Markers in Western and West Hall Meeting Room 503, Level 2 Nggela Provinces, Solomon Islands Chair: Gina Costa, Snite Museum of Art, University of Notre Dame Waiting and Other Critical Strategies of Time in Contemporary Art Digital Humanities and New Emerging Paradigms for Librarians Deborah Waite, University of Hawai’i Amy Powell, University of Wisconsin, Madison Ann Whiteside, Harvard University “For Liberation and for Life”: Elizabeth Catlett as an Agent of Social Hawaiian Bodyscape: Hair Rituals ca. 1800 Change at the Taller de Gráfica Popular, 1946–1966 The Evolution of Corporate-Personal-Public Image Collections: Teri Sowell, University of California, San Diego Melanie Herzog, Edgewood College Southern Graphics Council Implications for Research and Preservation COACTION: Innovative Printmaking Collaborations Andrea Copeland, Indiana University Moko as Politics, Politics as Moko 1813–1840 Rina Lazo: Beyond Diego Rivera and the Taller de Gráfica Popular Concourse Meeting Room 406AB, Level 2 Ngarino Ellis, University of Auckland Linda Williams, University of Puget Sound; John Lear, University of Yours, Mine, and Our Common Cultural Heritage: Losing Control Chair: Candace Marie Nicol, Southern Graphics Council Puget Sound of Digital Visual Information Tiki Kitsch, American Appropriation, and the Disappearance International Joane Beaudoin, Wayne State University of the Pacific Islander Body Emmy Lou Packard and the Promotion of Postrevolutionary Mexico PLATFORM: A Collaboration with Texas Advanced Computing Dan Taulapapa McMullin in San Francisco, California Center, University of Texas at Austin Amy Galpin, San Diego Museum of Art American Council for Southern Asian Art Francesca G. Samsel, independent artist Business Meeting Lola Cueto and the Teatro Nahual American Society for Hispanic Art Historical Studies Multiplicity in Collaboration and Community Concourse Meeting Room 405 Terri Geis, Pomona College Museum of Art New Research in the Early Modern Hispanic World Sang-Mi Yoo, Texas Tech University West Hall Meeting Room 511BC, Level 2 Intersections: Emily Edwards’s 1932 Map of Mexico City and Its We Have a Dream: An Ohio University and University of Art Historians of Southern California Chairs: Michael A. Brown, Denver Art Museum; Sofia Sanabrais, Surroundings, Today and Yesterday Tennessee, Knoxville, Collaborative Project Business Meeting Los Angeles County Museum of Art Delia Cosentino, DePaul University Althea Murphy-Price, University of Tennessee; Haylee Ebersole, West Hall Meeting Room 501ABC Old Meets New: Classicizing Visions in Diego de Valadés’s Ohio University Rhetorica Christiana Pacific Standard Time and Chicano Art: A New Los Angeles Asian American Women’s Art Association Laura Leaper, Institute of Fine Arts, New York University Art History New Media Caucus Business Meeting Concourse Meeting Room 403A, Level 2 Soldier Ecclesiasticus: Images of the Archangel Michael in New Spain Code as Craft: Programming in the Art and Design Curriculum Concourse Meeting Room 407 Chair: Karen Mary Davalos, Loyola Marymount University Niria Leyva-Gutiérrez, Institute of Fine Arts, New York University Concourse Meeting Room 402AB, Level 2 MEX/LA: “Mexican” Modernism(s) in Los Angeles Chair: Michael Salmond, Florida Gulf Coast University Japan Art History Forum Dovetailed Cultures Rubén Ortiz-Torres, University of California, San Diego Business Meeting Sylvia Shorto, American University of Beirut Artists’ Machines: Postdigital Design Education for the Real World Concourse Meeting Room 404A X Marks the Spot: LA Xicano and Art History Ashley John Pigford, University of Delaware “A Palace for the Maize”: The Granary of Granaditas in Guanajuato Chon A. Noriega, University of California, Los Angeles and the Neoclassical Civic Architecture in Colonial Mexico Code: Intellectual Property, Fair Use, and Plagiarism Pacific Arts Association Luis Gordo-Peláez, University of Texas at Austin Curating in the Chicano Art Rearview Mirror: The Mexican Rachel Beth Egenhoefer, University of San Francisco; Joel Swanson, Business Meeting American Generation University of Colorado at Boulder Visible Empire: Science, Imperial Knowledge, and Visual Evidence in Concourse Meeting Room 408B Terezita Romo, San Francisco Foundation the Hispanic World The New Program: Computational Thinking in Graphic Design Daniela Bleichmar, University of Southern California Mural Remix: An Artist’s Intervention into the Discourse of Practice and Pedagogy Visual Culture Caucus Chicano Muralism Keon Pettiway, East Carolina University Business Meeting Sandra de la Loza, independent artist Tourism (and) Culture, Part II Fostering Play and Rewarding Failure in the Pedagogy Concourse Meeting Room 403A Concourse Meeting Room 406B, Level 2 What Does Inclusion Look Like? New American Art Histories of Programming Chair: Laurie Beth Clark, University of Wisconsin Karen Mary Davalos, Loyola Marymount University Jason Bernagozzi, Alfred State College, State University of New York Friday, February 24 Negotiating the Visual Culture of Antarctica in the Artwork of Anne Noble Metabellum: Teaching Code through Collaborative 5:30–7:30 PM Lisa Bloom, University of California, San Diego Interdisciplinary Performance Victoria Bradbury, Ball State University ARTexchange Concourse Foyer Free and open to the public. Cash bar available.

58 college art association 100 February 22 –25, 2012 59 S

“Disrupt this Session”: Rebellion in Art Practices Today The Materiality of Art: Evidence, Interpretation, Theory, Part II The 1930s Association of Historians of American Art a tur Concourse Meeting Room 403B, Level 2 Concourse Meeting Room 407, Level 2 West Hall Meeting Room 501ABC, Level 2 American Symbolism Chair: Wendy DesChene, Auburn University Chairs: Kathryn B. Gerry, University of Kansas; Francesco Lucchini, Chair: Jordana Mendelson, New York University West Hall Meeting Room 502A, Level 2 day University of Warwick Chair: Erika Schneider, Framingham State University WTF: It’s Only a Sticker Brassäi’s Paris de nuit and the Social Fantastic Catherine Tedford, St. Lawrence University Assemblage and the Materiality of Goldsmiths’ Work Kim Sichel, Boston University A Two-Step Waltz between Realism and Symbolism: Winslow Homer’s Francesco Lucchini, University of Warwick Summer Night (1890) Strategies of Resistance in Contemporary Art Spatiality as a Modernist Strategy in Late 1930s Britain Hélène Valance, Université Paris Diderot Selene Preciado, Museum of Latin American Art From Wood to Canvas: Leonardo da Vinci’s Drapery Studies on Jutta Vinzent, University of Birmingham Tela di Lino and His Venetian Contemporaries A Dreamer and Painter: Symbolism, Mysticism, and the Psychology of Unauthorized Autonomy, Invisible Venue David Smith and the Avant-Gardes of Europe Hanna Baro, Heidelberg University Dreaming in the Art of Arthur B. Davies Christian L. Frock, Invisible Venue ’, Loyola University Emily W. Gephart, School of the Museum of Fine Arts, Boston Patterns and Preferences in the Consumption of Paintings on Paper, Monsantra: A New Agricultural Revolution Isamu Noguchi, Social Activism, and the Reinvention of Cloth, and Panel in Sixteenth-Century Antwerp Symbolist Resonance between an American Photographer and a Jeff Schmuki, Plantbot Genetics Sculptural Practice Robert Mayhew, Duke University Belgian Writer: Steichen and Maeterlinck (1901–1903) Amy Lyford, Occidental College Discussant: Owen Mundy, Florida State University Lucy L. Bowditch, College of Saint Rose Specific Materiality and Intention Activism in Exile: Gisèle Freund Photographs the Avant-Garde Michael Schreyach, Trinity University Discussant: Michelle Facos, Indiana University Pepper Stetler, Miami University Chewing on Words: Reconsidering Text in Its Materiality Discussant: Kathryn Gerry, University of Kansas Concourse Meeting Room 402AB, Level 2 Art History Open Session Chairs: Carol Emmons, University of Wisconsin, Green Bay; Luminous Currents: Homo Sapiens Technologica and the Return Art and Architecture in Europe: 1600–1750 Paul F. Emmons, Virginia Tech, Washington-Alexandria Center Mobile Art: The Aesthetics of Mobile Network Culture of Postpainterly Abstraction Concourse Meeting Room 408A, Level 2 in Place Making, Part II Concourse Meeting Room 408B, Level 2 Hidden Texts and the Self: Tang Dynasty (618–907 CE) Epitaph Chair: John Beldon Scott, University of Iowa Concourse Meeting Room 406A, Level 2 Chairs: Andrea Pappas, Santa Clara University; JoAnne Northrup, Stones as Literary Identity for the Deceased Chairs: Hana Iverson, Rutgers, The State University of Nevada Museum of Art A New Samson: Scipione Borghese and the Representation of Chao-Hui Jenny Liu, New York University New Jersey; Mimi Sheller, Drexel University Nepotism in the Vatican Palace “And Love Comes in at the Eye” Text and Textures: The Material Nature of Words in Early Karen J. Lloyd, Tulane University I-5_Passing/52 Food Marts Project Karen Wilkin, independent scholar Medieval Manuscripts Christiane Robbins, Jetztzeit Rhetoric and Narrative in the Architecture of Carlo Rainaldi Benjamin C. Tilghman, George Washington University Modernizing Mediums Today Jason Ciejka, Agnes Scott College Narration in Hybrid Mobile Environments Lane Relyea, Northwestern University Written in the Sky or Reduced to Pulp: The Stuff that Words Martha Ladly, Ontario College of Art and Design Artistic Practices and Raw Materials for the Collaborative Art Form Are Made Of Cycles of No Return: A Post-Avant-Garde Investigation of of the Festino in Baroque Palermo (1625–1750) Barbara Balfour, York University Silver (Gateways): Being Here and Everywhere Now Postpainterly Abstraction Sabina de Cavi, Getty Research Institute Jenny Marketou, independent artist Paul Hertz, School of the Art Institute of Chicago Still Texts: The (Im)Materiality of Language in Jenny Holzer’s Work The Bourbon Theater of State: Decorating the Royal Palace at Portici Navjotika Kumar, Kent State University Mechanics of Place: Textures of Tophane Beauty and the Digital Black Swan (1744–1745) Sarah Drury, Temple University Richard Rinehart, Bucknell University What It Means to Wonder: The Use of Text in Time-Based and Robin L. Thomas, Pennsylvania State University Interactive Sculpture ManifestAR: An Augmented Reality Manifesto Discussants: Jennifer Steinkamp, University of California, Revealing the Crossroads of Paris at the Cusp of the Revolution: The Alicia Eggert, Bowdoin College John Craig Freeman, Emerson College Los Angeles; Frances Colpitt, Texas Christian University Works of Henri-Louis Duhamel du Monceau at the Clos Saint-Lazare Simone Zurawski, DePaul University Gendering the Posthuman Tracing the Index in Art History and Media Theory, Part I The Body as a Site of Political Intervention in Contemporary

Concourse Meeting Room 405, Level 2 Concourse Meeting Room 404B, Level 2 Middle Eastern Art Chairs: Christine Filippone, Millersville University; Julie Wosk, Chairs: Jeanette Kohl, University of California, Riverside; Concourse Meeting Room 409AB, Level 2 Pop and Politics, Part II State University of New York, Maritime College Mirjam Wittmann, Freie Universität Berlin Chairs: Staci Gem Scheiwiller, California State University, Stanislaus; West Hall Meeting Room 502B, Level 2 Pamela Karimi, University of Massachusetts, Dartmouth Chairs: Allison Unruh, independent scholar; Kalliopi Minioudaki, Lee Bontecou: Animals, Bodies, Machines Toward an Archaeology of the Index independent scholar Mona Hadler, Brooklyn College and The Graduate Center, Claire Joan Farago, University of Colorado, Boulder, and The Body as a Trigger City University of New York University of York Wafaa Bilal, New York University Life against Death: Claes Oldenburg’s Politics of the Provisional Nadja Rottner, University of Michigan, Dearborn 1968/2004: From the Portapak to Web 2.0 St. Veronica Iconography and the Indexicality Paradigm 1350–1650 Gender and Exposure in Contemporary Iranian Photography Cadence Kinsey, University College London Noa Turel, University of California, Santa Barbara, and Center for Andrea D. Fitzpatrick, University of Ottawa The Omission of Poverty and Paranoia: Spectators and Effects in Advanced Study in the Visual Arts, National Gallery of Art Warhol’s Films Feminist Bio-Art and Posthuman (Re)Generation Striptease at the Checkpoint: Sharif Waked’s Chic Point: Fashion William McManus, Rhode Island School of Design Irina Aristarkhova, Pennsylvania State University The Monochrome and the Blank Photograph for Israeli Checkpoints Brendan Fay, University of Michigan Alma Mikulinsky, University of Hong Kong Warhol’s Race Riots and Civil Rights Beautiful Vision for the Twenty-First Century: Mariko Mori’s Martin A. Berger, University of California, Santa Cruz Capsule Aesthetic Negotiating Indexicality in Chinese Moving-Image Installations Veil as Text/Text as Veil: The Inscribed Bodies of Shirin Neshat, Kate Mondloch, University of Oregon Birgit Hopfener, Ruprecht-Karls-Universität Heidelberg Mona Hatoum, and Lalla Essaydi Pop Iconography on Both Sides of the Iron Curtain: Alina Stacy Schultz, University of Texas at El Paso Szapocznikow and Roman Cieślewicz Trace and Disappearance Agata Jakubowska, Adam Mickiewicz University Hagi Kenaan, Tel Aviv University All-American Political Pop from North of the Border to Way South Discussant: Lisa Saltzman, Bryn Mawr College Robert Storr, Yale University

60 college art association 100 February 22 –25, 2012 61 S

Saturday, February 25 Historians of Eighteenth-Century Art and Architecture Society for Photographic Education Pictorial Photography and the “Japanese Aesthetic” a tur New Scholars Session Reinvesting Collective Creativity and the Collaborative Karen Fraser, Santa Clara University 10:00 AM–12:00 PM West Hall Meeting Room 501ABC, Level 2 Community Collage Modernity: Women, Machines, and Surrealism in the Paintings day Chair: Kevin Chua, Texas Tech University Concourse Meeting Room 409AB, Level 2 ARTspace of Koga Harue Chair: John Mann, Florida State University Art in the Public Realm: Activism and Interventions The Garden Landscape and the French Interior Chinghsin Wu, Museum of Fine Arts, Boston West Hall Meeting Room 515A, Level 2 Lauren Cannady, Institute of Fine Arts, New York University Brian Ulrich, Virginia Commonwealth University Picasso as the Other: First “Global” Polemics of a Postwar Ceramic/ Chairs: Jacki Apple, Art Center College of Design; Tim Nolan, Last Visit from the Doctors Assistant: Thomas Rowlandson’s Tribute Kelli Connell, Columbia College Chicago Painting Dichotomy independent artist; and Conrad Gleber, LaSalle University to the Dying Nabob and the Birth of the British Body Abroad Yasuko Tsuchikane, Parsons The New School for Design Matthew Gamber, Art Institute of Boston at Lesley University Maureen Connor, The Institute for Wishful Thinking and Queens Christina Smylitopoulos, University of McGill The Struggle for a Page in Art History: The Global and National College, City University of New York Justin James Reed, Virginia Intermont College Hogarth among the Moderns Ambitions of Japanese Contemporary Artists from the 1990s Marisa Jahn, REV and People’s Production House Abigail Zitin, Trinity University Adrian Favell, Sciences Po Art History Meets the Digital Humanities Ed Woodham, Art in Odd Places Discussant: Miya Mizuta Lippit, University of Southern California Concourse Meeting Room 403B, Level 2 Asian American Women Artists Association Jenny Brown, University of Sydney Chair: Tara McPherson, University of Southern California Challenging Societal Assumptions and Creating Community: Association for Critical Race Art History Asian American Women Artists Business Meeting West Hall Meeting Room 502B, Level 2 Leonardo Education and Art Forum Saturday, February 25 Concourse Meeting Room 404A Chair: Lydia Nakashima Degarrod, California College of the Arts Sustainable Futures: New Cultural Movements in Art 12:00–1:00 PM and Ecology Susette Min, University of California, Davis Association for Textual Scholarship in Art History Concourse Meeting Room 403A, Level 2 Business Meeting ARTspace Pallavi Sharma, Asian American Women Artists Association Chair: Patricia Olynyk, Washington University in St. Louis Concourse Meeting Room 404B Un-Space Ground: The Unvisited, Unnamed, and Uninhabited Jennifer Banta, Asian Pacific Islander Cultural Center Victoria Vesna, University of California, Los Angeles Empty Areas beneath the Normally-Used Parts of the Urban Association of Historians of American Art Landscape What Is at Stake? Women Artists, Activism, and Natalie Jeremijenko, New York University Business Meeting Location to be announced. Communities-in-Formation Andrea Polli, University of New Mexico Concourse Meeting Room 408B A live site specific public performance event curated by Margo Machida, University of Connecticut Ed Woodham and Deborah Oliver and presented by Art in Sara Diamond, OCAD University Historians of Islamic Art Association Odd Places and Performance Exchange. American Society for Hispanic Art Historical Studies Business Meeting “Useful to the Public and Agreeable to the King”: Academies Visual Culture Caucus Concourse Meeting Room 405 Saturday, February 25 and Their Products in Spain and New Spain Something Borrowed, Something Blue: Outsider Theories Concourse Meeting Room 402AB, Level 2 of the Visual Southern Graphics Council 12:30 PM–2:00 PM Chair: Kelly Donahue-Wallace, University of North Texas Concourse Meeting Room 406B, Level 2 Business Meeting Chairs: Scott Selberg, New York University; Katherine Brideau, Concourse Meeting Room 406A Shifting Attitudes toward Cultural Patrimony in the Madrid Royal Design Studies Forum New York University Academy of San Fernando, 1755–1808 Design, Thing Theory, and the Lives of Objects Visual Resources Association Andrew Schulz, University of Oregon From Ganzfeld to Gizmos: Telepathic Aesthetics and Belief West Hall Meeting Room 503, Level 2 Business Meeting Kristen Gallerneaux Brooks, University of California, San Diego Chair: Leslie Atzmon, Eastern Michigan University Jerónimo Antonio Gil and the Formation of a Director General Concourse Meeting Room 407 The Thingness of Making: Attending to Production and the Kelly Donahue-Wallace, University of North Texas From Art Studios to Science Labs: A Portuguese Experience Rosana Horio Monteiro, Federal University of Goiás Appropriation of the Handmade in Contemporary Design Practice “Open the Door so that Misery Can Leave”: The Rhetoric of Public Catharine Rossi, Edinburgh College of Art Utility of the Royal Academy of San Carlos and Public Responses in Blind Optics Saturday, February 25 Distributing Stresses: A Consideration of the Lives of Human and Late Colonial Mexico Gabriel Menotti, Goldsmiths, University of London 1:00 PM–3:00 PM Susan Deans-Smith, University of Texas at Austin Nonhuman Things in the Eames DCM Chair Discussant: Lisa Cartwright, University of California, San Diego Michael Golec, School of the Art Institute of Chicago ARTspace

National Council on Education for the Ceramic Arts Art in the Public Realm: The Global Environment Neo-Animism and Design: A New Paradigm in Object Theory CAA Committee on Intellectual Property Myth, Magic, and Metamorphosis Chairs: Jacki Apple, Art Center College of Design; Tim Nolan, Betti Marenko, Central Saint Martins College of Art and Design Give and Take: Copyright’s Balancing Act Concourse Meeting Room 408A, Level 2 independent artist; and Conrad Gleber, LaSalle University West Hall Meeting Room 515B, Level 2 Chair: Nidhi Jalan, National Council on Education for the West Hall Meeting Room 515A, Level 2 Art Spaces Archives Project Chairs: Christine L. Sundt, Visual Resources Journal; Ceramic Arts Sam Bower, greenmuseum.org What Is Alternative Today about “Alternative Art Spaces”? Doralynn Pines, Metropolitan Museum of Art, emerita West Hall Meeting Room 502A, Level 2, Los Angeles Jeffrey P. Cunard, Debevoise & Plimpton LLP Holger Nickisch, Kunstfort Vijfhuizen Convention Center Jenny Brown, dLux Media Arts and University of Sydney Chair: Ann Butler, Bard College Japan Art History Forum Miranda Wright, The Center for Sustainable Practice in the Arts Ronni Kimm, ART2102 and Dispatches and Directions: Artists-Run Commensurable Distinctions: Japanese Art History Organizations in LA and Its Others Oliver Hess, Materials and Applications and Didier Hess West Hall Meeting Room 511BC, Level 2 Angie Keefer, The Serving Library Chair: Bert Winther-Tamaki, University of California, Irvine Caitlin Jones, Western Front

62 college art association 100 February 22 –25, 2012 63 S

Saturday, February 25 Transient Histories: Art in Lebanon through Gallery Politics American Institute for Conservation of Historic and Artistic Works Envisioning a Civilized Nation: The Claims of Photography in a tur before and after the Civil War Trading Zones: Strategies for the Study of Artists and Their Late-Nineteenth-Century Japanese Geo-Encyclopedias 2:30 PM–5:00 PM Abdallah Kahil, Lebanese American University Art-Making Practices Gyewon Kim, Sainsbury Institute for the Study of Japanese Arts day West Hall Meeting Room 503, Level 2 and Culture Visual Culture and Mathematics in the Early Modern Period, Slavs and Tatars: Régions d’être Chairs: Jan Marontate, Simon Fraser University; Francesca G. Bewer, Part II Payam Sharifi, Slavs and Tatars The “Crisis of History”: Precolumbian Civilization as Cultural Patrimony Harvard Art Museums West Hall Meeting Room 511BC, Level 2 in US and Mexican Anthropological Exhibits at World’s Fairs Chair: Ingrid Alexander-Skipnes, independent scholar, Freiburg The Cinematic Materiality of Creative Labor: Jackson Pollock (USA, Matt Johnston, Lewis and Clark College Italian Art Society 1951) and Henry Moore (UK, 1951) Design Method and Mathematics in Francesco di Giorgio’s Trattati Territory and Border: Geographic Considerations of Katerina Loukopoulou, University College London Angeliki Pollali, DEREE-The American College of Greece Italian Art and Architecture Performing Space West Hall Meeting Room 502B, Level 2 Lucio Fontana’s Process: Invention, Documentation, Understanding Concourse Meeting Room 403A, Level 2 Mathematics and Proportion Theories among Artist/Engineers at the Chairs: Nicola Camerlenghi, University of Oregon; Sharon Hecker, Universitá Cattolica del Sacro Cuore di Milano; Chair: Nancy Popp, independent artist Turn of the Sixteenth Century Catherine Carver McCurrach, University of Michigan Austin Nevin, Politecnico di Milano Matthew Landrus, Rhode Island School of Design Sara Daleiden, Otis College of Art and Design Forging a National Audience for Regional Monuments: Giuseppe Technical Study and Tacit Knowledge The Meaningful Use of Φ and Π in the Paintings of Piero Owens Driggs, independent artists Fiorelli and the Superintendency for Excavations and Museums Richard Mulholland, Victoria and Albert Museum della Francesca John Nicholas Napoli, Pratt Institute Marie Shurkus, Pomona College Perry Brooks, Stony Brook University, State University of New York Technical Exchanges: The Art Materials Information and Education Defining Territories and Borders in Italian Romanesque Architecture: Network (AMIEN) Alex Villar, independent artist The Intellectual Dimensions of Perfect, Semiperfect, Toroidal Regions, Subregions, Meta-Regions Mark Gottsegen, Art Materials Information and Education Network Polyhedra in the Renaissance Michele Luigi Vescovi, Universita degli Studi di Parma Renzo Baldasso, Southern Illinois University Processing History, Forming Transactions: Preservation and Manuscripts without Moorings, Objects and Their Origins: Tracing Renaissance Geographic Imagination in the Chronicle of Exchange in the Work of Allison Smith Stylistic Analysis or Stylistic Attribution? Discussant: Alexander Marr, University of Southern California Benedetto Dei Rebecca K. Uchill, Massachusetts Institute of Technology West Hall Meeting Room 501ABC, Level 2 Niall Atkinson, University of Chicago Chair: Eric Matthew Ramírez-Weaver, University of Virginia (Re)Writing the Local in Latin American Art Geography, Hegemony, and Expansive Examples from the Veneto Visual Culture Caucus Tracking Their Training: Questions of Style for Carolingian West Hall Meeting Room 502A, Level 2 Diana Gisolfi, Pratt Institute and Pratt in Venice Ephemeral Visual Culture and the Making of Urban Space, Astronomical Manuscripts Chairs: Mariola V. Alvarez, University of California, San Diego; Part II Eric Matthew Ramírez-Weaver, University of Virginia Bill Kelley Jr., independent scholar For an Italian Landscape: Regionalism in the Postwar Concourse Meeting Room 406B, Level 2 Karen Pinkus, Cornell University Three Steps Removed: Stylistic Difficulties in the Garden of Delights The BAW/TAF’s Maclovio Rojas Project: Intervention, Art, or Other? Chairs: Kevin D. Murphy, The Graduate Center, City University Danielle Joyner, University of Notre Dame Ila N. Sheren, University of Toronto of New York; Sally O’Driscoll, Fairfield University Tracing the Index in Art History and Media Theory, Part II Medieval Spanish Painting at the Crossroads: Stylistic Pluralism in Un Espacio Abierto: Metaphors of Space and Community in Mexico De par le Roy: Police Ordinances and the Making of Ancien Concourse Meeting Room 404B, Level 2 the Liber Feudorum Maior of Barcelona City’s Temístocles 44 Régime Paris Chairs: Jeanette Kohl, University of California, Riverside; Shannon Wearing, Institute of Fine Arts, New York University Emily Sessions, New York University Cesare Birignani, Columbia University Mirjam Wittmann, Freie Universität Berlin Tracing Twelfth-Century French Builders (Re)Considering Contemporary Maya Visual Practices “Masterpieces for Rag-Pickers”: Working-Class Crowds, The Grammar of Autobiographical Indication: Cy Twombly’s Sarah Thompson, Rochester Institute of Technology Diana Rose, University of California, Santa Cruz Collective Spectatorship, and the Censorship of Posters in Late- Practice as a Painter and Photographer Nineteenth-Century Paris Apocalypses in Late Medieval London Education, Theology, Art, and Liberation Evan Neely, Columbia University Karen L. Carter, Kendall College of Art and Design of Ferris Kathryn McKinley, University of Maryland, Baltimore County Maria Fernanda Cartagena, Red Conceptualismos del Sur Antiform, Active Matter, and the Formation of Art History’s State University Discussant: Lucia Sanroman, independent curator Ontological Index German Expressionism and the Archive of Ephemera Public Art Dialogue James Nisbet, Cornell University Kathleen Chapman, Virginia Commonwealth University In the Public Space of Life: Perspectives on Relational Art Making Up a Historiography: Contemporary Arts of the The Mistaken Index in the Agentive Image Concourse Meeting Room 408B, Level 2 Legible Surfaces: Käthe Kollwitz’s Early Poster Designs in Middle East Nathaniel B. Jones, Yale University and Center for Advanced Chair: Eli Robb, Lake Forest College Turn-of-the-Century Berlin Concourse Meeting Room 403B, Level 2 Studies in the Visual Arts, National Gallery of Art Claire Whitner, Museum of Fine Arts, Boston The Peace Tower as Commonplace: Relational Art’s Lieux Chairs: Sussan Babaie, Ludwig-Maximilian University, Munich; Indexicality and Extending the Artistic Mind into the Workshop: de mémoire Abdallah Kahil, Lebanese American University The Case of the Baroque Bozzetto John Tain, Getty Research Institute Association of Historians of Nineteenth-Century Art An Archive of One’s Own: Constructing a History of Photography Joris van Gastel, Humboldt Universität Berlin Civilization and Its Others in Nineteenth-Century Art, Part II The Prospects of “Freed” Time in the Middle East The Human Voice as Uncanny Index: Notes on The Last Silent Concourse Meeting Room 405, Level 2 Lauren Rotenberg, University College London Mitra Abbaspour, The Graduate Center, City University of New York Movie (2007) Chair: David Joseph O’Brien, University of Illinois How the East Saw the East in 1992: The NSK Embassy Moscow Closeted Historiography: “Boxes Are Fine, since You Can Alexandra Kokoli, Robert Gordon University Chinese Civilization and Imperial Ambivalence in Britain Project and Relationality in Eastern Europe Hide (in) Them” Greg M. Thomas, University of Hong Kong Gediminas Gasparavicius, College of the Holy Cross Talinn Grigor, Brandeis University Portable Culture: The Japanese Album as a Model for Civilization Interperformance: Reciprocity and “Strangeness” in South Africa Translations of Islamic Art into Modern and Contemporary Art in 1860s France Ruth Simbao, Rhodes University of Turkey Emily Brink, Stanford University Wendy Shaw, University of Bern Exploring Social Connectedness, Affect, and Political Feeling Gold, Silver, and Bronze: Metals and World Civilizations in through Social Practice Nineteenth-Century France Dee Hibbert-Jones, University of California, Santa Cruz Ting Chang, independent scholar

64 college art association 100 February 22 –25, 2012 65 S

Classicizing the Other New Approaches to Post-Renaissance Florence, ca. 1600–1743 Saturday, February 25 a tur Concourse Meeting Room 402AB, Level 2 Concourse Meeting Room 404A, Level 2 3:00–3:30 PM Chair: James Smalls, University of Maryland, Baltimore County Chairs: Eve Straussman-Pflanzer, The Art Institute of Chicago; Eva Struhal, Université Laval day Race, Ethnicity, and Difference in Seventeenth-Century French ARTspace Classicism: Models for a Later Style? Ariosto’s Florentine Fortune Onsite Performance Entre’actes Luke Nicholson, University of British Columbia Morten Steen Hansen, Stanford University Location to be announced. Presented by Art in Odd Places and Performance Exchange. Rodin, Bourdelle, Maillol, and the Cultural Politics of Classicism and Manipulating the Miniscule: The Case of Jacques Callot Colonialism at the Turn of the Twentieth Century Nina E. Serebrennikov, Davidson College Marco Deyasi, University of Idaho Florentine Paintings for a Spanish Queen: The Medici Gift in the Saturday, February 25 “Classical African Art” and the New Negro Artist: Alain Locke’s Convento de las Descalzas Reales, Valladolid History of Art Rebecca J. Long, Indianapolis Museum of Art 3:30–5:00 PM John Bowles, University of North Carolina, Chapel Hill Ne Posteri Ignorent Quid Factum Sit: Anna Maria Luisa de’Medici at Whiteness, Blackness, and the Classical Body in the Work of Emma San Lorenzo ARTspace Amos, Robert Colescott, and Fred Wilson Elena Ciletti, Hobart and William Smith Colleges Art in the Public Realm: Creating New Paradigms Phoebe Wolfskill, Indiana University West Hall Meeting Room 515A, Level 2 Florence, the Medici, and Bianca Cappello through the Eyes of Chairs: Jacki Apple, Art Center College of Design; Tim Nolan, Classical Disruption and Declassicizing Practices: Artists and the Horace Walpole independent artist; and Conrad Gleber, LaSalle University Discursive Tradition Jacqueline Marie Musacchio, Wellesley College Julie McGee, University of Memphis; Jefferson Pinder, School Jack Becker, Forecast Public Art and Web Resources for Art in Public of the Art Institute of Chicago Situating Expanded Cinema in Postwar Art Practice Maureen Connor, The Institute for Wishful Thinking and Queens Concourse Meeting Room 409AB, Level 2 College, City University of New York American Council for Southern Asian Art Chair: Andrew Uroskie, Stony Brook University, State University Marisa Jahn, REV and People’s Production House Out of the Museum and into the Field: Display and the of New York Temple in Southern Asia and the Diaspora Ed Woodham, Art in Odd Places “We Must Build Our Theaters in the Air”: Jaime Davidovich and Concourse Meeting Room 408A, Level 2 Public-Access Cable Television Jenny Brown, dLux Media Arts and University of Sydney Chair: Deborah L. Stein, independent scholar Sarah Johnson Montross, New York University Sam Bower, greenmuseum.org Stella Kramrisch, the Hindu Temple, and the Cultural Parables “Shoot Films but not Films!” The Actions of the Austrian of Architecture Holger Nickisch, Kunstfort Vijfhuizen Filmmakers’ Cooperative Deborah Sutton, Lancaster University Andrew Weiner, University of California, Berkeley Miranda Wright, The Center for Sustainable Practice in the Arts Imagery and Experience in Bhakti Temples Promiscuous Sites: Otto Piene’s Roving Practice Oliver Hess, Materials and Applications and Didier Hess Pika Ghosh, University of North Carolina, Chapel Hill Melissa Ragona, Carnegie Mellon University Helen Lessick and Deborah Boudewyns, University of Minnesota Creating Abodes for Gods Abroad: Jain Temples in England Better Books, the Arts Lab, and the Dairy: The Shifting Countercultural Libraries Anisha Saxena, Jawaharlal Nehru University Situations of British Expanded Cinema Deborah Oliver, Performance Exchange and University of Designing a New Hoysala Temple near Bangalore Lucy Reynolds, independent scholar California, Irvine Adam Hardy, Cardiff University Selma Last Year (1966): Expanded Cinema, Site Specificity, Subjectivity and Share in Temple Building: Tracing Innovation and the Aesthetics of Dislocation through the Narabandhas of Orissa Andrew V. Uroskie, Stony Brook University, State University Syed Parvez Kabir, Visva Bharati University of New York Discussant: Kavita Singh, Jawaharlal Nehru University Centennial Session

“Reclaiming” the Studio as a Site of Production West Hall Meeting Room 515B, Level 2 Chair: Patty Wickman, University of California, Los Angeles Michele Grabner, School of the Art Institute of Chicago Karen Kleinfelder, California State University, Long Beach Amanda Ross-Ho, independent artist Discussant: Doug Harvey, independent artist and writer

66 college art association 100 February 22 –25, 2012 67