Southeastern College Art Conference

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Southeastern College CHARLESTON, WEST VIRGINIA Art Conference October 17-20, 2007

secac 2007 Dayton Dr. Dayton

Glen Ave. Buchanan

Indiana Ave. Crescent Rd. Roane St. Wyoming St. 79

Virginia OhioSt. Ave. 64

Monongalia St. N. Tennessee Ave. S. Pennsylvania St. ELK RIVER Spring St. Yeager Airport PennsylvaniaCharleston St.

Donnally St. Stack St. Virginia St. Bullitt St. Civic Center McCormick St. Dryden St.

Charleston Marriott Hotel Young St. ia . Piedmont Rd. Hinton Ter. Columb 60 Margaret St.

Charleston Civic Center Dr. Town Center 60 Washington St. Mall Lee St. Sunset Dr.

Christopher St. Clendenin St.

Capitol Market 61 Truslow St. .. Goshern St. . Standard Court St Laidley St. Pickens RiverfrontHaddad Park . 77 MacCorkle Ave. SE Summers. St. Thayer Leon Sullivan Way . Appalachian Ferry St. Dickinson St. Hansford St. Farnsworth Dr. Capitol St. Power Hale St CLAY CENTER Park Smith St. Arts & Sciences Milton St. for the

. . Lewis St. Chilton St. AMTRAK . Station Morris St South Side Dunbar St O’Connor Alley. Cart Bridge . Jacob St. Quarrier St. Rugby

BrooksVirginia St St. Thompson Dixie St. Greenbrier St. Kanawha Blvd. . Bradford St. Shelton Ave.. Laidley Lewis St. . Beauregard St. Field Washington JacksonSt. St.

114

Thompson Ave.

Nancy St.

East End Historical District Maxwell St. McClungSt. City of Elizabeth St.

Greenbrier St. Charleston, KANAWHA RIVER Piedmont St. Capitol West Virginia Complex State Cultural Center State Capitol Frontage Rd.

61 California St.

PARK MacCorkle Ave. SE PLACE STADIUM University of CINEMAS 7 8 Charleston WASHINGTON STREET 1. Lisa’s MARRIOTT 2. 5th Quarter Steakhouse 11 3. Chop House 5 6 9 10 4. Bennigan’s 5. Whitewater Grille (at the Marriott) LEE STREET 6. Athletic Club (at the Embassy Suites) 4 12 19 22 25 7. Swiftwater Cafe TOWN 13 18 26 8. Midtown Cafe CENTER 16 17 20 23 9. Star of India MALL 14 27

COURT STREET 10. Blue Moon Cafe CAPITOL STREET LAIDLEY STREET SUMMERS STREET 21 2 3 15 24 28 29 11. Diane’s Capitol Street Cafe 12. Outback (at the Town Center Mall) CLENDENIN STREET QUARRIER STREET 13. Chili’s (at the Town Center Mall)

1 HALE STREET 14. Tidewater (at the Town Center Mall) 15. Gratzi’s (at the Town Center Mall) 16. China Garden 17. Rio Grande Mexican 18. Sahara Middle East Mart VIRGINIA STREET 19. Subway 20. First Watch Cafe 21. Capitol City Roasters 22. Graziano’s 23. Ellen’s Ice Cream 24. Cafe de Paris 25. Chesapeake Bagel Within Walking Distance... 26. Taylor Books and Coffee Shop How to Get Around Charleston 27. Cazon Southwest Deli 28. Bellacino’s 29. Blossom Dairy To Our SECAC Colleagues:

It is with pleasure that we welcome you to SECAC 2007 in the capitol city of West Virginia,

Charleston. Our conference this year is the result of a partnership between the College of Fine Arts at Marshall University, in Huntington, and the College of Creative Arts at West

Virginia University, in Morgantown. Both colleges share a common passion – to advance the arts and their meaningfulness in the lives of the citizens of West Virginia and beyond, and to educate our students to the highest standards in the Arts. Our students hold the promise of the Arts for future generations, and we embrace our responsibilities as we guide them to that future.

This philosophy, which also might be expressed through the title of Paul Gauguin’s 1897 painting, Where Do We Come From? What Are We? Where Are We Going?, has guided our planning process for SECAC 2007, and the resulting program blends world-wide scope,

“cutting edge” issues, innovative perspectives, historical understanding, and an engaging keynote speaker, Willie Cole. In addition, Charleston’s cultural and governmental centers 1 have joined together to host a variety of art exhibitions and relevant programs.

This 2007 Annual Conference was created by enthusiastic and dedicated colleagues at our

Universities. In particular, we would like to acknowledge the valued contributions of Mary

Grassell, Claire Sherwood, Mark Slankard, Emily Ritchie, Hayson Harrison, and Byron

Clercx from Marshall University and Janet Snyder, Kristina Olson, Victoria Fergus, Bob

Bridges, Eve Faulkes, and Alison Helm from West Virginia University.

And so, welcome to West Virginia, and thank you for that profound insight which you bring to all of us as artists, scholars, and educators.

Sincerely,

Donald Van Horn Bernie Schultz, Ph.D Dean Philip J. Faini/Falbo Family Dean College of Fine Arts College of Creative Arts Marshall University West Virginia University Featured Conference Speaker: Willie Cole

Willie Cole is the keynote speaker for the 2007 SECAC Widely known for transforming ordinary domestic objects meeting. Cole has had recent West Virginia connections like irons, bicycle parts, and lawn jockeys into works of art, with a 2005 residency in Huntington at the Huntington Cole’s work reﬂects his heritage and a vivid imagination. Museum of Art and as the 2005 Deem Distinguished Cole says, “I use an object because something about it, or Lecturer at West Virginia University in Morgantown. We something in it, calls me.” are delighted to welcome him back to West Virginia and to introduce him to SECAC! Ceramic artist and writer Leon Nigrosh has characterized Cole’s TjiWara series, sculptures made of recycled bicycle parts, as “elegant and sensual.” He goes on to say, “These arresting and gracefully curving objects are based on carved wooden antelope headdresses worn by Bamana men in Mali. The original African objects celebrate “The Beast that Works,” a mythological hero that taught humans to cultivate the land and thus survive as a stable community. The use of bicycle parts also implies athletic strength and prowess – revered by the Bamana and African-Americans alike.”1

Willie Cole has been the recipient of numerous awards including The Augustus Saint-Gaudens Memorial Fellowship; Joan Mitchell Foundation Award; The Louis Comfort Tiffany Foundation Grant; and a Rutgers Center for Innovative Printmaking Fellowship. He has been artist-in-residence at The Studio Museum, Harlem, New Willie Cole. Speedster tji wara 2002 bicycle parts, 46x22x15 York; The Contemporary, Baltimore, Maryland; Pilchuck in/118x38x56.5 cm, Photo: Orcutt and Van Der Putten, Collection: Albright- Glass School, Seattle, Washington; Capp Street Project, 2 Knox Art Gallery, Buffalo courtesy of Alexander and Bonin, New York San Francisco, California; and the John Michael Kohler Arts Center, Sheboygan, Wisconsin. His work has been exhibited across the United States, in Europe, Japan, and Cole, a native of New Jersey, is largely a traditionally South America, and has been acquired by every major trained artist having studied media arts, a combination of museum in the United States. Willie Cole lives and works in graphic design with photography, and video. He received Mine Hill, New Jersey. his Bachelor of Fine Arts degree from The School of Visual Arts in New York in 1976 and then did additional study at 1 Leon Nigrosh. Afterburn: Willie Cole Selected Works, 1997-2004, The Pulse, December 2005, http:www.thepulsemag.com/Culture/williecole.html, August 22, 2007. The Art Students League in New York from 1976-1979. Exposed to African art early in life , Cole pursued serious study of it in high school and college. Haitian-Hispanic artist Jean-Michael Basquiat and writings on comparative mythology and world religion by Joseph Campbell are also acknowledged inﬂuences on his work.

J. Susan Isaacs, SECAC Members’ Exhibition Juror

J. Susan Isaacs is Professor of Art History at Towson published articles for Metalsmith, Surface Design Journal, University where she teaches advanced undergraduate and FiberArts, among others. and graduate level courses in modern and contemporary art. Isaacs also curates a number of exhibitions each Some recent shows of note Isaacs curated include Oink, year at Towson University. Since 2001, Isaacs has also Moo, Baa: Animals in Art (2006); Four Contemporary served as the adjunct curator in charge of programming Women Photographers: Susan Fenton, Alida Fish, Connie for the Delaware Center for the Contemporary Arts. She is Imboden, and Judith Taylor (2006); and Eric Fishcl: Prints responsible for programming over thirty exhibitions a year and Drawings (2006). at the DCCA while directing a staff of three. Isaacs has Conference Schedule

Wednesday, October 17 Appropriation and Referencing in Consumer Culture 2:30-3:30 p.m. SECAC Executive Committee Heidi Neff, Harford Community Executive Board Room, College Charleston Marriott Town Appropriate Appropriation Center Hotel Eric Benson, University of Illinois 4:00-7:00 p.m. at Urbana-Champaign Board Meeting – Governor’s Wanted: An Ethical and Conference Room Sustainable Design Education West Virginia Capitol Building WHAT IS THE BALANCE OF ART 6:00-7:30 p.m. AND DESIGN? Early Registration Pick-up Salon C Main Lobby, Charleston Marriott Chair: Neil Matthiessen, Arkansas Town Center Hotel State University SECAC members who registered early may pick up registration Tammy Knipp, Florida Atlantic packets. Those who have not University registered will be able to register at Designer as Researcher and Artist the Registration Desk beginning Thursday morning at 7:30 a.m. Rosanne Gibel, Art Institute of Ft. Lauderdale 7:00-9:00 p.m. A Delicate Balance: Is Design a Opening Reception in the West Modernist Construct? Virginia State Capitol 3 Busses will run a staggered Andrew Maniotes, Eastern schedule beginning at 6:40 p.m. at Michigan University the Marriott entrance and will Bite vs. Byte: Power of the Hand return at intervals throughout Printed Poster the evening BEYOND WORDS: Thursday, October 18 CALLIGRAPHIC ART Cumberland Room 7:30 a.m.-5:00 p.m. Chair: Crystal Hui-Shu Yang, Registration Desk University of North Dakota Foyers A and B on the Second Floor, Charleston Marriott Town Sophia S. M. Law, Lingnan Center Hotel University Writing Beyond Words: Zen 8:00-9:30 a.m. Calligraphy Session I Kimberly Allen-Kattus, Northern THE PAST, PRESENT, AND Kentucky University FUTURE ETHICS OF Lost for Words: Diaspora, APPROPRIATION, Calligraphy and Pseudo-Text in the REFERENCING, AND 21st Century PLAGIARISM Salon A Carol Leake, Loyola University Chair: Christopher M. Gauthier, New Orleans Jackson State University Character Study: Calligraphic Strategies in J.L. Steg’s Zoom Christopher M. Gauthier, Jackson Series State University The Ethics and Impact of

Wednesday, October 17/Thursday, October 18 Crystal Hui-Shu Yang, University of Ann Driscoll, Independent Scholar North Dakota Eve Exposed: A Revealing Scene in Direct and Indirect Expression: Limbo on the Victoria and Albert’s The Art of Howard Finster and Christus Triumphans Painted Cross Hung Tung Kerr Houston, Maryland Institute UNNATURAL LANDSCAPE College of Art Appalachian Room Towards an Iconological Reading of Chair: Cynthia Camlin, West Late Medieval Italian Images of the Virginia University Massacre of the Innocents

Diane Fox, The University of Michelle Erhardt, Christopher Newport Tennessee, Knoxville University Artiﬁcial Landscapes: Between the Images of the Vita Mixta: Marian and Real and the Imagined Magdalen Imagery in the Guidalotti- Rinuccini Chapel Peter HappelChristian, Youngstown State University SIXTEENTH CENTURY MASTERS: Near the Point of Beginning MICHELANGELO, PONTORMO AND VASARI Gretchen Scharnagl, Florida Allegheny Room International University Chair: Debra Murphy, University of An Environmental Artist in North Florida Suburbia Gustav Medicus, Kent State University Michael Sherwin, West Virginia Michelangelo and Siena University Systems of Change Chrystine L. Keener, Kent State University SEEING IN RED (READING IN Pontormo’s Choir at San Lorenzo: 4 BLACK AND WHITE) Political Propaganda and Dynastic Kanawha Room Symbolism Chair: James C. Boyles, North Carolina State University, Meredith Liana De Girolami Cheney, University College of Massachusetts Lowell Vasari’s Doubting of Thomas Nancy Palm, Indiana University Native Roots in the National 9:45-11:45 a.m. Landscape: Thomas Cole’s Indian Session II Iconography and the Construction of American Identity NEW FORMS OF VISUAL NARRATIVE IN THE GRAPHIC Shannon Egan, Gettysburg DESIGN FOUNDATION College Salon A A Good Thing for the Whole Chair: Marius Valdes, University of American People: Edward S. South Carolina Curtis’s Progressive Indians Rachele Riley, University of North Lucy Ganje, University of North Carolina at Charlotte Dakota Visual Storytelling in Graphic Design Marketing the Sacred: Using and New Media American Indian Cultural Imagery as Commodity Art Kermit Bailey, North Carolina State University MEDIEVAL ART IN CONTEXT I: Telling Contemporary Cultural Stories ITALY of Change As Diagrammatic Blue Ridge Room Methodology Chair: Tessa Garton, College of Charleston

Thursday, October 18 John Stanko, University of David Jeffreys, Savannah College Nebraska at Kearney of Art and Design Storytelling through Imagery Funny, Not: 20 Minutes of Hilarity and Horror with Mike Kelley, Amy M. Johnson, University of Paul McCarthy and Monty Python Central Oklahoma Emotional Segue: Examining the MAPPING UNEXPECTED Transition from Pure Message to GEOGRAPHY Emotive Communication in Appalachian Room Design Education Chair: Rhonda L. Reymond, West Virginia University (RE)VIEWING VENICE Salon C Kevin Mulhearn. City University of Chair: Adrian R. Duran, Memphis New York College of Art Carl Andre’s Grids: Landscapes, Maps and Monuments Rebecca M. Norris, Kent State University Christopher Fulton, University of Decorative Art and the Venetian Louisville Domestic Setting Siqueiros’s Apocalyptic Landscapes

Victoria Sheridan, University of Jolie B. Kaytes, Washington State Toronto University, and Samantha DiRossa, Venetian Baroque? Elon University Gathering Dust: Sediment/Sentiment William McKeown, University of Memphis Christopher M. Cassidy, University St. George, St. Ursula, and St. of North Carolina at Greensboro Crumpet: Carpaccio’s Venice as a The Unique Phenomenon of a Model for Ruskin’s Utopian Distance: Televisuality and Communities Perceptions of Geographical Space 5

Adrian R. Duran, Memphis College MATERIALITY AND METAPHOR of Art Kanawha Room “Vedutismo Nuovo”: View Painting Chair: Carlton Hughes, University of and Epistemology in South Carolina Contemporary Venetian Painting Julia Karll, University of Kansas FROM HA-HA! TO HMMM? THE Accumulation and Dissolution CURRENT STATE OF HUMOR IN ART Rod Northcutt, Art Institute of Chicago; Cumberland Room Rochester Institute of Technology Chair: Libby Rowe, Vanderbilt Making and Faking: Distillation of the University Crafted Mark

Sheri Klein, University of Roger Rothman, Bucknell University Wisconsin-Stout Small Things Prick, or Why Dali’s What’s Funny About Contemporary Paintings Are So Tiny Art? Janie Boyer, University of South Efram Burk, Curry College Carolina Texts from the Public Domain: The From Mary to Joseph: The Joke Paintings of Richard Prince Connection between Location and Devotion Gary Keown, Southeastern Louisiana University THE NEXT GENERATION: SECAC’S The Art of Humor: A Socially NEWEST ARTIST-EDUCATORS Inspired Voice Blue Ridge Room Chair: Michael Aurbach, Vanderbilt University

Thursday, October 18 Wendy DesChene, Auburn 12:00-1:15 p.m. University Information Sessions: Recent Installations and Mixed Meet the SECAC Review Media Work Editor, James C. Boyles, Blue Ridge Room Ira Hill, Florida State University SECAC 2008 New Orleans, New Work Allegheny Room

Christopher Olszewski, Jackson 1:30-3:15 p.m. State University Session III Individuality in a Multicultural World AMERICAN ART I: HIGH AND LOW Durant Thompson, University of IN AMERICAN VISUAL CULTURE Mississippi Salon A Rediscovering the Wheel Chair: Janet Headley, Loyola College in Maryland Jodi Hays, Tennessee State University Mark Thistlethwaite, Texas Christian Recent Work University American History as ‘Pictorial ART EDUCATION FORUM V: Embellishment’ in Nineteenth- SECTION A: POLICY, Century Gift Books ADMINISTRATION, AND ACCREDITATION Pamela H. Simpson, Washington Allegheny Room and Lee University Chair: Thomas M. Brewer, Teddy Roosevelt, an American Icon University of Central Florida in Butter

Floyd W. Martin, University of Saul Zalesch, Louisiana Tech Arkansas at Little Rock University 6 Eugene Delacroix’s Ideas about 50,000 Women Artists/ Art: Foundations for Contemporary Entrepreneurs: The Saga and Art of Students Fireside Industries

Craig Roland, University of Florida Alexis L. Boylan, The University of Preparing Teachers to Teach Art in Tennessee, Knoxville the Digital Age Race and Kitsch: Where Outside and Inside Collide Richard Siegesmund, University of Georgia WORLD ART Think Tank II: Teaching the 3 Cs: Salon C Critical Theory, Critical Thinking, Chair: Laura M. Amrhein, University Critique Strategies of Arkansas at Little Rock

Thomas M. Brewer, University of Karen O’Day, University of Central Florida Wisconsin-Eau Claire An Update on Developing a Animals with Us: Examples from an Bundled Art Assessment Indigenous American Art Tradition

Cynthia Colbert, University of Renee McGarry, City University of South Carolina New York Graduate Center Assessment of Visual Arts “It is black, dark; it has feet”: Aztec Education Programs in Colleges Sculpture of the Animal World and Universities Melisa Quesenberry, University of Lunch on your own Central Arkansas The Virgin in the Well: Pre-Columbian Ritual Meets Christianity

Thursday, October 18 ART EDUCATION FORUM V: BRITISH ART SECTION B: RESEARCH, Kanawha Room INSTRUCTION, AND BEST Chair: Bonita Billman, Georgetown PRACTICES University Cumberland Room Chair: Mary Lou Hightower, Arthur Marks, Independent Scholar University of South Carolina The Shark and Who? Rethinking a Upstate Copley Masterpiece

Mary Jane Zander, Virginia Robert M. Craig, Georgia Institute of Commonwealth University Technology Communities of Discourse and The ‘World Image’ Garden: Biddulph Learning in the Arts Grange & the Victorian Global View

Bryna Bobick, University of Carolyn Porter, Virginia Georgia Commonwealth University A Collaborative Studio Art Dante Gabriel Rossetti, Aestheticism, Project between an Elementary and Synaesthesia School and a College Art Department RENAISSANCE STATE PORTRAITURE: PORTRAIT OF Linda K. Neely, Lander University THE STATE Conﬂicting Concepts in Teacher Blue Ridge Room Preparation – Chair: Heather L. Holian, University Part I: Teaching for Content of North Carolina at Greensboro Standards and Teaching for Creativity Margaret Ann Zaho, University of Central Florida Mary Lou Hightower, University of Divus Alfonsus Rex: Imperial South Carolina Upstate Allusions in the Portraits of King A Case Study of Art Teacher Alfonso I of Naples 7

YOU ARE…WHERE? Maria Maurer, Indiana University MAKING AND TEACHING Female Portraiture and Political ART FAR FROM MAJOR Dispute: The Case of Paola Gonzaga METROPOLITAN AREAS and Silvia Sanvitale Appalachian Room Co-Chairs: Mark Slankard and Stephanie R. Miller, University of Claire Sherwood, Marshall Wisconsin-Whitewater University Boys Will Be Men: Images of Adolescent Citizens in Fifteenth- Allyson Klutenkamper, Shawnee Century Republican Florence State University Working against the Grain: Making Azar Rejaie, University of Houston- and Promoting Work from Downtown Appalachia A Painter amongst the Ancients: Accounting for Perugino’s Presence Andrew John Liccardo, Northern within Perugia’s Collegio del Cambio Illinois University The Millennial Collection Archive LIFE DRAWING: PERTINENT OR PASSÉ Cigdem Slankard, West Virginia Allegheny Room State University Chair: Sara Frankel, College of Sixteen to Life: A Resourceful Charleston Approach to Filmmaking in a Small Town Harry W. Boone, The University of Virginia’s College at Wise An Ethical Argument for Figure Drawing and Objectively Based Art Education

Thursday, October 18 Agnes Carbrey, James Madison Susan G. Jackson, Marshall University University A Response to Life Drawing: There’s Something About Mary Pertinent or Passé Magdalene: Some Questions Concerning Her Cult Sharon Lacey, College of Charleston Vibeke Olson, University of North Drawing as a Multi-sensory Carolina at Wilmington Process “She shed many tears and was taken with violent sobbings”: Re-examining Edith Read, Assumption College the Iconography of Holy Tears in Late Seeing Through the Model Medieval Painting

MEDIEVAL ART IN CONTEXT II: 3:30-5:15 p.m. ARCHITECTURE AND Session IV ARCHITECTRUAL SCULPTURE Cumberland Room PORTRAITURE IN THE Chair: Ann Driscoll, Independent EXPANDED FIELD Scholar Salon A Co-Chairs: Benjamin Harvey, Jamie Higgs, Marian College Mississippi State University and Some Observations on Visigothic Heather McPherson, Architecture and Its Inﬂuence on the The University of Alabama at British Isles: More Spanish Symptoms Birmingham Kelly Watt, University of Louisville Michael Yonan, University of Architecture as Propaganda on the Missouri-Columbia Spanish Frontier Messerschmidt and the Boundaries of (Self-)Portraiture Tessa Garton, College of Charleston 8 Sculptural Programs and Workshop Roann Barris, Radford University Practices in Romanesque Palencia The New Soviet Woman: A Collective Portrait Peter Scott Brown, University of North Florida Greta Murphy, Northern Arizona Integrity, Contingency, Collapse: University The Atlas Figure and Medieval Jimmie Durham’s Self-Portrait: “as Architectural Allegory large as life, and twice as natural!” PEDAGOGICAL SESSION: USING Heather McPherson, University of TECHNOLOGY IN TEACHING Alabama at Birmingham ART HISTORY Response Appalachian Room Chair: Marjorie Och, University of COALITION OF WOMEN IN Mary Washington THE ARTS ORGANIZATION (CWAO) THE SACRED Kevin Concannon, University of Akron FEMININE IN ART AND THE Art Historical Media and Media Arts: DA VINCI CODE Delivering the Goods in the 21st Salon C Century Art History Classroom Chair: Kyra Belan, Broward Community College John R. Decker, The University of Georgia Kyra Belan, Broward Community Technology in the Art Appreciation College Classroom: Plague or Panacea? The Virgin in Art: From Medieval to Modern

Thursday, October 18 Scott Karakas, Florida Gulf Coast Corey Dzenko, University of New University Mexico Lessons from the Ether: Using Artwork, Anxiety, and Ambiguity: The Technology to Facilitate Learning Photographic Images of Kerry in a Large-Enrollment Skarbakka Online Introduction to the Visual and Performing Arts Matthew Kolodziej, University of Akron Marjorie Och, University of Mary Vertigo: Gravity’s Pull on Washington Environmental Art A Wiki, a Blog, and an Online Exhibit IMPORTANCE OF UNDERSTANDING THE MARKET LANGUAGE, IMAGES AND Allegheny Room SYMBOLS IN A BILINGUAL Chair: Hayson Harrison, Marshall MIND University Kanawha Room Chair: Alma Hoffmann, Studio2n Hayson Harrison, Marshall University Marketing and Design Art Troy Abel, Iowa State University A Methodology for Evaluating the Robert Meganck, Virginia Effectiveness of Pictographic Commonwealth University Symbol Sets for Children with Professional Practice Requires a Language Disabilities Professional Curriculum

Paula Curran, Iowa State Matthew Wallin, Virginia University Commonwealth University “Come Back with the Clothespins”: Art and Commerce Are Not Mutually Negotiating Verbal Communication Exclusive with Limited Language Ability Jorge Benitez, Virginia 9 Renee Meyer, Iowa State Commonwealth University University The Importance of Language Skills Culture, Context, and in a Global Market Communication: Responsibilities of the Graphic Designer SECAC ARTISTS FELLOWSHIP COMMITTEE Alma Hoffmann, Studio2n Salon B A Visual Representation of Words Chair: Pat Wasserboehr and Expressions in a Bilingual Mind: Poster Series 6:30-8:30 p.m. GRAVITY AND LEVITY IN ART Exhibits and Receptions at the Clay Center Blue Ridge Room for the Arts and Sciences and the Marshall Co-Chairs: Elizabeth Bailey, University Graduate College Wesleyan College and Mary D. Exhibits at the Clay Center include a special Edwards, Pratt Institute and showing of works from the Jingdezhen School of Visual Arts Ceramics Institute in China that was curated by Bob Bridges, Assistant Professor of Art Dimitri Hazzikostas, Pratt Institute and Curator of the West Virginia University Sleep in Context: Nuances of Art Collection. Gravity and Levity in Greek Art The Marshall University Graduate College Art Collection features West Virginia artists and Denise M. Budd, Rutgers was curated by Charleston resident, Callen University McJunkin. From Holy Conversation to Busses will be running a staggered schedule Holy Levitation: The “Rise” of Mary beginning at 6:00 at the Marriott entrance in the Renaissance Altarpiece and will return at intervals throughout the evening. There will be a cash bar at the Clay Center for the Arts and Sciences.

Thursday, October 18 Friday, October 19 Rusty Smith, Auburn University Learning to Swim in a Field: Bridging 7:00-8:30 a.m. the Gap between Knowledge and Breakast Know-How Gauley Room Sponsored by The College Board MEDIEVAL ART IN CONTEXT III: Advanced Placement Program IMAGES OF WOMEN Cumberland Room 7:30 a.m.-5:00 p.m. Chair: Jane Hetherington Brown, Registration Desk University of Arkansas at Little Rock Foyers A and B on the Second Floor, Charleston Marriott Town Devon Morreale, University of North Center Hotel Florida The Dance of Salome in Romanesque 8:00-9:30 a.m. Sculpture Session V Julia Finch, University of Pittsburgh NET(WORKS): ART AND PRE- The Young Virgin Reads: Education EXISTING WEB PLATFORMS Imagery in Medieval Contexts Salon A Chair: Patrick Holbrook, Karlyn Grifﬁth, Florida State University Independent Artist The Performance of Courtly Love and Ivory Composite Caskets Patrick Holbrook, Independent Artist QUATTROCENTO RENAISSANCE Infecting the Host? STUDIES Appalachian Room Will Justice, University of Chair: Kathleen G. Arthur, James California, Santa Cruz Madison University Conceptual Interventions: 10 Net(worked) Performance that Kathleen G. Arthur, James Madison Reclaims Virtual Infrastructures University Masaccio’s Beggars and the Visual Anthony Fontana, Bowling Green Rhetoric of the Urban Poor State University Art 2.0: Beta Testing Collaborative Beth A. Mulvaney, Meredith College Art in a Virtual World Aspiring Toward Nobility: Silk, Miracles, and the Amadi Family A 21ST CENTURY DESIGN FOUNDATION Sheri F. Shaneyfelt, Vanderbilt Salon C University Chair: Mary Stewart, Florida State The Last Supper: Its Genesis and University Replication in the Perugian School

Rukmini Ravikumar, University of GESTURE AND PROCESS: THE Central Oklahoma INFLUENCE OF NEW MEDIA ON Red-Headed Stepchild No More: VISUAL ARTS EDUCATION A Study of the Impacts of the AND PRACTICE Historical Evolution and Kanawha Room Philosophical Divide on Design Co-Chairs: Christopher Cassidy and Foundations Curriculum Seth Ellis, University of North Carolina at Greensboro Joelle Dietrick, Flordia State University and Owen Mundy, Gary Mesa-Gaido, Morehead State University of California, San Diego University The Compelling Concept: Design Beyond the Bauhaus Laboratory: for Social Change Can Color Theory Be Applicable?

Friday, October 19 Scott Raynor, High Point University AMERICAN ART II: ISSUES OF My Personal Struggle with Digital RACE AND GENDER Integration Salon A Chair: Betsy Fahlman, Arizona State Scott Betz, Winston-Salem State University University The Effect of the Center for Design Evie Terrono, Randolph-Macon Innovation on a Historically College Black University’s Foundation Our Savage Brethren: Native Program Americans on View During the Civil War THE OTHER SCREEN: TIME ARTS IMAGING AND THE Sara Mandel, Indiana University VISUAL ARTS Re-Dressing for the Carnival: A Blue Ridge Room Painting by Winslow Homer Chair: Norman Magden, The University of Tennessee, Knoxville Tracy Schpero Fitzpatrick, Purchase College, SUNY Scott Sherer, The University of Ellen Day Hale: Painting the Self, Texas at San Antonio Fashioning Identity Spectacular Objects Helen Langa, American University Deanne Pytlinski, Metropolitan Lesbians in the Closet: Women State College of Denver Artists, Professionalism, and Same Video and Sound Art and Their Sex Affections Shared Origins in Minimalist Music (Does It Matter?)

Norman Magden, The University of ARTISTS BOOKS AND THE Tennessee, Knoxville MODERN NARRATIVE Subversive Scatology and Political Salon C Pornography: Funk Film and the Chair: Cynthia Marsh, Austin Peay 11 Visual Arts State University

BEING MINDFUL ABOUT Byron Clercx, Marshall University MODERN AND From Paginated Multiples to CONTEMPORARY ART One-of-a-Kind Sculptural Book Allegheny Room Objects: The Artist’s Book as Vehicle Chair: Marsha Morrison, for Inquiry, Independent Scholar Identity and Ideology

Lisa Ziemer, Western Carolina Andrea Dezso, Parsons The New University School for Design Gordon Onslow Ford: Voyager in The Effect of Early Communist Wonder Propoganda on My Personal Work Michael Klein, Western Kentucky University Brad Freeman, Columbia College Willem de Kooning’s Excavation: JAB (The Journal of Artists’ Books) Popular Sources, World War Two and Its Relationship to Artist and the Cold War Publication in the Early-Mid 20th Century Wendy Koenig, Middle Tennessee State University CONTEMPORARY FOLK, SELF- Bending Over Backwards: Hysteria TAUGHT, AND OUTSIDER ART in Contemporary Art Cumberland Room Co-Chairs: Carol Crown, University 9:45-11:45 a.m. of Memphis, and Pamela Sachant, Session VI North Georgia College & State University

Friday, October 19 Monica Kjellman-Chapin, Emporia INTERMEDIA/INTERCHAOS/ State University INTERSOLUTIONS The Shrewd Naïf: Self-Constructed Kanawha Room Marginality and Outsider Art Co-Chairs: Jerry Johnson and Gregg Skaggs, Troy University Lisa Crossman, Tulane University Beading Her Own Identity: Bryan Alexis, University of Arkansas Meanings of Masking as at Fort Smith Indian Queen Digital Soup: The Challenges of Digital Mixed Media Bill Ellis, University of Memphis Clay Skull Blues: Continuities Robert Dohrmann, University of between Self-Taught Art and the Oklahoma Traditional Music in the American The Bahausian Rejection: Changing South the Structure of Art and Design Foundations Lee Kogan, American Folk Art Museum Greg Skaggs, Troy University Crossing Boundaries: The Teaching in the Postmodern Era: American Folk Art Museum Finding Meaning Through Creative Collects and Displays Southern Collaborative Chaos Folk Art Jerry Johnson, Troy University VISUAL RESOURCES Herds, Hurdles and Hoists: The CURATORS OF SECAC (VRC) Collaborative Studio Experience INSTITUTIONAL VISUAL RESOURCES: STRATEGIES Cindy Rehm, Middle Tennessee State FOR CROSS-CAMPUS University COLLABORATION Body + Process: Integrating Time- Appalachian Room Based Media into an Art Education 12 Co-Chairs: Emy Nelson Decker, University of Georgia and Christina PEDAGOGICAL SESSION: Updike, James Madison University TEACHING ART HISTORY AND ART APPRECIATION IN THE 21ST Kathe Hicks Albrecht, American CENTURY University Blue Ridge Room To Dream the Impossible Dream: Chair: Ute Wachsmann-Linnan, Campus-Wide Image Databases Columbia College

Patricia Cosper, University of Steve Arbury, Radford University Alabama at Birmingham Doesn’t Anybody Know Anything To Share or Not to Share: Anymore? Teaching Art History to CONTENTdm and the College Today’s College Students Library Amy Johnson, Otterbein College Astrid Otey, Miami University Paradigm Shift: A Learning-Centered Collaborative DAMS Project at Art History Canon Miami University Valerie Grash, University of Pittsburgh John Taormina, Duke University at Johnstown When East Meets West, Again: Studying Art and Architecture in Mass Collaborative Digital Image Media as a Tool for the Art History Delivery at Duke University Survey

Moderators: Emy Nelson Decker Sarah Glover, Bradley University and Christina Updike Arousing Student Interest: The Art History Canon Loses its G-Rating

Friday, October 19 Ute Wachsmann-Linnan and Cathy Debra Murphy, University of North Miller, Columbia College Florida Teaching Appreciation for the Arts Symbolism and Propaganda: The Through a Contemporary Medium: Fictive Bronzes in the Scipio Frieze Films by International of the Palazzo dei Conservatori Women Filmmakers Alison C. Fleming, Winston-Salem BUILDINGS IN MOTION: A State University CONSIDERATION OF The “Roman-ness” of St. Ignatius of ARCHITECTURAL PROCESSION Loyola’s Vision at La Storta in Early Allegheny Room Jesuit Images Chair: Kristina Olson, West Virginia University YOU ARE ALL MY MEDIUM Salon C Katherine Smith, Agnes Scott Chair: Cedar Lorca Nordbye, College University of Memphis “The Moving Eye in the Moving Body”: Mobilizing Perspectives on Wendy Babcox, University of South the American Landscape Florida Turning Our Tongues Ethel Goodstein-Murphree, University of Arkansas Cedar Lorca Nordbye, University of Reconsidering the New Orleans Memphis House: A Matter of Space, Place, Nuremberg, Tuskegee, Venice and Procession Biennale?

Michael Slaven, California Chandler Pritchett, University of University of Pennsylvania Memphis Power and the Architectural Applying Piper’s Matrix Processional: Intimidation and the Salle des Glaces FOUNDATIONS IN ART: THEORY 13 AND EDUCATION (FATE) Jim Lutz, University of Memphis MOVING ON UP: FOUNDATIONS, Hear and There: Sound and THE FIRST RUNG ON THE Motion in Modern Architecture TEACHING LADDER Cumberland Room Chair: Debra Ambush, 12:00-1:30 p.m. Savannah College of Art andDesign SECAC Awards and complimentary luncheon, Pavilion, Charleston Marriott Town Center Kristie Bruzenak, Savannah College of Art and Design 1:30-2:30 p.m. Unsupported Foundations Visual Resource Curators of SECAC Business Meeting Steven Bleicher, Coastal Carolina Salon B University A Quality Undergraduate Education? 2:00-3:30 p.m. Session VII Patricia Limbaugh, Frostburg State University ROMAN HISTORIES Engaging Non-Tenured Faculty in Salon A Learning Chair: Ria O’Foghludha, Whittier College

Brian A. Curran, The Pennsylvania State University The Lions in the Piazza: A Tale of Two Statues

Friday, October 19 THE ABSENCE OF ART: WAR, Linda F. McGreevy, Old Dominion POWER, AND ICONOCLASM University Appalachian Room The Mourning Picture as Evidence Chair: Debra J. Gibney, The of Sensibilité: America’s Young University of Texas at Austin Ladies Prepare the Proper Rousseauesque Memorial in the Sarah Hinderliter, Columbia New Eden University Houses on Slopes and Hills: Kurt Suzanne Adams-Ramsey, University Schwitter’s Merzbaus in Exile of Virginia’s College at Wise Women’s History Hidden in Quilts Debra J. Gibney, The University of Texas at Austin 3:45-5:30 p.m. A Study of Anselm Kiefer’s Session VIII Bilderstreit (Iconoclastic Controversy) AUTHENTICITY Salon A Mana Hewitt, University of South Chair: Sandra Reed, Savannah Carolina College of Art and Design Collision: Art and Politics in a Post 9-11 World Jasmina Tumbas, Duke University Aspects of Authenticity and the PUSHING THE ENVELOPE: Complexity of Human Subjects CONTEMPORARY STRATEGIES FOR PAINTING Von Allen, Brigham Young University Kanawha Room Teaching for Content Chair: Brian Bishop, The University of Alabama Emeka Anonyuo, Savannah College of Art and Design J. Bradley Adams, Berry College Authentic is Authentic: What is Not 14 Sanctifying Frivolity is Not: An Africanist Perspective

Barbara Campbell, University of Craig Drennen, Savannah College North Carolina at Greensboro of Art and Design Superabundance: Contemporary The Supergirl Project Time and Space in Recent Painting WAR PHOTOGRAPHY: CAPTURING CONFLICT Todd McDonald, Clemson Salon C University Co-Chairs: Rachel Snow, University Painting the New Media of South Carolina Upstate and Kevin Mulhearn, City University of ART EDUCATION POLICY New York / University of South COMMITTEE MEETING Carolina Upstate Blue Ridge Room Chair: Thomas M.Brewer, Kris Belden-Adams, City University University of Central Florida of New York Happy Nazis and Male Bonding: TRADITIONAL FOLK ART Soldiers’ Snapshots Reframe the Allegheny Room World War II Experience Chair: Cheryl Rivers, Independent Scholar Emily Morgan, University of Arizona Awareness?: Photography, Consumption, William D. Moore, University of Violence, and Responsibility in the Works North Carolina at Wilmington of Susan Sontag Recording an American Culture: Ruth Reeves, the Index of American Design, and the Canonization of Shaker Crafts in the Summer of 1936

Friday, October 19 Timothy W. Hiles, The University of Mysoon Rizk, University of Toledo Tennessee, Knoxville “Animals in Pants”: The Art of David The Relevancy of W. Eugene Wojnarowicz Smith’s Intangible Truth Catherine Wilcox-Titus, Worcester Mark B. Pohlad, DePaul University State College Photographs of Blitzed Churches: Self, Subject, Spectacle: Recent Iconography and Context Refusals of a Self in Contemporary Art

GENIUS/MADNESS: CREATIVE AMERICAN ART III: THE TWENTIES ACHIEVEMENT AND THE AND THIRTIES VISUAL ARTS Kanawha Room Cumberland Room Chair: Valerie Livingston, Chair: Juilee Decker, Georgetown Susquehanna University College Betty J. Crouther, University of Leisa Rundquist, University of Mississippi North Carolina at Asheville Alain Locke: Art Theorist and Recovering Childhood: Philosopher of a People and Age Approaching Aspects of Creative “Genius” and “Madness” in the Art Rachel K. Duszynski, Case Western of Henry Darger Reserve University Burlesque and Censorship in 1930s Jody B. Cutler, University of America Central Florida Narcissus, Narcosis, and Neurosis: Anthony J. Morris, Case Western Yayoi Kusama’s Vision and the Reserve University Nature of Art The Implied Spectator in the Paintings of Paul Cadmus and Reginald Marsh Paula Burleigh, Case Western Reserve University Paula Wisotzki, Loyola University 15 Disappearing Bodies: Absence Chicago and Presence in the Work of Americans Abroad: The 1930s, Francesca Woodman and Ana Politics, and the Experience of Europe Mendieta OUT OF THE CAVE AND INTO THE Juilee Decker, Georgetown CANON: ROCK ART AND ART College HISTORY III Creativity, the Visual Arts, and Blue Ridge Room Eminence Co-Chairs: Reinaldo Morales Jr., University of Central Arkansas and METAPHORICAL Denise Smith, Savannah College of EXPLORATIONS: MIRRORS, Art and Design, Atlanta MASKS, AND BEYOND Appalachian Room Jagdish J. Chavda, University of Co-Chairs: Jenny O. Ramirez, Central Florida James Madison University, and M. Varaha Mandapa (Varaha Cave II): Kathryn Shields, Guilford College Pallava Granite Art at Mamallapuram, India Barnaby Nygren, Loyola College in Maryland Laura M. Amrhein, University of Metaphorical Mirroring in Filippo Arkansas at Little Rock Lippi’s Barbadori Altarpiece and “Thinking with Things” in Ninth- Fra Angelico’s San Marco Century Maya Art Altarpiece James Farmer, Virginia Preston Thayer, Radford University Commonwealth University Art Museum Tipon Cruzmoqo: Inca Petroglyphs Visual Metaphor and Architecture and Imperial Strategy

Friday, October 19 Denise Smith, Savannah College Saturday, October 20 of Art and Design, Atlanta Rock Art of Georgia 8:00-11:00 a.m. Registration Desk Reinaldo Morales Jr., University of Foyers A and B on the Second Floor, Central Arkansas Charleston Marriott Town Center Man Art: Warrior Display Hotel Iconography in Ancient South America 8:30-9:30 a.m. SECAC Membership Annual Meeting WANDERING THE STACKS: with Complimentary continental THE PECULIAR NATURE OF breakfast STUDIO RESEARCH Hawk’s Nest Allegheny Room Chair: Ruth Bolduan, 9:45-11:45 a.m. Virgina Commonwealth University Session IX

Ruth Bolduan, Virgina RECHARGE YOUR RESEARCH… Commonwealth University WHAT I DID ON MY SUMMER Wandering the Stacks from VACATION Glasgow to Richmond and Points Salon A Beyond Chair: Reni Gower, Virginia Commonwealth University Sarah Falls, University of Richmond Reni Gower, Virginia Commonwealth The Thirst that Drives Creation: University Artistic Consumption of Images in An American in Paris the Digital World Pamela Turner, Virginia Marita Gootee, Mississippi State Commonwealth University 16 University The Garden of Animated Delights The Journey Margaret Reneke, LaGrange College Christopher W. Luhar-Trice, Black Figure Images as Ancient and Enterprise-Ozark Community Contemporary Visual Narrative College Intuition and Intent: The Duality of Paul Rutkovsky, Florida State Studio Research University Away from the Art Factory 6:00-7:45 p.m. 2006 SECAC Fellowship Recipient Barry Claire Sherwood, Marshall University Freedland - Solo Exhibition, 2007 SECAC Summer in Prison: Extending Members’ Juried Exhibition, and reception, Personal Research Behind Prison West Virginia Cultural Center Walls Busses will run a staggered schedule beginning at 5:40 p.m. at the Marriott UNCANONIZED: WOMEN ARTISTS entrance and will return at intervals WHO STILL HAVEN’T MADE THE throughout the evening. There will be a CUT cash bar at the West Virginia Cultural Salon B Center. Chair: Andrew D. Hottle, Rowan University 8:00-8:45 p.m. Willie Cole, Keynote Speaker, Theatre, Caroline Rush, Savannah College West Virginia Cultural Center of Art and Design Note that busses will begin running a Redirecting the Dialogue: Maria staggered schedule to the Cultural Center Oakey Dewing and the American at 5:40 p.m. from the Marriott. Those Aesthetic Movement electing to not attend the Fellowship and Members’ exhibitions and reception will be able to catch a bus from the Marriott in advance of the Keynote program. Friday, October 19/Saturday, October 20 Catherine Dossin, The University Eve Faulkes, West Virginia University of Texas at Austin Design Tithing Beatified but not Canonized: Niki de Saint Phalle and the Limits of Cynthia Marsh, Austin Peay State the Feminist Canon University The Posted Notice: Using 19th Lisa Hatchadoorian, Casper Century Technology to Preserve the College/Nicolaysen Art Museum Stories of a Southern Town Charting Her Own Course: Anne Truitt, an Upstart in the High Peter Storkerson, Southern Illinois Temple of Minimalism University Carbondale Building a Community Service Sam Watson, Central College Organization by Design Dorothea Tanning and the Maternal Uncanny Elka Kazmierczak, Southern Illinois University Jamie Ratliff, University of Art for Empowerment: Program Louisville Development, Sustainability, and Border Control: The Intersection of Educational Outreach Feminism and Abjection in the Work of Paula Santiago Kelly Barkhurst, West Virginia University ANIMALS ARE US: ANIMALS IN Design Giving Back: Uniting the ART Breast Cancer Community Salon C Chair: Mysoon Rizk, University of MAPPING AND TERRITORIALIZATION Toledo FROM TERRA FIRMA TO TERRA INCOGNITA: SURFACES, SLIPPAGES, Erin Anfinson, Middle Tennessee PROJECTIONS, INTERSECTIONS State University Salon E Always Observed Chair: Geraldine W. Kiefer, 17 Shenandoah University Noelle Paulson Bradley, Washington University in St. Louis Rhonda L. Reymond, West Virginia In Defense of Anthropomorphism: University Edwin Landseer’s Dogs in Slippage, Liminality, and Procession Mourning in the Urban Planning of Biltmore Village, Asheville, North Carolina Cindy Persinger, University of Pittsburgh Paul R. Bruski, Iowa State University Meat Is Murder: George Grosz and Mapping Flags, Fences, Flowers and the Modern City Political Signs: What Might Those Things in the Yard Mean? Jennifer Olmsted, Wayne State University Alison Denyer, Appalachian State When Is a Horse Just a Horse? University French Artists and Arab Horses, Subsurface Exploration 1800-1840 Peter Dykhuis, NSCAD University Jessica Dallow, University of Social Surface: Postal Maps of My Alabama at Birmingham Life Feminist Allegories: Deborah Butterfield’s Horses HANDS AND IMAGES IN DESIGN TITHING MEDIEVAL ART Salon D Salon F Chair: Eve Faulkes, West Virginia Chair: Cara Snyder, California University University of Pennsylvania

Saturday, October 20 Rhys William Roark, Humboldt ART AND SOCIETY State University Salon A Images of God the Father: Iconicity Chairs: John Richardson, Wayne vs. Indexicality as a Distinction State University and Billie Grace between Byzantine and Latin Lynn, University of Miami Christianities Greg DuMonthier, Eastern Washington Eddie Christie, Georgia State University University Downfalls of the Critique Room: Art Neither on the Right Hand Nor on in Public Spaces the Left? Oxford, Bodeleian Library MS. Bodl. 579 49r. and Its Suzanne Hagood, Auburn University Literary Context Video and Sound Event: Community Collaboration Patrick W. Conner, West Virginia University Mara Adamitz Scrupe, Columbus Who’s Lending a Hand Here? State University Matched Scripts in Late Anglo- Social Art and Agency Saxon Scriptoria HISTORIOGRAPHY IN THE ART Raymond Gaddy, University of AND GARDENS OF EAST AND North Florida WEST Materials and Methods of Medieval Salon B Art Chair: Agnieszka Whelan, Old Dominion University 10:00 a.m.-4:00 p.m. Blenko Glass and the Huntington Agnieszka Whelan, Old Dominion Museum of Art University Pre-registration and fee required Visualizing Historical Thinking: This bus tour will begin with the short trip Gardens of the Eighteenth Century 18 from Charleston to internationally Europe and the Construction of known Blenko Glass in Milton, West History Virginia. The tour will then travel to Huntington to visit the Huntington Museum Masayuki Sato, University of of Art. Plans include a visit to the vault and Yamanashi a special viewing of folk art works in the Cognitive Historiography and collection. A bus will depart from the Normative Historiography: Searching Marriott entrance at 10:00 a.m. for the Role of History in the 21st Century 10:15 a.m.-12:30 p.m. Tour the West Virginia Capitol Rebecca L. Reynolds, University of Building Chicago Pre-registration required Let’s “put the work outside”: Bernie Schultz, WVU Dean of the Experimental Displays of Minimalist College of Creative Arts, Cookie Soldo Sculpture in Landscaped Settings Schultz, advisor in the WVU Honors College and Lecturer in Humanities, and ISLAMIC CULTURE AND Chad Proudfoot, Vice Chair of the Capitol ORIENTALISM Building Commission, will lead a Salon C pre-registered group on a guided tour of Chair: Lealan Swanson, Jackson this wonderful building. A bus will depart at State University the Marriott entrance at 10:15 a.m. Lealan N. Swanson, Jackson State Lunch on your own University Orientalism and the Dar al Islam: A 1:00-2:45 p.m. Background for Art and Art History Session X

Saturday, October 20 Nada Shabout, The University of Tina McCalment, Berea College North Texas. Critical Thinking Across the Teaching Modern Middle Eastern Collection: Using Campus Collections Art to Foster Vigorous Research

Jonathan Friedlander, University of Rebecca Frates and Mary Jo Titus, California, University of North Dakota Los Angeles Art Collection CPR Training Tales of the Imagination: Looking at Representations of the Middle VISUAL ART THAT IS WRITTEN East in American Popular Culture Salon F Chair: Scotland Stout, Southern BEYOND THE VISUAL, BEYOND Arkansas University THE CONCEPT: GRAPHIC DESIGN AS SENSORY Donna L. Adams, University of EXPERIENCE Indianapolis Salon D Contexturizing Art Chair: Samantha Lawrie, Auburn University Anne Beidler, Agnes Scott College Body/Text Project Samantha Lawrie, Auburn University Bill Fisher, Georgia College & State Think With Your Heart, Feel With University Your Head, or Why Graphic Design THIS IS A TEXT/words in toolkit Should Be A Multi-Sensory Experience Dana E. Gay, Meredith College Typographic Gestures: The Visual Lindsay Chenault, Georgia State Interplay of Rhythm and Structure University The Environment of the Body and 1:30-3:30 p.m. the Hand as a Creative Tool Architectural Tour of Charleston, 19 West Virginia David Bieloh, Austin Peay State Pre-registration and fee required University Charleston architect David Marshall Dérive and Détournment: the will conduct a bus tour of interesting Design Situationists architectural sites in the Charleston area. A bus will depart at the Marriott Nancy Strube, Virginia entrance at 1:30 p.m. Commonwealth University Empiric Studies of Focal and 6:00-8:30 p.m. Peripheral Vision Opening and reception for Combined West Virginia CAMPUS ART COLLECTIONS IN Faculty Exhibition, Charleston City CRISIS: REMEDIES FOR Hall Building URGENT SITUATIONS Busses will run a staggered schedule Salon E beginning at 5:45 p.m. at the Marriott Chair: Arthur F. Jones, University entrance and will return at intervals of North Dakota throughout the evening. There will be a cash bar at the Charleston City Arthur F. Jones, University of North Hall Building reception. Dakota Art’s Role on a University Campus

Sam Yates, The University of Tennessee, Knoxville To Exhibit or Not to Exhibit

Saturday, October 20 !e Southeastern College Art Conference

The Southeastern College Art Conference (SECAC) is a Arkansas non-proﬁt organization that seeks to promote the visual arts Jane Brown, University of Arkansas at Little Rock in higher education. SECAC facilitates cooperation and fosters on-going dialog about pertinent creative, scholarly Kentucky and educational issues among teachers and administrators Steven Driver, Brescia University in universities, colleges, community colleges, professional art schools, and museums. Although the organization Florida represents the 12 state areas of Alabama, Arkansas, Scott Karakas, Florida Gulf Coast University Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, and West Georgia Virginia, we have members from across the United States Tina Yarborough, Georgia College & State University and abroad. Louisiana The organization publishes The SECAC Review, an Gary Keown, Southeastern Louisiana University annual refereed journal. Members present research in any area of concern in the visual arts in the Review, which Mississippi also includes book and exhibition reviews. A newsletter, Lealan Swanson, Jackson State University published 3 times a year, serves to keep members informed of SECAC programs, activities, conference plans, North Carolina and schedules. Individual, Contributing, and Institutional Larry Ligo, Davidson College Members receive all publications and Student Members receive the newsletters. Additionally, Institutional Members’ South Carolina libraries receive a copy of The SECAC Review. Robert Lyon, University of South Carolina

Tennessee SECAC Oﬃcers Carol Crown, University of Memphis 20 Donald Van Horn, President Virginia Marshall University Joe Seipel, Virginia Commonwealth University

Debra Murphy, First Vice-President West Virginia University of North Florida Janet Snyder, West Virginia University

Pamela Simpson, Second Vice-President At Large Washington and Lee University Helen Langa, American University

Beth Mulvaney, Secretary-Treasurer Meredith College Aﬃliated Societies (and Representatives) Charles R. Mack, Past President College Art Association (CAA) University of South CarolinaJames Boyles, Editor, SECAC Doreen Davis, Member Services Review (2008-2011) North Carolina State University/Meredith College Coalition of Women in the Arts Organization (CWAO) Kyra Belan, Broward Community College Floyd Martin, Editor, SECAC Review (Special 2007 Anniversary Issue) Foundations in Art Teaching and Education (FATE) University of Arkansas at Little Rock Debra Ambush, Savannah College of Art and Design

Pat Wasserboehr, Chair, SECAC Fellowship Committee Association of Textual Scholarship in Art History (ATSAH) University of North Carolina at Greensboro Liana Cheney, University of Massachusetts – Lowell

Southeastern Society of Architectural Historians (SESAH) State Directors Pamela Simpson, Washington and Lee University Alabama Heather McPherson, University of Alabama at Birmingham Visual Resource Curators (VRC) Christina Updike, James Madison University SECAC Institutional Members

Alabama Louisiana Columbia College, Columbia, SC Athens State University, Athens, AL Centenary College of Louisiana, Shreveport, LA Converse College, Spartanburg, SC Auburn University, Auburn, AL Louisiana State University, Baton Rouge, LA Francis Marion University, Florence, SC Auburn University at Montgomery, AL Louisiana Tech University, Ruston, LA Furman University, Greenville, SC Birmingham-Southern College, Birmingham, AL Tulane University, New Orleans, LA Lander University, Greenwood, SC Jacksonville State University, Jacsonville, AL University of New Orleans, Lakefront, LA South Carolina State University, Orangeburg, SC Samford University, Birmingham, AL University of South Carolina, Columbia, SC Troy University, Troy, AL Mississippi University of South Carolina Upstate, Spartanburg, University of Alabama at Birmingham, AL Delta State University, Cleveland, MS SC University of Alabama at Huntsville, AL Jackson State University, Jackson, MS University of Alabama at Tuscaloosa, AL Millsaps College, Jackson, MS Tennessee University of North Alabama, Florence, AL Mississippi University for Women, Columbus, MS Austin Peay State University, Clarksville, TN University of South Alabama, Mobile, AL University of Mississippi, Oxford, MS Belmont University, Nashville, TN Cheekwood Museum of Art, Nashville, TN Arkansas North Carolina Cleveland State Community College, Cleveland, TN Arkansas State University, Jonesboro, AR Appalachian State University, Boone, NC East Tennessee State University, Johnson City, TN Henderson State University, Arkadelphia, AR Brevard College, Brevard, NC Memphis College of Art, Memphis, TN National Park Community College, Hot Springs, AR Chowan University, Murfreesboro, NC Middle Tennessee State University, Murfreesboro, TN University of Arkansas at Fort Smith, AR Davidson College, Davidson, NC Rhodes College, Memphis, TN University of Arkansas at Little Rock, AR Duke University, Durham, NC University of Memphis, TN University of Central Arkansas, Conway, AR East Carolina University, Greenville, NC University of Tennessee, Knoxville, TN High Point University, High Point, NC University of the South, Sewanne, TN Florida Meredith College, Raleigh, NC Vanderbilt University, Nashville, TN Art Institute of Fort Lauderdale, FL North Carolina Central University, Durham, NC Barry University, Miami Shores, FL North Carolina State University, Raleigh, NC Virginia Flagler College, St. Augustine, FL University of N Carolina at Asheville, NC College of William and Mary, Williamsburg, VA Florida Gulf Coast University, Fort Myers, FL University of N Carolina at Chapel Hill, NC James Madison University, Harrisonburg, VA Florida Southern College, Lakeland, FL University of N Carolina at Charlotte, NC Longwood University, Farmville, VA Florida State University, Tallahassee, FL University of N Carolina at Greensboro, NC Mary Baldwin College, Staunton, VA Miami Dade College, Miami, FL University of N Carolina at Wilmington, NC Old Dominion University, Norfolk, VA Okaloosa-Walton College, Niceville, FL Wake Forest University, Winston-Salem, NC Radford University Art Dept, Radford, VA Ringling School of Art and Design, Sarasota, FL Winston-Salem State University, Winston-Salem, NC University of Richmond, VA Rollins College, Winter Park, FL University of Virginia, Charlottesville, VA Stetson University, Deland, FL New York University of Virginia at Wise, VA University of Central Florida, Orlando, FL Munson-Williams-Proctor Arts Institute, Utica, NY Virginia Commonwealth/Sculpture, Richmond, VA University of Florida, Gainesville, FL R & F Handmade Paints, Kingston, NY Virginia Polytechnic Institute & St Univ, Blacksburg, 21 University of North Florida, Jacksonville, FL VA University of South Florida, Tampa, FL Ohio Washington and Lee University, Lexington, VA University of West Florida, Pensacola, FL University of Cincinnati, OH West Virginia Georgia Pennsylvania Huntington Museum of Art, Huntington, WV Agnes Scott College, Decatur, GA Slippery Roock University,Slippery Rock, PA Marshall University, Huntington, WV Armstrong Atlantic State University, Savannah, GA West Virginia University, Morgantown, WV Berry College, Mount Berry, GA South Carolina Columbus State University, Columbus, GA Coastal Carolina University, Conway, SC Emory University, Atlanta, GA College of Charleston, Charleston, SC Georgia College & State University, Millledgeville, GA Georgia Institute of Technology, Atlanta, GA Georgia Perimeter College, Atlanta, GA Georgia Southern University, Statesboro, GA Georgia State University, Atlanta, GA 2008 SECAC in New Orleans, Louisiana Kennesaw State University, Kennesaw, GA North Georgia College & State University, Dahlonega, GA SECAC will meet in New Orleans next city’s most historical districts, however, Savannah College of Art and Design, Graduate year. The meeting, hosted by the are thriving and as lovely as ever, and Studies Savannah, GA University of New Orleans, is scheduled a conference attendees will have the Savannah College of Art and Design, Art History, little earlier than usual, September 24-27, Savannah, GA opportunity to tour the French Quarter and University of Georgia, Athens, GA 2008. The conference hotel, the Marriott the Garden District and visit Mardi Gras University of West Georgia, Carrollton, GA Convention Center, is centrally located World’s extensive collection of ﬂoats and Valdosta State University, Valdosta, GA in the Central Business District, within paraphernalia from New Orleans’ most Wesleyan College, Macon, GA walking distance of the French Quarter famous party. We will also offer tours and Warehouse (Arts) District. In addition of those parts of the city which are still Indiana to the normal range of art history and working very hard to come back. Marian College, Indianapolis, IN studio sessions, the conference will offer sessions and discussions on disaster Kentucky The University of New Orleans is grateful Brescia University, Owensboro, KY recovery and the visual arts. to SECAC for its willingness to come to the Centre College, Danville, KY Big Easy even after Katrina, and we look Eastern Kentucky University, Richmond, KY New Orleans is a city recovering from forward to welcoming all members to our Georgetown College, Georgetown, KY the devastating aftermath of Hurricane wonderful city next fall. Northern Kentucky University, Highland Heights, KY Katrina in August 2005. Many of the University of Louisville, KY Western Kentucky University, Bowling Green, KY Conference Schedule – Summary

Wednesday, October 17 in American Visual Culture (Headley) Race and Gender (Fahlman) Saturday, October 20 Salon C: World Art (Amrhein) Salon C: Artists Books and the Modern 2:30-3:30 Cumberland: Art Education Forum V: Narrative (Marsh) 8:00-11:00 SECAC Executive Committee Section B: Research, Instruction, and Cumberland: Contemporary Folk, Registration Desk, Foyers A and B on the Best Practices (Hightower) Self-Taught, and Outsider Art (Crown/ Second Floor, Charleston Marriott Town Executive Board Room, Charleston Appalachian: You are Where? Making Sachant) Center Hotel Marriott Town Center Hotel and Teaching Art Far from Major Appalachian: (VRC) Institutional Visual Metropolitan Areas Resources: Strategies for Cross-Campus 8:30-9:30 4:00-7:00 (Slankard/Sherwood) Collaboration SECAC Membership Annual Meeting Board Meeting – Governor’s Conference Kanawha: British Art (Billman) (Decker/Updike) with continental breakfast, Hawk’s Nest Room, West Virginia Capitol Building Blue Ridge: Renaissance State Kanawha: Intermedia/Interchaos/ Portraiture: Portrait of the State (Holian) Intersolutions (Johnson/Skaggs) 9:45-11:45 6:00-7:30 Allegheny: Life Drawing: Pertinent or Blue Ridge: Pedagogical Session: Session IX Early Registration Pick-up, Main Lobby, Passé (Frankel) Teaching Art History and Art Salon A: Recharge Your Research… Charleston Marriott Town Center Hotel Appreciation in the 21st Century What I Did on My Summer Vacation 3:30-5:15 (Wachsmann-Linnan) (Gower) 7:00-9:00 Session IV Allegheny: Buildings in Motion: A Salon B: Uncanonized: Women Artists Opening Reception in the West Virginia Salon A: Portraiture in the Expanded Consideration of Architectural Procession Who Still Haven’t Made the Cut (Hottle) State Capitol Field (Harvey/McPherson) (Olson) Salon C: Animals Are Us: Animals in Salon C: (CWAO) The Sacred Feminine Art (Rizk) Thursday, October 18 in Art and the Da Vinci Code (Belan) 12:00-1:30 Salon D: Design Tithing (Faulkes) Cumberland: Medieval Art in Context II: SECAC Awards Luncheon, Pavilion Salon E: Mapping and Territorialization 7:30-5:00 Architecture and Architectural Sculpture from Terra Firma to Terra Incognita: Registration Desk, Foyers A and B on the (Driscoll) 1:30-2:30 Surfaces, Slippages, Projections, Second Floor, Charleston Marriott Town Appalachian: Pedagogical Session: Salon B: Visual Resource Curators Intersections (Kiefer) Center Hotel Using Technology in Teaching Art Business Meeting Salon F: Hands and Images in Medieval History (Och) Art (Snyder) 8:00-9:30 Kanawha: Language, Images and 2:00-3:30 Session I Symbols in a Bilingual Mind (Hoffman) Session VII 10:00-4:00 Salon A: The Past, Present, and Future Blue Ridge: Gravity and Levity in Art Salon A: Roman Histories Blenko Glass and Huntington Museum Ethics of Appropriation, Referencing, and (Bailey/Edwards) (O’Foghludha) of Art Tour Plagiarism (Gauthier) Allegheny: Importance of Understanding Salon C: You Are All My Medium Salon C: What is the Balance of Art and the Market (Harrison) (Nordbye) 10:15-12:30 Design? (Matthiessen) Salon B: SECAC Artists Fellowship Cumberland: (FATE) Moving on Up: West Virginia State Capitol Tour Cumberland: Beyond Words: Committee (Wasserboehr) Foundations, the First Rung on the Calligraphic Art (Yang) Teaching Ladder (Ambush) 12:00-1:00 Appalachian: Unnatural Landscape 6:30-8:30 Appalachian: The Absence of Art: War, Lunch Break (Camlin) Exhibits and Receptions at the Clay Power, and Iconoclasm (Gibney) Kanawha: Seeing in Red (Reading in Center for the Arts and Sciences and the Kanawha: Pushing the Envelope: 1:00-2:30 Black and White) (Boyles) Marshall University Graduate College Contemporary Strategies for Painting Session X Blue Ridge: Medieval Art in Context I: (Bishop) Salon A: Art and Society (Richardson/ Italy (Garton) Friday, October 19 Blude Ridge: Art Education Policy Lynn) Allegheny: Sixteenth Century Masters: Committee Meeting (Brewer) Salon B: Historiography in the Art and Michelangelo, Pontormo, and Vasari 7:00-8:30 Allegheny: Traditional Folk Art (Rivers) Gardens of the East and West (Whelan) (Murphy) Breakfast, Gauley Room Salon C: Islamic Culture and Orientalism 3:45-5:15 (Swanson) 9:45-11:45 7:30-5:00 Session VIII Salon D: Beyond the Visual, Beyond Session II Registration Desk, Foyers A and B on the Salon A: Authenticity (Reed) the Concept: Graphic Design as Sensory Salon A: New Forms of Visual Narrative Second Floor, Charleston Marriott Town Salon C: War Photography: Capturing Experience (Lawrie) in the Graphic Design Foundation Center Hotel Conﬂict (Snow/Mulhearn) Salon E: Campus Art Collections in (Valdes) Cumberland: Genius/Madness: Creative Crisis: Remedies for Urgent Situations Salon C: (Re)Viewing Venice (Duran) 8:00-9:30 Achievement and the Visual Arts (Jones) Cumberland: From Ha-Ha! to HMMM? Session V (Decker) Salon F: Visual Art that is Written The Current State of Humor in Art Salon A: Net(Works): Art and Pre- Appalachian: Metaphorical Explorations: (Stout) (Rowe) Existing Web Platforms (Holbrook) Mirrors, Masks, and Beyond (Ramirez) Appalachian: Mapping Unexpected Salon C: A 21st Century Design Kanawha: American Art III: The 1:30-3:30 Geography (Reymond) Foundation (Stewart) Twenties and Thirties (Livingston) Architectural Tour of Charleston, West Kanawha: Materiality and Metaphor Cumberland: Medieval Art in Context Blue Ridge: Out of the Cave and Into Virginia (Hughes) III: Images of Women (Brown) the Canon: Rock Art and Art History III Blue Ridge: The Next Generation: Appalachian: Quattrocento Renaissance (Morales/Smith) SECAC’s Newest Artist-Educators Studies (Arthur) Allegheny: Wandering the Stacks: The 6:00-8:30 (Aurbach) Kanawha: Gesture and Practice: The Peculiar Nature of Studio Research Opening and reception for combined Allegheny: Art Education Forum V: Inﬂuences of New Media on Visual Arts (Bouldan) West Virginia Faculty Exhibition, Section A: Policy, Administration, and Education and Practice Charleston City Hall Building Accreditation (Brewer) (Cassidy/Ellis) 6:00-7:45 Blue Ridge: The Other Screen: Time 2006 SECAC Fellowship Recipient Barry 12:00-1:15 Arts Imaging and the Visual Arts Freedland Solo Exhibition, Members’ Lunch Break and Information Sessions (Magden) Exhibition, and Reception, West Virginia Blue Ridge: Meet the SECAC Review Allegheny: Being Mindful About Cultural Center Editor, James C. Boyles Modern and Contemporary Art Allegheny: SECAC 2008 New Orleans (Morrison) 8:00-8:45 Willie Cole, Keynote Speaker, Theatre, 1:30-3:15 9:45-11:45 West Virginia Cultural Center Session III Session VI

Salon A: American Art I: High and Low Salon A: American Art II: Issues of by Mary Grassell Woodcut Program Design by Mary Grassell, Elaine Holliday and Julia Urban, Marshall University.