Wednesday The Afterlife of Cubism PROGRAM SESSIONS Madison Suite, 2nd Floor, Hilton New York Chairs: Karen K. Butler, Mildred Lane Kemper Art Museum, Wednesday, February 9 Washington University in St. Louis; Paul Galvez, University of Texas, Dallas 7:30–9:00 AM European Cubism and Parisian Exceptionalism: The Cubist Art Historians Interested in Pedagogy and Technology Epoch Revisited Business Meeting David Cottington, Kingston University, London Gibson Room, 2nd Floor Reading Juan Gris Harry Cooper, National Gallery of Art Wednesday, February 9 At War with Abstraction: Léger’s Cubism in the 1920s Megan Heuer, Princeton University 9:30 AM–12:00 PM Sonia Delaunay-Terk and the Culture of Cubism Exhibiting the Renaissance, 1850–1950 Alexandra Schwartz, Montclair Art Museum Clinton Suite, 2nd Floor, Hilton New York The Beholder before the Picture: Miró after Cubism Chairs: Cristelle Baskins, Tufts University; Alan Chong, Asian Charles Palermo, College of William and Mary Civilizations Museum

World’s Fairs and the Renaissance Revival in Furniture, 1851–1878 Series and Sequence: The Fine Art Print Folio and David Raizman, Drexel University Artist’s Book as Sites of Inquiry Exhibiting Spain at the Chicago Columbian Exposition of 1893 Petit Trianon, 3rd Floor, Hilton New York M. Elizabeth Boone, University of Alberta Chair: Paul Coldwell, University of the Arts London The Rétrospective and the Renaissance: Changing Views of the Past Reading and Repetition in Henri Matisse’s Livres d’artiste at the Paris Expositions Universelles Kathryn Brown, Tilburg University Virginia Brilliant, John and Mable Ringling Museum of Art Hey There, Kitty-Cat: Thinking through Seriality in Warhol’s Early The Italian Exhibition at Burlington House Artist’s Books Andrée Hayum, Fordham University Emerita Lucy Mulroney, University of Rochester Falling Apart: Fred Sandback at the Kunstraum Munich Edward A. Vazquez, Middlebury College ARTspace The Aesthetics of Sonic Spaces Book Art: The Artist as Curator Murray Hill Suite, 2nd Floor, Hilton New York Susan Johanknecht, University of the Arts London, and Katharine Chairs: China Blue, The Engine Institute, Inc.; Jill L. Conner, White Meynell, Middlesex University Hot Magazine and Parsons The New School for Design The Daily “Difference and Repetition” of Post-1968 France in Didier Spectral Temporal Aesthetics and Human Perception Bay’s Mon Quartier Vu de Ma Fenêtre (1969–1973) China Blue, The Engine Institute, Inc. Lily Michelle Woodruff Sound as Sculptural Sensation Michael Brewster, Claremont Graduate University Nation Building: The Politics of Space in the African City Beekman Parlor, 2nd Floor, Hilton New York Witnessing Space Chairs: Karen A. Fiss, California College of the Arts; Mabel O. Wilson, Andrea Polli, University of New Mexico Columbia University Developing an Aesthetic: Soundwalking as a Tool for Understanding Strange Aesthetics: An Alternate Imagining of the Late Colonial and Urban Sonic Spaces Postcolonial City Jonathan Farrow, City College of New York, City University of Ikem Stanley Okoye, University of Delaware New York Rebuilding Revolution Looking at Sound: The Exhibition Iannis Xenakis: Composer, Hannah Feldman, Northwestern University Architect, Visionary Carey Lovelace, International Art Critics Association The Rainbow Style: Architecture as a Social Discourse in South Africa, 1994–2010 Discussant: Jill L. Conner, White Hot Magazine and Parsons Nnamdi Elleh, University of Cincinnati The New School for Design China in Africa: Infrastructure as Politics Lindsay Bremner, Temple University Discussant: Suzanne Preston Blier, Harvard University

30 college art association 100 February 9 –12, 2011 31 Wednesday What’s Art Got to Do with It? Design Writing in the Centennial Session Art Historians Interested in Pedagogy and Technology On the Grid: Art and Architecture in Manhattan, 1811–2011 Twenty-First Century Against Acknowledgement: Sexuality and the Technology and Collaboration in the Art History Classroom Gibson Room, 2nd Floor, Hilton New York Sutton Parlor South, 2nd Floor, Hilton New York Instrumentalization of Knowledge Sutton Parlor North, 2nd Floor, Hilton New York Chair: Sarah A. Rosenbaum-Kranson, Harvard University Chairs: Elizabeth Guffey, Purchase College, State University of Rendezvous Trianon, 3rd Floor Chair: Marjorie Och, University of Mary Washington Re-Covering the Cityscape: Impressions of History Underfoot New York; Alice Twemlow, School of Visual Arts Chair: Jonathan Katz, University at Buffalo, State University Team-Based Wiki Building Michele Brody, independent artist of New York Useless: Art History and a Taste for the Useful Kathryn Bunn-Marcuse, University of Washington Circle on the Grid: Edward Keefe’s Columbus Circle in the Snow, Cameron Tonkinwise and Shana Agids, Parsons The New School Step Away from the Podium! Adjusting Our Teaching Style to 1905–06 for Design Double Exposure: Photography as Art and Documentation Accommodate Interactive Classroom Learning Diane Tepfer, University of Maryland University College Nassau Suite, 2nd Floor, Hilton New York Expanding Design Criticism Susan Healy, Metropolitan Community College, Omaha Chair: Christine Kuan, ARTstor Navigating the Irrational: The Baroness Elsa von Freytag- Carma Gorman, Southern Illinois University Carbondale The Sound of Art: Audio-Casting and Student Engagement Loringhoven’s Ultimate New York Dada Photography, Performance, and Power: Marina Abramović’s Freeing Design Journalism, Anonymity, and the Critical Audience Frances Altvater, University of Hartford Hillyer College Gillian Sneed, The Graduate Center, City University of New York the Horizon (1973) Gerry Beegan, Rutgers University Mechtild Widrich, University of Vienna Look, Listen, Speak, Text, Draw: VoiceThread™ Changes the Dissolving the Grid: Bernard Tschumi’s Manhattan Transcripts, The Emerging Aesthetic of Ugly: Fabbing, Modding, Hacking, and the Paul Thek and Photography: A Research on His Use of the Reproduced Balance of Power 1977–1981 Power of DIY Interventions, an Assessment Susanne Neubauer, University of Zurich Janice Lynn Robertson, Fashion Institute of Technology Timothy Andrus, Virginia Commonwealth University Kevin Henry, Columbia College Chicago Between Art and Document: Photography and Architecture in Collaboration in the Virtual Classroom: A Few Strategies that Work The New York City Grid: Some Urban Effects Implosure Postwar Italy Eva J. Allen, independent art historian Carol Herselle Krinsky, New York University Kenneth FitzGerald, Old Dominion University Lindsay R. Harris, Institute of Fine Arts, New York University

Hamaya Hiroshi, Yanagita Kunio, and the Challenges of Making Museums Matter: Integrating Collection and Wednesday, February 9 (Re)Contextualizing Precolumbian Art in the Ethnographic Photography Exhibition Programs with College Curriculum 12:30 PM–2:00 PM Twenty-First Century Jonathan Reynolds, Barnard College Trianon Ballroom, 3rd Floor, Hilton New York Gramercy A, 2nd Floor, Hilton New York Chairs: Neysa Page-Lieberman, Columbia College Chicago; Chairs: Ellen Marie Hoobler, University of Puget Sound; Esther Documenting the Gulf: Digital Photography and Media Now Leonie Bradbury, Montserrat College of Art Galleries Open Forum Discussion on Professional Development Pasztory, Columbia University Pat Cassidy Mollach Curriculum in Fine Art Programs Dispatches: On Engaging Art and Engineers Rendezvous Trianon, 3rd Floor, Hilton New York The Role of Materials Science in Recontextualizing an Iconic Work Ronald R. Bernier, Wentworth Institute of Technology Chair: Jackie Battenfield, Columbia University of Art Dissemination: Printing, Publishing, and the Early Modern McKissick Museum at the Core of the University of South Virginia M. Fields, Los Angeles County Museum of Art Arts in Europe How do we help to prepare our students to face the rapidly Sutton Parlor Center, 2nd Floor, Hilton New York Carolina’s Curriculum changing dynamics of the art world? As more fine art programs Temporal Context: Depictions of Warfare from Epiclassic Period Chair: Sheila McTighe, Courtauld Institute of Art and University Lana A. Burgess, McKissick Museum, University of South Carolina have incorporated professional practices/career development Mesoamerica of London Reframing the “Art” in Liberal Arts: Curricular Integration at the information in their curriculums, this session is an invitation Andrew Finegold, Columbia University to those of you teaching these subjects to share information, Francesco Rosselli’s Lost Panorama of Rome: An Urban Icon Allen Memorial Art Museum, Oberlin College resources, and to discuss diverse approaches. This session Exhibiting Culture or the Culture of Exhibits: Ancient Maya Objects on and Its Progeny Colette Crossman, Blanton Museum of Art, University of Texas continues the dialogue begun last year at CAA in Chicago in order Exhibit at the Field Museum and Art Institute of Chicago Jessica Maier, University of Oregon at Austin Khristin Landry, Northern Illinois University to develop a network of instructors with shared interests. It is open The Open Letter: Dürer’s Four Apostles Points of Departure: Strategies for Faculty Engagement in Campus to faculty already teaching professional development classes, or Changing Places: Olmec Monuments and the Production of Social Shira Brisman, Yale University Museums and Galleries those interested in adding them to their curriculum. Space in the Preclassic Gulf Lowlands Carin Jacobs, Graduate Theological Union Jillian Mollenhauer, Metropolitan State College of Denver Reprint and Repeat: The Recycling and Repackaging of Flemish Prints in the New Dutch Republic, ca. 1600–1660 CAA Education Committee Pañamarca Revisited: Moche Mural Painting in Time and Space Stephanie Porras, Columbia University and Courtauld Institute “Furnishing Popular Instruction”: Museums and Cultivating a MFA? DFA? Ph.D? DVA? Determining the Terminal Degree in Lisa Trever, Harvard University of Art Taste for Modernism Studio Art Practice for the Twenty-First Century Gramercy B, 2nd Floor, Hilton New York Clinton Suite, 2nd Floor, Hilton New York Speaking of Modern Times in Ancient Rhymes: Printing, Invention, Chairs: Briley A. Rasmussen, Los Angeles County Museum of Art; Bio-Art, Boundaries, and Borders Chair: Hilary Braysmith, University of Southern Indiana and the Painted Poetries of Adriaen van de Venne Wendy Woon, Museum of Modern Art West Ballroom, 3rd Floor, Hilton New York Olivia V. Poska, University of Michigan, Ann Arbor Artists Engaged with Science and Technology Chair: Jennifer Johung, University of Wisconsin, Milwaukee Cultivating Consumption: Inside the Architect and the Industrial Arts Ellen Levy, University of Plymouth Abraham Bosse, Print Publishing, and Book Publishing in Exhibition at the Metropolitan Museum of Art, 1929 Bio-Art Left out of the Bio-Art Debate Seventeenth-Century Paris Antoniette Guglielmo, Los Angeles County Museum of Art Unresolved Problems in the Practice-Based PhD Linda Weintraub Christine Giviskos, Jane Voorhees Zimmerli Art Museum, James Elkins, School of the Art Institute of Chicago Playing with Modernism: The MoMA Dollhouse, 1940–41 Regeneration: Tissue Engineering, Maintenance, and Rutgers University Aidan O’Connor, Museum of Modern Art Learning from the Sister Art of Music: The Doctor of Musical Arts Gendered Infrastructures Painting, Print, and the Paragone in Edwaert Collier’s Late (DMA) as Possible Model for the Doctor of Fine Arts Kelly Rafferty, Arizona State University Seventeenth-Century Trompe L’Oeil Still Lives The Art Institute of Chicago’s Use of Educational Programming and Margaret Kennedy-Dygas, University of Louisiana, Lafayette Public Relations to Foster Public Acceptance of Willem de Kooning’s Eco-Locative: Media Art and Sustainability Practices Joseph Monteyne, Stony Brook University, State University of Excavation (1950) Meredith Hoy, University of Massachusetts, Boston New York Mary Carline Simpson, Eastern Illinois University Art Spaces Archives Project Moving Spaces Oral Histories and the Archive Educating Americans about Modern Australia and Australians about Nathaniel Stern and Yevgeniya Kaganovich, University of Gibson Room, 2nd Floor, Hilton New York Modernism: The Carnegie Corporation’s Art in Australia 1788–1941 Wisconsin, Milwaukee Chair: Ann Butler, Bard College Exhibition to the United States and Canada Caroline Jordan, LaTrobe University

32 college art association 100 February 9 –12, 2011 33 Wednesday The MoMA Archives Oral History Program National Coalition Against Censorship Catalogue Raisonné Scholars Association Participation and Engagement: Curating Contemporary Art Michelle Elligott, Museum of Modern Art Policing the Sacred: Art, Censorship, and the Politics of Faith Business Meeting after New Media Sutton Parlor Center, 2nd Floor, Hilton New York Regent Parlor, 2nd Floor Sutton Parlor South, 2nd Floor, Hilton New York Why Oral Histories Matter Chair: Eleanor Heartney, independent critic and writer Chairs: Sarah Cook and Beryl Graham, University of Sunderland Pamela Sharp, The Estate of Willoughby Sharp and CRUMB Richard Kamler, University of San Francisco New Media Caucus Oral Histories and Archives from the Perspective of the Art Historian Business Meeting Axel Lapp, International Curators Forum Jenni Sorkin, Getty Research Institute Alicia Gaspar de Alba, University of California, Los Angeles Gramercy A, 2nd Floor, Hilton New York Amanda McDonald Crowley, Eyebeam Alma Lopez, independent artist, Los Angeles National Council on Education for the Ceramic Arts Svetlana Mintcheva, National Coalition Against Censorship Queer Caucus for Art: The Lesbian, Gay, Bisexual, and Transgender Contemporary Ceramics: Clay’s Role in Contemporary Art Architecture, Space, and Power in the Early Modern Ibero- Boryana Rossa, independent artist, Bulgaria Caucus for Art, Artists, and Historians Sutton Parlor North, 2nd Floor, Hilton New York American World Business Meeting Chair: Patsy Cox, California State University, Northridge Shirin Neshat, independent artist Gramercy B, 2nd Floor, Hilton New York Nassau Suite, 2nd Floor, Hilton New York Shoja Azari, independent artist Chairs: Jesús Escobar, Northwestern University; Michael Schreffler, Creative Capital Virginia Commonwealth University Risky Business Wednesday, February 9 Centers and Peripheries in Sixteenth-Century Mexico City Sutton Parlor South, 2nd Floor, Hilton New York Volunteer Lawyers for the Arts, Inc. Barbara Mundy, Fordham University Chair: Sean Elwood, Creative Capital Avoiding Legal Hassles and Understanding Fair Use 2:30 PM–5:00 PM Bryant Suite, 2nd Floor, Hilton New York Hasan Elahi, Maryland College of Art From Inca Pampa to Spanish Plaza: Theatrical Politics and the Chair: Elena Paul, Volunteer Lawyers for the Arts, Inc. ARTspace Transformation of Imperial Public Space, 1480–1780 Laura Poitras, Yale University CAA Services to Artists Committee Stella Nair, University of California, Riverside International Center for the Arts of the Americas, Museum of Fine Kerry Skarbakka, independent artist Health and Safety in the Artist Studio Arts, Houston Murray Hill Suite, 2nd Floor, Hilton New York The Visionary Spatial World of the Ibero-American Retable Altarpiece Documents of Twentieth-Century Latin American and Latino Chairs: Mark Gottsegen, AMIEN and ICA Art Conservation; and Catherine Wilkinson Zerner, Brown University ARTspace Art: A Digital Archive and Publications Project at the MFAH Brian Bishop, Framingham State University Natione Italiana: Architecture of the Italian Minorities in Philippine CAA Services to Artists Committee Madison Suite, 2nd Floor, Hilton New York Considerations for Dim and Dark Rooms Iberia (1580–1640) [Meta] Mentors: Great Art Cities Chairs: Mari Carmen Ramírez, International Center for the Arts of Sabina de Cavi, Vlaams Academisch Centrum, Brussels Murray Hill Suite, 2nd Floor, Hilton New York the Americas, Museum of Fine Arts, Houston; María C. Gatzambide, Jennifer Steensma Hoag, Calvin College Chairs: Reni Gower, Virginia Commonwealth University; International Center for the Arts of the Americas, Museum of Fine A Twenty-First Century Ceramics Shop and the Safety Retrofit Santissima Trinità degli Spagnoli and Ibero-American Patronage in Melissa Potter, Columbia College Chicago; and Vesna Pavlovic, Arts, Houston Brian Gillis, University of Oregon Eighteenth-Century Rome Vanderbilt University Victor Deupi, Fairfield University Report from the Field: Peru Greening the Studio Dublin, Ireland/London, England Gustavo Buntinx, Museo de Arte de Lima, Peru Claudia Sbrissa, St. John’s University Nigel Rolfe, Royal College of Art New Life for Memorials on the National Mall Mexican Documents in the ICAA Archive: A Case Study in the The New Color of Art Is Green West Ballroom, 3rd Floor, Hilton New York Tehran, Iran Historiography of Art History Laura Sanden Cabo, Gund Partnership; and Monona Rossol, Arts, Chairs: Judy Scott Feldman, National Coalition to Save Our Mall; Morehshin Allahyari, IRUS Art: Intercultural Collaborative Karen Cordero Reiman, Universidad Iberoamericana Crafts and Theater Safety, Inc. Kirk Savage, University of Pittsburgh Cleveland, Ohio Towards a Certain Venezuelan Art History Thirty-Five Years of Health and Safety Kent Cooper Holly Morrison, Virginia Commonwealth University María Elena Huizi and Josefina Manrique, Documents Project Mark Gottsegen, AMIEN and ICA Art Conservation Venezuelan Team James P. Clark, National Ideas Competition for the Washington Halifax, Nova Scotia, Canada Monument Grounds Peter Dykhuis, Dalhousie Art Gallery, Dalhousie University Report from the Field: Latino US Corporate and Cultural Social Responsibility, 1960–2010 Tomás Ybarra-Frausto, independent scholar, San Antonio Seattle, Washington Gramercy A, 2nd Floor, Hilton New York Chair: Michael Bzdak, Rutgers University and Johnson and Johnson Digital Craftsmanship: How Artists Are Making Physical Rebecca Cummins, University of Washington Discussant: Jay Oles, Wellesley College Objects from Virtual Data Sao Paulo, Brazil From “Quality” to “Equality”: Corporate Arts Funding as Sutton Parlor North, 2nd Floor, Hilton New York Ana Maria Tavares, University of Sao Paulo Association for Modern and Contemporary Art of the Arab World, Social Responsibility? Chairs: Jeremy Gardiner, Ravensbourne; Bruce Wands, School of Iran, and Turkey Thea Petchler, Art Center College of Design Visual Arts

Modern Arab Art and Its Historical and Methodological CAA Museum Committee Can Corporate Social Responsibility of the Arts Be Strategic? Digital Masters Relationships to the Post-Colonial Context Gender and Sexuality in the Art Museum Ashley C. Givens, Courtauld Institute of Art; and Diana C. Matthew Lewis, London Metropolitan University Petit Trianon, 3rd Floor, Hilton New York Beekman Parlor, 2nd Floor, Hilton New York Robertson, University of Pennsylvania Chair: Sarah Rogers, Columbia University Middle East Form Giving: Investigations into Technologically Driven Object Chair: Janet Marstine, University of Leicester Research Center Cultural Advancement, Social Progress, and Corporate Growth: Making Practice Ernesto Pujol, independent artist, New York Container Corporation’s Advertising Series, 1937–1960 Rebecca Strzelec, Pennsylvania State University, Altoona This session is dedicated to Rhonda Saad. Lara Allison, independent scholar, Chicago Catherine Morris, Brooklyn Museum An Examination of how Digital Methods of Processing and Fabrication Prita Meier, Wayne State University Nochlin and Reilly’s Global Feminisms: The Cultural Logic of the Late Amy Levin, Northern Illinois University Have Influenced the Perception and Construction of Contemporary Robin Greeley, University of Connecticut Philip Morris’s Art Sponsorship Sculptural Objects Discussant: Jonathan Katz, University at Buffalo, Joan DelPlato, Bard College at Simon’s Rock Brendan Reid, University of the West of England State University of New York Nada Shabout, University of North Texas Corporate Art Venues in the Public Art Realm: A Catch 22? Pixels to Stone: Changing the Way Sculptors Think about Saloni Mathur, University of California, Los Angeles R. S. de Boer, VU University Amsterdam Their Practice Jonathan Monaghan, University of Maryland

34 college art association 100 February 9 –12, 2011 35 Wednesday High Heels and Leather Masks: When Fetish Becomes Art The Shape of Exhibitions Consciousness-Raising, Cooperatives, and Collaboration: The Making Toward an Indigenous Artistic Sovereignty: Theorizing and Art Becomes Life Leigh Markopoulos, California College of the Arts of The Sister Chapel Contemporary Native Art Trianon Ballroom, 3rd Floor, Hilton New York Andrew D. Hottle, Rowan University Bryant Suite, 2nd Floor, Hilton New York Curating as Stage Managing: Rimini Protokoll’s Mobile Performatives Chair: Michelle Handelman, Massachusetts College of Art Chair: Dylan A. T. Miner, Michigan State University Shannon Jackson, University of California, Berkeley Collaboration and Conflict in the Fresno Feminist Art Program and Design Laura Meyer, California State University, Fresno “On the Other Side of this Ocean”: The Limits of Knowledge as an In the Mind’s I Genesis Breyer P-Orridge, independent artist, New York Aesthetic Framework Warren Neidich, Delft University of Technology Celebrating Women’s Art Collectives: The Posters and Wall Collages of Nancy Marie Mithlo, University of Wisconsin Zackary Drucker, independent artist, Los Angeles Mary Beth Edelson

Lia Gangitano, Participant, Inc. Kathleen Wentrack, Queensborough Community College, City The Authenticity Trap: Art Markets, Academic Rhetoric, and Acoma What’s in a Name? Reconsidering Tibetan Stylistic Taxonomies University of New York Tribal Sovereignty A. L. Steiner, independent artist, New York Madison Suite, 2nd Floor, Hilton New York Aaron Fry, University of New Mexico Chairs: Melissa R. Kerin, College of William and Mary; Rob Linrothe, Guerrilla Girls Today

Northwestern University Frida Kahlo, Guerrilla Girls Reading beneath the Surface: Joe Feddersen’s Parking Lot Event Place Performance: Theorizing Architectural Spaces in Heather Ahtone, University of Oklahoma the Ancient World(s) History of Women in New York City Cooperative Galleries Between Iconography and Style: Replication of Famous Images and a Sutton Parlor Center, 2nd Floor, Hilton New York Sharyn Marie Finnegan, Parsons The New School for Design Indigenous Curatorial Sovereignty: A Personal Perspective Nexus of Buddhist Artistic Production in Eastern India and Tibet Chair: Ömür Harmansah, Brown University Phoebe Farris, Purdue University Jinah Kim, Institute for Advanced Study Sites of Subversion: The Collective Practice of Artemisia and A.R.C. Performing Death: Social Differentiation and Architectural Space in Galleries (1973–1979) Resilient Practices: Asserting Arctic Sovereignty through Inuit Art Is There an Indo-Tibetan Style? Exploring the Rhetorical Value of Style Early Minoan Cemeteries Joanna Gardner-Huggett, DePaul University Heather Igloriorte, Carleton University Deborah Klimburg-Salter, University of Vienna Katy Soar, University of Nottingham A Room of Her Own, on Google Earth Exploring New Readings of Tibetan Buddhist Architectural Styles Death, Amusement, and the City: Civic Spectacles and the Theatre Daria Dorosh, Fashion Institute of Technology Sexuality and Gender: Shifting Identities in Early Aurelia Campbell, University of Pennsylvania Palace of Kapara, King of Guzana Modern Europe A Comparative Study: Three Contemporary Female Artists’ Collectives Alessandra Gilibert, Freie Universität Berlin The Use of Style in Mongolian Art: International Gelug Style or Beekman Parlor, 2nd Floor, Hilton New York with Roots in New York City Quotation of Styles? Chairs: Angeliki Pollali, Deree, The American College of Greece; Storied Walls: Assyrian Palaces and the Performed Spaces of Empire Katerina Lanfranco, Fordham University Uranchimeg Tsultem, University of California, Berkeley Berthold Hub, University of Vienna Ann Shafer, American University in Cairo

Tradition, Connoisseurship, and Style: Tibetan Taxonomies, Their Sexual Desire and Conflated Sexual Identity in a Family Chapel At the Margins: Place and Identity in the Athenian Adonia The Crisis in Art History Background, and Their Implications for a Classification of Tibetan Art Robin O’ Bryan, Gettysburg College Phoebe Segal, Museum of Fine Arts, Boston Rendezvous Trianon, 3rd Floor, Hilton New York Christian Luczanits, Rubin Museum of Art Chair: Patricia Mainardi, The Graduate Center, City University of Gianantonio Bazzi, Called the Sodomite: Self-Fashioning and the “Gay On Bended Knee: Bodily Veneration at the Ancient Stupas of Andhra New York Gaze” in Art and History Pradesh, India Historians of German and Central European Art and Architecture James M. Saslow, Queens College and The Graduate Center, City Catherine Becker, University of Illinois at Chicago Stephen Murray, Columbia University The Display of Art and the History of Art History, from the University of New York Civic Performance and the Genesis of the Roman Social Cityscape Premodern to the Present Virginia Rutledge, New York City Bar Association The Male Body as Metaphor in Dürer’s Martyrdom of the 10,000 John North Hopkins, Getty Research Institute Clinton Suite, 2nd Floor, Hilton New York Maxwell Anderson, Indianapolis Museum of Art Linda C. Hults, College of Wooster Chair: Karen Ann Lang, University of Southern California Performance and Display in the Roman Context: Vespasian’s Patricia Rubin, Institute of Fine Arts, New York University Illustrating the Sex Manual in the Seventeenth Century: Nicolas Collection and the Forum Pacis in Rome Virtual Display: The Role of Drawing in the Early Modern David Joselit, Yale University Venette’s On Conjugal Love Pelin Yoncacı Arslan, University of California, Los Angeles Art Collection Caroline M. Babcock, University College London Susan Maxwell, University of Wisconsin, Oshkosh Elizabeth W. Easton, Center for Curatorial Leadership Embodied Space and the Early Christian Circus Basilica Beyond the Human: Visualizing the Posthuman in Early Kim S. Sexton, University of Arkansas Pattern Book, Museum, and Ethnographic Village: Intersections of Art Modern Europe History and Ethnography in Austria-Hungary CAA International Committee Discussant: Rebecca Schneider, Brown University Diane Wolfthal, Rice University Rebecca Houze, Northern Illinois University Global Perspectives on the History of Art: Voices from around the World An Art History of the “Most Neglected”: Art History and Ethnology in Creative Catalyst: Robert Blackburn, Master Printer East Ballroom, 3rd Floor, Hilton New York Interdependent Identity: Paradigm and Paradox in German-Speaking Scholarship Nassau Suite, 2nd Floor, Hilton New York Chairs: Jennifer Milam, University of Sydney; Thomas DaCosta Contemporary Israeli and Palestinian Art Priyanka Basu, University of Southern California Chair: Cynthia Hawkins, State University of New York, Geneseo Kaufmann, Princeton University Regent Parlor, 2nd Floor, Hilton New York Expansion of the Discursive Field: Harald Szeemann’s Chairs: Noah Simblist, Southern Methodist University; Sarah Majorie VanDyke, VanDeb Editions Architectural History and the Nation: Global and National Paradigms documenta 5 (1972) and the Discourse on Early Ottoman Architecture Rogers, Columbia University Global Center Amman Susan Stedman, NonProfit and Philanthropic Management Ursula Frohne, University of Cologne, Germany Suna Cagaptay, Bahcesehir University Screwing the Other: Emily Jacir’s Sexy Semite Robin Holder, independent artist Raphael and Stalin in Dresden: Art, Display, and Ideology Transatlantic Crossroads: Images of the Lusitanian Empire between Adair Rounthwaite, University of Minnesota Wesley Cochran, Cochran Gallery Tristan Weddigen, University of Zurich Italy, Portugal, and the New World The Landscape of Identity in Israel/Palestine Maria Berbara, State University of Rio de Janeiro Dora Apel, Wayne State University Recurating: New Practices in Exhibition Making Feminism and the Cooperative Model in the Art World Global Perspectives of Modern and Contemporary Art in Indonesia Out of Place Gibson Room, 2nd Floor, Hilton New York Petit Trianon, 3rd Floor, Hilton New York Thomas Berghuis, University of Sydney Noah Simblist, Southern Methodist University Chair: Betti-Sue Hertz, Yerba Buena Center for the Arts Chairs: Fu Lien, Lamar University; Sharyn Marie Finnegan, Parsons The New School for Design Producing the Commensurable Other: Contemporary Indian Art and Discussant: Sarah Rogers, Columbia University Global Repeating Exhibitions: Charles Esche’s 2010 Van Abbe Museum the Lure of the Decorative Center Amman and El Lissitzky’s 1927 Cabinet of Abstraction Producing Feminist Space: A.I.R. Gallery and the Structures of the Atreyee Gupta, University of Minnesota Reesa Greenberg, independent scholar Artist-Run Cooperatives Meredith A. Brown, Courtauld Institute of Art Art History as a Professional Practice: The Context of the Arab World Howayda Al-Harithy, American University of Beirut

36 college art association 100 February 9 –12, 2011 37 Thursday Thursday, February 10 Association for Textual Scholarship in Art History Walter Pach and the American Art Market Centennial Session Giorgio Vasari (1511–1574): 500th Anniversary Celebration Laurette E. McCarthy, independent scholar and curator Global Art Histories/Multiple Modernities 7:30–9:00 AM Sutton Parlor Center, 2nd Floor, Hilton New York Rendezvous Trianon, 3rd Floor, Hilton New York “The Wrong Man at the Right Time”: Dick Bellamy and the Greening Chair: Liana De Girolami Cheney, University of Chairs: Leslie King-Hammond, Maryland Institute College of Art; CAA Committee on Diversity Practices of the Art Market Massachusetts, Lowell and Sarah Lewis, Yale University Walking the Walk/Talking the Talk: Active Engagements in Judith E. Stein Diversity Practices Tracing a Paintbrush in Giorgio Vasari’s Pictorial Works Mina Cheon, Maryland Institute College of Art The American Museum as Dealer in the Early Twentieth Century Beekman Parlor, 2nd Floor, Hilton New York Daniela Galoppi, Museo Diocesano, Arezzo Julie Aronson, Cincinnati Art Museum Lowery S. Sims, Museum of Arts and Design Chair: Kevin Concannon, University of Akron Giorgio Vasari: Cycle of Paintings of the Sala del Trionfo della Virtù, a Discussant: Gwendolyn Owens, McGill University and the Edward J. Sullivan, Institute of Fine Arts, New York University Issues and Initiatives Involving Native North American Art at the New Reading Proposal Canadian Centre for Architecture University of North Dakota Serena Nocentini, Museo Benozzo Gozzoli di Castelfiorentino Paul Chaat Smith, National Museum of the American Indian Arthur F. Jones, University of North Dakota An Understanding of the Symbolism of Vasari’s Bestiary Nyland Blake, International Center for Photography Beyond the “Other”: New Paradigms for a Global Art History Free within Ourselves: From “The New Negro” to “The Black Aesthetic”, Mauro Di Vito, University of Pisa Beekman Parlor, 2nd Floor, Hilton New York African American Art in Nebraska Landscape in The Lives: The Untold History Chairs: Julie Berger Hochstrasser, University of Iowa; Dawn Odell, American Society for Hispanic Art Historical Studies Peggy Jones, University of Nebraska, Omaha Karen Goodchild, Wofford College Lewis and Clark College Rereading Spanish Early Modern Art Theory Aging Artists and the College Art Association Gramercy B, 2nd Floor, Hilton New York Vasari on Painting: Reclaiming the Trattato Theorizing the “Global” in Art’s History: Historicity and Artefact-hood Carl Parrish, Savannah College of Art and Design Chairs: Giles Knox, Indiana University; Carmen Ripolles, Alice Kramer, independent scholar Jonathan Harris, University of Liverpool Metropolitan State College of Denver The Creative Class of Color in New York On Architecture and the Unity/Disunity of the Arts Cosmopolitanisms at the Margins: Neo-Classical Temple Architecture Yasmin Ramirez, Hunter College, City University of New York Aesthetics of Ideology in Felipe de Guevara’s Comentarios David Cast, Bryn Mawr College in Colonial India de la Pintura Sugata Ray, University of Minnesota Alejandra Giménez-Berger CAA Strategic Plan Focus Group Discussion Part I: From Physiognomy to Portraiture Locating Nationality: Attempting to Translate Contemporary Communication Italian Artists within the Spanish System Sutton Parlor North, 2nd Floor, Hilton New York Chinese Calligraphy Madison Suite, 2nd Floor, Hilton New York Rebecca J. Long Chair: Deborah Dorotinsky, Universidad Nacional Autonoma Shaolan Hertel, Free University, Berlin; and China Academy Chair: Sue Gollifer, CAA Board Member de Mexico of Art, Hangzhou Knowing Nature: Artistic Production, Scientific Inquiry, and Catholic The group will discuss new forms of communication using Devotion in Seventeenth-Century Spain Putting on a Bold Face: (Re)presentations of Black Women in the Art History after Humanism: Ecocriticism, Otherness, and innovative and improved technology. All members are cordially Melody Maxted-Wittry Nineteenth-Century Caribbean Post-Katrina Aesthetics invited to join the discussion. Samantha Noel Alan Braddock, Tyler School of Art, Temple University The Body of the Artist: An Anatomy of Faith in Early Modern Spain Ellen Prokop Portraiture, Physiognomy, and Performance: Archibald Motley Jr.’s Discussant: Keith Moxey, Barnard College and Thursday, February 10 Depictions of Blackness Columbia University Francisco Pacheco in Sor Juana’s Library: Miguel Cabrera and the Michael Maizels Academy in Eighteenth-Century New Spain 9:30 AM–12:00 PM Ray Hernández-Durán, University of New Mexico The Art of Americanization at Carlisle Through the Lens: Photographers and New York Skyscrapers Imagining Art History in Proximity of Race Hayes Peter Mauro Clinton Suite, 2nd Floor, Hilton New York Regent Parlor, 2nd Floor, Hilton New York Chair: Katherine Ann Hoffman, St. Anselm College Resistance Begins at Home: Anticolonialism and Visual Culture After (the Portrait Bust): From Physiognomy to Photography Chairs: Jane Blocker, University of Minnesota; Anna Chisholm, at the Imperial Center Ken Gonzalez-Day, Scripps College “Million-Footed Manhattan, Unpent”: Skyscrapers and the Body in University of Minnesota Gramercy A, 2nd Floor, Hilton New York Sheeler and Strand’s Manhatta Framing Progress: Allegories of Indigeneity and the Biopolitical Gaze Chairs: Patricia Leighten, Duke University; Marco Deyasi, University Time Migrant: Isaac Julien Julia Walker, Savannah School of Art and Design Jennifer González, University of California, Santa Cruz in Cardenismo Educative Documentary, 1934–1940 of Idaho Abeyami Ortega, Universidad Nacional Autonoma de Mexico “Modern Craftsmanship” in the Empire State Building and Lewis Dada’s Völkerpsychologie: Rethinking Primitivism in Zürich The Evidence of Things Not Seen: From Document to Site in the Hine’s Photographs Re-presenting Selves in Black Women’s Portraiture Peter Mowris, University of Texas at Austin Work of McCallum/Tarry Ezra Shales, Alfred University Kanitra Shenae Fletcher, University of Texas at Austin Eva Díaz, Pratt Institute Henri Gaudier-Brzeska, Vorticism, and Anticolonial Discourse in New York Skyscrapers: The Magnitude of Magnum, Post–World War II Discussant: Deborah Dorotinsky, Universidad Nacional London Apocryphal Katrina: Cyclical History, Civil Religion, and Visual Culture to the End of an Empire Autonoma de Mexico Mark Antliff, Duke University Gwendolyn DuBois Shaw, University of Pennsylvania Kristen Ann Gresh, École des Hautes Etudes en Sciences Sociales Primitivist Discourse in Black and White: Photography in the Service of Looking Otherwise: Queer Archival and Art-Historical Practices of Between the Singer Tower and the World Trade Center: Skyscrapers, Art and Commerce: The Art Gallery in America Anticolonialism between the Wars Vaginal Davis Destruction, and the Vision of Renewal Gibson Room, 2nd Floor, Hilton New York Wendy Grossman, University of Maryland Robert Summers, Otis College of Art Eric Sandeen, University of Wyoming Chair: Betsy Fahlman, Arizona State University A Man from the Virgin Forest of Brazil: Vicente do Rego Monteiro’s Hostile Takeover: American Artists’ Resistance to Art Dealers, Quelques visages de Paris 1870–1900 Michele Greet, George Mason University Kevin Murphy, Huntington Library, Art Collections, and Playing with Indian Identity: Horace Poolaw’s Photographic Portraits Botanical Gardens Laura E. Smith, Michigan State University

The Sallie Gibbons Gallery: Nexus for New York Art Women, Discussant: Christopher B. Steiner, Connecticut College 1875–1885

Katherine E. Manthorne, The Graduate Center, City University of New York

38 college art association 100 February 9 –12, 2011 39 Thursday The Art of Pranks The New Agit Prop: Artists Expose Political Fictions Identifying Otherness: Ethnic and Regional Influences in Thursday, February 10 Nassau Suite, 2nd Floor, Hilton New York Madison Suite, 2nd Floor, Hilton New York Ancient American Art 12:30 PM–2:00 PM Chair: Beauvais Lyons, University of Tennessee, Knoxville Chairs: Susan Noyes Platt, James Washington Foundation; Deborah Bryant Suite, 2nd Floor, Hilton New York Faye Lawrence, Seattle University and Lesley University Chairs: Carolyn E. Tate, Texas Tech University; Cherra Wyllie, The Private/Public Joke: Printed Pranks in New York Dada Poster Sessions University of Hartford Sarah Archino, The Graduate Center, City University of New York The Cuddle Commandos: Parody and Meta Semiotic Resistance South Corridor, 2nd Level, Hilton New York Christopher Moore, Concordia University The Concepts of Identity and Individuality in Gulf Coast Olmec Double-Talk: A Case Study of the Fine Arts Symposium “Wroclaw ‘70” Poster sessions are informal presentations for small groups and Olmec-Related Art Albert J. Godycki, Jagiellonian University Marx on the Wall: Agit Prop Murals and Class Struggle displayed on poster boards by an individual. The poster display Billie Follensbee, Missouri State University Mike Alewitz, Central Connecticut State University is usually a mixture of a brief narrative paper intermixed Fluxpranks: Twelve Big Names Hybrid People, Hybrid Art? The Olmeca Xicalanca and with illustrations, tables or graphs, and other presentation Hannah Higgins, University of Illinois, Chicago; and Simon Dressed to Kill: Public Pedagogy from the Margins Epiclassic Historiography materials. With a few concisely written areas of focus, the poster Anderson, School of the Art Institute of Chicago John Jota Leanos, University of California, Santa Cruz Claudia Brittenham, University of Michigan, Ann Arbor display communicates the essence of the presenter’s research, Purposeful Pranks: Artists as Subversive Pranksters From Agit Prop to Elegy: William Kentridge’s Designs for synthesizing its main ideas and research directions. Poster displays Between Two Worlds: Negotiating Identity in the Maya Hinterlands Lisa Sayles, Clark College Shostakovich’s The Nose will be on view for the duration of the conference, beginning on Victoria Lyall, University of California, Los Angeles Pam Allara, Brandeis University Thursday morning. On Thursday and Friday, from 12:30 to 2:00 PM, New York City Pranksters Chorotega Ethnicity on Mesoamerica’s Southern Frontier presenters will be available at the Poster area. Clark Stoeckley, Artivist Ecoart: Imagining and Instigating Change Geoffrey McCafferty, University of Calgary Ann Rosenthal Discussant: Andy Bichlbaum, The Yes Men and Parsons The New How the Sausage Is Made: A Model of Graphic Design Practice Engraved Head Motifs on Cupisnique Ceramics: Cultural Emblem School For Design Electronic Civil Disobedience: Inventing the Future of Online and Teaching and Historical Signature in Early Andean Art Agitprop Theater Alexander Egner, University of North Texas Yumi Park, Virginia Commonwealth University Ricardo Dominguez, University of California, San Diego Studio Art Open Session Staff Diversity in Museums

Abstract Painting at 100 Kimberli Gant, Museum of Contemporary African Diasporan Arts ARTspace Trianon Ballroom, 3rd Floor, Hilton New York Lawrence Alloway, Visual Culture and Contemporary Practice: Data as Medium ARTLab: Thinking Globally, 2009–2010 Chair: Carrie Moyer, Rhode Island School of Design A Discussion Murray Hill Suite, 2nd Floor, Hilton New York Barbara Jaffee, Northern Illinois University West Ballroom, 3rd Floor, Hilton New York Linda Besemer, Occidental College Chair: Jeff Thompson, University of Nebraska, Lincoln Chairs: Shelley Rice, New York University; Reva Wolf, State Art Education Drawing Books: A Historical Context Jessica Dickinson, Pace University and Rhode Island School University of New York at New Paltz Data and Its Expression Ami Kantawala, Teachers College, Columbia University; G. James of Design George Legrady, University of California, Santa Barbara Daichendt, Azusa Pacific University Alloway in London: The Formation of a Critic Louise Fishman From Kandinsky to the Database (Point, Line, Plane: Variable, Walt Disney: Undergraduate Research and Critical Thinking Irving Sandler, Purchase College, State University of New York Array, Table) Diane E. Kontar, University of Findlay Shirley Kaneda, Pratt Institute Alloway in New York: Pluralism as a Model for Art and Criticism Brian Evans, University of Alabama Distance Learning in the Visual Arts: Online Communities, Critiques Suzanne McClelland, Pratt Institute and School of Visual Arts Richard Kalina, Fordham University Web as Index and Archive and Second Life Teaching Wendy White, Rutgers University Alloway: A Memoir Penelope Umbrico, Bard College and School of Visual Arts Susan Miiller, State University of New York, New Paltz Sylvia Sleigh Alloway, independent artist Faye Hirsch, Art in America Art that Decodes: Making Sense of Data Process Reinterpreting Savoldo’s Magdalen Paintings Alloway and the Development of the Field of Visual Culture Heidi May, Emily Carr University of Art and Design and University Charlotte Nichols, Seton Hall University

Nicholas Mirzoeff, New York University of British Columbia Representing Gothic Analysis of University Press Production in Art and Art History, East Ballroom, 3rd Floor, Hilton New York Networks: Complex, Simple, and Sometimes National 1991–2007 Chairs: Stephen Murray, Columbia University; Andrew J. Tallon, Courtney Martin, Vanderbilt University Design Studies Forum Henry Pisciotta, Pennsylvania State University Libraries; and James Vassar College Locating the Design Commons Frost, Minitab, Inc.

Sutton Parlor South, 2nd Floor, Hilton New York Speaking the Un-Speakable: Drawings, Texts, and the Explication of Live Art/Museum Object Fueling Inquiry-Driven Learning: Emerging Artists as Chairs: Andi Witczak, University of Kansas; Dawn McCusker, James Gothic Design Petit Trianon, 3rd Floor, Hilton New York Emerging Educators Madison University Robert Bork, University of Iowa Chair: Susan Rosenberg, St. John’s University Mary Stewart, Florida State University; and Richard Siegesmund, Finding Common Ground in Cancer Data Visualization University of Georgia Micro-Architectural Representation on Gothic Ivories Exhibiting the Invisible Heather Corcoran, Washington University in St. Louis Sarah Guérin, Columbia University Kaira Cabañas, Columbia University The Artist Proletariat and the Rise of Modernism in the Hungarian How Do Design Thinkers Teach Design Thinking Art Market Michelet and the Gothic: Architecture and the Writing of History in Joan Jonas’s Performance Translations Sally Packard, Sage College of Albany Jeff Taylor, Central European University, Budapest Nineteenth-Century France Francesco Gagliardi, independent artist, Toronto Michèle Hannoosh, University of Michigan The Citizen Designer in the Age of the Golden Arches Use It or Lose It? Student Attitudes Towards Library Use The Live and the Archive: Methods in the Display of Eric Benson, University of Illinois, Urbana-Champaign Eamon Tewell, Moore College of Art & Design Re-Inventing the Gothic Grove: Recent Metamorphoses in Landscape Performance Re-Creation Art, Science Fiction, and Animated Film Matthew Q. Breatore, Institute of Fine Arts, New York University Design Global Change: The Power of Ideas to Move People Passing: The Art of Drag Matilde Mateo, Syracuse University Natacha Poggio, University of Hartford Kremena Todorova and Kurt Gohde, Transylvania University Collecting Situations: Repetition, Habit, and Presence as an Queer Gothic: Representing the Gothic at Walpole’s Strawberry Hill Institutional Model URT, Urban Research Toolkit: A Multi-Platform Tool for Collaborative JeopARTy: A Game Show Produced at the Massachusetts College of Matthew Reeve, Queen’s University Yasmil Raymond, Dia Art Foundation Research within the Urban Environment Art and Design that Asks: When Is Artistic Appropriation Fair and Jessica Irish and Jane Pirone, Parsons The New School for Design When Is It Not?

Gregory Wallace and Paul Dobbs, Morton R. Godine Library, Massachusetts College of Art & Design

40 college art association 100 February 9 –12, 2011 41 Thursday Thursday, February 10 Historians of British Art ARTspace The Conversation that Isn’t: The Role of the Interviewer in the Oral Seeing through the Medium CAA Services to Artists Committee History Process 12:30 PM–2:00 PM Sutton Parlor South, 2nd Floor, Hilton New York Making a Living as an Artist: With or Without a Gallery Avis Berman, independent scholar Chairs: Imogen Hart, Yale Center for British Art; Catherine Roach, Murray Hill Suite, 2nd Floor, Hilton New York Visual Resources Association Shaped by/Shaping a Sculptor: Firsthand Accounts by Those who Cornell University Chair: Sharon Louden, Louden Studio Beyond the Slideshow: Teaching the History of Art and Knew Augusta Savage (1892–1962) over Half a Century Ago Material Culture in the Age of New Media Ta’ziyeh: Reference and Resemblance in North Indian Ephemeral Sharon Butler, independent artist and writer Theresa Leininger, University of Cincinnati Nassau Suite, 2nd Floor, Hilton New York Shrines, 1770–1830 William Carroll, The Elizabeth Foundation for the Arts An Oral Hermeneutics: Orality and Interpretation in Contemporary Chair: Johanna Bauman, ARTstor Holly Shaffer, Yale University Peter Drake, New York Academy of Art American Art Technology, Instrument of a New Geography of Art Ciné-Texts: The Permeability of Modern Art, Film, and Snapshot Margo Machida, University of Connecticut Ed Winkleman, Winkleman Gallery Katherine E. Manthorne, The Graduate Center, City University Cultures in 1920s–1930s London Multiple Truths and the Construction of Life Stories of New York Andrew Stephenson, University of East London Liza Kirwin, Archives of American Art, Smithsonian Institution CAA Professional Practices Committee The Digital Media Lab at the Bard Graduate Center Dissolution, Disillusion, and Deflation: Damien Hirst’s Double Act A Work in Progress: A New Professional Practices for Discussants: Melanie Herzog, Edgewood College; and Frances David Jaffee and Kimon Keramaidas, Bard Graduate Center Elyse Speaks, University of Notre Dame Artists’ Guidelines Pohl, Pomona College Teleporting to Assisi: Art and Art History in the Virtual World Bryant Suite, 2nd Floor, Hilton New York

Donald Beetham, Rutgers University Southeastern College Art Conference Chair: Beauvais Lyons, University of Tennessee, Knoxville Historians of Eighteenth-Century Art and Architecture The Artist’s Progress: Sequential Art and Aesthetic Education Charles Wright, Western Illinois University HECAA New Scholars Session Gramercy A, 2nd Floor, Hilton New York National Endowment for the Humanities Beekman Parlor, 2nd Floor, Hilton New York Chair: Benjamin David Harvey Brian Bishop, Framingham State College How to Put Together an NEH Public Programs Project Chair: Heidi Anne Strobel, University of Evansville Clinton Suite, 2nd Floor, Hilton New York Cultural Legitimacy and the Rise of Genre Fiction in Contemporary Margaret Lazzari, University of Southern California Madame de Pompadour’s Indiscreet Jewels: Boucher, Reproduction, Chair: Barbara Bays, National Endowment for the Humanities Art Comics James Hopfensperger, Western Michigan University and Luxury in Eighteenth-Century France Chris Schweizer, Savannah College of Art and Design Susan M. Wager, Columbia University Association of Art Museum Curators Violent Cases and Mr. Punch: Neil Gaiman and Dave McKean Reflect Association for Textual Scholarship in Art History Reflections on Civilization: Architecture and Memory in David’s The Museum as Career: Identifying New Talent and Darkly on Early Aesthetic Development Symbolism, Its Origins and Consequences II Sabine Women Broadening the Field Hannah Means-Shannon, Georgian Court University Sutton Parlor North, 2nd Floor, Hilton New York Heidi E. Kraus, University of Iowa Sutton Parlor Center, 2nd Floor, Hilton New York Chairs: Rosina Neginsky, University of Illinois; Deborah H. Cibelli, Growing Up Toko: Coming-of-Age Themes in the Work of Chairs: Deborah Cullen, El Museo del Barrio; Sally Block, Nicholls State University Staging Europe: Theatricality and Painting at the Chinese Yoko Nogami Association of Art Museum Curators Imperial Court Kristen Williams, Northwest Florida State College Classicism, Idealism, and the Symbolist Avant-Garde Kristina Kleutghen, Harvard University Brendan Cole, Eton College

Association of Historians of Nineteenth-Century Art Garden Chambers and Global Spaces: Giandomenico Tiepolo’s Offsite Session Quattrocento Florence, Armand Point, and Adorno’s Concept of Aura: Future Directions in Nineteenth-Century Art History Chinoiserie Room at the Villa Valmarana The Museum and the Market: Complementary Career Paths? A Symbolist Surrender to That which Is Far Away Trianon Ballroom, 3rd Floor, Hilton New York Sally Grant, University of Sydney Sotheby’s, 1334 York Avenue at East 71st Street Cassandra Sciortino, University of California, Santa Barbara Chair: Maria Gindhart, Georgia State University Chair: Jason Herrick, Sotheby’s Redon and the Music of Orpheus “The Streets as Art Galleries”: Hubert Herkomer and Queer Caucus for Art: The Lesbian, Gay, Bisexual, and Transgender Richard Brettell, University of Texas at Dallas Leslie Stewart Curtis, John Carroll University Advertising Posters Caucus for Art, Artists, and Historians Andrea Korda, University of California, Santa Barbara Charlotte Eyerman, French Regional & American Old Dreams, Modern Ideas: Reception and Misconception of Creating in the Queer Diaspora Museum Exchange International Symbolism at the Venice Biennale (1895–1914) Regent Parlor, 2nd Floor, Hilton New York Dante Gabriel Rossetti’s Venetian Renaissance: The Blue Bower and Davide Lacagnina, University of Siena Chairs: Jason Dillon Watson, Appalachian State University; Sean the Seduction of Color Chris Apostle, Sotheby’s Gyshen Fennell Carolyn Porter, Furman University CAA Publications Committee National Undress: Rusalka Images in Nineteenth-Century Russia Women’s Caucus for Art Are We Standing at a Digital Divide in Art Publishing? Historians of German and Central European Art and Architecture Margaret Samu, The Metropolitan Museum of Art LIVE SPACE: women • art • activism Madison Suite, 2nd Floor, Hilton New York Business Meeting Rendezvous Trianon, 3rd Floor, Hilton New York Chair: Joseph Newland, Q.E.D. Gramercy B, 2nd Floor, Hilton New York Chair: C. M. Judge, Women’s Caucus for Art and FemLink Exhibitor’s Session Chad Coerver, San Francisco Museum of Modern Art Carolee Schneemann, independent artist Artists and the Art Materials Industry Thomas Lawson, California Institute of the Arts Thursday, February 10 Petit Trianon, 3rd Floor, Hilton New York Elizabeth Streb, STREB Lab for Action Mechanics Chair: Mark Gottsegen, AMIEN and ICA Art Conservation; John Rise, Ken Wissoker, Duke University Press 2:30 PM–5:00 PM Véronique Sapin, Video Arts Development International Association Savannah College of Art and Design Katy Siegel, Hunter College, City University of New York Centennial Session George O’Hanlon, Natural Pigment Feminism Mark Golden, Golden Artist Colors Association of Historians of American Art Rendezvous Trianon, 3rd Floor, Hilton New York (Re)Collecting Memory: Oral History as Testimony of Chairs: Norma Broude, American University; Griselda Pollock, Beth Bergman, National Art Materials Trade Association Lived Experience University of Leeds Gibson Room, 2nd Floor, Hilton New York Richard Frumess, R&F Handmade Paints Chairs: Frances Kathryn Pohl, Pomona College; Melanie Herzog, Edgewood College

42 college art association 100 February 9 –12, 2011 43 Thursday Latin American Art in the Now A Mural Carved in Stone: Delaroche’s Hémicycle for the Façade of the Pierrot’s Periodicity: Watteau, Nadar, and the Circulation of Tim Mattson, Intel Gramercy A, 2nd Floor, Hilton New York Pennsylvania Academy of Fine Arts the Rococo W. J. T. Mitchell, University of Chicago Chairs: Claudia Calirman, John Jay College; Tatiana Flores, Sally Webster, Lehman College and The Graduate Center, City Marika Knowles, Yale University Rutgers University University of New York Laurence Rickels, University of California, Santa Barbara Warhol’s Rococo The Historical Avant-Gardes of Latin America Revisited: José Carlos Allison Unruh, independent scholar, New York Craig Smith, University of Florida Mariátegui’s American Aesthetics “Of Mother Nature and Marlboro Man” Revisited: Deborah Thomas Zummer, Hogeschool Sint Lukas Brussel Harper Montgomery, Rhode Island School of Design Bright’s Critique of Western Landscape Photography Twenty- Society of Architectural Historians Five Years Later Pan-Ethnicity, Post-Identity, and Artist Groups in Latin America and The Architectural Exhibition and/as Critique Sutton Parlor North, 2nd Floor, Hilton New York the Middle East, 1989–2010 Clinton Suite, 2nd Floor, Hilton New York Cel-Culture: The Hybrid Intersections of Art, Video Games, Chair: Kelly Dennis, University of Connecticut Sara Angel Guerrero-Rippberger, Chelsea College of Art and Chairs: Karen Koehler, Hampshire College; Eve Blau, Harvard and Manga Design, University of the Arts London A Second View of Marlboro Men and Mother Nature: Questioning University Regent Parlor, 2nd Floor, Hilton New York Bright’s “Glossy Tomes” and the State of Photography Chairs: Kirstin Ringelberg, Elon University; Michael R. Salmond, Re-Viewing Latin American Art History Exhibitions as Practice: Raumkunst at the 1906 German Applied Arts James R. Swenson, Brigham Young University Northumbria University Mariola V. Alvarez, University of California, San Diego Exhibition in Dresden Making Place outside “Muscular Formalism”: Women and Wallis Miller, University of Kentucky Mao Goes Pop Online: Game Art Worlds in China Report of a Journey towards the Definition of a Latin American Artist Landscape Photography Alice Ming Wai Jim, Concordia University Cesar Cornejo, University of South Florida Constructing the Nation: China’s Architectural Exhibition, 1936 Virginia Liberatore, independent scholar Cole Roskam, University of Hong Kong Female Otaku: Beyond the Mask of Anime, Art, and Film How “Global” Can Latin American Art Be? Marlboro Women: Investigations of Place and Environment Stephanie Denise Silberman, University of Colorado at Boulder Cecilia Fajardo-Hill, Museum of Latin American Art, Long Beach The New Domestic Landscape: Italian Radical Architecture on Liz Wells, University of Plymouth American Soil Episodes: Intersections of the Imaginary and the Real through the

From “New Topographics” to the Technological Sublime Ross Elfline, Carleton College Lens of Anime Art Historical Field Notes: The Experience of “The Site” Kirsten Swenson, University of Nevada, Las Vegas Adam Fotos, Chicago State University and College of DuPage West Ballroom, 3rd Floor, Hilton New York Making Architectural Exhibitions Work: The Networked Chair: Anna Chave, Queens College and The Graduate Center, City Discussant: Deborah Bright, Rhode Island School of Design Cultures Dialogues Sharing Girlhood University of New York Peter Mörtenböck, Goldsmiths, University of London Heather Warren-Crow, University of Wisconsin, Milwaukee

Petrous Perspectives: Inka Sacred Rocks and Their Surroundings Discussant: Barry Bergdoll, Museum of Modern Art and Arts Council of the African Studies Association Carolyn Dean, University of California, Santa Cruz Columbia University Offsite Session African Art and History American Institute for Conservation of Historic and Artistic Works A View from the Top: The Experience of Mount Jizu at the Edge of Gramercy B, 2nd Floor, Hilton New York Conservators Collaborating with Artists and Art Historians the Himalayas Chair: Cécile Fromont, University of Chicago Queer Caucus for Art: The Lesbian, Gay, Bisexual, and Transgender Lecture Hall, Main Floor, Institute of Fine Arts, New York University Elizabeth Kindall, University of Saint Thomas Caucus for Art, Artists, and Historians Of Punch Bowls, Gold Regalia, and Slaves: Asante, Europe, and Chairs: Rebecca Anne Rushfield; Clare Hills-Nova, Sackler and Narcissism Getting (to) Marfa: An Encounter with Judd’s Mill-Aluminum Works America, 1390–1890 Taylor Institution Libraries, University of Oxford Petit Trianon, 3rd Floor, Hilton New York Anna Chave, Queens College and The Graduate Center, City Suzanne Preston Blier, Harvard University Chair: Tirza True Latimer, California College of the Arts Conservators Working with Living Artists and the Heisenberg University of New York Warriors in Top Hats: Lagoon Arts in the Historical Context of West Uncertainty Principle: Does the Act of Observing the Phenomenon Neo-Narcissism: Claude Cahun’s Disavowals Art History, Tourism, Experience, and Event African Coastal Cultures Change the Phenomenon? Jennifer Shaw, Sonoma State University Caroline A. Jones, Massachusetts Institute of Technology Monica B. Visona, University of Kentucky Joyce Hill Stoner, Winterthur Museum Mirrors of the Social: Narcissism as Politics in the Art of Yayoi Kusama Discussant: Deborah Haynes, University of Colorado, Boulder Prop Art: African Imagery in 1960s and 1970s Cuban Posters Forensic Science, Court Cases, and Cultural Property Jonathan Katz, University at Buffalo, State University of New York Kristine Juncker, University of Nottingham James Martin, Orion Analytical LLC Narcissus in and on the Work of Felix Gonzalez-Torres Before the White Box: Museum Murals in the The Contemporary Present and Its Modernist Past: Mapping a Stones of Beautiful Colors: The History and Treatment of the Jennie Hirsh, Maryland Institute College of Art Nineteenth Century Transition in African Art History Gerasa Mosaics Beekman Parlor, 2nd Floor, Hilton New York Ugochukwu-Smooth Nzewi, Emory University It’s all about ME, Not You: The Art of Greer Lankton Lisa R. Brody; and Carol Snow, Yale University Art Gallery Chair: Petra ten-Doesschate Chu, Seton Hall University Jonathan Weinberg, independent artist and scholar Inspiring Collaboration: Reflections on the Study of a Mural Theory: Peter Cornelius and Wilhelm Kaulbach Rococo, Late-Rococo, Post-Rococo: Art, Theory, and Shame-Flushed Flaming: Narcissism and the Queer Potentials Spanish Altarpiece Cordula Grewe, Columbia University Historiography of Photography Amanda Dotseth, Courtauld Institute of Art; Barbara C. Anderson, Sutton Parlor Center, 2nd Floor, Hilton New York Framing the Artifact: Murals for the Display of Antiquity in the Louvre Jill Casid, University of Wisconsin, Madison New Mexico Department of Cultural Affairs; and Claire Barry, Chairs: Melissa Hyde, University of Florida; Katie Scott, Courtauld (1830–1930) Kimball Art Museum Institute of Art Felicity Bodenstein, Paris Sorbonne University, Paris IV Artists and Conservators What Is Visual Studies? An Open Forum A Casualty of Style? Reconsidering Fragonard’s Progress of Love from Mark Gottsegen and Albert Albano, Intermuseum Conservation Back in the Future: The Georg Sturm Murals in the Rijksmuseum Trianon Ballroom, 3rd Floor, Hilton New York the Frick Collection Association; and Luca Buvoli, independent artist in Amsterdam Chairs: Anne Marie Oliver, Pacific Northwest College of Art; and Colin Bailey, The Frick Collection Jenny Reynaerts, Rijksmuseum Amsterdam Wiebke Leister, University of the Arts London Claudia Shear, independent playwright Between Early and Late: Fragonard as a Late Rococo Artist The Politics of Decoration: Hugh Lane and Mural Painting in Dublin, Giuliana Bruno, Harvard University Discussant: Ingrid A. Neuman, Rhode Island School of Design Satish Padiyar, Courtauld Institute of Art ca. 1908 Florian Dombois, Hochschule der Kunste Bern Museum of Art Morna O’Neill, Wake Forest University Rococo Republicanism

Elizabeth Mansfield, New York University Richard Grusin, University of Wisconsin, Milwaukee Why so Few Museum Murals in the United States? Leila Bailey Van Hook Heike Kühn, Frankfurter Rundschau

44 college art association 100 February 9 –12, 2011 45 Thursday Dark Matter of the Art World, Part I CAA Distinguished Scholar Session Honoring Jonathan Brown Envisioning the New Beauty of Woman: Masao Horino’s Photographs The Spectacle of the Authentic: Manchukuo and the Segmented Gibson Room, 2nd Floor, Hilton New York Between Iberia and New Spain: The Scholarship of of Asian Women in the Imperial Era Spaces of Japanese Voyeurism Chair: Susan Elizabeth Ryan, Louisiana State University Jonathan Brown Masako Toda, Tokyo University Kari Shepherdson-Scott, Duke University East Ballroom, 3rd Floor, Hilton New York Performance, Mediation, and the Public Sphere Shooting as Healing: Pan Dawei’s Photography of Skull and the Arata Isozaki, Architect of Ambivalence Chair: Edward J. Sullivan, New York University Mark Tribe, Brown University Alternative History of Chinese Pictorialism Hyunjung Cho, University of Southern California Jonathan Brown at the Institute of Fine Arts Yi Gu, University of Toronto Intimacy without Reciprocity: Suffragists, Internet Trolls, and Sharon Edward J. Sullivan, New York University Hayes’ Love Letters Funerary Photo-Portraiture in Japan and Korea Association for Latin American Art Kris R. Cohen, University of Chicago Never Tilting at Windmills: Jonathan Brown, Champion of New Jeehey Kim, The Graduate Center, City University of New York Emerging Scholars of Latin American Art Fields of Study Sutton Parlor North, 2nd Floor, Hilton New York Agency of Art in the Absence of an Effective Public Discussant: Mikiko Hirayama, University of Cincinnati Inge Reist, Frick Collection Chair: Lauren Grace Kilroy, Brooklyn College, City University of Anton Vidokle, e-flux New York Paris-Madrid, 1653–1655: Two Crowns Exchange Family Workerism, Darkness, and Light Portraits towards Peace and Marriage Thursday, February 10 Clothing the Body Politic: Gender, Ethnicity, and Status in Moche Blake Stimson, University of California, Davis José-Luis Colomer, Centro de Estudios Europa Hispánica, 5:30 PM–7:00 PM Ceramic Art Fire and/or Smoke: Institutional Critique in the Basque Country Madrid Sarahh Scher, Upper Iowa University Julia Moritz, independent curator Portraits and History Foundations in Art: Theory and Education Performances in Paint: Spanish Theater and Indigenous Idolaters in Discussant: Gregory Sholette, Queens College, City University Reva Wolf, State University of New York, New Paltz Introducing Postmodern Thought the Murals at the Church of Andahuaylillas, Peru of New York Rendezvous Trianon, 3rd Floor, Hilton New York Ananda Cohen Suarez, The Graduate Center, City University of Elusive and Hidden Treasures: Jonathan Brown’s Contributions Chair: Steven Bleicher, Coastal Carolina University New York to the Study of Spanish Works on Paper Skin: The Confluence of Art, Culture, and Fashion Lisa A. Banner, independent scholar Past, Present, and Future: Three Essentials of Contemporary Pedagogy Concrete and Steel: Grupo Frente’s Exhibit of Concrete Art at the Sutton Parlor South, 2nd Floor, Hilton New York Mary Stewart, Florida State University Brazilian National Steelworks Company, 1956 Looking Ahead: Painting in Spanish America, Conquest to Chairs: Kathryn Simon, Parsons The New School for Design; Vicki Aleca Le Blanc, University of Southern California Independence, a Co-Edited Volume by Jonathan Brown Infusing Post-Modern Thought into Foundation Courses Karaminas, University of Technology, Sydney Luisa Alcala, University of Madrid Marlene Lipinski, Columbia College Chicago Exhibiting Fashion as Art Diasporic Asian Art Network Meeting Duchamp’s Legacy: The De-skilling and Dematerializing Promotion of Valerie Steele, Fashion Institute of Technology Bryant Suite, 2nd Floor, Hilton New York Concept Driven Cultural Practice Chairs: Margo Machida, University of Connecticut; Alexandra Mimickry? Brian Curtis, University of Miami The Other Middle Ages: The Medieval Mediterranean as Chang, New York University Barbara Vinken, University of Munich Theater of the Arts

Curating Contemporary Fashion at MoMu: Stephen Jones and the Nassau Suite, 2nd Floor, Hilton New York New Media Caucus Catalogue Raisonné Scholars Association Accent of Fashion Chairs: William Tronzo, University of California, San Diego; Caroline The Responsive City: Fact or Fad? Defining an Artist’s Oeuvre: Problems and Issues of Kaat Debo, MoMu Fashion Museum, Antwerp Bruzelius, Duke University Trianon Ballroom, 3rd Floor, Hilton New York Authentication Chair: Steve Dietz, Northern Lights.mn The Apparitional Body: Fashion Film and Representation Buildings beyond the Sea: Illustrations of Islamic Sanctuaries in the Gibson Room, 2nd Floor, Hilton New York Vicki Karaminas, University of Technology, Sydney Libro d’oltramare (1346–50) Chairs: Nancy Mowll Mathews, Williams College Museum of Art; Kathryn Blair Moore, Institute of Fine Arts, New York University Society of Contemporary Art Historians Barbara Buhler Lynes, Georgia O’Keeffe Museum Showstudio: Revolution or the New Elite Critical Histories Opus Sectile in Norman Southern Italy Marcel Duchamp and Man Ray: Photograph and Negative Nathalie Khan, Central Saint Martins College of Art Gramercy A, 2nd Floor, Hilton New York Ruggero Longo, Università della Tuscia, Viterbo Steven Manford Discussant: Kathryn Simon, Parsons The New School for Design Chairs: Tim Griffin, Artforum International; and Christine Mehring, Over the Pyrenees: France and the Medieval Mediterranean University of Chicago The Tension between Art Scholarship, Law, and the Marketplace in Elisa A. Foster, Brown University Defining an Artist’s Oeuvre: A Brief Overview from ‘‘A” to “B” ARTspace Thomas Crow, New York University Sharon Flescher, International Foundation for Art Research Conformity through Syncretism: San Giovanni degli Eremiti and the CAA Services to Artists Committee Diedrich Diedrichsen, Akademie der Bildenden Künste, Vienna Be Our Guest: Time and Space to Create at Artist Residencies Creation of a Norman Architecture in Palermo Issues for the Determination of Authenticity in the Visual Arts Murray Hill Suite, 2nd Floor, Hilton New York Lara Tohme, Wellesley College Barbara Rose, independent art historian and curator Ronald Spencer, Carter, Ledyard & Milburn LLP Chair: Caitlin Strokosch, Alliance of Artists Communities Art of Itinerancy: Seeing the Spaces of Martin the Humane and Kathy Black, Vermont Studio Center Benedict XIII Japan Art History Forum American Society for Eighteenth-Century Studies Amity Nichols Law, Harvard University and Tufts University Graduate Student Panel Cosmopolitanism and Art in the Eighteenth Century Linda Marston-Reid, Bellagio Center Madison Suite, 2nd Floor, Hilton New York Petit Trianon, 3rd Floor, Hilton New York Discussant: Oleg Grabar, Institute for Advanced Study Margaret Murphy, Fine Arts Work Center Chairs: Asato Ikeda, University of British Columbia; Toshio Chair: Jennifer Milam, University of Sydney Watanabe Mario Caro, Res Artis This session is dedicated to Angela Rosenthal. Transcultural Visuality: Photography in East Asia Influence and Reception of the “Hybrid” Ceramics: The Ceramic Madison Suite, 2nd Floor, Hilton New York Jeffrey Collins, Bard Graduate Center Production of the Japan House Kilns during the Seventeenth- Chair: Ayelet Zohar, University of Haifa Eighteenth Centuries Alicia Weisberg-Roberts, The Walters Art Gallery Translating “Photography”: The Migration of the Conception of Sajin Seung Yeon Sang, Boston University Michael Yonan, University of Missouri from Portrait to Photograph Hokusai’s Ryūkyū Hakkei: Visions of Ryūkyū and of Japan Jill Cassid, University of Wisconsin, Madison Hye-ri Oh, Binghamton University, State University of New York Travis Seifman, University of Hawaii and East-West Center Mark A. Cheetham, University of Toronto Traveler-as-Lama Portraits and the Fantasy of Transformation in Tibet Namiko Kunimoto, American University

46 college art association 100 February 9 –12, 2011 47 Thursday, Friday Thursday, Association for Critical Race Art History Friday, February 11 Reading beyond the Text: Word, Image, and the Illustrated Liberal Arts Colleges as Stewards of Traditional Craftsmanship Business Meeting Tractatus de herbis Joshua Almond, Rollins College 9:30 AM–12:00 PM Clinton Suite, 2nd Floor, Hilton New York Jean A. Givens, University of Connecticut Cross-Cultural Experiences through an Exhibition in China and ARTspace Gift of Health: Food Rituals of Childbirth in Late Medieval and Switzerland: The Art of Paper-Cutting—East Meets West Association for Modern and Contemporary Art of the Arab World, Painting: Practice as Strategy Renaissance Florence Crystal Hui-Shu Yang, University of North Dakota Iran, and Turkey Murray Hill Suite, 2nd Floor, Hilton New York Talia Avisar, Parsons The New School for Design Wordless Transmissions: Japanese Textile Traditions and Business Meeting Chair: Thomas G. Berding, Michigan State University Autopsy: Revealing the Body, Revealing the Art, Revealing Transformations Sutton Parlor South, 2nd Floor, Hilton New York Painting and Vigilance the Art Historian Lucy Arai, independent artist Shona Macdonald, University of Massachusetts, Amherst Jack Hartnell, Courtauld Institute of Art Reviving Koukkoumara Tradition through Self-Expression: The Greek- Association of Art Museum Curators Painting as Artifact Cypriot Artist Nina Iacovou and Her Female Figure Vessels Business Meeting Sue E. Hettmansperger, University of Iowa Boston and New York, ca. 1911: Issues of Cultural Exchange Maria Photiou, Loughborough University Sutton Parlor Center, 2nd Floor, Hilton New York Bryant Suite, 2nd Floor, Hilton New York Neither Pure nor Flat: Developing Frameworks for Painting Chairs: Kathryn Brush, University of Western Ontario; Maureen Mariangeles Soto-Diaz, Abstraction at Work Public Art Dialogue Association of Historians of Nineteenth-Century Art Meister, independent scholar From the Ground Up: Public Art and Community Business Meeting Caught in Flux Between Two Cities: New York Architects and the Domestic Regent Parlor, 2nd Floor, Hilton New York Regent Parlor, 2nd Floor, Hilton New York Matthew Kolodziej, University of Akron Architecture of Greater Boston, 1895–1930 Chairs: Juilee Decker, Georgetown College; Greg Mueller, Gustavus Serious Pleasure: The Stockholm Syndrome, or Learning to Rebekah Beaulieu, Boston University Adolphus College Northern California Art Historians Love My Captors Augustus in New York and Boston: Patronage behind Saint-Gaudens’s The Practice of Imagining Communities Business Meeting Su Baker, University of Melbourne Shaw and Sherman Memorials Christina Schmid, College of Visual Arts Gramercy B, 2nd Floor, Hilton New York Discussant: Thomas Berding, Michigan State University Nancy J. Scott, Brandeis University New Ecologies between Rural Life and Visual Culture in the West of

Secrets of the Greeks and Modern Design: Jay Hambidge and Ireland: History, Context, Position, and Art Practice Visual Resources Association Italian Art Society Dynamic Symmetry Deirdre O’Mahony, Galway-Mayo Institute of Technology Business Meeting Claiming Authorship: Artists, Patrons, and Strategies of Marie Frank, University of Massachusetts, Lowell Nassau Suite, 2nd Floor, Hilton New York Mixing Oil with Art and Pedagogy: Service-Learning, Community- Self-Promotion in Medieval and Early Modern Italy, Part I Japanese Cultural Influence in America: The Boston- Based Art, and the Politics of Oil Nassau Suite, 2nd Floor, Hilton New York New York Exchange Joanne Muzak, University of Alberta Friday, February 11 Chairs: Babette Bohn, Texas Christian University; Sheryl E. Reiss, Gail Levin, Baruch College and The Graduate Center, City University University of Southern California of New York Community, Transformation, and Public Art: Groundswell 7:30–9:00 AM Community Mural Project Queen Theodolinda’s Inheritance: The Visconti as Princes at San Discussant: Edward S. Cooke Jr., Yale University Conor McGrady, independent artist, Brooklyn Giovanni in Monza CAA Strategic Plan Focus Group Discussion Part II: Career Enhancement Areli Marina, University of Illinois and Villa I Tatti Excavating a Community through Communication Centennial Session Hee-Young Kim, Kookmin University Beekman Parlor, 2nd Floor, Hilton New York Filarete at the Papal Court: Claiming Authorship and Status on the Experience Chair: Jean Miller, CAA Board Member Doors of St. Peter’s in the Vatican Rendezvous Trianon, 3rd Floor, Hilton New York The group will discuss advocacy, career development, and Robert Glass, Princeton University Chairs: Edouard Duval Carrié, independent artist, Miami; Robert S. Parallel Practices: When the Mind Isn’t Focused on Art Nelson, Yale University Trianon Ballroom, 3rd Floor, Hilton New York workforce issues in order to assist professional growth. All George of Freecastle: Giorgio da Castelfranco’s Self-Promotion as a Chair: Douglas Dreishpoon, Albright-Knox Art Gallery members are cordially invited to join the discussion. Martial Painter Theirs, Mine, or Ours? Untangling the Experience of Ancient Art Paul H. D. Kaplan, Purchase College, State University of New York Irene Winter, Harvard University Janine Antoni, independent artist American Society for Hispanic Art Historical Studies The Editor as Author in the Early Modern Architectural Book Talking to Statues and Conversing with the Dead Vija Celmins, independent artist Business Meeting Katherine Isard, Columbia University Ingrid D. Rowland, University of Notre Dame School of Petah Coyne, independent artist Gibson Room, 2nd Floor, Hilton New York Architecture, Rome Program Lively Images of Exotic Foreigners: Pope Paul V’s Promotion of His Robert Gober, independent artist Global Missionary Success at the Palazzo Quirinale, Rome Modalities of Mojo Philip Taaffe, independent artist Asian American Women’s Art Association Mayu Fujikawa, Bucknell University Donald Cosentino, University of California, Los Angeles Business Meeting Clinton Suite, 2nd Floor, Hilton New York Aprica Idiom: Contemporary African Diasporic Images in Photography Inspiration and Opportunity: Art History Reflects on Its International Center of Medieval Art Carl Hancock Rux, independent artist, New York Past to Determine Its Future Medicine and Science in Medieval Visual Culture Gramercy A, 2nd Floor, Hilton New York Historians of British Art Beekman Parlor, 2nd Floor, Hilton New York Discussant: David Carrier, Case Western Reserve University Chair: Elizabeth W. Easton, Center for Curatorial Leadership Business Meeting Chair: Jennifer Borland, Oklahoma State University Bryant Suite, 2nd Floor, Hilton New York Cultural Diversity and Human Creativity: The Continuation of Report from the Field: Art Historians Survey of Career Choices Geometria as Apelles: Imaging for the Intellect in the Central Elizabeth W. Easton, Center for Curatorial Leadership Middle Ages Traditional Craftsmanship Italian Art Society Megan C. McNamee, University of Michigan Sutton Parlor South, 2nd Floor, Hilton New York Malcolm Daniel, The Metropolitan Museum of Art Chairs: Betty Crouther, University of Mississippi; Crystal Hui-Shu Business Meeting Alisa LaGamma, The Metropolitan Museum of Art Madison Suite, 2nd Floor, Hilton New York The Sphere of Sacrobosco: Images, Vision, and Knowledge in Yang, University of North Dakota Medieval Astronomy Patricia Rubin, Institute of Fine Arts, New York University Kathleen Crowther, University of Oklahoma Enduring Traditional Crafts in Ghana Betty Crouther, University of Mississippi Kristina Van Dyke, The Menil Collection

48 college art association 100 February 9 –12, 2011 49 F Performative Tendencies Defining the Southmost Border: What is American, Prophet/Profit:T he Famous Case of Damien Hirst Friday, February 11 RIDAY Petit Trianon, 3rd Floor, Hilton New York Mexican, or Neither Sutton Parlor Center, 2nd Floor, Hilton New York 12:30 PM–2:00 PM Chair: Jenn Joy, Rhode Island School of Design Gramercy B, 2nd Floor, Hilton New York Chair: Sarah Thornton, independent scholar Chair: George Lorio, University of Texas at Brownsville Convergence Performance or “Not Performing the Performance, Reflections on the Consumerism of Damien Hirst’s Spot Paintings Poster Sessions Performing the Object” Witnessing the Southmost Border Ulrich Blanche, University of Erlangen-Nuremberg South Corridor, 2nd Level, Hilton New York Kelly Kaczynski, Northwestern University George Lorio, University of Texas at Brownsville Rebel, Incorporated Poster sessions are informal presentations for small groups Performative Encounters in Media Art: An Unsitely Aesthetics Transcending Global Technologies: Abstruse Systems Martha Buskirk, Montserrat College of Art displayed on poster boards by an individual. The poster display Maria Miranda, La Trobe University David Freeman, South Texas College is usually a mixture of a brief narrative paper intermixed The Apocalyptic Spectacle: Damien Hirst and the Crisis of Meaning with illustrations, tables or graphs, and other presentation Nothing to Look At? Irritated Vision, Counter-Choreography, The Border Is a Fact: The Border Is a Dream Capri Rosenberg, Savannah College of Art and Design materials. With a few concisely written areas of focus, the poster and Subjectivity Christian Gerstheimer, El Paso Museum of Art Marketing Thanatos: Damien Hirst’s Heart of Darkness display communicates the essence of the presenter’s research, Lauren O’Neal, Kuvataideakatemia and Massachusetts College of Working the Line: Photographs from the US-Mexican Borderlands Debora Silverman, University of California, Los Angeles synthesizing its main ideas and research directions. Poster displays Liberal Arts David Taylor, New Mexico State University will be on view for the duration of the conference, beginning on Discussant: Thomas Crow, New York University Cross-Fertilizations and Rhizomatic Vulnerabilities Thursday morning. On Thursday and Friday, from 12:30 to 2:00 PM, Dialogues of Value in the Art of Emerging Artists from Tijuana Cara Judea Alhadeff, European Graduate School presenters will be available at the Poster area. Idurre Alonso, Museum of Latin American Art Offsite Session Rehearsal for the End of Ephemera How the Sausage Is Made: A Model of Graphic Design Practice Henry Darger: Intersections with Contemporary Art, Part I Sheila Pepe, Pratt Institute and Teaching Cultural Appropriation, Part I Auditorium, Two Levels Below Ground, American Folk Art Museum Alexander Egner, University of North Texas East Ballroom, 3rd Floor, Hilton New York Chairs: Mary Trent, University of Wisconsin-Parkside; Brooke Davis The Meisterfrage in Medieval and Northern Chairs: Elizabeth K. Mix, Butler University; Gabriel P. Weisberg, Anderson, Los Angeles County Museum of Art Staff Diversity in Museums Renaissance Art, Revisited University of Minnesota Kimberli Gant, Museum of Contemporary African Diasporan Arts The Art Student: Henry Darger and “A Step-Ladder to Painting” Sutton Parlor North, 2nd Floor, Hilton New York Purloined Prints: Maurice Biais and the Improbable French Kevin Miller, independent museum educator and curator ARTLab: Thinking Globally, 2009–2010 Chair: Jacqueline E. Jung, Yale University Appropriation of German Satire Barbara Jaffee, Northern Illinois University Joy without Hope (or Despair): Henry Darger’s Weird Utopianism and Reading a Manuscript and Remembering an Artist: Theophilus, Author Sarah Sik, Pennsylvania State University, Altoona Contemporary Art Art Education Drawing Books: A Historical Context of On Diverse Arts and the Goldsmith Roger of Helmarshausen A Familiar Enemy: Appropriation and Cultural Context at the 1918 Michael Moon, Emory University Ami Kantawala, Teachers College, Columbia University; G. James Heidi C. Gearhart, College of the Holy Cross Vienna Exhibition of Ottoman-Turkish Painting Daichendt, Azusa Pacific University Pointing and Throwing in Henry Darger Parler-Euphoria: Forgetting Johann Parler and the Cities Andrew Yip, University of Sydney, Australia Eyal Amiran, University of California, Irvine Walt Disney: Undergraduate Research and Critical Thinking Assaf Pinkus, Tel Aviv University Asger Jorn’s Eccentric Archives Diane E. Kontar, University of Findlay Illustrating the Epic: The Panoramic Scene The Design for the Sepulchral Monument of Duke Louis of Karen Kurczynski, Northeastern University Lisa Stone, Roger Brown Study Collection, School of the Art Distance Learning in the Visual Arts: Online Communities, Critiques Bavaria-Ingolstadt Attributed to Hans Multscher and the Constraints The Veiled Woman as Visual Myth: Contemporary Iranian Artists’ Institute of Chicago and Second Life Teaching of the Author Reappropriations of a Problematic Sign Susan Miiller, State University of New York, New Paltz Claudia Rückert, Humboldt University Love and Affection in a Hostile World Cara Smulevitz, University of Illinois, Chicago Phyllis Bramson, School of the Art Institute of Chicago Reinterpreting Savoldo’s Magdalen Paintings Anonymous Masters/Anonymous Art History? Reassessing the Namen On Intersectionality and Cultural Appropriation: The Case of Charlotte Nichols, Seton Hall University in Notnamen The Eruption of the Text in the Turbulent Sign: Henry Darger’s Postmillennial Black Hipness Karen Hung, Institute of Fine Arts, New York University Storm Flowers Analysis of University Press Production in Art and Art History, Robin James, University of North Carolina, Charlotte Carl Watson, The Graduate Center, City University of New York 1991–2007

Henry Pisciotta, Pennsylvania State University Libraries; and James Models of Participation and Modes of Activism for Writing the Middle East Frost, Minitab, Inc. Artists and Curators Jurisprudishness: Law and Visual Culture in the United States, Madison Suite, 2nd Floor, Hilton New York Clinton Suite, 2nd Floor, Hilton New York 1842–1971 Fueling Inquiry-Driven Learning: Emerging Artists as Chairs: Nada Shabout, University of North Texas; Salwa Mikdadi, Chair: Janet A. Kaplan, Moore College of Art and Design Gibson Room, 2nd Floor, Hilton New York Emerging Educators JFK University Chairs: Amy Werbel, Saint Michael’s College; Frederick Lane, Mary Stewart, Florida State University; and Richard Siegesmund, Ute Meta Bauer, Massachusetts Institute of Technology Artist as Art Historian, or how Early Twentieth-Century Egyptian independent scholar University of Georgia Teddy Cruz Painting Might Inform a Historiography of Contemporary and Modern Charles Ellis Johnson’s Mormon Erotica and Legal Suppression of the The Artist Proletariat and the Rise of Modernism in the Art from the Middle East Ashley Hunt Church of Latter-Day Saints Hungarian Art Market Clare Davies, Institute of Fine Arts, New York University Mary Katherine Campbell, Stanford University Jeff Taylor, Central European University, Budapest Homer Jackson Seeing Double: Local and External Art Histories of Modern Remedial Measures: US Postal Censorship of Lynching Photographs Use It or Lose It? Student Attitudes Towards Library Use Lana Lin Egyptian Art Linda Kim, Smith College Eamon Tewell, Moore College of Art & Design Alexandra Dika Seggerman, Yale University Sina Najafi, Cabinet Magazine Objections to Sexual Behavior in the Human Female: Passing: The Art of Drag Contemporary Arab Representations Michael Rakowitz The Contests of Alfred Kinsey Kremena Todorova and Kurt Gohde, Transylvania University Chad Elias, Northwestern University Jennifer Pearson Yamashiro, Miami University Hamilton JeopARTy: A Game Show Produced at the Massachusetts College of Turning Trans: Transnational and Transdisciplinary Turns in Middle Tattooing as Artistic Practice: People of the State of New York vs. Art and Design that Asks: When Is Artistic Appropriation Fair and Eastern Art Spider Webb (1977) When Is It Not? Dena Al-Adeeb, New York University Matthew Lodder, University of Reading Gregory Wallace and Paul Dobbs, Morton R. Godine Library, Massachusetts College of Art & Design

50 college art association 100 February 9 –12, 2011 51 F Friday, February 11 Revision and Reconsideration: James Snyder’s Northern Negotiating Tradition and Modernity in the Early Studio National Art Education Association RIDAY Renaissance and Medieval Textbooks Craft Movement Emergent Practices: Arts-Based Research and Teaching 12:30 PM–2:00 PM Henry Luttighuizen, Calvin College Caroline Hannah, Bard Graduate Center Gramercy B, 2nd Floor, Hilton New York Chair: John Howell White, Kutztown University CAA International Committee A History of Art in Africa Revisited Reconstructing Tradition: Inventing Craft All Over Again Internationalization of CAA: Becoming More Involved with Robin Poynor, University of Florida Elisabeth Agro, Philadelphia Museum of Art The Artistic Method of Research UN NGOs and UNESCO James Haywood Rolling, Syracuse University Pulling Back the Veneer: Finding Tradition Even When It Doesn’t Madison Suite, 2nd Floor, Hilton New York ARTspace Look Like It Is There Arts-Based Research as Social Justice Activism Chairs: Ann Albritton, Ringling College of Art and Design; Jennifer CAA Services to Artists Committee Tom Loeser, University of Wisconsin, Madison Karen Keifer-Boyd, Pennsylvania State University Milam, University of Sydney [Meta] Mentors: Global Networks that Connect Artists, Discussant: Namita Wiggers, Museum of Contemporary Craft Conceptualizing Arts Research as Relational Practice Coalition-Building among Art NGOs: Effective NGO Partnerships Curators, and New Audiences Internationally Donal O’Donoghue, University of British Columbia with the UN UNESCO NGOs Murray Hill Suite, 2nd Floor, Hilton New York Annelise Jarvis Hansen, independent artist, Denmark Chairs: Reni Gower, Virginia Commonwealth University; Radical Art Caucus Discussant: Graeme Sullivan, Pennsylvania State University Melissa Potter, Columbia College Chicago; and Vesna Pavlovic, Environmental Sustainability in Art History, Theory, Notes on International Cooperation in Art Criticism Vanderbilt University and Practice Katy Deepwell, n.paradoxa Association for Textual Scholarship in Art History Sutton Parlor South, 2nd Floor, Hilton New York International Collaboration (US, Russia, Asia, Eastern/Central Europe) Business Meeting The Seoul Agenda: UNESCO’s Long Term Commitment to Chair: Travis Nygard, Ripon College Fritzie Brown, CEC ArtsLink Gramercy A, 2nd Floor, Hilton New York Arts Education Trash Art and Creative Economies Larry O’Farrell, Queen’s University Alternative Models of Access Max Liboiron, New York University Julieta Aranda, e-flux Association of Historians of American Art Artist Partnerships with Civil Society: Lending Voice to UN Millennium Reduce, Reuse, Recycle: Could Photography’s Future Be Its Past? Business Meeting Goals through Art Activism Artist Opportunities in the UK Cindy Persinger, California University of Pennsylvania Regent Parlor, 2nd Floor, Hilton New York Priscilla Otani, independent artist Sue Gollifer, ISEA International and University of Brighton Sustaining Royal Maya Identities: A Study of Shifting Environments International Critique and Late Classic Portraiture Leonardo/International Society for the Arts, Sciences, CAA Committee on Intellectual Property Gregory Volk, Virginia Commonwealth University Kaylee Spencer, University of Wisconsin, River Falls and Technology Copyright, CAA, and the Next Century Art, Activism, and Ideas Business Meeting Petit Trianon, 3rd Floor, Hilton New York Discussant: Linnea Wren, Gustavus Adolphus College Marisa Jahn, Pond and REV East Ballroom, 3rd Floor, Hilton New York Chairs: Ken Cavalier, independent art historian and lawyer, British

Columbia; Christine Sundt, Visual Resources: An International CAA Committee on Women in the Arts Journal of Documentation International Association of Art Critics Women and Work The Artist-Critic: The Critic-Artist Friday, February 11 Jeffrey P. Cunard, Debevoise & Plimpton LLP Gibson Room, 2nd Floor, Hilton New York Clinton Suite, 2nd Floor, Hilton New York Chair: K. Andrea Rusnock, Indiana University South Bend 2:30 PM–5:00 PM Chair: Richard Kalina, Fordham University Exhibitor’s Session Robert Berlind, Purchase College, State University of New York Class and Gender Struggles in the Workplace: Militant Video by ARTspace The Role of Art Supplies in the Art Revolution in Women Collectives in France in the 1970s Annual Artists’ Interviews Nineteenth-Century Paris Christopher French, independent artist Stéphanie Jeanjean, The Graduate Center, City University of Murray Hill Suite, 2nd Floor, Hilton New York Trianon Ballroom, 3rd Floor, Hilton New York Mira Schor, Parsons The New School for Design New York Krzysztof Wodiczko will be interviewed by Patricia Phillips, Rhode Pierre Guidetti, Savoir Faire Anne Thompson, University of Missouri Putting a New Spin on Women’s Work in the Dutch Republic Island School of Design. Mel Chin will be interviewed by Miranda Martha Moffitt Peacock, Brigham Young University Dominique Sennelier, Sennelier Paris Trevor Winkfield, independent artist Lash, New Orleans Museum of Art. The Working Women of Soviet Posters Pascale Richard, independent author Alexi Worth, University of Pennsylvania Christina Kiaer, Northwestern University Us and It: Sculpture and the Critique of Display Cultures Michael Skalka, National Gallery of Art Sutton Parlor Center, 2nd Floor, Hilton New York Italian Art Society Discussant: Whitney Chadwick, San Francisco State University Chairs: Daniel Adler, York University; Jeannette Redensek, Josef Artists’ Biographies from Antiquity to the Present National Endowment for the Arts and Anni Albers Foundation Rendezvous Trianon, 3rd Floor, Hilton New York Pacific Arts Association Grants Workshop: Federal Support for Arts Projects Chair: Anne Leader, Savannah College of Art and Design Atlanta Documenting Oceania after the Twentieth Century Marcel Broodthaers’s Double Engagement Beekman Parlor, 2nd Floor, Hilton New York Sutton Parlor Center, 2nd Floor, Hilton New York Rachel Haidu, University of Rochester Chairs: Robert Frankel and Meg Brennan, National Endowment Why Have There Been No Great Roman Artists? Chair: Bernida Anne Webb-Binder, Cornell University for the Arts Lauren Hackworth Petersen, University of Delaware Isa Genzken’s Aggravated Assemblage Lisa Lee, Princeton University and Center for Advanced Study in Dispelling Vasari’s Myths: The Lives of Timoteo Viti and Raphael A Samoan Diaspora: The Perspective of Our Lives through Our Lens Ursula-Ann Aneriueta Siataga, University of California, Santa Cruz the Visual Arts Midwest Art History Society Robert G. La France, Krannert Art Museum, University of Illinois, Teaching to the Text: Session in Memory of Charles Cuttler Urbana-Champaign Issues Surrounding Museum Website Development: The American Jason Rhoades and the Construction of Gluttony Frederick Gross, Savannah College of Art and Design Sutton Parlor North, 2nd Floor, Hilton New York Arazzi: Alighiero Boetti and Afghanistan Museum of Asmat Art at the University of St. Thomas Chairs: Laura D. Gelfand, University of Akron; Costa Petridis, Christopher G. Bennett, University of Southern California Julie Risser, American Museum of Asmat Art at the University of Painting without Painting: Isa Genzken, Rachel Harrison, Cleveland Museum of Art St. Thomas Heimo Zobernig

Isabelle Graw, Staatliche Hochschule für Bildende Künste Chapters of the Larger Narrative: Writing the Specialty in the Center for Craft, Creativity and Design Ethnic Avatars: Pacific Artists Creating Digital Homelands (Städelschule), Frankfurt Introductory Survey Where Is Tradition in American Studio Craft? Luseane Nina Kinahoi Tonga, University of Auckland, New Zealand Ann M. Roberts, Lake Forest College Bryant Suite, 2nd Floor, Hilton New York Documenting a Chamorro Poetics Chair: Katie Lee, Center for Craft, Creativity and Design, University Craig Santos Perez, University of California, Berkeley of North Carolina, Asheville

52 college art association 100 February 9 –12, 2011 53 F

The Contemporary Querelle of the Ancients and Moderns, Carved/Recarved: The Surface of Sculpture Émile Verhaeren on Rembrandt, Rubens, and the Early Art beyond the Art World, II RIDAY Part I Gramercy B, 2nd Floor, Hilton New York Modern Masters Joachim Pissarro, Hunter College, City University of New York Sutton Parlor North, 2nd Floor, Hilton New York Chairs: Lynn Catterson, Columbia University; Anita Moskowitz, Albert Alhadeff, University of Colorado, Boulder Art beyond Science: The Viability of Artistic Responses to Chairs: Benjamin Binstock and Mary Stieber, The Cooper Union State University of New York at Stony Brook Heinrich Wölfflin, Style, and Netherlandish Art Modern Disasters Battles over Antiquity: Borghese Warriors and Dying Gauls Transforming the Antique: Donatello and the Martelli David Christopher D. M. Atkins, Queens College and The Graduate Center, Gabrielle Decamous, Goldsmiths, University of London Jean Sorabella, independent scholar A. Victor Coonin, Rhodes College City University of New York The Origin and Exit of Art: A Posthuman Perspective Diderot’s Touch Gothic Recarves Gothic: The Case of the Annunciata della Porta del Jacob Wamberg, Aarhus University Margaret MacNamidhe, Humanities Institute of Ireland Campanile in the Museum of the Opera del Duomo in Florence Studio Art Open Session

Francesco Di Ciaula, Museum of the Opera del Duomo, Florence Green and Sustainable Art Édouard Manet, The New Gods and The Old Intellectual Property in the Visual Arts, Antiquity through Sutton Parlor South, 2nd Floor, Hilton New York André Dombrowski, University of Pennsylvania A French Face-Lift for a Seated King at the Metropolitan Museum Early Modern Chairs: Anita Cooney and Rebeccah Pailes-Friedman, Pratt Institute Ludovico Geymonat, Bibliotheca Hertziana-Max Planck Institut Gramercy A, 2nd Floor, Hilton New York Seurat’s Classicism für Kunstgeschichte Garment/Research: A Point of Reference, a Portable System of Chair: Beth L. Holman, independent scholar Marnin Young, Stern College for Women, Yeshiva University Investigation and a Tool of Connection The Nineteenth-Century Fonte Gaia: Quercesque Vision or Ancient Greek Theories of Authorship and the Creation of Art History Altesundneueszusammengehen (spoliation) Kelly Cobb, University of Delaware Purist Revision? Kristen Seaman, Kennesaw State University Richard Brilliant, Columbia University Chiara Scappini, Rutgers University Transient Interconnection Working Knowledge: Ownership and the Representation of Inventive Rachel Miller, Pratt Institute Carving, Recarving, and Forgery: Working Ivory in the Tenth and Capacity in Early Renaissance Art Association of Historians of American Art Twentieth Centuries Embodied Ecology C. Jean Campbell, Emory University Color and Nineteenth-Century American Painting Anthony Cutler, Pennsylvania State University Chris Taylor, Texas Tech University Madison Suite, 2nd Floor, Hilton New York Authorship and Early Modern Manuscript Collections of Chair: Peter John Brownlee, Terra Foundation for American Art Antiquarian Artifacts New Media Caucus The Ethnographic Ruse: Early Erotic Photographs of Giancarla Periti, University of Toronto Sunshine out of Lead: Pigments into Art Fight the Power: Open Source, Free Software, and Critical Non-Western Women Lance Mayer and Gay Myers, Lyman Allyn Art Museum Né tocchi mai da nessuno: Salvator Rosa’s Contribution to Digital Practice East Ballroom, 3rd Floor, Hilton New York Seventeenth-Century Concepts of Intellectual Property William Page, the Art of the Use of Color, and Bryant Suite, 2nd Floor, Hilton New York Chair: Coco Fusco, Parsons The New School for Design Alexandra Hoare, Center for Advanced Study in the Visual Arts Swedenborgian Metaphysics Chair: Ben Chang, Rensselaer Polytechnic Institute Eadweard Muybridge and the Mayan Baigneuse Adrienne Baxter Bell, Marymount Manhattan College Discussant: Ken Cavalier, independent scholar Free Culture Licenses as Art and Design Manifesto Elizabeth West Hutchinson, Barnard College and From Landscape Painting to Physics (and Back Again): Ogden Rood Aymeric Mansoux, Goldsmiths, University of London Columbia University and the Science of Color Capitalist Art about Capitalism: From Jasper Johns’s Processing Digital: Opening up to a Space of Emergence in Tahiti’s Willing Women: Ethno-Pornography and the Popular Michael Rossi, Massachusetts Institute of Technology Ballantine Ale (1960) to Jeff Koons’s New Shelton Wet-Dry Art Pedagogy Photograph of the Polynesian Vahine, 1880–1905 Double Decker, 1981 In Spite of Paint: Winslow Homer’s “Savage Materiality” Heidi May, Emily Carr University of Art and Design and Elizabeth Childs, Washington University in St. Louis Trianon Ballroom, 3rd Floor, Hilton New York Matthew Bailey, Washington University in St. Louis University of British Columbia; and Jody Baker, Emily Carr The Materiality of Womanhood: Photography and the Body Politic of Chair: Donald Burton Kuspit, Stony Brook University, State University of Art and Design Invisible Color: Abbott Handerson Thayer and Camouflage Colonial East Africa University of New York Maggie M. Cao, Harvard University Open Edition: Free the Book Prita Meier, Cornell University Smithson’s Critique of Duchamp: The Traffic in Alienated Labor Bridget Elmer, University of Alabama Discussant: David Bjelajac, George Washington University “Stripped Them to the Buff”: The Erotic Stereographs of John K. Hillers David Craven, University of New Mexico Out There: Preserving and Accessing Information in a “YouTube and Thomas Moran in Grand Canyon Country A Pound of Flesh: Paul Thek’s Technological Reliquaries Google” World Aleta Ringlero, University of Arizona, Tucson New Approaches to the Study of Fashion and Costume in Janine Mileaf, Swarthmore College Megan Lotts, Southern Illinois University Carbondale Western Art, 1650–1900 Shadow Catchers: Legacies of Early Photographic Images of Samoans Capitalist Realism: The Economies of Desire from Warhol through Clinton Suite, 2nd Floor, Hilton New York Open Source, Open Channels, Open Minds Caroline Vercoe, University of Auckland Richter and Beyond Chairs: Helen Burnham, Museum of Fine Arts, Boston; Justine De Robert Lawrence, University of South Florida Posing Beauty in African American Culture Dougal Phillips, University of Sydney Young, Harvard University Deborah Willis, New York University Carl Andre and the Commodity Form When Isn’t Fashion Fashion? Late Seventeenth-Century French Historians of Netherlandish Art Alistair Rider, University of Saint Andrews Fashion Prints and Dress in Portraiture Netherlandish Art (ca. 1350–1750): Reflecting on a Century Beyond Art Kathleen Nicholson, University of Oregon of Scholarship Artist as Liar, Audience as Sucker: Exhibitionism and Exhibition Value Nassau Suite, 2nd Floor, Hilton New York Beekman Parlor, 2nd Floor, Hilton New York in Paul McCarthy’s Pinocchio Neoclassical Fashion in Art and Life in the 1790s Chair: Ivan Gaskell, Harvard University Chairs: Gregory Thomas Clark, University of the South; Amy Robert Shane, College of Saint Rose Amelia Rauser, Franklin and Marshall College Golahny, Lycoming College Sentient Relics: Museums as Desiring-Museum No Shit: Thoughts on Wim Delvoye’s Cloaca Materializing the Maternal Body in Post-Revolutionary Fashion Janice Baker, Curtin University Changing Interpretations of Grisaille Isabelle Loring Wallace, University of Georgia Heather Belnap Jensen, Brigham Young University Elizabeth J. Moodey, Vanderbilt University Minding Art: Moderate Formalism and Global Museum Practices Richard Hamilton’s Healthy Vigor: Thanatopic Tumescence Fashioning Masculinity: Portraiture, Costume, and the Juste Milieu Pradeep A. Dhillon, University of Illinois, Urbana-Champaign Henri van de Waal on Typology: The Case of the Gouda Windows as Erotic Detumescence Jennifer W. Olmsted, Wayne State University Xander van Eck, Izmir University of Economics Art beyond the Art World, I Brian Winkenweder, Linfield College

David Carrier, Case Western Reserve University and Cleveland Empress Eugénie and Representations of Fashion in Second A Quarrel of Ancients and Moderns: The Problem of Dutch Classicism Institute of Art Empire France Jessica Veith, New York University Alison McQueen, McMaster University

54 college art association 100 February 9 –12, 2011 55 F Artmaking as New Knowledge: Research, Practice, Production Apparatus and Instruments: Problems of Terminology Friday, February 11 Center for the History of Collecting in America, The Frick Collection RIDAY Gibson Room, 2nd Floor, Hilton New York Jean Gagnon, Université du Québec à Montréal and Ottawa Beyond Provenance and Biography: Shaping New Approaches 5:30 PM–7:00 PM Chairs: Derek Conrad Murray, University of California, Santa Cruz; University to the History of Art Collecting in America Soraya Murray, University of California, Santa Cruz Bryant Suite, 2nd Floor, Hilton New York Shot by Both Sides: Art-Science and the War between Science and the CAA Annual Business Meeting Chair: Inge Reist, Center for the History of Collecting in America, New Knowledge: New Art (Art Research as Creative Process) Humanities Rendezvous Trianon, 3rd Floor, Hilton New York The Frick Collection Timothy Emlyn Jones, Burren College of Art Philip Galanter, Texas A & M University All are invited to join the Board of Directors toast the launching of the CAA’s Centennial. Death, Debt, and Divorce: A Directory for Archival Records on the Art Beyond the Either/Or: The Studio Doctorate as an Instrument The Artist in the Laboratory: Co-operating (t)Reasonably History of Collecting in America of Change Jane Prophet, Goldsmiths, University of London Samantha Deutch, Center for the History of Collecting in American, Sandra Adams, Curtin University of Technology American Society for Hispanic Art Historical Studies New Media in the Mainstream The Frick Collection New Perspectives on Spanish Drawings 1500-1900 The Bureaucracy of a Space: The Studio in the Modern Christiane Paul, The New School and Whitney Museum Research University Gibson Room, 2nd Floor, Hilton New York A Rare Commodity: Catharine Lorillard Wolfe, a Female Collector in a Ignaz Cassar, University of Leeds Transdisciplinary Strategies in Art and Science Chair: Lisa A. Banner, independent scholar Man’s World Paul Thomas, University of New South Wales Margaret Laster, The Graduate Center, City University of New York From Babel to the City: Journeys in Art Making Recently Acquired Albums and Sketchbooks at the Prado Simonetta Moro, Eugene Lang College, The New School for The Post-Critical Hybrid José Manuel Matilla, Museo Nacional del Prado Democracy and the “Death” of Art: Researching Hugh Lane in America Ronald Jones, Konstfack, University College of Art, Craft and Morna O’Neill, Wake Forest University Liberal Arts Designing the Ensemble: An Altarpiece Drawing by Alonso Cano Design, Stockholm The Embedded Artist as New Knowledge Producer: A Case Study Zahira Véliz, independent scholar and curator Southern Graphics Council Frances Whitehead, School of the Art Institute of Chicago Mariano Salvador Maella: Problems of a Catalogue Raisonné Centennial Session PROOF: Printmaking as Evidence and Exhibition Our Demons Sutton Parlor South, 2nd Floor, Hilton New York José Manuel de la Mano, independent scholar, Madrid Potentialities of Performance Rendezvous Trianon, 3rd Floor, Hilton New York Chair: Brant Schuller, Millersville University Petit Trianon, 3rd Floor, Hilton New York Chairs: Renee Stout, independent artist, Washington, DC; and It Started with Aardvark: Creating a Visual Record of Duration Chairs: Jordana Moore Saggese, California College of the Arts; Tina Rebecca Zorach, University of Chicago Northern California Art Historians Elizabeth Dove, University of Montana, Missoula Takemoto, California College of the Arts The Unwritten, Ill-Begotten Art History of the 1960s and 1970s What the Devil Doesn’t Know Sutton Parlor North, 2nd Floor, Hilton New York Building Up, Scraping Away: Reproducing Loss Mrs. Maxwell’s Eden: Performing Colorado at the 1876 Dallas Denery, Bowdoin College Philadelphia Centennial Chair: Dore Bowen, San Jose State University Jeremy Lundquist, School of the Art Institute of Chicago J.C. My Demon: Spirits of Paradox Mary Peterson Zundo, University of Illinois, Urbana-Champaign Nowhere to Run Family Traces: Trick Roping John W. Ford, University of North Carolina, Charlotte Stirring Forth a Powerful Caoineadh: Keening as a Feminist Darby English, University of Chicago Victoria Star Varner, Southwestern University Demons Within, Without, and All About Performance Strategy in the Work of Alanna O’Kelly Jack Smith’s Concrete Jungle Carol A. Beane, Howard University; and Michael B. Platt, Kate Antosik Parsons, University College Dublin Jennifer Doyle, University of California, Riverside Community College Professors of Art and Art History independent artist Reconsidering the Survey: Exploring the Virtues and Vices of The Queer Violations of Leigh Bowery Modernist Art History and the Contemporary Return of Craft Garment Work the Art History Textbook and Its Impact on Studio Art Majors Kristen Galvin, University of California, Irvine Elissa Auther, University of Colorado, Colorado Springs Anne Elizabeth Moore, School of the Art Institute of Chicago Petit Trianon, 3rd Floor, Hilton New York Somewhere between Self and State: Steven Cohen and the Search for Discussant: Whitney Chadwick Chair: Brian Seymour, Community College of Philadelphia a Post-Apartheid Identity The Cancer Chronicles Harry J. Weil, Stony Brook University, State University of New York roycrosse, independent artist Susan Altman, Middlesex County College National Council of Art Administrators Organizing for the Worst of the Worst—Sex Offenders and Rafael Salas, Ripon College The Inherently Political Action of Being Indigenous (Unapologetically “Will You Friend Me?” Social Media Possibilities, Supermax Prisoners and Mixed) Responsibilities, and Challenges in Art Administration Laurie Jo Reynolds, Columbia College Chicago Merritt Johnson, Emily Carr University of Art and Design and Teaching American Council for Southern Asian Art Sleepwalk and Satz Clinton Suite, 2nd Floor, Hilton New York Business Meeting Gramercy B, 2nd Floor, Hilton New York Leonardo/International Society for the Arts, Sciences, Lynn Marshall-Linnemeier, Emory University Chairs: Cora Lynn Deibler, University of Connecticut; Kim Russo, Ringling College of Art and Design and Technology Moose Medicine, Mouse Medicine New Media, Art-Science, and Mainstream Contemporary Art: Mary Patten, School of the Art Institute of Chicago Georgia Strange, University of Georgia Design Studies Forum Toward a Hybrid Discourse? Business Meeting Regent Parlor, 2nd Floor, Hilton New York The Witch Who Created the World Andrea Eis, Oakland University Trianon Ballroom, 3rd Floor, Hilton New York Jenifer Borum, New York University Chair: Edward Shanken, University of Amsterdam The Seeds of Discord between New Media and Contemporary Art: Visual Culture Caucus Pacific Arts Association Critical Reflections on Art and Technology Projects “Let’s Talk about Sex” (Not Gender): Sex and Modernist Practices Business Meeting Christine Albu, University of Pittsburgh Regent Parlor, 2nd Floor, Hilton New York Sutton Parlor Center, 2nd Floor, Hilton New York Chair: Erin Leary, University of Rochester Could This Be What It Looks Like? Lifelike Art and New Media Practice Jamie Allen, Newcastle University Body Conscious: Elsa Schiaparelli’s Sex Appeal Public Art Dialogue Victoria Pass, University of Rochester Business Meeting Reassembling Components, Hybridizing the Human and the Machine: Gramercy A, 2nd Floor, Hilton New York The “Three Media Ecologies” of Expanded Cinema and the Possibilities In the Bedroom: Spatializing Ideologies of Sexuality, Privacy, for a Discourse of Interfacing and Family Life Ji-hoon Kim, New York University Elizabeth A. Patton, New York University Society of Contemporary Art Historians Seduction Machine: The Libidinous Modernism of the Bachelor Pad Business Meeting Jessica E. Sewell, Boston University Nassau Suite, 2nd Floor, Hilton New York

56 college art association 100 February 9 –12, 2011 57 S

Saturday, February 12 John Douglas Powers, University of Alabama, Birmingham Studio Art Open Session Cultural Appropriation, Part II a t

Textiles and Social Sculpture Concourse G, Concourse Level, Hilton New York urday 7:30–9:00 AM Brian Curtis, University of Miami Sutton Parlor Center, 2nd Floor, Hilton New York Chairs: Elizabeth K. Mix, Butler University; Gabriel P. Weisberg, Jennifer L. Stoneking-Stewart, Lander University Chairs: Sabrina Gschwandtner, independent artist; Hazel Siegel, University of Minnesota Women’s Caucus for Art Pratt Institute Business Meeting Larry Thompson, Samford University Cahier d’Oiseaux Chinois: The French and Fantastic Appropriation in Beekman Parlor, 2nd Floor, Hilton New York Dialogues with Nature and Time the Chinoiseries of Jean-Baptiste Pillement Stephen Henderson, Quinnipiac University Julie Schlarman, University of South Dakota Annika Johnson, University of Minnesota Dennis Y. Ichiyama, Purdue University Saturday, February 12 madamimadam Bhabha’s Cultural Hybridity and Early Twentieth-Century Elaine Reichek, independent artist Modifications of Fez, Morocco 9:30 AM–11:00 AM Imitation, Copy, Reproduction, Replication, Repetition, and Colette Apelian, Berkeley City College Dis(in)habit: Performances and Installations of Shell-ter-wear Appropriation, Part I Christine Foerster, University of Texas at El Paso Erasure, Eternal Return, and Empathic Restitution ARTspace Madison Suite, 2nd Floor, Hilton New York Susanne Slavick, Carnegie Mellon University Public Art Dialogue Chairs: Malcolm Baker, University of California, Riverside; Paul Duro, Temporary Spaces for Resistant Histories Agency/Agencies for Public Art University of Rochester Olivia Robinson, Maryland Institute College of Art A New Look at the Costs of the Cultural Appropriation of Canada’s Murray Hill Suite, 2nd Floor, Hilton New York Traditional Totem Poles Time Is Out of Joint: Resetting the Laocoön Discussant: Anne Wilson, School of the Art Institute of Chicago Chairs: Eli Robb, Lake Forest College; Mary Tinti, New England Chisato O. Dubreuil, St. Bonaventure University Maria Loh, University College London Foundation for the Arts America Tropical and the Multi-Sited Mural The Printed Image in the Age of Miraculous Reproduction Radical Art Caucus Wendy Feuer, New York City Department of Transportation A. Joan Saab, University of Rochester Lisa Pon, Southern Methodist University Video Art as Mass Media? Anne Pasternak, Creative Time Concourse A, Concourse Level, Hilton New York Self vs. Collective Identity: The Reproduction of Portrait Busts in Chairs: Nate Harrison, University of California, San Diego and Contemporary Drawing: Purpose, Practice, Performance Sarah Reisman, Percent for Art, New York City Department of Eighteenth-Century France School of the Museum of Fine Arts; Benj Gerdes, 16 Beaver Group Gibson Room, 2nd Floor, Hilton New York Cultural Affairs Ronit Milano, Ben-Gurion University Chair: Elizabeth A. Pergam, Dian Woodner Collection Surveying Videoscapes: The Politics of Distribution in Tiered The “Real Spaces” of Eighteenth-Century Prints Visual Economies Embodied Practice Expanded Protest: The Drawing of Andrea Bowers Douglas Fordham, University of Virginia Saturday, February 12 Jason Simon, College of Staten Island, City University of New York Peter R. Kalb, Brandeis University Reflections on the Imitation of Winckelmann 9:30 AM–12:00 PM Through the Logic of Production: The Video Essay as Work The Eruv: Urban Drawing, Social Structure Tom Huhn, School of Visual Arts Angela Dimitrakaki, University of Edinburgh Ben Schachter, Saint Vincent College American Council for Southern Asian Art Avant-Activism? On Video Art and Media Populism The Minimal as Spectacle: Contemporary Drawing and Installation Art From Connoisseurship to Critical Theory: Rethinking the Study The Erasure of Contemporary Memory, Part I William Kaizen, University of Massachusetts, Lowell Anna Lovatt, University of Nottingham of South Asian Painting (1500–1900) Sutton Parlor North, 2nd Floor, Hilton New York Clinton Suite, 2nd Floor, Hilton New York Chairs: Brad Buckley and John Conomos, Sydney College of the Video, Media Immediacy, and Oppositional Culture Drawing a Breath Chairs: Molly Aitken, City College of New York, City University of Arts, University of Sydney Ernest Larsen Barbara Bernstein, Rhode Island School of Design and Virginia New York; Laura Weinstein, Museum of Fine Arts, Boston Center for the Creative Arts Archives for the Future: New Media Art and the Erasure of Memory The Experience of Human Rights Advocacy through Video Magical Imagination (wahm) and Historical Reception: Timothy Murray and Renate Ferro, Cornell University Priscila Néri, WITNESS A Drawing Tradition Renewed: Reclaiming Charles Barque’s The Yogini Paintings of Bijapur Cours de Dessin Video Art as Prosthetic Memory Debra Diamond, Freer and Sackler Galleries, Peter Trippi, Fine Art Connoisseur Magazine and Projects in Jacqueline Millner, University of Sydney New York City and the Idea of “Latin American Art” Smithsonian Institution 19th-Century Art, Inc. Petit Trianon, 3rd Floor, Hilton New York Illegibility: Luc Tuymans’s Strategies of Obfuscation in History Painting Dreaming in the Margins: Allegory, Allegoresis, and Mughal Painting Chairs: Mary Miller, Yale University; Jennifer Josten, Yale University Alison Gass, San Francisco Museum of Modern Art Yael Rice, Philadelphia Museum of Art Historians of British Art From Coatlinchan to Central Park—and “Back”: The Marshall Saville “You Sir Are a Space Too!” What Ad Reinhardt and Jacques Derrida Radical Neo: The Past in the Present in British Art and Design Imagining the City for Multiple Audiences: Picturing Udaipur within Collection at the American Museum of Natural History Have to Tell Us about Erasure Bryant Suite, 2nd Floor, Hilton New York Painted Travel Invitations, 1750–1830 Sandra Rozental, New York University Dipti Khera, Columbia University Bruce Barber, Nova Scotia College of Art and Design University Chairs: Jason Rosenfeld, Marymount Manhattan College; Olmec Heads, Cold Wars, Global Journeys: Mexico at the 1964–65 New Tim Barringer, Yale University In the Company of the Mughal Court: Rethinking Art and Its Eroding Documentary: Walker Evans and the Polaroid York World’s Fair The Elephanta in the Room: Indian Antiquity and British Conventions in Delhi 1800–1857 Katherine Alcauskas, Yale University Art Gallery Luis Castañeda, Institute of Fine Arts, New York University Yuthika Sharma, Columbia University Antiquarianism in the Late Eighteenth Century Energy Fields at 112 Greene Street: Carmen Beuchat and the Zirwat Chowdhury, Northwestern University Querying the Ethnographic in Colonial South Asian Painting, Centennial Session Centrifugal Force of History Manifesting the Rule: Designing for Monasticism in Victorian Oxford 1780–1850 Globalization Gabriela Rangel, Americas Society Ayla Lepine, Courtauld Institute of Art Rebecca Brown, Johns Hopkins University Rendezvous Trianon, 3rd Floor, Hilton New York The Boom and the Brand: The Emergence and Rise of the Latin Chairs: James Elkins, School of the Art Institute of Chicago; and Domestic Dreams and Utopian Idylls: Medieval Dress in the Work of American Auction House Market, 1979–1989 Thomas DaCosta Kaufmann, Princeton University William Reynolds-Stephens Studio Art in CAA’s Next Century Taína B. Caragol, The Graduate Center, City University of New York Katherine Faulkner, Courtauld Institute of Art Trianon Ballroom, 3rd Floor, Hilton New York David Carrier, Case Western Reserve University Discussant: Diana Fane, Brooklyn Museum Emerita Chair: Michael L. Aurbach, Vanderbilt University Unseen Landscapes: Paul Nash and the Geography of History Iftikhar Dadi, Cornell University Buzz Spector, Washington University in St. Louis Lee Hallman, The Graduate Center, City University of New York Michael Ann Holly, Sterling and Francine Clark Art Institute Marjorie Nilssen, Ridgewater College Yinka Shonibare’s Enlightenment: Revising British Art for the Twenty-First Century Mark A. Cheetham, University of Toronto

58 college art association 100 February 9 –12, 2011 59 S

Association of Historians of Nineteenth-Century Art Re-engaging Cultural Heritage Archives: Imagining Human Values Saturday, February 12 The Meaning of Authenticity: A South Indian Temple Hall a t

Music and Other Paradigms for Nineteenth-Century Art, Part I Embedded in Protected Sites in Philadelphia urday 12:00 PM–2:00 PM Nassau Suite, 2nd Floor, Hilton New York Lydia Matthews, Parsons The New School for Design; and Gabrielle Darielle Mason, Philadelphia Museum of Art Chair: James H. Rubin, Stony Brook University, State University Bendiner-Viani, The New School ARTspace Leaving Kanchipuram: The Yoginis Hit the Road of New York Discussant: Sarah Teasley, Royal College of Art Public Art World vs. the Art World Padma Kaimal, Colgate University Music as Magic Architecture: Immersive Environments in Baudelaire Murray Hill Suite, 2nd Floor, Hilton New York Vishnu Comes to Call: The Sacred and the Museum and Whistler Chairs: Sharon Louden, Louden Studio; Norie Sato, Sato Service Offsite Session Stephen Inglis, Cree Cultural Institute Suzanne Singletary, Philadelphia University Henry Darger: Intersections with Contemporary Art, Part II Richard Griggs, Public Art Fund Melomanet: Richard Wagner and Music in the Tuileries Auditorium, Two Levels Below Ground, American Folk Art Museum Jack Becker, Forecast Public Art and Public Art Review AP Art History Therese Dolan, Temple University Chairs: Mary Trent, University of Wisconsin, Parkside; Brooke Davis The College Survey and the AP Art History Course Anderson, Los Angeles County Museum of Art Jennifer McGregor, Wave Hill Schwind’s “Symphony”: Beethoven, Biedermeier, and the Cruelty Bryant Suite, 2nd Floor, Hilton New York of Romance Lester Burg, MTA Arts for Transit Chair: Ray Hernández-Durán, University of New Mexico On the Element of Repetition in Henry Darger’s In the Realms Cordula Grewe, Columbia University of the Unreal Brian Tolle, independent artist, New York Rethinking the Survey: New Trends Ut Pictura Musica: The Poetics and Musicality of Van Gogh’s Art Juliana Driever, City College of New York, City University of Allie Terry-Fritsch, Bowling Green Universit of Consolation New York A Bridge to Academic Success in Higher Learning: AP Art History Ana-Joel Falcon-Wiebe, Queen’s University Saturday, February 12 The Limits of Happiness: Paul Chan on Henry Darger and World Arts Grafting a Dream: Narrative Association and Figurative Suggestion in Patricia Kelly, DePaul University 12:30 PM–2:00 PM Ray Hernández-Durán, University of New Mexico Henri Bergson, Claude Debussy, and Early Henri Matisse Tinderbox: Tragic Fires (Big or Small) and Endangered Childhood Charlotte de Mille, Courtauld Institute of Art Asian American Women’s Art Association Leisa Rundquist, University of North Carolina, Asheville Association for Critical Race Art History Under Construction: Building a New Context for Asian Further Horizons On Remaining Unseen: Henry Darger, Ditto, and Envelopes American Art History Historians of Eighteenth-Century Art and Architecture Sutton Parlor Center, 2nd Floor, Hilton New York Litia Perta, Cooper Union Concourse G, Concourse Level, Hilton New York The Global Eighteenth Century Chair: Camara Dia Holloway, University of Delaware Chair: Linda Inson Choy, independent curator and art historian Regent Parlor, 2nd Floor, Hilton New York Is the Janitor Lower than the Subaltern in Discourses of Power? Post-Race Atmospherics Chairs: Kristel Smentek, Massachusetts Institute of Technology; Henry Darger and the Contemporary Turn Historical Perspectives on Asian American Art: International Ellen Yoshi Tani, Stanford University Meredith Martin, Wellesley College Colin Rhodes, Sydney College of the Arts, University of Sydney; and Aesthetics/Localized Activism Bernard Herman, University of North Carolina, Chapel Hill Mark D. Johnson, San Francisco State University Locating the Racial Frameworks of Architectural Style: An Alternative Miniatures in Black and White: Melling’s Eighteenth-Century Istanbul Intellectual History of Tectonics Elisabeth Fraser, University of South Florida Labels: Asian American Artist, Asian Woman Artist, Chinese-American Charles L. Davis, University of North Carolina, Chapel Hill Translating Visual Culture Artist, Chinese Feminist Artist, Does It Matter? Should It Matter? A Venetian Abroad: Andrea Memmo and the Architecture of Beekman Parlor, 2nd Floor, Hilton New York Cynthia Tom, Asian American Women’s Art Association The Anti-Accumulative Aesthetics of “Helter-Shelter”: Michael Arcega’s Diplomacy in Eighteenth-Century Istanbul Chairs: Iain Boyd Whyte, University of Edinburgh; Zoë S. Strother, Tent Sculptures Daniel McReynolds, Center for Advanced Studies in the Visual Arts Re-imagining Asian American Art Columbia University Sarita See, University of Michigan, Ann Arbor Susette Min, University of California, Davis Between History, Ethnography, and Autobiography: The Gentil Album Translating the Year 1299: On Reading Hindi, Sanskrit, Persian, and (1774) and Artistic Production in Eighteenth-Century India New Critical Directions: Transnationalism and Diaspora in Asian Arabic in English Leonardo/International Society for the Arts, Sciences, Chanchal Dadlani, Columbia University American Art Deborah Stein, independent scholar and Technology Margo Machida, University of Connecticut The Market for Exotica in Eighteenth-Century Beijing: A View Designing a New Joint Studio, Art History, and Theory Nineteenth-Century British and Spanish Artists and Al-Andalus from Liulichang Discussant: Moira Roth, Mills College Program: A Gedanken Art/Science Experiment Claudia Heide, University of Edinburgh Michele Matteini, Reed College Concourse A, Concourse Level, Hilton New York

John Cage and the Task of the Translator Chair: Ellen K. Levy, New York University Macartney’s Globe, or Cartographic Refusal in 1793 National Committee on the History of Art Jeffrey Saletnik, Columbia University Kevin Chua, Texas Tech University Fostering a Global Community: A Dialogue with Scholars from The Ideal Interdisciplinary Program Discussants: David Craven, University of New Mexico; Francesco Parts of the World where Art History is an Emerging Discipline Patricia Olynyk, Washington University in St. Louis Pellizzi, Peabody Museum and Art Museum, Harvard University; Madison Suite, 2nd Floor, Hilton New York Architectural and Spatial Design Studies Challenges of Art and Design’s Future and Zoë S. Strother, Columbia University Chairs: Elizabeth Cropper, Center for Advanced Studies in Sutton Parlor South, 2nd Floor, Hilton New York Joseph S. Lewis III, University of California, Irvine the Visual Arts, National Gallery of Art; Nicola Courtright, Chair: Jilly Traganou, Parsons The New School for Design Amherst College Cross-Disciplinary Research Models Hausprojekte as Transgressive Urbanism in the New Berlin Saturday, February 12 Victoria Vesna, University of California, Los Angeles and Parsons Daniela Sandler, University of California, Santa Cruz The New School for Design 11:15 AM–11:45 AM American Council for Southern Asian Art Other Markets: Informal Spaces as Harbingers of Urban Change Taxonomic Shifts and Indian Religious Art Discussant: Roger Malina, MIT Press Helge Mooshammer, Goldsmiths, University of London ARTspace Sutton Parlor North, 2nd Floor, Hilton New York

Artist Presentations Chair: Richard Davis, Bard College Designing Radio Space in Interwar Canada Murray Hill Suite, 2nd Floor, Hilton New York Transforming Pudding into Art: E. B. Havell and the Reclassification Michael Windover, McGill University Chairs: Su Stockwell, independent artist, London; Robert Ransick, of Indian “Art” Bennington College Tanisha Ramachandran, Wake Forest University

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Historians of German and Central European Art and Architecture Art Historians of Southern California The Designer as Curator: The Marks Gallery Exhibitions at the Cooper- Conceptualism-as-Medium: The Poetics of Critique a t

Emerging Scholars Shockwrite: Changing the Game Hewitt, National Design Museum, New York Sutton Parlor South, 2nd Floor, Hilton New York urday Rendezvous Trianon, 3rd Floor, Hilton New York Beekman Parlor, 2nd Floor, Hilton New York Sarah Lawrence, Cooper-Hewitt, National Design Museum and Chair: Juli Carson, University of California, Irvine Chair: Mitchell B. Merback, Johns Hopkins University Chairs: Jeanne S. M. Willette, Otis College of Art and Design; Deana Parsons The New School for Design Faking the Making of Media Hight, Mount San Antonio College The “Ghostly Semblance” of the Modern: Deformation and Making the Lost and Unmade Sabeth Buchmann, Akademie der Bildenden Künste, Vienna Transformation of Images in Der Blaue Reiter Publishing the Future: Shockwrite Bruce E. Checefsky, Cleveland Institute of Art The Cybernetic Imagination: Conceptual Art and Computation Charles Butcosk, Princeton University Jeanne S. M. Willette, Otis College of Art and Design Curating between Worlds: How Digital Collaborations Become Zabet Patterson, Stony Brook University, State University of Painting in Arcadia: Kirchner and Male Friendship, 1914–1917 Democratizing the Discipline Curative Projects New York Sharon Jordan, Institute of Germanic and Romance Studies, Marlena Doktorczyk-Donohue, Otis College of Art and Design Dew Harrison Humor as Conceptual Critique: An Historical Repression and a University of London New Opportunities for Scholarship Art in Public Space: A Curatorial Construct of Dollars and Sense Contemporary Legacy Some Uses of Photomontage in Soviet and German Periodicals in Deana Hight, Mount San Antonio College Stuart Keeler, University of Toronto Heather Diack, University of British Columbia the 1930s Expanding the Field The Infinite Repetition of Revolt: Conceptual Art as Memory Katerina Romanenko, The Graduate Center, City University of Michele McFaull, Otis College of Art and Design The Contemporary Querelle of the Ancients and Moderns, Andrea Geyer, Parsons The New School for Design New York Part II From Papyrus to Pixel: Innovation and Continuity in Disseminating Zombie Concepts: Roberto Jacoby’s 1968: El culo te abrocho Clinton Suite, 2nd Floor, Hilton New York Art Texts Daniel Quiles, School of the Art Institute of Chicago Design Studies Forum Chairs: Benjamin Binstock and Mary Stieber, The Cooper Union Irina Costache, California State University, Channel Islands Toys as Visual and Material Culture Ancients, Early Moderns, and Post-Moderns at Dinner Nassau Suite, 2nd Floor, Hilton New York The Erasure of Contemporary Memory, Part II Leonard Barkan, Princeton University Chair: Amy F. Ogata, Bard Graduate Center CAA Student and Emerging Professionals Committee Sutton Parlor North, 2nd Floor, Hilton New York Analog to Digital: Changing Technologies A French-Dutch Dialogue about a Quarrel Chairs: John Conomos and Brad Buckley, Sydney College of the Toy Making in Postwar Czechoslovakia: The Work of Play in a Clinton Suite, 2nd Floor, Hilton New York Anne Deneys-Tunney, New York University Arts, University of Sydney Worker’s State Chairs: Amelia Winger-Bearskin, Vanderbilt University; Cathleen M. Giustino, Auburn University Baroque Style in the Light of Science Memories “Under Erasure:” Re/Con/Figurations of Absence in Jennifer L. Stoneking-Stewart, Lander University Alexander Ness, New York University Post-Socialist Eastern Europe Beyond Barbie: Defining and Designing “Feminist” Toys in the 1970s Heath Hanlin, Syracuse University Maia Toteva, University of Texas at Austin United States Perrault Revisited: The Case of Pasolini’s Edipo re Rob Goldberg, University of Pennsylvania Cherise Smith, University of Texas at Austin Martin M. Winkler, George Mason University Performing the Recorded Image: Documentation, Memory, and Disappearance “The Soul of the Toy”: The Toy in Recent Art Lynn Boland, University of Georgia Empire and Tyranny: From the Coliseum to Cable Emma Hogarth, Rhode Island School of Design David Hopkins, University of Glasgow Holly Haynes, The College of New Jersey Wendy Redstar, Portland State University Returning to Scratch: Joshua Neustein’s Erasures and the Movement

of Deconstruction International Association of Word and Image Studies Italian Art Society Association for Latin American Art Louis Kaplan, University of Toronto Word and Image Studies: Past, Present, and Future Claiming Authorship: Artists, Patrons, and Strategies of Self- Business Meeting Petit Trianon, 3rd Floor, Hilton New York promotion in Medieval and Early Modern Italy, Part II Undoing as Doing: Erasure in Post-War Drawing Sutton Parlor South, 2nd Floor, Hilton New York Chairs: Véronique Plesch, Colby College; Catriona MacLeod, Concourse A, Concourse Level, Hilton New York Ed Krĉvma, University College Cork University of Pennsylvania Chairs: Babette Bohn, Texas Christian University; Sheryl E. Reiss, Light Erasures and Shifting Temporalities in Recent Work by University of Southern California Artists’ Writings: Word or Image? Saturday, February 12 Michael Snow Linda Goddard, University of Saint Andrews Images within Images: Self-Referentiality and Authorship in the 2:15–2:45 PM Martha Langford, Concordia University Later Middle Ages “We Must Be Still and Still Moving”: On the Concept of Time in Sam David Boffa, Rutgers University Taylor-Wood’s Still Life and the Last Century ARTspace Imitation, Copy, Reproduction, Replication, Repetition, Ece Aykol, Virginia Commonwealth University Artist Presentations Papal Majesty and Political Propaganda: Image and Meaning in and Appropriation Part II Ethan Greenbaum, independent artist, Brooklyn; and Raphael’s Grotesques of Leo X Word Pools: An Enquiry into the Collaborative Exhibitions and Books Concourse G, Concourse Level, Hilton New York Timothy Nolan, independent artist, Los Angeles Lorraine Karafel, Parsons The New School for Design by Visual Artist Anne Bevan and Writer Janice Galloway Chairs: Paul Duro, University of Rochester; Malcolm Baker, Camille Manfredi, University of Brest Competing Identities: Sanctity, Patronage, and Portraiture in University of California, Riverside Giambologna’s St. Antoninus Chapel Saturday, February 12 Copy Nature, Imitate the Materials Sally J. Cornelison, University of Kansas Museum of Contemporary Craft 2:30 PM–5:00 PM Richard Shiff, University of Texas at Austin Critical Craft Forum: Platform for Exchange “The Stimulus of Vain Ambition”: Individual Self-Promotion and Rethinking the Simulacrum: On the Singularity of Early Photography Gibson Room, 2nd Floor, Hilton New York Corporate Patronage in Early Modern Venice Artist as Curator Vered Maimon, Hebrew University of Jerusalem Chairs: Namita Wiggers, Museum of Contemporary Craft, Pacific Bryant Suite, 2nd Floor, Hilton New York Meryl Bailey, University of California, Berkeley Northwest College of Art; Elisabeth Agro, Philadelphia Museum Postcolonial Appropriation: How Indigenous Art Chairs: Avantika Bawa, Washington State University, Vancouver; Lanfranco and the Rhetoric of Self-Promotion in Early Seicento Italy of Art Murdered Postmodernism Celina Jeffery, University of Ottawa Frances Gage, Buffalo State College, State University of New York Ian McLean, University of Western Australia Freud Curates Constable: A Tale of Two Painters Sarah Gould, University Paris Diderot-Paris 7 In a Near Future: Theorizing Quotation in Contemporary Art Patrick Greaney, University of Colorado Tale of Two Arts: Dafen and Chinese Contemporary Art Vivian Li, University of Michigan

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Luxury and Consumption in Early Modern Northern Pop, Race, Class: Consumption and Contradictions Beyond Participation: Towards Massively Collaborative Saturday, February 12 a t

European Art Regent Parlor, 2nd Floor, Hilton New York Worlds of Art urday 3:00 PM–5:00 PM Sutton Parlor Center, 2nd Floor, Hilton New York Chairs: Anthony E. Grudin, University of Vermont; Binta Ayofemi, Beekman Parlor, 2nd Floor, Hilton New York Chair: Wayne Franits, Syracuse University California College of the Arts Chairs: Carl Skelton, Polytechnic Institute of New York ARTspace University; Martin Koplin, M2C Institute for Applied Commodifying Fouquet’s Heraldic Additions to Illuminated “You Know Where They Got Their Money, Don’t You?” Class, Is Public Space Museum Space? Mediatechnology and Culture Manuscripts Taste, and Pop Art in the 1960s Murray Hill Suite, 2nd Floor, Hilton New York Margaret Hadley, Lawrence Technological University Sara Doris Christoph Kluetsch, Savannah College of Art and Design Chairs: Sharon Louden, Louden Studio; Norie Sato, Sato Service Spanish Lusterware in Fifteenth-Century Northern European Art: An Poor! Black! POP! Stephen Wright, Biennale de Paris Glenn Weiss, Times Square Alliance Examination of “Earlier” Early-Modern Depictions of Luxury Goods Colette Gaiter McKenzie Wark, Eugene Lang College, The New School for Porter Arneill, Kansas City Municipal Art Commission Andrea Ortuño, The Graduate Center, City University of New York Noah Purifoy’s 66 Signs of Neon Liberal Arts Richard Klein, Aldrich Contemporary Art Museum The Splendor and Simplicity of Nature in the Arts of Northern Europe Yael Lipschutz

Guita Lamsechi, University of Toronto Tyler Green, Modern Art Notes and Artinfo.com Liking, Likeness, and the Color Line in Warhol Art Margins: Curatorial Practice in Eastern Europe Twenty The Pleasure of Novelty: Gerard ter Borch’s Courtship Scenes as Jonathan Flatley Years after the Wall Product Innovation Nassau Suite, 2nd Floor, Hilton New York Discussant: Anthony E. Grudin, University of Vermont Angela Ho, University of Michigan Chair: Sven Spieker, University of California, Santa Barbara

Rigaud’s Young Black Man: Painting and Servant as Objets de luxe Piotr Piotrowski, Polish National Museum Judy Sund, Queens College, City University of New York Association of Historians of Nineteenth-Century Art Lolita Jablonskiene, National Gallery of Art Music and Other Paradigms for Nineteenth-Century Art, Part II

Madison Suite, 2nd Floor, Hilton New York Zdenka Badovinac, Moderna galerija Association for Latin American Art Chair: James H. Rubin, Stony Brook University, State University Conspiracy Methods: Revisiting Latin America Art, 1960s to Emilia Kabakov of New York the Present Viktor Misiano, Contemporary Art Center Petit Trianon, 3rd Floor, Hilton New York Painting Poetry, Song, and Sound: Thomas Cole and the Eden Pictures Chairs: Andrea Giunta, University of Texas, Austin; Roberto Tejada, Roberta Gray Katz, DePaul University Karel Cisar, Charles University Southern Methodist University Music as Muse: The Realist Agenda of Thomas Eakins’s Elizabeth Cosmin Costinas, BAK Fernando Novaes Correia’s Boi Encantado (1972): Sensory Overload at the Piano and the Institutional Challenge of Decaying Art Debra Hanson, Virginia Commonwealth School of the Arts, Qatar Centennial Session Elena Shtromberg, University of Utah Toute emotion sort de vous, elargit un milieu; ou sur vous fond et Art/Technology Global Sample Notes on an Exclusive History of Colombia: Beatriz González’s l’incorpore: Dance as a Performative Paradigm in Late Nineteenth- Rendezvous Trianon, 3rd Floor, Hilton New York Challenge to the National Salon in 1965 and 1967 Century Aesthetics Chairs: Mark Tribe, Brown University; Chris Csikszentmihalyi, Ana Maria Reyes, University of Chicago Sarah Burkhalter, Université de Genève Massachusetts Institute of Technology Collectivization, Participation, and Social-Political Action in the Late Sibelius, Gallen-Kallela, and the Musical Landscape 1960s: Towards a Cultural Guerrilla William L. Coleman, University of California, Berkeley Collectors, Dealers, Designers, and Patrons in Modern Asia: Paula Barreiro López Historiographical Categories Revisited Interweavings: Music, the Decorative, and Klimt’s Beethoven Frieze Gibson Room, 2nd Floor, Hilton New York Taking It to the Streets: The Institutional Critique of the Fotógrafos Rachel Sloan, Santa Barbara Museum of Art Chair: Mercedes Volait, Centre National de la Recherche Independientes Scientifique Denise Birkhofer Dark Matter of the Art World, Part II A Carnet de l’Amateur of the Nineteenth-Century: Hakky-bey and His Converting the System into Poetry Trianon Ballroom, 3rd Floor, Hilton New York Objects of High Curiosity Susannah Gilbert Chair: Susan Elizabeth Ryan, Louisiana State University Deniz Turker, Harvard University Dark Matter: Art and Politics in the Age of Enterprise Culture Furnishing Colonial Vietnam: General de Beylié’s Furniture Collection Gregory Sholette, Queens College, City University of New York Caroline Herbelin, Paris Sorbonne University The Waag Society’s Productivism: Possibilities and Problems of a “Schizofunctional” Interiors: Displaying Farangi Women in Qajar Utilitarian Practice Reception Rooms Philip Glahn, Tyler School of Art, Temple University Pamela Karimi, University of Massachusetts, Dartmouth The Second Whiskey Rebellion: A Distillation of the American Spirit Exchanging Muraqqas and Illustrated Gift Books in England and Jim Costanzo, Pratt Institute South Asia “Monster Institutions”: Occupied Social Centers in Europe Saleema Waraich, Massachusetts Institute of Technology Alan W. Moore, independent scholar Discussant: Talinn Grigor, Brandeis University Furtherfield.org Inside Out Charlotte Frost, Writtle School of Design, University of Essex Discussant: Nato Thompson, Creative Time

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