secac 2011

nov. 9–12 savannah Georgia ABOUT SCAD The story of SCAD is an educator’s story. In SCAD’s early days, a founding group of passionate educators envisioned an unorthodox and utterly The Savannah College of Art and Design is a private, nonprofit, accredited institution conferring bachelor’s and master’s degrees at distinctive locations and online to prepare talented students for professional careers. SCAD offers degrees in more original learning environment. Guided by our mission to prepare talented students for meaningful than 40 areas of study, as well as minors in nearly 60 disciplines in Savannah and Atlanta, Georgia; in Hong Kong; in Lacoste, careers in the arts, we aimed to build vibrant spaces that ignited imaginations and fostered innovation. France; and online through SCAD eLearning. Accordingly, we sought a curriculum shaped organically by advances in art, design, and technology. We hired accomplished faculty who continue to practice in their disciplines, artists and designers who SCAD has more than 20,000 alumni and offers an exceptional education and unparalleled career preparation. The diverse nurture the creative gifts of the next generation through rigorous scholarship and groundbreaking student body, consisting of more than 11,000 students, comes from all 50 United States and more than 100 countries collaboration. worldwide. Each student is nurtured and motivated by a faculty of more than 700 professors with extraordinary academic credentials and valuable professional experience. These professors emphasize learning through individual attention in an Bringing together the most valuable elements of classical education with the promise of uncharted inspiring university environment. SCAD’s innovative curriculum is enhanced by advanced, professional-level technology, terrain, we created a new paradigm in higher education. Even as the university grows, it remains equipment and learning resources and has garnered acclaim from respected organizations and publications, including 3D World, American Institute of Architects, BusinessWeek, DesignIntelligence, U.S. News & World Report and the Los Angeles Times. committed to the founding principles. And now, in its thirty-third year, SCAD is stronger than ever. Though SCAD has expanded from Savannah to Atlanta; Lacoste, France; and, now, Hong Kong; this For more information, visit scad.edu. richly textured city remains our North Star. As you explore Savannah’s canopied squares and treasured historical buildings, you will see SCAD’s story writ upon the landscape. Ours is an intricate tapestry of creative influences woven by talented students and alumni, gifted faculty, and inspired administrators – including many who worked to bring this very conference to life. On behalf of SCAD, I welcome you to Savannah. We are honored to host the 2011 Southeastern College Art Conference, and it is our distinct privilege to share our beloved campus with such a well-respected organization. I hope these three days at SECAC encourage dynamic discourse, give rise to profound new insights, and promote sustained innovation in our field. May your sojourn here encourage you to visit again soon.

Warmest regards,

Paula Wallace President and co-founder Savannah College of Art and Design SECAC 2011 At-a-Glance CONTENTS SECAC Governance 01 WEDNESDAY THURSDAY FRIDAY SATURDAY NOV. 9 NOV. 10 NOV. 11 NOV. 12 Institutional Members 02 Welcome to SECAC 2011 03 Conference 6-9 p.m. 7 a.m. to 5 p.m. 7 a.m. to 5 p.m. 8 a.m. to 3 p.m. Registration Members who On-site Registration On-site Registration On-site Registration Local Transportation 03 completed online registration may pick Vendors 03 up materials/badge. Media Policy 03 Concurrent I 8-9:45 a.m. VI 8-9:45 a.m. X 9-10:45 a.m. Session Blocks II 10-11:30 a.m. VII 10-11:30 a.m. XI 11 a.m. to 12:30 p.m. SECAC Business Meetings 03 III 12:30-2:15 p.m. VIII 2-3:45 p.m. XII 1:30-3:15 p.m. IV 2:30-4:15 p.m. IX 4-6 p.m. XIII 3:30-5 p.m., first floor Featured Speakers 04 V 4:30-6 p.m. 3:30-5:30 p.m., second and 15th floors State Meet + Greet Opportunities 05

Vendor Area 9 a.m. to 5 p.m. 9 a.m. to 5 p.m. 9 a.m. to 1:30 p.m. Career Arc Schedule 05

Break 11:30 a.m. to 12:30 p.m. 11:30 a.m. to 2 p.m. 12:30 p.m. to 1:30 p.m. Tours and Trips 06 SECAC Meetings 1:30-3:30 p.m. 11:30 a.m. to 12:30 p.m. 11:30 a.m. to 1:45 p.m. 7:30 a.m. Evening Events 06 Executive Board SECAC Art Education Policy Awards Luncheon $R and Annual Members’ Breakfast Meeting Committee Business Meeting Presentation by Dan Cameron and Business Meeting (open) Concurrent Session Program 10 DeSoto, Reynolds (open) 3-3:30 p.m. Session Abstracts 27 4-7 p.m. SECAC 2012 Info Session Board Meeting (open) DeSoto, Pulaski 3:30-4 p.m. SECAC Review Interest SECAC GOVERNANCE Meeting (open) OFFICERS STATE DIRECTORS AL, AR, KY, MS, GA State 11:30 a.m. 10 a.m. President: Alabama: Jason Guynes, University of South Alabama Meet + Greet NC, TN, VA, WV, At-large 11 a.m. LA, SC Debra Murphy, University of North Florida Arkansas: Jane Brown, University of Arkansas at Little Rock FL 5 p.m. First Vice President: Kentucky: J. Barry Motes, Jefferson Community & Technical College Floyd W. Martin, University of Arkansas at Little Rock Tours and Trips Pre-conference 9:30-11:30 a.m. 2-3:30 p.m. 9:30 a.m. to 3:30 p.m. Florida: Amy Broderick, Florida Atlantic University Events SCAD Tour R Gulfstream: SCAD Industrial Savannah Area Day Second Vice President: Sandra Reed, SCAD Savannah Design Idea Visualization Trip $R Pamela Simpson (1946-2011 In Memoriam), Washington and Georgia: 10 a.m. to 2 p.m. 12:30-1:30 p.m. Workshop R Lee University Louisiana: Gary Keown, Southeastern Louisiana University Tour of Texts $R Pepe Hall: SCAD Fibers Department Tour R 2:30-3:45 p.m. Secretary-Treasurer: Mississippi: Benjamin Harvey, Mississippi State University 2:30-5 p.m. Savannah Walking Tour: Beth Mulvaney, Meredith College Tour of Texture $R 2:30-3:45 p.m. City as Texture R North Carolina: Pat Wasserboehr, University of North Savannah Walking Tour: Past President: Carolina at Greensboro 4-6 p.m. City as Text R 9:30 p.m. Donald Van Horn, Marshall University South Carolina: Jane Nodine, University of South Carolina Upstate SCAD Tour R Tybee Island Beach Trip $R Editor, SECAC Review: Tennessee: Vida Hull, East Tennessee State University Peter Scott Brown, University of North Florida Career Arc 2:30-4:15 p.m. 8-9:45 a.m. 9–10:45 a.m. Virginia: Reni Gower, Virginia Commonwealth University Mentor Appointments R Mentor Appointments R Panel: Art of Education Chair, SECAC Fellowship Committee: Jenny Hager, University of North Florida West Virginia: Kristina Olson, West Virginia University See Career Arc for 11 a.m. to 12:30 p.m. additional events. Workshop: Tenure Strategies Chair, 2011 Annual Conference: At-large: Ria O’Foghludha, Whittier College Sandra Reed, SCAD Savannah At-large: Kurt Pitluga, Slippery Rock University of Pennsylvania 1:30-3:15 p.m. Mentor Appointments R Also see Career Arc. AFFILIATED SOCIETIES AHPT, Art Historians Interested in Pedagogy and Technology FATE, Foundations in Art: Theory and Education Additional Events 6:30 a.m. 6:30 a.m. Members’ Jog Representative: Marjorie Och Representative: Stacy Isenbarger Members’ Jog 10 a.m. EPCAF Interest Meeting (open) 5:30-7 p.m. Thames & Hudson Reception CAA, College Art Association VRC, Visual Resources Curators of SECAC, a chapter of Visual Representative: Doreen Davis, member services Resources Association (VRA) Evening Events 6-8 p.m. 6-7:30 p.m. 7-9 p.m. 5:30-8 p.m. Representative: Christina Updike Orientation and Reception, SECAC 2011 SCAD Museum Reception and SECAC Closing Reception and ATSAH, Association for Textual Scholarship in Art History Information Juried Exhibition Gallery Hop, including SECAC Open Studios Representative: Liana Cheney MACAA, Mid-America College Art Association Representative: Tommy White 2010 Fellowship Recipient SESAH, Southeast Chapter of the Society of Architectural Historians 7:30-9:30 p.m. 7:30-9 p.m. Exhibition by James Neel Welcome Reception Keynote: Ann Hamilton Representative: Pamela Simpson (1946-2011 in Memoriam) SGC International Representative: Rich Gere

R = Reservation required. $ = Fee. Reservations and fees were due by Oct. 31. INSTITUTIONAL MEMBERS Welcome to SECAC 2011 and SCAD

Alabama The Fine Art Museum of Western Carolina University, Cullowhee, North Carolina We hope you enjoy your stay in Historic Savannah. The Hilton Savannah DeSoto, the conference hotel, offers complimentary Wi-Fi access and plenty of other amenities, Auburn University, Auburn, Alabama High Point University, High Point, North Carolina including on-site dining at Beulah’s (serving Starbucks beverages and to-go breakfast and lunch items), the DeSoto Grille (open for breakfast, lunch and dinner) and Auburn University at Montgomery, Montgomery, Alabama Meredith College, Raleigh, North Carolina the Lion’s Den (bar). Coffee and tea will be available at break stations throughout the conference. Gryphon, located just a few blocks south on Bull Street, offers Birmingham-Southern College, Birmingham, Alabama North Carolina Central University, Durham, North Carolina a wide selection of tea and refined Southern classics against the distinctive backdrop of the 1926 Scottish Rite building on the corner of scenic Madison Square. Jacksonville State University, Jacksonville, Alabama North Carolina State University, Raleigh, North Carolina Several coffeehouses and numerous restaurants, spanning a spectrum of cuisines, are located throughout downtown Savannah. Various shops, from clothing to home Troy University, Troy, Alabama University of North Carolina at Asheville, Asheville, North Carolina furnishings and antiques, and art galleries can be found on Broughton and River streets as well as in City Market. Tours of the historic district – by trolley, horse-drawn University of Alabama at Birmingham, Birmingham, Alabama University of North Carolina at Chapel Hill, Chapel Hill, North Carolina carriage, pedicab, Segway, bike, foot and even hearse – are readily available. Many of the historic homes and churches offer tours as well. For more information about University of Alabama in Huntsville, Huntsville, Alabama University of North Carolina at Charlotte, Charlotte, North Carolina places to eat and things to do in Savannah, call the Hilton Savannah DeSoto concierge at 912.232.9000, ext. 7160, or log on to savannahvisit.com. University of Alabama at Tuscaloosa, Tuscaloosa, Alabama University of North Carolina at Greensboro, Greensboro, North Carolina University of North Alabama, Florence, Alabama University of North Carolina at Wilmington, Wilmington, North Carolina Your conference badge is your admission pass; please wear it for all events. University of South Alabama, Mobile, Alabama North Dakota Arkansas Lake Region State College, Devils Lake, North Dakota Arkansas State University, State University, Arkansas Pennsylvania Harding University, Searcy, Arkansas Slippery Rock University, Slippery Rock, Pennsylvania Henderson State University, Arkadelphia, Arkansas Local Transportation National Park Community College, Hot Springs, Arkansas South Carolina Conference buses will provide transportation to off-site conference events. University of Arkansas - Fort Smith, Fort Smith, Arkansas Coastal Carolina University, Conway, South Carolina All conference transportation, including tours, trips, jogs and walks, will The conference hotel offers self-parking ($13 per day) and valet ($17 per day) options. University of Arkansas at Little Rock, Little Rock, Arkansas College of Charleston, Charleston, South Carolina depart from the Hilton DeSoto’s south entrance on Harris Street. Long-term parking garages are available nearby. Limited on-street parking is available in downtown Savannah; street meters are monitored 7 a.m. to 5 p.m. weekdays. University of Central Arkansas, Conway, Arkansas Columbia College, Columbia, South Carolina Converse College, Spartanburg, South Carolina Take advantage of the dot, Savannah’s fare-free downtown transportation system, which offers the Express Shuttle serving 11 stops in the Historic District 11 a.m. to Florida Francis Marion University, Florence, South Carolina 9 p.m. seven days a week as well as the Savannah Belles Ferry connecting downtown with Hutchinson Island. For more information about these free transportation Florida Southern College, Lakeland, Florida Furman University, Greenville, South Carolina options and parking in downtown, visit connectonthedot.com. Florida State University, Tallahassee, Florida Lander University, Greenwood, South Carolina Miami International University of Art & Design, Miami, Florida South Carolina State University, Orangeburg, South Carolina Northwest Florida State College, Niceville, Florida University of South Carolina, Columbia, South Carolina Ringling College of Art + Design, Sarasota, Florida University of South Carolina Upstate, Spartanburg, South Carolina University of Florida, Gainesville, Florida Vendors University of Central Florida, Orlando, Florida Tennessee University of North Florida, Jacksonville, Florida Austin Peay State University, Clarksville, Tennessee A vendor fair in the Hilton Savannah DeSoto ballroom foyer begins at 9 a.m. Thursday, Friday and Saturday, concluding at 5 p.m. Thursday and Friday and at 1:30 p.m. University of South Florida, Tampa, Florida Cheekwood Museum of Art, Nashville, Tennessee Saturday. Publishers and other businesses to be represented include R & F Handmade Paints, Pearson, The Scholar’s Choice, Thames & Hudson, Ex Libris University of West Florida, Pensacola, Florida East Tennessee State University, Johnson City, Tennessee Bookstore and Canson US. Memphis College of Art, Memphis, Tennessee Georgia Middle Tennessee State University, Murfreesboro, Tennessee Agnes Scott College, Decatur, Georgia Rhodes College, Memphis, Tennessee Armstrong Atlantic State University, Savannah, Georgia University of Memphis, Memphis, Tennessee Berry College, Mt. Berry, Georgia University of Tennessee, Knoxville, Tennessee SECAC 2011 Media Policy Columbus State University, Columbus, Georgia University of the South, Sewanee, Tennessee Emory College, Atlanta, Georgia Vanderbilt University, Nashville, Tennessee • Each room will be equipped with one screen; smaller rooms will have a plasma TV. Georgia College and State University, Milledgeville, Georgia Georgia Institute of Technology, Atlanta, Georgia Virginia • All meeting rooms with screens will be equipped with one digital projector. Georgia Perimeter College, Clarkston, Georgia James Madison University, Harrisonburg, Virginia • Rooms that require public address will be so equipped, and each room will have a podium and podium light. Longwood University, Farmville, Virginia Georgia Southern University, Statesboro, Georgia • Presenters must supply their own laptops and USB cable. Georgia State University, Atlanta, Georgia Mary Baldwin College, Staunton, Virginia • Presenters using a Macintosh computer must supply an appropriate VGA adapter. Kennesaw State University, Marietta, Georgia Old Dominion University, Norfolk, Virginia North Georgia College & State University, Dahlonega, Georgia University of Mary Washington, Fredericksburg, Virginia • No Internet access will be available in session rooms. Presenters must have website information downloaded to SCAD - Art History, Savannah, Georgia University of Virginia, Charlottesville, Virginia laptops or other media devices. University of Georgia, Athens, Georgia Virginia Commonwealth University Department of Sculpture, Richmond, Virginia • Slide projectors will not be available. University of West Georgia, Carrollton, Georgia Virginia Polytechnic Institute & State University, Blacksburg, Virginia Valdosta State University, Valdosta, Georgia Virginia State University, Petersburg, Virginia Wesleyan College, Macon, Georgia Washington and Lee University, Lexington, Virginia Indiana West Virginia Marian College, Indianapolis, Indiana Marshall University, Huntington, West Virginia SECAC 2011 Business Meetings Franklin College, Franklin, Indiana West Virginia University, Morgantown, West Virginia SECAC Executive Board Meeting Kentucky Wednesday, Nov. 9, 1:30-3:30 p.m., Hilton DeSoto, second floor, Reynolds Centre College, Danville, Kentucky Eastern Kentucky University, Richmond, Kentucky SECAC Board Meeting Georgetown College, Georgetown, Kentucky Wednesday, Nov. 9, 4-7 p.m., Hilton DeSoto, first floor, Pulaski University of Louisville, Louisville, Kentucky Western Kentucky University, Bowling Green, Kentucky SPONSORS SECAC Art Education Policy Committee Business Meeting Louisiana Thursday, Nov. 10, 11:30 a.m. to 12:30 p.m., Hilton DeSoto, second floor, Lafayette Centenary College of Louisiana, Shreveport, Louisiana Open to all interested SECAC members, this committee will discuss and address pertinent visual art education policy issues at pre-K through post-graduate Tulane University, New Orleans, Louisiana educational levels. University of New Orleans - Lakefront Campus, New Orleans, Louisiana Mississippi SECAC Annual Awards Luncheon Delta State University, Cleveland, Mississippi Friday, Nov. 11, 11:30 a.m. to 1:45 p.m., Hilton DeSoto, first floor, Madison Dusti Bongé Art Foundation, Biloxi, Mississippi Tickets must have been purchased as part of your online registration. No tickets will be sold in Savannah. Dan Cameron, juror for the SECAC 2011 Juried Exhibition Jackson State University, Jackson, Mississippi and founding director of Prospect New Orleans, an international contemporary art biennial, will be the featured speaker. Limited additional seats will be available in Millsaps College, Jackson, Mississippi Madison Ballroom at 1 p.m. for those members who did not attend the luncheon yet would like to attend the presentation. University of Mississippi, Oxford, Mississippi New York SECAC 2012 Information Session Munson-Williams-Proctor Arts Institute, Utica, New York Friday, Nov. 11, 3-3:30 p.m., Hilton DeSoto, second floor, Reynolds R & F Handmade Paints, Kingston, New York Open to all members interested in information about SECAC 2012 at Meredith College in Durham, North Carolina. Rochester Institute of Technology, Rochester, New York SECAC Review Interest Meeting North Carolina Friday, Nov. 11, 3:30-4 p.m., Hilton DeSoto, second floor, Reynolds Appalachian State University, Boone, North Carolina Open to all SECAC members interested in learning more about the organization’s peer-reviewed publication, which features original scholarship in all fields of inquiry in the arts. Brevard College, Brevard, North Carolina Davidson College, Davidson, North Carolina SECAC Annual Members’ Breakfast and Business Meeting Duke University, Durham, North Carolina Saturday, Nov. 12, 7:30-8:45 a.m., Hilton DeSoto, first floor, Madison East Carolina University, Greenville, North Carolina The agenda is provided at the outset of the meeting, and all members may vote on SECAC matters.

2 3 Featured Speakers State Meet + Greet Opportunities The Meet + Greet opportunities create a time and place for all members from each state to gather and a chance for SECAC members to meet the individual who represents them on the SECAC board. For the names of the directors for each state, refer to the Governance section in the front of the program.

ALABAMA: Thursday, 11:30 a.m. to noon, Hilton DeSoto, Sapelo ARKANSAS: Thursday, 11:30 a.m. to noon, Hilton DeSoto, Cumberland FLORIDA: Thursday, 5-5:30 p.m., Hilton DeSoto, DeSoto Study GEORGIA: Friday, 10-10:30 a.m., Hilton DeSoto, Pulaski KENTUCKY: Thursday, 11:30 a.m. to noon, Hilton DeSoto, Harborview ANN HAMILTON LOUISIANA: Friday, 11-11:30 a.m., Hilton DeSoto, Pulaski MISSISSIPPI: Thursday, 11:30 a.m. to noon, Hilton DeSoto, Telfair Thursday, Nov. 10 NORTH CAROLINA: Thursday, 11:30 a.m. to noon, Hilton DeSoto, Pulaski 7:30-9 p.m. SOUTH CAROLINA: Friday, 11-11:30 a.m., Hilton DeSoto, DeSoto Study Keynote Presentation TENNESSEE: Thursday, 11:30 a.m. to noon, Hilton DeSoto, Monterey SCAD, Trustees Theater VIRGINIA: Thursday, 11:30 a.m. to noon, Hilton DeSoto, Madison Your conference badge is your ticket to attend the keynote presentation. WEST VIRGINIA: Thursday, 11:30 a.m. to noon, Hilton DeSoto, DeSoto Study Thursday, 11:30 a.m. to noon, Hilton DeSoto, Ossabaw (for all members outside the traditional SECAC area) Ann Hamilton was born in 1956 in Lima, Ohio. She trained in textile design at the University of Kansas and later received AT-LARGE: an M.F.A. from Yale University. While her degree is in sculpture, textiles and fabric have continued to be an important part of her work, which includes installations, photographs, videos, performances and objects. For example, following graduation she made “Toothpick Suit,” for which she layered thousands of toothpicks in porcupine fashion along a suit of clothes that Career Arc Schedule she then wore and photographed. Hamilton’s sensual installations often combine evocative soundtracks with cloth, filmed Conference planners, state representatives and other members have coordinated sessions and events for conference participants at any stage of their career footage, organic material and objects such as tables. She is as interested in verbal and written language as she is in the visual — collectively referred to as the Career Arc. These include dedicated studio and art history sessions for undergraduate student presenters; a graduate student and sees the two as related and interchangeable. In recent work, she has experimented with exchanging one sense organ for poster session; a session to showcase the work of emerging educators and another to showcase the sustained work of experienced educators; a workshop another—the mouth and fingers, for example, become like an eye with the addition of miniature pinhole cameras. In 1993, she on tenure strategies; a panel featuring the most recent recipients of the SECAC Excellence in Teaching Award; and one-on-one mentor appointments. Each 20-minute mentor appointment has been scheduled prior to the conference and will take place in the Hilton DeSoto Study. won a prestigious MacArthur Fellowship. As the 1999 American representative at the Venice Biennale, she addressed topics of slavery and oppression in American society with an installation that used walls embossed with Braille. The embossed Braille caught a dazzling red powder as it slid down from above, literally making language visible. After teaching at the University of California, Santa Barbara from 1985 to 1991, she returned to Ohio, where she has been on the faculty at Ohio State University Thursday, Nov. 10 Friday, Nov. 11 Saturday, Nov. 12 since 2001. —from pbs.org/art21 2:30-4:15 p.m. 8-9:45 a.m. 9 a.m. 11 a.m. to 4 p.m. Mentor Appointments Mentor Appointments Panel: Art of Education Poster Session: Graduate DeSoto Study DeSoto Study Madison Student Research Telfair 8 a.m. Session: Undergraduate Session: Research by Research in Art History I 1:30 p.m. Emerging Educators I Monterey Session: Undergraduate Sapelo Studio Research 11 a.m. Monterey 10 a.m. Workshop: Tenure Strategies Session: Research by Madison 1:30-3:15 p.m. Emerging Educators II Mentor Appointments Sapelo Session: Undergraduate DeSoto Study DAN CAMERON Research in Art History II Friday, Nov. 11 4 p.m. Monterey 1-1:45 p.m. Session: Research by Experienced Educators Featured Presentation at Sapelo SECAC Awards Luncheon Your luncheon ticket indicates the meal that you selected at the time of registration. The Art of Education: A Panel Discussion with SECAC 2010 Excellence in Teaching Award Winners Please place your ticket on your plate to indicate to the server which meal you are to be served. Saturday, Nov. 12, 9-10:45 a.m., Hilton DeSoto, first floor, Madison is founder and artistic director of U.S. Biennial, which organizes the Prospect New Orleans biennial and Benjamin Harvey of Mississippi State University will moderate this panel featuring James Rodger Alexander, University of Alabama at Birmingham; William Dan Cameron R. Levin, Centre College; and Mary Stewart, Florida State University. related exhibitions. From 2007-10, Cameron also served as director of visual arts for the Contemporary Arts Center, New Orleans, where he presented solo projects by artists Luis Cruz Azaceta, Tony Feher and Peter Saul, as well as the group This panel is dedicated to the memory of Pamela Simpson, Washington and Lee University, who was the fourth recipient of the SECAC 2010 Excellence in Teaching Award. exhibitions Something from Nothing, Make-it-Right, Previously on Piety, Interplay and Hot Up Here. Cameron was senior curator at the New Museum 1995-2006, where he organized numerous well-known group and solo exhibitions. In 2003 Surviving the Tenure Track: Probationary Period and the Tenure Review Cameron served as artistic director for the 8th Istanbul Biennial, titled Poetic Justice, and in 2006 he co-organized the 10th Saturday, Nov. 12, 11 a.m. to 12:30 p.m., Hilton DeSoto, first floor, Madison This workshop, led by Michael Aurbach of Vanderbilt University, highlights survival strategies to deal with shifts in academia, administrators, the art world Taipei Biennial, Dirty Yoga. Since 2002, Cameron has served as senior curator for Next Wave Visual Art at Brooklyn Academy and changing institutional expectations. of Music (BAM), where he organizes an annual exhibition of emerging Brooklyn-based artists. Cameron is a member of the board of advisors of Hermitage Artist Retreat in Florida and sits on the board of directors for Anderson Ranch Arts Center in Colorado. In 2010 Cameron was guest professor for the International Curator Course of the Gwangju Biennale in South Korea, and since 2006 he has taught on the M.F.A. faculty at the School of Visual Arts in New York. —from brown.edu

4 5 Members Reception, SECAC 2011 Juried Exhibition SECAC 2011 Tours and Trips (All tours and trips depart from the south entrance of the Hilton DeSoto.) Thursday, Nov. 10, 6-7:30 p.m., SCAD, Gutstein Gallery, 201 E. Broughton St. Transportation will be provided; buses will be departing from the south entrance of the Hilton DeSoto starting at 5:30 p.m. Pre-conference Event: Tour of Texts The exhibition features 31 works of art by 26 artists representing 11 states. The Best of Show award will be announced. Refreshments will be served. Wednesday, Nov. 9, 10 a.m. to 2 p.m. Congratulations to the following artists selected by juror Dan Cameron from among the more than 400 works submitted by 178 members: Fee: $20. Ticket includes a boxed lunch and transportation between sites. Tickets must have been purchased as part of your online conference registration. No tickets will be sold in Savannah. The Tour of Texts travels to five institutions within the historic district to unveil rare and unusual texts. These texts include the oldest J. Bradley Adams, Berry College Kathryn Hagy, Mount Mercy University Marcia Vaitsman, SCAD Atlanta Torah in Georgia, a draft of the Constitution, a 1733 Bible that belonged to Mary Musgrove Bosomworth, special editions of Gulliver’s Travels, storyboards by Don Salwa Aleryani, SCAD Savannah Shekinah Hein, SCAD Savannah Brent Dedas, Western Kentucky University Bluth Productions, architectural drawings and many more works. Nikki Arnell, Arkansas State University Glenn Hirsch, Independent Artist Brad Birchett, Virginia Commonwealth University Misty Bennet, University of Montevallo Christopher Jordan, University of Alabama Christopher Lowther, University Pre-conference Event: Tour of Texture (sponsored by Ex Libris) Marie Bukowski, Louisiana Tech Matthew Kolodziej, University of Akron of Alabama at Birmingham Wednesday, Nov. 9, 2:30-5 p.m. Scott Dietrich, SCAD Savannah Zachary McFarlen, SCAD Savannah Amanda Ladymon, Augusta State University Fee: $10. Ticket includes basic sketching supplies and a beverage. Tickets must have been purchased as part of your online conference registration. No tickets will Gregory Eltringham, SCAD Savannah Nick Pena, Christian Brothers University Joseph Mougel, Ringling College of Art + Design be sold in Savannah. The Tour of Texture combines a tour of the historic district with opportunities to draw and/or photograph the city at various intervals along Amy Feger, University of Alabama Steven Ramsey, SCAD Atlanta the route. This draw-as-you-tour approach provides a personal and novel introduction to the city. Jonathan Field, SCAD Savannah Kim Salinas, SCAD Savannah Jamey Grimes, University of Alabama Sherry Saunders, SCAD Savannah SCAD Tour Wednesday, Nov. 9, 4-6 p.m.; Thursday, Nov. 10, 9:30-11:30 a.m. Keynote Presentation Free. Open to SECAC members and guests. Reservation required. Check at the registration desk for availability. The tour will make stops at the Clarence Thomas Thursday, Nov. 10, 7:30-9 p.m., SCAD, Trustees Theater, 216 E. Broughton St. Center for Historic Preservation, Bergen Hall (photography), Arnold Hall (art history and liberal arts), Working Class Studio and Montgomery Hall (animation, Artist Ann Hamilton will present the keynote address followed by a question-and-answer session. broadcast design, interactive design and game development, and visual effects). SCAD Museum Reception and Gallery Hop SCAD Fibers Department/Pepe Hall Tour Friday, Nov. 11, 7-9 p.m., SCAD Museum of Art and SCAD Galleries Thursday, Nov. 10, 12:30-1:30 p.m. Transportation will be provided; buses will depart from the south entrance of the Hilton DeSoto Hotel starting at 7 p.m. Meet at the south entrance of the Hilton DeSoto Hotel to join this tour. The Gallery Hop will include three SCAD galleries and the SCAD Museum of Art. The work of Jim Neel, recipient of the SECAC Artist Fellowship in 2010, will Free. Cayewah Easley, chair of the fibers department at SCAD, will give a tour of the program’s state-of-the-art facility, which features dedicated areas for screen- be on view at Hall Street Gallery. Work of professors fom the jewelry and objects department will be on view at Fahm Hall. The SECAC 2011 Juried Exhibition printing, repeat pattern design, dyeing, weaving, sewing, felting and papermaking, and offers equipment such as a Jacquard loom, Compu-Dobby looms and a is on view at the Gutstein Gallery. The recently expanded SCAD Museum of Art – home to the Walter O. Evans Center for African American Art, the Earle W. Mimaki textile printer. Newton Center for British and American Studies, and other impressive collections – will be the site of a reception for SECAC members and will be the final stop on the Gallery Hop. Savannah Walking Tour: City as Text Thursday, Nov. 10, 2:30-3:45 p.m. SECAC 2011 Closing Reception and Open Studios Reservations must have been made as part of your online reservation. This tour is full. Saturday, Nov. 12, 5:30-8 p.m., SCAD, Alexander Hall, 668 Indian St. The Savannah plan is an engineering landmark, a source of inspiration to members of the New Urbanism movement and artists alike. This tour explores the design Transportation will be provided; buses will be departing and returning to the south entrance of the Hilton DeSoto starting at 5 p.m. of the city and will be led by member of the architectural history department. Participants are advised to wear shoes suitable for walking on uneven surfaces. Work by professors and students of the SCAD painting, printmaking and ceramics programs will be on view. Graduate painting studios will be open. A solo exhibition by Natalija Mijatovic, SCAD professor of painting, will be on exhibit in the Alexander Hall Gallery. A variety of interactive events will be featured. Information and Idea Visualization: An Improvisational Workshop Refreshments will be served. Friday, Nov. 11, 2-3:30 p.m. Check at the registration desk for availability. SCAD professors Diana Miller, Chris Miller and Bob Fee will develop large-scale images of ideas generated during this improvisational and collaborative workshop at the Gulfstream Center for Industrial and Furniture Design. Other Events for SECAC members Savannah Walking Tour: City as Texture Conference advertiser and other local businesses bid you welcome. Friday, Nov. 11, 2:30-3:45 p.m. Kim Iocovozzi Fine Art, Ltd., and Daguerrotypes will remain open until 9:30 p.m., Wednesday, Nov. 9. The gallery is one block south of the Hilton DeSoto Hotel Reservations must have been made as part of your online reservation. This tour is full. on Bull Street at Jones Street. Other nearby businesses will also remain open late to welcome SECAC members to Savannah. The Savannah plan is an engineering landmark, a source of inspiration to members of the New Urbanism movement and artists alike. This tour explores the design of the city and will be led by a SCAD faculty member. Participants are advised to wear shoes suitable for walking on uneven surfaces. Members’ Jog Thursday, Nov. 10, 6:30 a.m. Tybee Island Beach Trip All are welcome. No registration required. Join Steve Bliss, dean of the SCAD School of Fine Arts, for a jog from the conference hotel north to City Market and Friday, Nov. 11, 9:30 p.m. to midnight River Street. Jog departs from the south entrance of the Hilton DeSoto Hotel. Tickets must have been purchased as part of your online conference registration. All tickets have been sold. Members’ Jog Savannah Area Day Trip Friday, Nov. 11, 6:30 a.m. Saturday, Nov. 12, 9:30 a.m. to 3:30 p.m. All are welcome. No registration required. Join Lisa Jaye Young, professor of art history, and Jessica Smith, professor of fibers, for a jog from the conference Fee: $35. Tickets must have been purchased as part of your online conference registration. No tickets will be sold in Savannah. Daves Rossell, architectural history hotel south to and around Forsyth Park. Jog departs from the south entrance of the Hilton DeSoto Hotel. professor at SCAD, and Bob Civicevich, historian and author, will lead the tour of memorable places around Savannah, including Bonaventure Cemetery and other sites of local lore and cultural significance. Interest Meeting: European Postwar and Contemporary Art Forum (EPCAF) Friday, Nov. 11, 10 a.m., Hilton DeSoto, second floor, Reynolds All are welcome. No registration required. Contact Catherine Dossin, Purdue University, or Victoria H.F. Scott, Emory University, for more information.

SECAC 2011 Evening Events Thames & Hudson Reception: An Evening with the Authors of Gateways to Art Friday, Nov. 11, 5:30-7 p.m., Hilton DeSoto, study and lounge SECAC 2011 Orientation and Information Gateways to Art: Understanding the Visual Arts is the most comprehensive new art appreciation book on the market. Composed of brief chapters, each a self- Wednesday, Nov. 9, 6-8 p.m., Hilton DeSoto, south entrance foyer contained unit, Gateways to Art adapts to the instructor’s pedagogy and can be taught in any order. SECAC members Kathryn Shields and Debbie DeWitte SECAC members from SCAD will be available for one-on-one orientation to the conference and to provide information about Savannah. are two of the book’s three authors. SECAC members participated in planning sessions for Gateways to Art during SECAC 2006 in Nashville, Tennessee.

En Plein Air Welcome Reception Jepson Center for the Arts (special admission rate) Wednesday, Nov. 9, 7:30-9:30 p.m., Madison Square (south of and adjacent to the conference hotel) Thursday, Nov. 10, Jepson Center Reconnect and make new SECAC friends in the relaxing environment of Madison Square, one of the jewels of Savannah’s city plan. Refreshments will be Telfair Museums invite SECAC members to view the exhibitions at the Jepson Center for free Thursday, Nov. 10. On this date, the galleries are open from 10 served. In case of poor weather, the reception will be held in the Hilton DeSoto’s Pulaski Room. a.m. to 8 p.m. The Jepson Center is a conference session venue from 8 a.m. to 6 p.m., Thursday. SECAC members are offered reduced admission for $5 to the Jepson Center on all other days of the SECAC conference; please show your conference badge at the front desk. Visit telfair.org for hours of admission and exhibition information.

6 7 Now open. scadmoa.org

Christopher Jordan, Tuscaloosa, Alabama, Suburban Sublime #19, archival pigment print, 20" x 30", 2010

Reception for SECAC Members Friday, Nov. 11, 7–9 p.m. Gallery Hop to the SECAC Fellowship Exhibition and other exhibitions will depart from the museum.

Monday, closed Tuesday, 10 a.m. to 5 p.m. Wednesday, 10 a.m. to 5 p.m. Thursday, 10 a.m. to 8 p.m. Friday, 10 a.m. to 5 p.m. Jim Neel, SECAC 2010 Artist’s Fellowship recipient, Birmingham, Alabama, Détente, vitreous china, 48" x 24" x 72" Saturday and Sunday, noon to 5 p.m.

601 Turner Blvd., Savannah, Georgia Vanessa B. Cruz, University of North Florida Session I Crossing Boundaries: The Move from Print to Motion Thursday, Nov. 10, 8-9:45 a.m. Incorporating Culture: Corporate Patronage of Art and Architecture in the United States, Part I Beyond Black Mountain College Chair: Melissa Renn, Harvard Art Museums Chair: Louly Turner Peacock, Independent Scholar Jepson Center, Neises Auditorium Hilton DeSoto, first floor, Ossabaw Douglas Klahr, University of Texas at Arlington Siu Challons-Lipton, Queens University of Charlotte The Carnegie Library Phenomenon: Civic Spaces Produced by 11.10 Black Mountain College - An Oxford Education? Corporate Patronage Seth McCormick, Western Carolina University Ross Barrett, University of North Carolina at Chapel Hill THURSDAY Beyond Avant-Garde: BMC and the Problem of Influence Picturing a Crude Past: Primitivism, Public Art, and Corporate Oil Promotion in the United States Karl Fuessl, Technische Universität Berlin 11 10 European Progressivism and American Pragmatism at Black Mountain College Antoniette M. Guglielmo, Los Angeles County Museum of Art The Met and Macy’s: Industrial Art and Commerce in the 1920s Morgan Ridler, The Graduate Center, CUNY The Square Within the Square: Josef Albers and Sol LeWitt Elizabeth McGoey, Indiana University, Bloomington “To Live is to Look and Move Forward”: Lord and Taylor’s 1928 Exhibition of Modern Katherine Markoski, Johns Hopkins University French and American Art “We’ll find out tomorrow”: On Tacita Dean’s Craneway Event Indigenous Arts of the Americas II-A Risk: Negotiating a Balance Between Creativity Chair: Reinaldo Morales, University of Central Arkansas and Constraint in Design Classrooms Hilton DeSoto, second floor, Chippewa Chair: Rukmini Ravikumar, University of Central Oklahoma Hilton DeSoto, first floor, Sapelo Christine Batta, SCAD Savannah Kitsch Native Americana, The Dreamcatcher & Stereotyping Authenticity Lisa Fontaine, Iowa State University Subversive Thinking As A Learning Method: The Corporate Identity Parody Assignment Héctor Garcia, University of Central Arkansas THURSDAY Architecture, Iconography and Ceremonial Space at El Tajín Adam Gault, University of Central Oklahoma TODAY’S SCHEDULE Risky Business: The Client/Designer Relationship Renee McGarry, The Graduate Center, CUNY Rethinking Mexica (Aztec) Plant and Animal Imagery 6:30 a.m. Members’ Jog Amy Johnson, University of Central Oklahoma Limitations And Creative License In Design: Inadvertent Lessons From A Catholic Belle Époque – Fin de Siècle School Education. Chair: Claire McCoy, Columbus State University 7 a.m. to 5 p.m. Conference Registration Hilton DeSoto, second floor, Telfair Ashley Waldvogel, SCAD Savannah Power Play Debbie DeWitte, University of Texas at Dallas Exhibitions in Paris: 1900-1914 8-9:45 a.m. SESSION I Mapping Imaginary Worlds Chair: Jim Toub, Appalachian State University Joyce Polistena, Pratt Institute 9 a.m. to 5 p.m. Vendor Area Hilton DeSoto, 15th floor, Harborview Art and Artists’ Anxieties: France 1893-1913 Zoran Belic, SCAD Savannah Mary Slavkin, The Graduate Center, CUNY Nationalism in the Salons of the Rose+Croix: Catholicism, Medievalism, and Latinism 9:30-11:30 a.m. SCAD Tour R Mapping Simulacrum Timothy Hutchings, Independent Artist Jodie Katzeff, The Graduate Center, CUNY The Play-Generated Map and Document Archive Sigfried Bing: A Modern Man of L’Art Nouveau 10-11:30 a.m. SESSION II Dan Jakubowski, University of Florida Uncommon Virtue: Studies on Unfamiliar Saints in Art, Part I Storming the Grid: Multitude, Event, and Cognitive Mapping in the Painting Chair: Vida J. Hull, East Tennessee State University 11:30 a.m. to noon State Meet + Greet: of Julie Mehretu Hilton DeSoto, second floor, Monterey AL, AR, KY, MS, TN, NC, The Artist in Context Matthew Woodworth, Duke University VA, WV, At-large Chair: Alexandria Pierce, SCAD Savannah “The Flower of the North”: The Forgotten Cult of St. John of Beverley Hilton DeSoto, second floor, Lafayette Alison C. Fleming, Winston-Salem State University 11:30 a.m. to 12:30 p.m. Break Rachel Erwin, Independent Scholar Local Hero: St. Guido of Pomposa Venetian Cohesion: Reconciling ‘Disparities’ in the Work of John Singer Sargent Diane Scillia, Kent State University 11:30 a.m. to 12:30 p.m. SECAC Art Education Dina Comisarenco Mirkin, University Iberoamericana St. Gertrude of Nivelles (626- 659): The Changing Images of an Early Saint Policy Committee Meeting When two fit, three will as well: Diego Rivera, Edward Weston and Tina Modotti Beata Niedzialkowska, Bates College Melissa L. Mednicov, Pennsylvania State University Narratives of Saint Stanislaus in Krakow’s Late Medieval Art Pink, White, and Black: The Strange Case of James Rosenquist’s Big Bo 12:30-1:30 p.m. SCAD Fibers Dept. Tour R Amanda McCarthy, Case Western Reserve University Soft Art: Fibers in the Contemporary Studio Temptation, Celebration, or Satire? Alart du Hameel’s St. Christopher Chairs: Jane Allen Nodine, University of South Carolina Upstate; Human Suffering in the Arts I: 20th-Century Europe and Two World Wars 12:30-2:15 p.m. SESSION III Leslie Rech, South Carolina State University Chair: Ute Wachsmann-Linnan, Columbia College Hilton DeSoto, first floor, Pulaski Hilton DeSoto, first floor, Cumberland 2:30-4:15 p.m. Mentor Appointments Beth Melton, Winthrop University Nell Andrew, University of Georgia Follow The Thread Dancing in the Dark: Wartime Dada’s Sophie Taeuber 2:30-3:45 Walking Tour: City as Text R Seo Eo, East Carolina University Romy Silver-Kohn, The Graduate Center, CUNY Covetable “In Italy, I found the way to myself”: Christian Schad’s Exploration of Raphael’s La Fornarina 2:30-4:15 p.m. SESSION IV Kelly Frigard, University of Cincinnati The Scandinavian Influence: Tradition, Reconfiguration, and Change Gianna LoScerbo, Rutgers University Jim Arendt, Coastal Carolina University Crucifying the Self: Body and Being in the Interwar Paintings of Francis Bacon 4:30-6 p.m. SESSION V Denim Disfigured: Materials and Meaning in Narrative Image Making Rebecka A. Black, University of Memphis Exploring a Brave New World: Against Order: The Works of Doris Zinkeisen from Belsen 5 p.m. State Meet + Greet: FL Introducing the 4th Dimension in a 2-D World Anna Edmonds, Columbia College Chair: Vanessa B. Cruz, University of North Florida Surviving the Holocaust Through Art: Looking Beyond the Picture 6-7:30 p.m. SECAC 2011 Juried Hilton DeSoto, first floor, Madison Exhibition Reception John Vorwald, University of Wisconsin-Stout Revolving Barriers to Authorship: Perceived Difficulties of Authorship in the App Age 7:30-9 p.m. Keynote: Ann Hamilton Jillian Coorey, Kent State University Embracing the Digital Revolution, Designing for 21st Century Mediums Lin Sun, Clark Atlanta University; Yuanliang Sun, Western Michigan University Authentic Learning of Technology for Graphic Design

10 11 Art Education Forum VIII-A: Policy, Administration, and Accreditation Tara Kohn, University of Texas at Austin Art + Land Session II Chairs: Bryna Bobick, University of Memphis; Thomas Brewer, On Being Jewish Together: Making a Community in Photographs Chair: Floyd W. Martin, University of Arkansas at Little Rock Thursday, Nov. 10, 10-11:30 a.m. University of Central Florida Lauren Rosati, The Graduate Center, CUNY Hilton DeSoto, first floor, Cumberland Hilton DeSoto, second floor, Lafayette Fort Thunder: Art, Industry and Community in Providence, RI Meredith Bagby Fettes, University of Arkansas at Little Rock Rachael Delaney, Metropolitan State College of Denver Process and Identity in the Work of Michelle Stuart Striving for Student Success in the World of Professional Practice Human Suffering in the Arts II: 20th to 21st Century Assessment Accountable to Whom Chair: Brent Dedas, Western Kentucky University Chair: Paul Manoguerra, Georgia Museum of Art Kristy Deetz, University of Wisconsin-Green Bay Hilton DeSoto, 15th floor, Harborview Thomas Brewer, University of Central Florida Hilton DeSoto, first floor, Cumberland Earth Texts Brent Dedas, Western Kentucky University Finally: The 2008 NAEP Restricted Data Arrives. We Have Some Early Analysis. Ute Wachsmann-Linnan, Columbia College Jennifer Stoneking-Stewart, Lander University Escaping the Academic Bubble Karin Tollefson-Hall, James Madison University Does Pain Make Us Stronger? Understanding of Human History through Images of Packed-Up: Absence in a Landscape Paul Karabinis, University of North Florida Building Community in a Pre Service Art Education Program Through Mentoring Pain/Anguish Jennie Goldstein, Stony Brook University THURSDAY Art Survival: Art Majors and Professional Practice Susan J. Slavik, Coastal Carolina University Paul Manoguerra, University of Georgia A Public Display of Inaccessible Goods: Site-Specific Contradiction Yvonne Petkus, Western Kentucky University Replenishing Creativity through the Zen of Journaling “A Scabrous Dwelling”: O. Louis Guglielmi’s Tenements and Depression-Era Housing in Elmgreen and Dragset’s Prada Marfa 11 10 Building the Groundwork for a Sustained Practice Marko Marian, Anoka-Ramsey Bryna Bobick, University of Memphis Caitlin Lennon, Louisiana State University Carlos Antonio Colón, University of South Carolina Beaufort Community College Fast Track to an Art Professional: Making the Most Out of a Native American Art Lesson Plans in School Arts: A Content Analysis One Pain, One Suffering, One Nation: The Unifying Power of Crisis in Post- Landscape x Scale = ∞ : There Is Only One Landscape Two-Year Art Degree Earthquake Haiti With or Without C. Greenberg: Beyond Anglophone Art History Art Historians Interested in Pedagogy and Technology Text and Textiles Chairs: Raffaele Bedarida, The Graduate Center, CUNY; Debra Murphy, University of North Florida (AHPT): Reflections on Where We Are and Where We Are Chairs: Karla Freiheit, Independent Artist; Dixie Webb, Austin Peay Stéphanie Jeanjean, The Graduate Center, CUNY Images of Violence, Suffering and Unrest: Hope McMath’s Responses to the Going with Technology in the Art History Classroom State University Hilton DeSoto, first floor, Ossabaw Universal Declaration of Human Rights Chair: Marjorie Och, University of Mary Washington Hilton DeSoto, first floor, Pulaski Adrian R. Duran, Memphis College of Art Cynthia Thompson, Memphis College of Art SCAD, Jen Library, Room 109 Karla Freiheit, Independent Artist The Same, Only Different: (Greenbergian?) Binarism in Post-War Italy Anguish: Unspeakable Pain in Contemporary Art Fran Altvater, Hillyer College, University of Hartford Slowed Reading: Uses of Text in Contemporary Art Textiles Catherine Dossin, Purdue University Wikis, Podcasts, and Blogs; Oh, My! Technology and Pedagogy in Parallel in the Cynthia Marsh, Austin Peay State University; Jean Brueggenjohann, Without Greenberg: The French Reception of Abstract Expressionism, 1948-1959 Art History Classroom

University of Missouri Session III Davide Lacagnina, Università degli Studi di Siena Janice Robertson, Pratt Institute Quilting the Narratives of a Southern Community A Transatlantic Smash: Joan Miró Between Clement Greenberg (1948) and Juan- Thursday, Nov. 10, 12:30-2:15 p.m. VoiceThread Class Projects Turn Text-Based Teaching Practices On Their Head Tore Terrasi, University of Texas at Arlington Eduardo Cirlot (1949) Saul Zalesch, Louisiana Tech University The Woven Grid: Intersection of Reading within Design and Art Art Education Forum VIII-B: Research, Instruction, and Best Practices Raffaele Bedarida, The Graduate Center, CUNY Ephemerastudies.org and Bringing Original Art Ephemera into the Classroom Chairs: Mary Lou Hightower, University of South Carolina Upstate; Genevieve Hill-Thomas, Indiana University, Bloomington The Politics of Italian Kitsch in the 1960s Artists Among Poets Linda K. Neely, Lander University Woven Words: Marka faso dan fani from Burkina Faso, West Africa Chair: Alison Watkins, Ringling College of Art + Design Riccardo Venturi, George Washington University Hilton DeSoto, second floor, Lafayette Design Education In 5 Minutes Minimalia as a Threat to Modernism. On the Absence of Greenberg in Italian Hilton DeSoto, second floor, Chippewa Larry W. Bunch, Coastal Carolina University Chairs: Troy Abel, Virginia Tech; Ben Hannam, Virginia Tech Post-War Debate Craig Smith, University of Florida Assessment: Methods and Strategies for Pre-Service Teachers of the Visual Arts Hilton DeSoto, first floor, Madison Talking Heads: On the Performative in Walt Whitman’s Leaves of Grass Indigenous Arts of the Americas II-B Jennifer Gonzales, Memphis College of Art Troy Abel, Virginia Tech Beyond Chair: H. Denise Smith, SCAD Atlanta Robert Stalker, Independent Scholar A 6+1 Traits Approach to Developing An Arts Assessment Design Education: An Alternative Methodological Approach to Sketching Hilton DeSoto, second floor, Chippewa Transmissions: Word and Image in Wallace Berman’s Semina Anne C. Grey, University of Central Florida Meaghan Dee, Virginia Tech Travis Nygard, Ripon College; Kaylee Spencer, University of Wisconsin Ryan Van Cleave, Ringling College of Art + Design A Phenomenological Investigation of Collectors and the Art of Collecting Natural Selection: Semantic and Syntactic Qualities of Marks and Letterforms in River Falls; Linnea Wren, Gustavus Adolphus College; Amanda Hankerson, Intersections(s) of Poem & Image Graphic Design Mary Lou Hightower, University of South Carolina Upstate Minneapolis Institute of Arts Alison Watkins, Ringling College of Art + Design Museum Connection: Involvement of Pre-Service Art Teachers Diane Gibbs, University of South Alabama Sculptural Mutilation at Palenque and Tonina: Rethinking the Evidence Leslie Dill: Cloaking and Revealing the Human Soul Analogy Stephen Driver, University of Arkansas at Little Rock; Joe Molinaro, Harrigan McMahon Bowman, Teachers College Columbia University Histories of Art History and Visual Culture as Narratives Eastern Kentucky University The Artist as Educator & the Educator as Artist Rosanne Gibel, Art Institute of Ft. Lauderdale Chair: Jeanne-Marie Musto, Fordham University Evolving Pottery Traditions of the Ecuadorian Amazon Region The Physical and the Virtual: Creating a Balanced Curriculum Paula L. McNeill, Valdosta State University Hilton DeSoto, second floor, Telfair Doing Narrative Inquiry in Art Education: The South Georgia Artists Oral History Project Alexis Gregory, Mississippi State University James Farmer, Virginia Commonwealth University Benjamin Harvey, Mississippi State University The Return of the Master Builder: Haptic Learning in Architecture Mexicanidad in the Ancient Southwest?: Culture Identity and the Chaco Canyon Timarie Fisk, University of Alabama at Birmingham Sermons on Humility: Thoughts on the Literary Content of Roger Fry’s Formalism “Chocolate War” Preparing Artists to Be Teaching Artists Alma Hoffmann, Harrington College of Design Sarah Archino, The Graduate Center, CUNY Presentations vs. Impromptu Diagrams in Design Classes Incorporating Culture: Corporate Patronage of Art and Architecture Doug McAbee, Lander University; Linda Neely, Lander University Examining New York Dada: The Americanness of the Dada Spirit in the United States, Part II Assessment in Foundations: Allies in Wonder-What’s-Going-On Land Mandy Horton, University of Central Oklahoma Chair: Monica Jovanovich Kelley, University of California, San Diego Cindy Persinger, California University of Pennsylvania Rock Stars of Graphic Design History, or the Geology of Rock Stars of Graphic Jepson Center, Neises Auditorium Current Trends in Studio-Based Practices Research On Meyer Schapiro’s Anti-Nationalist Narrative of Art Design Chair: Jason Swift, Plymouth State University Megan Voeller, University of South Florida Elizabeth B. Heuer, University of North Florida Hilton DeSoto, 15th floor, Harborview Deborah Huelsbergen, University of Missouri Imua!: Eugene Savage and the Matson Murals Narrating Ryan Trecartin Using the Strengths of Students to Make Group Projects Work Jason Swift, Plymouth State University Elsewhere Amanda Douberley, University of Texas at Austin Finding Voice Through Autoethnography and Reflective Inquiry in the Studio Practice Jillian Noble, University of Wisconsin-Stevens Point Building the Corporate Image: Abstract Sculpture in the Architecture of SOM Chair: Karen Davies, SCAD Savannah REfocus: The Future of Design Education Jillian Taylor, Florida Atlantic University Hilton DeSoto, second floor, Monterey Adam Arenson, University of Texas at El Paso Drawing Meaning: Recording Detail and Mapping Accumulations Keith Webb, University of Central Oklahoma Privately Sponsored Public History: Howard Ahmanson, Millard Sheets, and the Art Kimble A. Bromley, North Dakota State University Social Networking: The Super Communication Tool of Home Savings Joanna Sperryn-Jones, Norwich University College of the Arts, Hypnosis: A Creativity Enhancement Tool University of the Arts London Ric Wilson, University of Missouri Emma Dent, Washington University in St. Louis Daniel Haxall, Kutztown University of Pennsylvania Breaking as Making: A Methodology for Visual Work Reflected in Writing Integrating the Letterpress Studio and the Graphic Design Curriculum From Sportswear to Hedge Fund: Corporate Patronage and African-American Art Toward a Definition of Wartime Womanhood: Cultural Expectations and Social Eduardo Ortiz, Stephen F. Austin University James Ewald, Texas A&M University-Commerce Roles in Al Parker’s Ladies’ Home Journal Cover Series, 1939-1952 Uncommon Virtue: Studies on Unfamiliar Saints in Art, Part II How the Childhood Stories We Tell, Are the Lives We Live Using Sequential Art to Teach Globalization Chair: Beata Niedzialkowska, Bates College Simone Paterson, Virginia Tech Creativity in Contemporary Middle Eastern Art in the Age of Globalization Stories to Tell: The Narrative Tendency of British Art Hilton DeSoto, second floor, Monterey Where Have All the Geek Girls Gone? Chair: Rihab Kassatly Bagnole, SCAD Savannah Chair: Rebecca B. Trittel, SCAD Savannah Lisa Victoria Ciresi, University South Carolina Beaufort Hilton DeSoto, first floor, Sapelo Pamela W. Toll, University of North Carolina at Wilmington Hilton DeSoto, second floor, Telfair Saint Charlemagne as an Instrument of Propaganda No Boundaries: International Art Colony and Collaborative Projects Margaret Richardson, Independent Scholar Floyd W. Martin, University of Arkansas at Little Rock Carlee A. Bradbury, Radford University Interrogating Culture: The Role of Tradition in Contemporary Middle Eastern Art Sarah Stackhouse, Ramapo College of New Jersey Charles Robert Leslie’s “Le Bourgeois Gentilhomme” (1841) and Other Literary The Iconography of William of Norwich and the Creation of an Hindsight: How Past Design Styles and Technologies Innovate the Present Subjects Uncommon Anti-Semitism Cigdem Slankard, Baldwin Wallace College The Controversial Elements in Contemporary Turkish Art Eclecticism, Appropriation, and Forgery: Issues of Borrowing in Art William C. McKeown, University of Memphis Kristina Keogh, Virginia Commonwealth University Chairs: Betty J. Crouther, University of Mississippi; Christopher W. Loss and Exile in Dante’s Dream: The Dantean Significance of Medieval Sienna in a Postmortem Portraits: The Saint’s Vera Effigie Sara Mameni, University of California, San Diego Luhar-Trice, University of North Florida Painting by Dante Gabriel Rossetti Testing the Traffic: Cars, Oil and Pollution in Contemporary Art from the Middle East Hilton DeSoto, first floor, Pulaski Christa Irwin, The Graduate Center, CUNY Kenyon Holder, Troy University Angelino Medoro and the Only Portrait of Saint Rose of Lima Salwa Aleryani, SCAD Savannah Casey Lynch, SCAD Atlanta The Russian Linesman: Mark Wallinger and the Narrative Intent of Museum Display Debates of Blasphemy in Contemporary Middle Eastern Art: American Quran by “Ctrl+C, Ctrl+V” Cultivating Creativity: The Artist Community Sandow Birk Chair: Elizabeth A. Richards, University of South Alabama Gary Chapman, University of Alabama at Birmingham Hilton DeSoto, first floor, Sapelo Jessica Gerschultz, Emory University The Borrowed Image: Reference Point For A Larger Conversation Art in the Age of Early Authoritarianism: Habib Bourguiba and the École de Tunis Hallie Scott, The Graduate Center, CUNY Kathryn Hall, University of Georgia Floating, Throwing and Making Art: CalArts’ Early Years Re-Born Her Way: From The Fame to Immortal Fame in Lady Gaga’s Performance Art

12 13 Susanne Slavick, Carnegie Mellon University Heather Deyling, SCAD Savannah Christine Neal, SCAD Savannah Brianne Cohen, University of Pittsburgh A Borrower and a Lender Be… Collage as Installation Theo Alice Ruggles Kitson Thomas Hirschhorn: Parodying the Topography of a Swiss “Imagined Community” Christopher Tradowsky, St. Olaf College Visual Resources Curators of SECAC (VRC): Rich Texture: New Drawing Muchness, Part I Jonathan Wallis, Moore College of Art & Design Object Becomes Idiom: Appropriation and Contemporary Sculpture Resources for Teaching and Learning in an Image-Centric World Chair: Raymond Gaddy, University of North Florida They Drew First Blood: Jenny Drumgoole and the Real Women of Philadelphia The Museum As Subject Chairs: Kathe Hicks Albrecht, American University; Christina Updike, Hilton DeSoto, first floor, Pulaski The End of the Global Biennial Exhibition? Past Politics and Chair: Margy Rich, State College of Florida, Manatee-Sarasota James Madison University Dylan Collins, West Virginia University Future Prospects Jepson Center, Neises Auditorium SCAD, Jen Library, Room 301 Reciprocal Dialogue: What I Learned From My Drawing Students Chair: Xandra Eden, University of North Carolina at Greensboro Amy J. Bowman, University of West Florida Robin Miller, SCAD Savannah; Deborah Rouse, SCAD Savannah Jim Toub, Appalachian State University Hilton DeSoto, second floor, Monterey Parallel Universe: The Museum as a Site of Transplantation, Permission and Exchange The Don Bluth Collection of Animation at SCAD: A Collaborative Adventure into the In and Out of the Margins: The Art of the Doodle Liz Donato, The Graduate Center, CUNY Digital Realm Courtney McNeil, Telfair Museums Tommy White, Cleveland Institute of Art Analyzing Complementary Discursive Frameworks in Biennial Exhibitions THURSDAY Reframing a Perceptual Paradigm: One Artist’s Response to a Museum’s History Stephanie Thornton-Grant, Hillwood Estate, Museum and Gardens Combat Drawing Kate Green, University of Texas at Austin and Collection Classroom 2.0: Using Digital Storytelling in the Learning Environment Nazis, Cold War, Globalism: Why Exhibitions Matter Pain and Pleasure: Artistic Responses to the Sublime, Part I Mark Pompelia, Rhode Island School of Design 11 10 Michelle Jubin, The Graduate Center, CUNY Chair: Jenny O. Ramirez, Virginia Military Institute Camila Maroja, Duke University Texture and Materiality: Creating a New Material Resource Center at RISD Whose Radical Practice? Artist-Educators and the Pedagogical Turn Hilton DeSoto, first floor, Sapelo Cannibal Feast: Understanding the 24th São Paulo Biennial Margy Rich, State College of Florida, Manatee-Sarasota Alix Reiskind, Harvard University Carmen McCann, Independent Scholar Rattanamol Singh Johal, Courtauld Institute of Art, University of London In the Space Between Paintings extraMUROS and the 21st Century Image Library ‘A Sensation of the Sublime’ in Eugène Delacroix’s Paintings of Cliffs in Normandy Monopoly Rent, Urban Regeneration, and ‘Disneyfication’ through the Lens of the Liverpool Biennial American Art I: Gardens, Fruit, and Women Reassessing the Role of Display I: Exhibitions and the Making Heidi Powell-Mullins, University of Arkansas at Little Rock Chair: Helen Langa, American University of Art History Oogling: The Myth in Northwest Coast Art—Three Artists’ Stories Pecha Kucha Hilton DeSoto, first floor, Ossabaw Chair: K.C. Williams, Northwest Florida State College Chair: Jason Guynes, University of South Alabama Jepson Center, Neises Auditorium Carol Leake, Loyola University New Orleans Judy Bullington, Belmont University, “The Teeth of Beauty:” The Sublime in the Photographs of Kay Duvernet Hilton DeSoto, first floor, Madison Images of Cultivating the Self and Nature in Early American Painting Andrea Alvarez, Virginia Commonwealth University Julia Alderson, Humboldt State University Contextualizing the Text: New Investigations of the Image via the Word Abstract Expressionism: the Formation of a Complete History What Does “Indian” Architecture Look Like Today? Shana Klein, University of New Mexico Chair: Melissa Geiger, East Stroudsburg University of Pennsylvania Toby Norris, Assumption College The Fruits of Empire: A Study in Nineteenth-Century Still Life Painting Hilton DeSoto, second floor, Chippewa Rene Culler, University of South Alabama Competing Visions: Modern Art at the 1937 Paris World’s Fair Elsie Heung, The Graduate Center, CUNY, Sarah Lippert, University of Michigan-Flint Up Against the Wall Who’s in the Ashcan School? Theresa Bernstein and Her Vision of New York Virginia Gardner Troy, Berry College Scandal and Glory: Girodet’s Epic Poem Le Peintre and the Dramatic Critical Josh Jalbert, SCAD Savannah Textiles on Display 1940-1970: The Museum of Modern Art Kate C. Lemay, Georgia O’Keeffe Museum, Responses of Artists to their Peers at the Salon Notations from Nature Malvina Hoffman, the Mythic Mother of the Fallen, and the Cold War in the Épinal Renaissance Topics I: Italian Masters Julia A. Sienkewicz, Duquesne University Jose Ray, SCAD Savannah American Cemetery Chair: Debra Murphy, University of North Florida Unifying Forms: The Art of Rescuing a Nation TASTE of Savannah Hilton DeSoto, second floor, Lafayette A Beautiful Group of Letters: Typography as Discourse in John Hebble, Virginia Commonwealth University Cynthia Roberts, Endicott College Charity Shae Troy, SCAD Savannah Communication Design and the Visual Arts, Part I The Possibilities of the Camera: Alvin Langdon Coburn’s The Future of Pictorial Life Horizon: Interdisciplinary Intersections Leonardo’s Appropriation and Correction of Michelangelo’s David Chair: Dana Ezzell Gay, Meredith College Photography and the Road to Photographic Abstraction Margarita Skiadas, University of South Alabama Hilton DeSoto, first floor, Madison Liana De Girolami Cheney, University of Massachusetts Christina Glover, Florida State University Kimitrion, The Room of Bones: Greek Burial Rites Lowell Titian’s Bacchanal on Andros: New Observations Lisa Anderson, University of South Carolina Upstate Elevating Textiles to Modern Art: Contextualizing Anni Albers’s Early Pictorial Heather Szatmary, SCAD Savannah A Beautiful Group of Letters: Typography in Communication Design and the Visual Arts Zbynek Smetana, Murray State University Weavings and Essay “Work with Material” Breaking Patterns Michelangelo’s Last Judgment and Beatific Vision Matthew Tullis, Western Kentucky University Landscape and Human Culture, Part I Kim R. Taylor, University of Cincinnati Alternative Typestyles: An Alphabetic Gestalt A Beautiful Group of Letters: Typography as Discourse in Chair: Kelly Wacker, University of Montevallo The Delicious Paintings of Pieter Bruegel the Elder Communication Design and the Visual Arts, Part II Hilton DeSoto, first floor, Cumberland Peter Bain, Mississippi State University Chair: Lisa Anderson, University of South Carolina Upstate Nikki Vahle-Schneider, University of South Alabama Inclined Slope: Twentieth-Century Script Type and Lettering before 1970 in America Catherine Walsh, Boston University/University of Montevallo Everyday Inspirations Hilton DeSoto, first floor, Madison The Transformative Landscape of Giambologna’s Appennino Delana Gabbard, University of Central Oklahoma Dana Ezzell Gay, Meredith College Jose Gamboa, SCAD Savannah Illustrating With Type: A Typographic Exploration of Nursery Rhymes Catherine Page Harris, University of New Mexico Gamboa Sketch Aerobics Typography as Discourse: Message, Meaning, and Making with Letters and Words Art within Landscape, Process, Motion and Change Tim Speaker, Anderson University The Art History Survey in the 21st Century Richard Mack, University of South Carolina Upstate Tera Galanti, California Polytechnic State University Speaking Type: The Typeface Project Chair: Cynthia Kristan-Graham, Auburn University New Grounds in Type Memory, Fear and the Wild Hilton DeSoto, second floor, Telfair Julie Spivey, University of Georgia Give Shana Berger, Coleman Center for the Arts; Nathan Purath, Coleman Center for Cynthia Kristan-Graham, Auburn University Session IV That Type Some Life! (and please hang your punctuation): Typography as the Arts Information and Imagery The Art History Survey: Mainstay or Passé? Thursday, Nov. 10, 2:30-4:15 p.m. Public Projects Brittany Shaw, Florida Atlantic University Heather F. Sharpe, West Chester University of Pennsylvania Illustrated Type: Creative Expression in Today’s Digital Environment Think Globally, Look Locally: Utilizing Regional Architecture in the Art History Survey Revisiting Modernist Architecture Chair: Irene Nero, Southeastern Louisiana University Kevin Cates, University of Arkansas at Little Rock Session V Timothy B. Smith, Birmingham-Southern College Hilton DeSoto, second floor, Monterey I Kern Alone: Advanced Typography Explorations Within Graphic Design Thursday, Nov. 10, 4:30-6 p.m. Queering the Art History Survey Lauren Albie Kaplan, The Graduate Center, CUNY Independent Studies Pain and Pleasure: Artistic Responses to the Sublime, Part II Place Making on the Argentine Pampas: Le Corbusier and Amancio Williams Text: The Art History Assignment Vice Over Virtue: Debating the Morality of Art Chair: Laura M. Amrhein, University of Arkansas at Little Rock Hilton DeSoto, first floor, Sapelo Anastasia Rees, University of Texas at Austin Chair: Alison C. Fleming, Winston-Salem State University Chair: Sarah Lippert, University of Michigan-Flint Locating the Sotsgorod Hilton DeSoto, second floor, Telfair Hilton DeSoto, second floor, Chippewa Laura Hollengreen, Georgia Institute of Technology The Absorptive Sublime in Contemporary Art Matthew Hayes, SCAD eLearning Elizabeth Sutton, University of Northern Iowa Melissa Geiger, East Stroudsburg University Urban Renewal Modernism and the Erasure of 19th Century African-American Hooked on Art History Still in the Closet: Robert Rauschenberg’s Aesthetic Pornography Amelia Ishmael, The School of the Art Institute of Chicago Cityscapes Barnaby Nygren, Loyola University Maryland Gabriela Jasin, SCAD Atlanta Black Metal in the White Tower: The Transcendental American West Christopher W. Luhar-Trice, University of North Florida Learning to Argue: A Writing Exercise in Context Vestals, Virgins, and Virtue: Two Paintings by Jean Raoux and their Prescription for Joshua Rayman, University of South Florida Dixie Square Mall: Retail Modernism in the Midwest Alyson A. Gill, Arkansas State University Women in 18th-Century France Kant on Violence and Sublimity Kristina Olson, West Virginia University CUL8R: A Farewell to the Traditional Art History Course Marie Ladino, University of Maryland American Art III: The Academy Collects, Paintings and Buildings The Mind/Body Split: A Reconsideration of Figuration in Michael Graves’s Elise L. Smith, Millsaps College Goltzius’ Ovidian Fables: Sensuous Images, Virtuous Messages Chair: Pamela H. Simpson (1946-2011 In Memoriam), Washington and Work of the 1980s New Variant of the Museum Essay: Writing a Catalogue Entry Stephanie Bender, Florida State University Lee University Savages in the City: George Grosz, Otto Dix and Rudolf Schlichter’s Constructions Hilton DeSoto, first floor, Ossabaw Collage is / as / of American Art II: Late Nineteenth Century of Urban Indians and Lustmord Chair: Heather Deyling, SCAD Savannah Chair: Betsy Fahlman, Arizona State University Deborah S. Jamieson, Armstrong Atlantic State University Hilton DeSoto, 15th floor, Harborview Hilton DeSoto, first floor, Ossabaw Spoofing Off: Are Parody and Satire Effective Tools for Gari Melchers and the Telfair Academy Julie Jack, Tennessee Wesleyan College Gina M. D’Angelo, Independent Scholar Institutional Critique? Robert M. Craig, Georgia Institute of Technology Way Up High, Way Down Low, and In-Between Stuff Francis Davis Millet: Mural Impresario and Muralist Chair: Guy Jordan, Western Kentucky University Nationality Rooms & the School of Nations Project: The Evolution of an Idea, 1924-65 Hilton DeSoto, 15th floor, Harborview Andrew Ellis Johnson, Carnegie Mellon University Rachel Stephens, Nicholls State University Jeannine Keefer, Binghamton University The Caesarean Urge Investigating the New South via the Tennessee Centennial Exposition Monica Steinberg, The Graduate Center, CUNY A Modern Temple: Nolen & Swinburn’s Transformation of Temple University The Alter Ego as Satirical Act: A Los Angeles Critique Deborah Karpman, University of Montevallo Rhonda Reymond, West Virginia University Collage as Contagion: Toward a Process of Mutation The Immortal Name of the Architect: Richard Morris Hunt’s Ambitions as Eleanor Grix, Armstrong Atlantic State University Ecclesiastical Architect Fred Wilson’s Imprint on the Seattle Art Museum’s Floorplan

14 15 Reassessing the Role of Display II: Exhibitions and the Reception of Art History Chair: Jenny McComas, Indiana University, Bloomington Jepson Center, Neises Auditorium Tomas Enrique Creus, University of California, Los Angeles Early Modernist Art Exhibitions in Brazil and Their Influence 11.11 Jenny McComas, Indiana University, Bloomington Modernism for the Midwest: German Expressionist Exhibitions at the Indiana University Art Museum Natalie Lentz Wall, University of North Carolina at Greensboro THURSDAY Experiencing Art History: How One Art History Course Embraced the Role of Display Renaissance Topics II: Themes of Identity in Renaissance Drawings and Paintings 11 10 Chair: Liana De Girolami Cheney, University of Massachusetts Lowell Hilton DeSoto, second floor, Lafayette Arthur DiFuria, SCAD Savannah The Meaning of Multiple Hands: Artist as Collector in the Berlin Albums Denise M. Budd, Bergen Community College The Provenance of the Unfinished Painting: A Case Study Bradley Cavallo, Temple University The Hands of Proteus: Hendrick Goltzius and the Philadelphia Museum of Art’s FRIDAY Without Ceres and Bacchus, Venus Grows Cold (c. 1599-1602) Landscape and Human Culture, Part II TODAY’S SCHEDULE Chair: Catherine Walsh, Boston University/University of Montevallo Telfair Academy, 121 Barnard Street 6:30 a.m. Members’ Jog Hilton DeSoto, first floor, Cumberland Marina Mangubi, College of Wooster 7 a.m. to 5 p.m. Conference Registration Infinite Landscape Sara Dismukes, Troy University Drive: A Reading of the American Landscape 8-9:45 a.m. SESSION VI Mira Gerard, East Tennessee State University I Dream About Burning 8-9:45 a.m. Mentor Appointments Jon Hunt, Kansas State University; Bambi Yost, Iowa State University Spirit and Place of the People 9 a.m. to 5 p.m. Vendor Area Drawing Muchness, Part II Chair: Stephen Gardner, SCAD Savannah 10-10:30 a.m. State Meet + Greet: GA Hilton DeSoto, first floor, Pulaski Jesse Payne, Virginia Commonwealth University in Qatar Why Drawing? 10-11:30 a.m. SESSION VII Leslie Robison, Flagler College Beyond Observation: Challenging Students Into Contemporary Drawing Practices 10-11:30 a.m. EPCAF Interest Meeting

Heidi Jensen, Ball State University Owens-Thomas House, 124 Abercorn Street Things to Touch 11-11:30 a.m. State Meet + Greet: LA, SC

11:30 a.m. to 1:45 p.m. Awards Luncheon R $; Featured Presentation by Dan Cameron

2-3:45 p.m. SESSION VIII

2-3:45 p.m. Workshop: Idea Visualization R

2:30-3:45 p.m. Walking Tour: City as Texture R

3-3:30 p.m. SECAC 2012 Info Session

3:30-4 p.m. SECAC Review Interest Meeting Jepson Center, 207 West York Street 4-6 p.m. SESSION IX Telfair Museums, founded in 1883 through the bequest of prominent Savannah philanthropist Mary Telfair, is the oldest public art museum in the South. Located in the heart of the city’s vibrant historic district, 5:30-7 p.m. Thames & Hudson Reception it encompasses three architecturally signifi cant buildings: the Telfair Academy and the Owens-Thomas House– two National Historic 7-9 p.m. SCAD Museum Landmark buildings, and the contemporary Jepson Center. of Art Reception and Gallery Hop TELFAIR.ORG / 912.790.8800 including SECAC Fellowship Exhibition

art + history + architecture 9:30 p.m. to midnight Tybee Island Beach Trip R $

16 17 18 “Academic” andOtherPejoratives “Look Ma,NoHands” Jeff Wall’s Little History of Photography Joe Meiser, BucknellUniversity Joshua Hunter Davis, FloridaAtlantic University Jeff Thompson, University ofNebraska-Lincoln Jeff Mickey, Southeastern Louisiana University Joseph Mougel,RinglingCollege ofArtandDesign Art andPilgrimageintheMiddleAges The DuchampEffect: Readymade Art Education A. Keown, Southeastern Louisiana University Art andTechnology: ChangingParadigms At Ease:The ShapingAesthetic ofOurMilitaryVeterans A HouseDivided:Examining theConflict Between Sensory Aesthetics A BriefHistory of Touch intheReception of Medieval Sculpture A View from theTop: Royal PilgrimageandSacred Journeying inLouise of Savoy’s Art at theEndof Times: Capitalism, Marxism, andContemporary Art An Unsettling Backdrop: The Contemporary Art World inZimbabwe Ambivalence andAmbiguity inContemporary Art -IsitAbout OurTimes, andUsToo? Accessible Technology andShiftingExhibition Paradigms At Peace Teri Frame, AlbertaCollege ofArt andDesign Tessa Garton, College ofCharleston Andrew F. Scott, SCAD Savannah Aaron Olson,SCAD Savannah of Northern Spain Vie delaMagdalene G-Code: Digital Explorations in Sculpture (Under)mining Los Angeles: Contemporary Responses to theCity Friday, Nov. 11, 8-9:45a.m. Combining Digital Technology andTraditional Practice Citizen Artists-Military Art JournalProject Sculptural Investigations of Plato andtheHumanCondition Chair: Amy S.Broderick, FloridaAtlantic University Chair: Rebecca Turner, SCADSavannah Chair: Preston Thayer, New Mexico State University Contemporary ArtOpenSession Chairs: BelindaHaikes, West Chester University ofPennsylvania; Gary Chair: Christopher Olszewski, SCADSavannah and Concept-Driven Cultural Practice Chair: BrianCurtis,University ofMiami Chad Airhart,Carson Newman College Performing aProtean Identity Fearful Symmetries: Painting Monstrous Bodies Pilgrimage andReconquista; Christian andIslamicimageryintheRomanesque Art Return of theExecutable: ACritiqueof Critical Code Data, Poetics, andSupercomputers Hi, IamaMarine:Student to Professor from thePerspective of aVeteran Beauty Revived: ADefense for Teaching Sensory Aesthetics intheAmerican University Shannon Egan, Gettysburg College S/N Coalition (Jennida ChaseandHassan Pitts), Virginia Commonwealth University Hilton DeSoto, first floor, Sapelo Practice andResearch: Work by Emerging Educators, Part I Hilton DeSoto, second floor, Lafayette Hilton DeSoto, 15thfloor, Harborview Hilton DeSoto, first floor, Cumberland Hilton DeSoto, first floor, Pulaski Hilton DeSoto, first floor, Madison Peter Scott Brown, University ofNorthFlorida Barbara J. Johnston, Columbus State University Barbara Yontz ,St. Thomas Aquinas College Evan D. Williams, New York University Maria Margarita Malagón-Kurka, SCAD eLearning /Universidad NacionaldeColombia Rachel Federman, New York University Norberto Gomez, Virginia Commonwealth University Katherine RhodesFields,University ofMississippi Franklin Einspruch,Independent Artist Peter Kaniaris, Anderson University Michael Aurbach, Vanderbilt University Session VI

“The very remote andtriflinginfluence ofthe existing war.upon American art”: Jason Frazier, SCAD Savannah Jennifer D. Anderson, Hollins University The Architecture of Peter Harrison: Two-Dimensional Translation Text andAntiquity intheWork of BerylKorot andNancy Spero The ‘Lost Cause’—A Confederate Point of View: JohnAdams ElderandThe Battle Telegraphing Absence, Distance, andDeath: Winslow CivilWar Homer’s Pictures The BodyasaTool of Power A Real-World Project inSustainable Design Artistic andCritical Responses to theCivilWar inthe1860s The Intersection ofSelfandIdentityinPrintmaking Tobin W. Keller, Cabrillo College Aaron Wilcox, University ofNorthCarolina at Wilmington Asma Naeem,Independent Scholar of theCrater (SESAH): Drawing andDesignMethodinArchitecture When IsItWorth It? Friday, Nov. 11, 10-11:30a.m. Chair: Rod Northcutt,MiamiUniversity Chair: David Gobel,SCAD Savannah Chair: Kathleen Wentrack, Queensborough Community College, CUNY Chair: Akela Reason, University ofGeorgia Chair: Barbaranne Liakos, Smithsonian AmericanArtMuseum Chair: Jennifer D. Anderson,HollinsUniversity Grace E.Zuniga, University ofGeorgia Infinitely Recyclable, ButBe Careful Southeast Chapter oftheSocietyArchitectural Historians Image andProcess: SixDecades of MenandOtherPortraits Repurposing: Recycling aGoodIdea How DoesItFit? Drawing Architecture andMusicinContemporary Rome: How to BeanAcademic Tourist Hejduk’s Icon(s): Mediating Habitation Through Drawn Construct Marina Abramovic andShirinNeshat: Talking through Text andTelling through Others Berni Searle Profiling Identity: The Language of Body Arts asaMnemonicDevice inthe Work of Diary orPornography? The Works of SusanHarbagePage andJenny Holzer Hannah Wilke’s Performative Text Hanging intheSwiss Embassy inWashington, D.C.) Painting theAmerican Sonderbundskreig (or Why isRobert E.Lee’s Portrait Southern Graphics Council International (SGCI):Textualized Body: Susannah Darrow, Georgia State University Sara Moriarty, Virginia Commonwealth University Propaganda, News, orHistory? The CivilWar andtheAmerican Cartoon External Form andInternal State Printing theBodyandits Interior: From Dissection to Self Reflection Shelley Gipson,Arkansas State University University ofFlorida/Iowa State University Indra K.Lacis,Case Western Reserve University Hilton DeSoto, second floor, Telfair Hilton DeSoto, second floor, Monterey Hilton DeSoto, second floor, Chippewa More thanSkinDeep:BodyandText inFeminist Art Hilton DeSoto, first floor, Ossabaw Revisiting theCivilWar, Part I Hiltonn DeSoto, first floor, Ossabaw Revisiting theCivilWar, Part II Hilton DeSoto, second floor, Chippewa Eve Faulkes, West Virginia University Rod Northcutt, Miami University Mikesch Muecke, Iowa State University; MiriamZach, Michael Kleeman,ArtInstitute ofAtlanta Robin H.Prater, Georgia Institute ofTechnology Karen Stock, Winthrop University MetropolitanDeanne Pytlinski, State College ofDenver Marissa Vigneault, University ofNebraska-Lincoln Barbaranne Liakos, SmithsonianAmericanArtMuseum Evie Terrono, Randolph-Macon College Marie-Stephanie Delamaire, Columbia University Session VII

“The SubjectSpeaks?” Reading into thePhotograph ‘Lately Arrived inthisCity’: The Migration of Folk Painters to theAmerican South The Endof Innocence: The Effects of theCivil War onChildren inthe Paintings of Thomas Kinkade, theAnti-Hirst The Alternative Narrative: The Tension Between Art andMoney Techno-Activism andInverse Biotelemetry Art andArchitecture ontheMediterranean Rim1300-1600 Arsenal Monument A MemoryForgotten: Representation Public of Women andtheWashington, D.C. Art Markets and Visual Culture Altarpiece of theSpanishMerchant Gonzalo López dePolanco Traditional Folk andSelf-Taught Art The BigMoney ofContemporary Game Art Al Denyer, University ofUtah;ErikBrunvand, University ofUtah

Writing/Drawing/Making/Moving: The Case for Gesture intheVerbi-Visual Friday, Nov. 11, 2-3:45p.m. Constructed Memories:Creating “The Traditional” inAguilar Ceramics Creative Process Cyprus Opulentissima: The Gothic Style of Byzantine Orthodox Churches Sculpting theCitizen Soldier: Reproduction, National Memory, andtheCivilWar Slouching Towards Sotheby’s: DamienHirst’s Apocalyptic Drift Chairs: BethSaunders,The Graduate Center, CUNY; Janna Chair: EricLandes,FloridaAtlantic University Chair: CherylRivers, IndependentScholar Chairs: SusanFalls, SCADSavannah; CapriRosenberg, SCADSavannah Chairs: Kathleen G.Arthur, JamesMadisonUniversity; Sara N.James, Chairs: Kristie Bruzenak, SCADSavannah; Matthew Kolodziej, Claudine deWith, Erasmus University Rotterdam Chris Barr, West Virginia University Georgina E.Gajewski, University ofNorth Carolina at ChapelHill Capri Rosenberg, SCAD Savannah Charles Anthony Stewart, University ofSt. Thomas-Houston Wayne Madsen,Independent Artist Ut Pictura Scientia: The Studio Lab Imitating theItalians: The Impact of Florentine Funerary Practices ontheFunerary Schoenberger, The Graduate Center, CUNY Stoking Hephaestus’ Fire: LinkingArtandScience Message Received: Text onReal-Photo Postcards 1900-1930 Eastman Johnson Painter Tradition Marion Forgey Line(1919-1999): HeirApparent to Grandma Moses andtheMemory PLAYNTINGS: The Synthesis Participatory MediaWorks: Intervention, Play, andTemporary Communities Florence ontheRhoneRiver: Philibertdel’Orme andtheFuorusciti Community inLyon Printmaking onaMicro Scale: An Art andScience Collaboration Leveraging Experience Public inaScientistic Approach to theArts Sarah Beetham, University ofDelaware Susan Falls, SCAD Savannah Shona Macdonald, University ofMassachusetts Amherst University ofAkron Hilton DeSoto, 15thfloor, Harborview Hilton DeSoto, 15thfloor, Harborview Hilton DeSoto, first floor, Sapelo Practice andResearch: Work by Emerging Educators, Part II Hilton DeSoto, second floor, Lafayette Hilton DeSoto, second floor, Monterey Mary BaldwinCollege Hilton DeSoto, first floor, Cumberland Rachel Snow, University ofSouthCarolina Upstate Melissa Sheets, University ofNebraska-Lincoln Elizabeth A.Richards, University ofSouthAlabama Mya Dosch,The Graduate Center, CUNY K. JohnsonBowles, Longwood University Kevin Kornegay, Duke University Kristin Carlson, Independent Scholar Lily Kuonen, Jacksonville University Matt Kenyon, University ofMichigan Laurent Odde, Kutztown University ofPennsylvania Emily Kelley, Saginaw Valley State University Session VIII

Jessica L.Smith,University ofWest Alabama John Lowe, SCAD Savannah The DandyVictorian: Yinka Shonibare, Disability, andPassing The Photograph asFantasy: The Practices of Nineteenth Century IndianBazaar The World of MalamZabeyrou: Koranic Boards andRelated Works The Treasure of Ulysses Davis An Autoimmune Aesthetic Town andGown: OurCommunities andOurArtPrograms The African-American Presence at Academic ArtConferences Amanda Cachia, California College oftheArts Alice R.Burmeister, Winthrop University Yoshie Kunita, J. Paul Getty Museum/Technische Universität Berlin Yonsenia White, DurhamTechnical Community College German Weimar Period, “BerlininBildern” (BerlininPictures) Visualizing Disability Why Are All of theAfro-American Artist-Types Sitting Together? What Bothers MeAbout Buildings Crafting Community Civic Engagement: ASurfeit of Opportunity Claus Oldenburg’s “expansion of painting…” States, 1920-1955 Service Learning intheArts: Reciprocity of Community Collaborations Chair: Craig Drennen, Georgia State University/Skowhegan Chair: DonaldVan Horn,MarshallUniversity Chair: Corinna Brewer, University ofCalifornia, Berkeley Chair: Ann Millett-Gallant, UniversityChair: AnnMillett-Gallant, ofNorthCarolina at Greensboro Chairs: Carol Crown, University ofMemphis;Lee Kogan, American Contemporary Folk, Self-Taught, andOutsiderArt Crawford Alexander MannIII,Chrysler Museum Wendy White, Independent Artist IMAGING LAZARUS: The UndeadinContemporary Painting School ofPainting andSculpture Picturing Blindness in1850s America: Leutze’s Milton andRogers’s Nydia Breaking theVenetian Glass Ceiling Photography Perception of UrbanImageThrough Photobooks withanExample from the Pioneering Cliché:Nickolas Muray andCommercial Photography intheUnited Reshaping theParadigm: Art, Community, andEconomic Development Not Enough) For Colored Girls:BlackWomen Who Leave Academia (When theIvory Tower is Black Market: Prominent African-Americans andthePlace intheArt World MISSING: African-American Art Academics Painting History—Sam Doyle’s “St. HelenaOutDoorGallery” Museum’s Permanent Collection Paintings andSculpture by Sam Doyle (1906-1985) intheAmerican Folk Art Painting’s SlipperySociability Susan Mitchell Crawley, HighMuseumofArt Steve Locke, Massachusetts College ofArt Painting inthe Collapsed Field Hilton DeSoto, first floor, Sapelo Hilton DeSoto, first floor, Pulaski Hilton DeSoto, second floor, Monterey Hilton DeSoto, second floor, Lafayette Folk ArtMuseum Hilton DeSoto, first floor, Cumberland Meredith Kooi, EmoryUniversity Elizabeth Howie, Coastal Carolina University Mira Lynn Rai,University ofCalifornia, Barbara Santa Emily Ackerman, The Graduate Center, CUNY Byron Clercx, Marshall University Bridgette McCullough Alexander, Independent Scholar Rodrecas Davis, Grambling State University Breuna Baine, Auburn University Montgomery Marilyn Lake McElwain, University ofIndianapolis Efram Burk,Curry College Lee Kogan, AmericanFolk ArtMuseum Katherine Smith,Agnes Scott College David Humphrey, Yale University

FRIDAY 19 11 11 20 Jenny K.Hager-Vickery, University ofNorthFlorida Judith Rushin,FloridaState University Julia Morrisroe, University ofFlorida Jerry RJohnson,Troy University The Literate Landscape The Case for aPedagogy of Slippage Think Wrong: Ideational Strategies of Project M ACT Out:Performance, Politics andPublicArt A Visual Study of Appropriate Scale intheLandscapes of Iceland andGreenland All Ideas Are NOT Created Equal The Virtual andtheActual: Painting asPractice andPedagogy inthe Tammy L.Evans, Winston-Salem State University Tara Burk,The Graduate Center, CUNY Valuing theProcess: Teaching Research andIdeation Strategies to First Year Students Gonzalez-Torres Wind Weaver andtheWhirling Wheel -Interdisciplinary Studio What’s Touch Got To DoWith It Friday, Nov. 11, 4-6p.m. Comics intheCurriculum: Educational Experience of Visual Narrative Commemoration of Thomas Cole City, 1991-1994 Semantic ChaininDesign Chairs: Anthony Fisher, SCADSavannah; Jenny K. Hager-Vickery, Chair: AlanWallach, College ofWilliam andMary Chair: Karen Shelby, BaruchCollege, CUNY Chair: Thomas Berding, MichiganState University Chairs: JerryRJohnson,Troy University; Marcela Iannini,Miami Christopher Oliver, University ofVirginia Gillian Sneed,The Graduate Center, CUNY Individual History Projects inAuthentic Interdisciplinary Learning: What Instructors Ideal Landscapes inaCity of Humbug:The Great Pictures andPopular Amusement Ideation Communities Strategies for Cultivating andHarvesting Ideas Fine Arts andtheSchool of HealthSciences Reviving “a livingimageof thy native land”:William Cullen Bryant’s Lesbian ChicMyAss: Fierce Pussy andthePolitics of QueerVisibility inNew York Eugene Benson andtheSubjectivist Turn inAmerican Landscape Painting Performance Art of Sharon Hayes Manifestations of Queer:QueerTemporality, Desire, andDisidentification inthe From theEphemeral to theConcrete: Moving infrom theMargins Politics of Loss andthePossibility of Renewal: The Ephemeral Work of Felix Point andReach: The Velocity of theKnown Dry onWet: Continuity andDisplacement inPainting Technology Sarah Dennis,University ofIllinois Sarah HermesGriesbach,Washington University inSt. Louis in HigherEducation Can Learn from theSecondary Social Studies Classroom International University ofArt&Design University ofNorthFlorida Hilton DeSoto, second floor, Telfair Project Share: Interdisciplinary Models Hilton DeSoto, first floor, Ossabaw Rethinking theHudsonRiver School,Part I Hilton DeSoto, second floor, Chippewa Hilton DeSoto, first floor, Cumberland Digital Age Hilton DeSoto, first floor, Madison Rollins College Lee Lines,Rollins College; MoriahRusso, Rollins College; RachelSimmons, Laura Victore, Savannah-Chatham County PublicSchoolSystem David Duncan,SCAD Savannah; Anthony Fisher, SCAD Savannah; Kenneth Myers, Detroit Institute ofArt Roberta Katz, DePaul University Karen Shelby, College, Baruch CUNY Dmitry Komis, Independent Scholar Rob Kolomyski Inver HillsCommunity College Matthew Kolodziej, University ofAkron Louis Baker, SCAD Savannah Ronda Mariani,SchillerInternational University Ricardo Navarro, MiamiInternational University ofArt&Design Maureen SCAD Savannah Garvin, Session IX Jane Brown, University ofArkansas at Little Rock Jason Guynes,University ofSouthAlabama Jenny K.Hager-Vickery, University ofNorthFlorida The FishMotif inThe Bookof Kells Trends inLay Devotion asImagedinBritishLibrary MSArundel 157 A Shared Heritage inBoth ‘East’ and‘West’: The Use of theClassical Tradition in Aesthetic Alienation A Visual Study of Appropriate Scale intheLandscapes of Iceland andGreenland The Dressed HeadinArtandPractice Teresa Bramlette Reeves, Kennesaw State University Tammy L.Evans, Winston-Salem State University Andrianna Campbell, The Graduate Center, CUNY Arnaud Gerspacher, The Graduate Center, CUNY Vincenzo Agnetti andtheItalian Response to Consumer Society: “Zeroing” as Grace Notes: Artur Żmijewski’s SingingLessons Work intheSystem: Fitting Creative Activities into theAcademic Mold Wind Weaver andtheWhirling Wheel -Interdisciplinary Studio Vicky A.Clark,ClarionUniversity ofPennsylvania Claude Viallat andMarcelin Pleynet: Thinking About Painting asaSystem andSite Creative Culture inaResearch University Comics intheCurriculum: Educational Experience of Visual Narrative Social Theory/Social Practice: The Sociological Art Collective in1970s France Strange Loops: AThirty-Year Investigation Chairs: Jessica Stephenson, EmoryUniversity/Kennesaw State Chair: Stephen M.Wagner, SCADSavannah Chairs: Catherine Dossin, Purdue University; Victoria H.F. Scott, Chair: Anthony Fisher, SCADSavannah; Jenny K. Hager-Vickery, Chair: Reni Gower, Virginia Commonwealth University Carrie Anderson, Boston University Courtney Bufford, University ofArkansas at Little Rock Iconography asCartography: HeadOrnament andtheEarly ModernPeripatetic Artist Islamic Art Individual History Projects inAuthentic Interdisciplinary Learning: What Instructors Intrinsic Structured Methodologies inCreative Processes Sustained Research by Experienced Educators Flung Far Ashore: Saint Dominguans Abroad Hairstyles, HeadAdornments, andColonial Identity inDutch Brazil From Devil Hornsto Butterfly Wings: The Late Medieval Headdress Personifications of Humilitas andSuperbiain Carolingian and Romanesque Manuscripts Revolution of Everyday Life Dépassement del’art, Réalisation delaPhilosophie: GuyDebord andthe Déjà Vu All Over Again Multiple Hats, MultipleSpaces Fine Arts andtheSchool of HealthSciences Savannah-Chatham County PublicSchoolSystem Sarah HermesGriesbach,Washington University inSt. Louis in HigherEducation Can Learn from theSecondary Social Studies Classroom University; JohnStephenson, AppalachianState University University ofNorthFlorida Hilton DeSoto, second floor, Monterey Hilton DeSoto, second floor, Lafayette Medieval Art Hilton DeSoto, first floor, Pulaski Emory University European ArtandPhilosophy since 1945 Hilton DeSoto, second floor, Telfair Project Share: Interdisciplinary Models,continued Hilton DeSoto, first floor, Sapelo Michelle Moseley-Christian, Virginia Tech Laura RinaldiDufresne, Winthrop University Kristen Seaman,Kennesaw State University Elizabeth Bailey, Wesleyan College Ruth Erickson,University ofPennsylvania/Centre Georges Pompidou Laura Moure Cecchini, Duke University Rosemary O’Neill,Parsons The New School for Design Emmanuel Guy, Université Paris 13&10/Bibliothèque Nationale deFrance Patrick FitzGerald, NorthCarolina State University Marcela Iannini,ArtInstitute ofTampa Reni Gower, Virginia Commonwealth University Rollins College Lee Lines,Rollins College; MoriahRusso, Rollins College; RachelSimmons, David Duncan,SCAD Savannah; Anthony Fisher, SCAD Savannah; Laura Victore,

Jessica Stephenson, EmoryUniversity/Kennesaw State University Julie Gilbert,Stony Brook University Julie Levin Caro, Warren Wilson College The UnderminedSublimeof Louis Prang’s Yellowstone National Park The American Art-Union, theHudson River School, andtheDisplacement of Labor Thomas Cole, Architect: Artistic Self-Fashioning andtheLandscape of Cedar Grove The Painted Digital Image Analogous Yet Asynchronous: DigitalImagingandPhotography Annie Ronan, Stanford University of Wisconsin-Sheboygan What’s New isOldAgain Styling Korean Society: The Social Construction of Female Hairstyles inthe Chairs: M.Kathryn Shields,Guilford College; SamWatson, University Chair: Kenneth Myers, Detroit Institute ofArt Chair: LizMurphy Thomas, Lincoln MemorialUniversity Grant Hamming,Stanford University Institutionalizing theArtist’s View: The Viewshed of Frederic Edwin Church andOlana Seeing isBelieving: ArtOutsidetheClassroom Field Trippin’ From Hairto Hat: ChangingFashions inZulu Women’s HeadAdornment Paintings of ShinYoon Bok Heade’s Orchids, Church’s Opera Glasses andtheTrouble withDetail Brain Drawings: Science, Technology andPhotography intheStudio Pixel Chiaroscuro: The Advancements andEnhancements Of The Analog Image Scott Turri, University ofPittsburgh Sarah Arkins,SCAD Savannah in Antebellum America Hilton DeSoto, second floor, Chippewa Hilton DeSoto, first floor, Ossabaw Rethinking theHudsonRiver School,Part II Hilton DeSoto, 15thfloor, Harborview Lou Haney, University ofMississippi Leslie K.Brown, Boston University Katie Steiner, The Frick Collection Brooke White, University ofMississippi Ronald Beverly, Howard University Jamie Higgs,MarianUniversity Alexa Hade, SCAD Savannah Object/Scholar: Art History asService Learning From Rembrandt to Versailles: EngagingStudents intheArt of Amsterdam andParis Mapping Rome: Getting Lost ontheGrand Tour Marian University Study Abroad: UsingThe ‘Power’ of Place Being Your OwnTeacher: MyExperience inNew York City Kevin Concannon, Virginia Tech Elissa Auerbach, Georgia College &State University Raymond Gaddy, University ofNorthFlorida FRIDAY 21 11 11 Your Complete Resource for Professional Grade Encaustics and Pigment Sticks®

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9-10:45 a.m. SESSION X AN IMAGE LIBRARY FOR THE ARTS AND SCIENCES 9-10:45 a.m. Panel: Art of Education 
   

 
  
   
  



 



 

 



 
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   24 Jane A.Dorn,Anderson University Jamey Grimes,University ofAlabama James Rodger Alexander, University ofAlabamaat Birmingham The Periferic Gaze To Look andto Want to BeLooked At: The Gaze asCultural Myth The Markof HerMarks: Laurel Nakadate’s Lucky Tigers This panelisdedicated to thememoryof Pamela Simpson. Association for Textual ScholarshipinArtHistory (ATSAH): Bow Wow Ancient ArtandArchitecture A Knife intheEar: Sound DesignintheFilmsof Roman Polanski A Question of Character: Alexandros theHerdsman andParis, Prince of Troy The ArtofEducation: APanel Discussion withtheSECAC 2010 Tina Waldeier Bizzarro, Rosemont College Amy EmoryUniversity Gansell, Ann-Marie Knoblauch,Virginia Tech Young InChung,Swarthmore College Vote Women andtheWorship of Dionysos inAncient Greece On theRoad Again: Todd Webb’s Walk Across America Orientalizing Period (8th–7thCentury BCE) Of DogsandSaints Of HarryingHoundsandSacred Stags Virginia M.DaCosta, West Chester University ofPennsylvania Clarity andChaosinSite-specific Installation South of Tarnation Superstition andSorcery: The Persecution of BlackCats inLiterature andArt Chair: Anthony J. Morris,Mississippi State University Chair: BethStewart, Mercer University Chair: CharlesClary, MiddleTennessee State University Chairs: HollyMarkovitz Goldstein, SCADSavannah; LisaJaye Young, Get OutoftheCar:Photography andtheLocal Chair: Barbara J. Watts, FloridaInternational University & Meow: CaninesandFelines inArtandLiterature Casey McGuire, University ofWest Georgia William R.Levin, Centre College Uncomfortable Bodies SCAD Savannah Reconfiguration of Spectatorship inInstallation Video Art and Yoko Ono’s ‘Rape’ Photorealism’s Local Lens: Robert Bechtle andtheSanFrancisco Bay Area Near Eastern Ivory Sculptures of Women inSacred Greek Contexts duringthe Herakles andSisyphus at theGates of Hell:Advertising Salvation inLate Archaic Athens Please Don’t Touch theArt Work: Pitfalls of Interactive Installation Is theGaze [Still] Male?: A21st Century Inquiryinto theDynamicsof Installation: Transformative Explorations Hilton DeSoto, first floor, Pulaski Hilton DeSoto, 15thfloor:Harborview Hilton DeSoto, first floor, Sapelo Hilton DeSoto, first floor, Cumberland Hilton DeSoto, first floor, Madison Moderator: BenjaminHarvey, Mississippi State University Excellence inTeaching Award Winners Hilton DeSoto, second floor, Lafayette the Subject/Object inPopular Culture, Part I David Stone, SCAD Savannah Natalie Musteata, The Graduate Center, CUNY Matt Terrell, SCAD Atlanta Erin Hyde Nolan,Boston University Michael Mergen, Longwood University Bridget Gilman,University ofMichigan David Cole Duncan,The Graduate Center, CUNY Kara K.Burns,University ofSouthAlabama Rachel Golden,University ofArkansas at Little Rock Herb Rieth, Pellissippi State Community College Mary Stewart, FloridaState University Maureen Pelta, Moore College ofArt&Design Session X Saturday, Nov. 12, 9-10:45a.m. Judith Kruger, SCAD Savannah The DivineShepherdess intheAndes: Syncretism intheNew World The Moral Lesson Learnt by Two Dutch Men The Medieval Transi Tomb: An Anthropological Perspective The Topical Science of Art The Four Horsemen of theApocalypse The Gofun Project The Transformation of Form inSpace Translating Gestural Foot Movement into Non-Mimetic Action Painting Analog Darkroom Ambiguity andIndeterminacy inGraphic Design Travis Kniffin, TempleUniversity Thomas Stanton, MemphisBrooks MuseumofArt Allison McLarty, University ofNorthFlorida Amy Fix,Georgia SouthernUniversity Zachary McFarlen, SCAD Savannah Vision andVoice of theCaribbean: Expressing Identity inArt Virginia Rougon Chavis, University ofMississippi Vivien Green Fryd, Vanderbilt University Skin Deep: The Elusive Aphrodite Chair: Evie Terrono, Randolph-Macon College Chair: Evan ElonUniversity Gatti, Chairs: AnnFord, Virginia State University; Joey Hannaford, Graphic Design Chair: Scott Betz,Winston-Salem State University Chairs: DeannaKamal, University ofGeorgia; SherrySaunders, Graduate Student Poster Session (The poster session beginsat 11a.m.andconcludes at 4p.m.) Using Student Freelance Experiences to Strengthen aDesignCurriculum 10 Bulletsfor ArtStudents SCAD Savannah Rembrandt andtheFace of Convention Digital Shift:From Letterpress to Digital Publishing Embracing theBoundariesBetween Traditional Processes andDigital Design Kara Walker’s About theTitle: Reenacting theTrauma of Colonialism andSlavery Excavating Africa intheWork of Lois MailouJonesfrom the1920s to the1940s Discarded Monuments: Past Outlooks Enshrined Eagle ontheMountain: Freedom andFlight inAfrican American Quilts Let UsSee What Develops: AVideo Introduction to theBlackandWhite How Many Times Have We Heard, “ICan’t Draw AStraight Line”? Discussions Art of Public Richard Serra’s Classic Liberal Concerns: Deliberative Utilitarianism andModern Kinetic Typography andtheNarrative Scott Fisk,Samford University Sherry Saunders, SCADSherry Saunders, Savannah Interrogating thePast: Race MemoryandAmericanIdentities Undergraduate Research inArtHistory, Part I University ofWest Georgia Hilton DeSoto, first floor, Ossabaw Hilton DeSoto, second floor, Monterey Hilton DeSoto, second floor, Chippewa Looking Forward While Staying Connected: RapidChangesin Hilton DeSoto, first floor, Sapelo Hilton DeSoto, second floor, Telfair Marie Lou Glackin,Cornell College Katie Smith,Wofford College Ben Hannam,Virginia Tech David CharlesChioffi,Memphis CollegeofArt Rebecca Elizabeth Keegan, Duke University Mary Shurtz,UtahValley University Mark Geil,JacksonState University Deborah Carlson, Lake Region State College Barbara Stubbs, DartmouthCollege/University ofTampa Marc Russo, NorthCarolina State University Erin Clare McNeil,SCAD Savannah Deanna Kamal, University ofGeorgia Bryce A.Hammond,University ofCentral Florida Session XI Saturday, Nov. 12, 11a.m. to12:30p.m. “She’s always wanting to Sadism,Masochism, andtheMaleGaze behit”: in Jenny Kuhla, SCAD Savannah Janet Seiz,NorthCarolina A&TState University; Robert Elliott, Independent Scholar Jae Turner, EmoryUniversity The Forest andtheTrees: Integrating Text andImage The Discursive Space inMistranslation: Cai Guo-Qiangandthe2010 Shanghai The Razor’s Edge: Teaching to theDrop Down MenuGeneration Ten Bullets for Figure Drawing Allison Moore, University ofSouthFlorida American Women Artists andModernity:1930s and1940s Art’s Portrait of aYouth Crowned withFlowers, Attributed to Boltraffio Art Activism andIntervention Text Me:Text inContemporary Art Adrienne Outlaw, Independent Artist/Nashville Cultural ArtsProject Anila Quyyum Agha, IndianaUniversity at Indianapolis Anthony J. Morris,Mississippi State University and Walter Benjamin Violet Oakley andthe‘Moderns’ and Lacey Getting What We Want: How Feeds The andSatisfies Bachelor OurShamefulNeeds of theSubject/Object inPopular Culture, Part II World Expo Women’s Work andtheSculptural Legacy of Minimalism Open andClosed: Bellini’s Organ Shutters andtheNunsat Santa MariadeiMiracoli Vesna Pavlović, Vanderbilt University, Conversations: Sculpture Sontag’s Stencil Sculpture andSocial Engagement Chairs: KrisBelden-Adams, MinneapolisCollege ofArtandDesign; Chair: RiaO’Foghludha, Whittier College Circa 1500:Studies inItalianPainting Chair: Paula Wisotzki, Loyola University Chicago Chair: Vesna Pavlović, Vanderbilt University Conversations: Sculpture Chair: Christopher Williams, SCADSavannah Chair: Stephanie Batcos, SCADAtlanta Christina Weyl, Rutgers University Osayi Endolyn,SCAD Atlanta Wendy DesChene, Auburn University Chad Alligood,The Graduate Center, CUNY In/As Books History Seen Through Photographs, Darkly: Political Narratives inSusan Sontag How DoPhotobooks Regard thePain of Others? Sontag’s Voice onPhotographs Leonardo’s Botanical Drawings ShedNew Light ontheNorthCarolina Museum of Meditations onMortality: Fra Bartolomeo’s Last Judgment for theCloister of theBones Experimentation andVariation inLouise Nevelson’s Early Atelier 17Etchings Mary E.Hutchinson: QueeringKitsch inPen andInk Reconsidering theInfluences onIrene Rice Pereira’s Geometrically Abstract Paintings My Forked Tongue Playing Detective: YouTube, theInteractive Audience, andtheQueeringof Cagney Mildred Pierce Documenting theGaze: OneSpencer Tunick Model’s Experience Sharon Suchma,The Graduate Center, CUNY Scott Betz, Winston-Salem State University Is theGaze [Still] Male?: A21st-Century Inquiryinto theDynamics Hilton DeSoto, 15thfloor, Harborview Reassessing SusanSontag’s Contributions to Photography Theory Hilton DeSoto, second floor, Lafayette Hilton DeSoto, first floor, Ossabaw Hilton DeSoto, first floor, Cumberland Hilton DeSoto, second floor, Chippewa Hilton DeSoto, first floor, Pulaski Kristen Oehlrich,Brown University Elizabeth McMahonNabi,University ofVirginia Beth A.Mulvaney, Meredith College Herbert R.Hartel, Jr., JohnJay College, CUNY Leila Bailey Van Hook,Virginia Tech Nevin Mercede, Independent Artist Paul Pak-Hing Lee, University ofTennessee Deborah Seddon,RhodesUniversity Mary Timothy Wilson, Louisiana State University Rich Gere, SCAD Atlanta

Jessica Wohl, Sewanee: The University oftheSouth Teaching Catholic Liturgy andIconography inImagesof theSacrifice of Isaacand The Art of Cross-Listing: Communicative Benefits of Teaching Graphic The Seventeenth-Century SpanishArt Survey: Catholic Art inContext The Hospitable Earth: HumansasanExpression of Nature inthePastoral Imagery Artistic Collaboration andAcademia Adream Blair, University ofWisconsin-Milwaukee Anna E.Piperato, HighPoint University Abigail Upshaw, University ofGeorgia Amanda Schwartz, OldDominionUniversity of SamuelPalmer Valuing Collaboration Getting to know you, Projects inIntroductions andCollaborations Open Wounds: Teaching Christian Art to theSensitive, thePious,and“Ineed Captioning theImage:The Significance of Text in You Have Seen Their Faces Southern Gothic Seeing Without BeingSeen: Why SusanSontag HasBeenOverlooked Strike aPose: Thoughts onJessie MannandtheGrande Odalisque asModel the Crucifixion this for my GenEd requirement” Students Chair: Stacy Isenbarger, University ofIdaho Chairs: Peggy Blood,Savannah State University; Rosemary C.Erpf, Chair: MindyNancarrow, University ofAlabama Chairs: Jennifer Gonzales,MemphisCollege ofArt;Nathaniel Hein, Chair: Barnaby Nygren, Loyola University Maryland Chair: Stassa B.Edwards, FloridaState University Greg Skaggs, Troy University Introducing Time/Space-Based DesignThrough Cinema SCAD Atlanta Day One Processes andSeeing Through Experience Procedure andProcess: ASymbiotic Relationship Has Contemporary Art Exhausted its Resources? Beyond Blood:EngagingChristological ImageryintheSpanishColonial Americas Participatory Research, Technology, andInnovation inaDesignCurriculum Design to Non-Majors More Than Mount Fuji: Redefining aHiroshige Print Non-Objective Narratives Points of Entry Steven Bleicher, Coastal Carolina University Steven M.Teller, SCAD Savannah Stephanie Mervin,Savannah State University Undergraduate Research inStudio Art:MechanicsandMeaninginPainting Undergraduate Research inArtHistory, Part II University ofSouthFlorida Ilenia Colón Mendoza, University ofCentral Florida Hilton DeSoto, first floor, Sapelo Beautiful Relationship: Creative Introductory Activities andProjects Foundations inArt:Theory andEducation (FATE): The Start ofa Hilton DeSoto, second floor, Monterey Hilton DeSoto, second floor, Chippewa How MuchReligion IsToo Much? Teaching Catholic Artinthe21st Century Hilton DeSoto, second floor, Lafayette Delta State University Hilton DeSoto, second floor, Monterey Hilton DeSoto, 15thfloor, Harborview Black, White andRead AllOver: (Dis)Locating thePhotographic Narrative Mimi Silver, SCAD Savannah Rebecca Hanna,Georgia State University Bonnie Kutbay, Mansfield University of Pennsylvania Lauren Grace Kilroy, Brooklyn College Brooke Scherer, University ofTampa Nathaniel Hein,DeltaState University Kris Belden-Adams, MinneapolisCollege ofArtandDesign; AllisonMoore, Rachel Eck, Lebanon Valley College Rae Goodwin,University ofKentucky Mary Stewart, FloridaState University Keri W. Watson, Auburn University ofMontgomery Session XII Saturday, Nov. 12, 1:30-3:15p.m. SATURDAY

25 11 12 Chris Balaschak, Flagler College American Art During the Great Depression, Part II Nogin Chung, Bloomsburg University of Pennsylvania Batcos, Stephanie, SCAD Atlanta, and Anthony J. Morris, Mississippi The Criminal and the Comic: The Photography Book Between Benjamin and Barthes Chair: Sylvia Rhor, Carlow University Echoing Gender Performativity in Yasumasa Morimura’s Self-Portrait Series State University Hilton DeSoto, first floor, Ossabaw Is the Gaze [Still] Male?: A 21st-Century Inquiry into the Dynamics Kate Palmer Albers, University of Arizona Erin Devine, Indiana University, Bloomington/Longwood University of the Subject/Object in Popular Culture, Parts I and II In So Many Words: Alfredo Jaar’s Real Pictures Sylvia Rhor, Carlow University Exoticism as Strategy: Race & Gender in the Photography of Shirin Nesh Saturday, Nov. 12, 11 a.m. Enmeshed and Apart: Maxo Vanka’s Millvale Murals and New Deal Murals Faye Gleisser, Northwestern University Since E. Ann Kaplan’s article explored the active male viewer and the passive Holding Images: Fazel Sheikh and the Politics of the Almost Missed Encounter Randall Edwards, The Graduate Center, CUNY female object, have we seen any shifts in these dynamics in the intervening Engendering Masculinity: The Laboring Male Body in Political Art of the Great Depression American Art During the Great Depression, Part I decades? Papers that explore how gender operates in traditional and nontraditional contexts will allow us to understand the authority of the gaze in the Chair: Mark Miller Graham, Auburn University Kendall Martin, West Virginia University SESSION ABSTRACTS 21st century. Hilton DeSoto, first floor, Ossabaw Blanche Lazzell and the White Line Wood-Block Prints Bedarida, Raffaele See: Jeanjean, Stéphanie Lisa Dorrill, Dickinson College Bryna R. Campbell, Washington University in St. Louis Session abstracts are in alphabetical order by session chair’s last name. The Environment, the New Deal, and the Art of the Great Depression An “International Incident”: William Gropper’s Emperor Hirohito Wins the Nobel Belden-Adams, Kris, Minneapolis College of Art and Design, Peace Prize in Context Abel, Troy, Virginia Tech, and Ben Hannam, Virginia Tech and Allison Moore, University of South Florida Carmenita Higginbotham, University of Virginia IGNITE: Sharing and Changing Design Education in 5 Minutes Reassessing Susan Sontag’s Contributions to Photography Theory Reinventing the City: Art, George Biddle and Federal Art The Academic Studio Thursday, Nov. 10, 10 a.m. Saturday, Nov. 12, 11 a.m. Helen A. Harrison, Pollock-Krasner House and Study Center/Stony Brook University Chair: Michael Kellner, Ohio State University Design education is often the topic for sessions; however, this session will allow When Susan Sontag’s “On Photography” was published in 1977, it was a Making Murals Modern: Social Consciousness and Formal Innovation in the 1930s Hilton DeSoto, first floor, Cumberland participants to share their ideas using a presentation methodology introduced watershed event in the discourse on photography. Yet Sontag’s writings have been at the Ignite conferences. Participants are allowed 20 slides that auto-advance overlooked in recent academic theoretical discussions. This panel discussion is Daniel S. Palmer, York College/The Graduate Center, CUNY, Miklos P. Simon, Columbia College Chicago/Independent Artist Tools v. Critical Thinkers over five minutes, while they succinctly present their material in this fast-paced, dedicated to taking a revised, in-depth look at Sontag’s writing on photography Artist Shepherds: New York City Jewish Garment Workers’ Flight to Nature thought-provoking, high-energy session. and its merits. Stephen Knudsen, SCAD Savannah After Recognition: The Later Careers of Artists, Part I New Color Theory/The Fourth Dimension of Color and The Knudsen Dual Wheel Albrecht, Kathe Hicks, American University, and Christina Updike, Berding, Thomas, Michigan State University Chair: Mary Caroline Simpson, Eastern Illinois University James Madison University The Virtual and the Actual: Painting as Practice and Pedagogy in the Hilton DeSoto, first floor, Pulaski Michael Kellner, Ohio State University Rich Texture: New Resources for Teaching and Learning in an Image- Digital Age Dana E. Cowen, Case Western Reserve University Art School as the Conscience of the Art World Centric World Friday, Nov. 11, 4 p.m. Albrecht Dürer’s Oblong Passion and the Influence of Netherlandish Art on the How Dead is Too Dead? Affiliate Session: Visual Resources Curators (VRC) of SECAC This session will explore the painting discipline’s current position within the media Thursday, Nov. 10, 2:30 p.m. Artist’s Late Work Chair: Harry W. Boone, Georgia Gwinnett College saturated landscape. Specifically, the presentations and ensuing discussion will Hilton DeSoto, second floor, Chippewa Today’s students are visually oriented. They expect perpetual access to online focus on how painting, as both practice and pedagogy, is absorbing or responding Saisha Grayson, Brooklyn Museum of Art resources and classroom materials. Instructors must harness their creativity to to technological innovations and incorporating insights, experiences and Finding David: A Spatial Analysis of Jacques Louis David’s Last Painting Svetlana Rakic, Franklin College become digital storytellers. Presentations will explore this rich texture of resources expectations born by this digital age. Confronting the Terror of Death: From Bosch to Witkin Leanne Zalewski, Randolph College by describing the use of social media in education, examining cross-campus digital Betz, Scott, Winston-Salem State University From Orientalist Painter to Symbolist Sculptor? Jean-Léon Gérôme’s Artistic Charles A. Westfall, East Tennessee State University initiatives, and sharing Web 2.0 tools. 10 Bullets for Art Students Transformation Hirst’s Transubstantiation Alexander, James Rodger, University of Alabama at Birmingham, and Saturday, Nov. 12, 11 a.m. Alexis L. Boylan, University of Connecticut Kate Scott, Rutgers University John Douglas Powers, University of Alabama at Birmingham Toms Sachs’ “10 Bullets” video is an example of how to educate a diverse group The Teaching of Sculpture: Media, Methodology, Concept Body of Work: The Late Career of John Sloan Picturing Desire: The Self and the Other in the Still Lifes of JoAnn Verburg and of individuals into a specific way of working in a professional artist’s studio. This Saturday, Nov. 12, 1:30 p.m. Joel-Peter Witkin session will consist of similar video perspectives on other topics in art education. Re-framing Religious Art: Religious Art After 1980 Sculpture is the one studio art discipline that mandates neither media nor Blood, Peggy, Savannah State University, and Rosemary Erpf, Chair: Lai Orenduff, Valdosta State University David Cunningham, Franklin College methodology. Rather, any medium is viable and any methodology is acceptable. Hilton DeSoto, first floor, Madison Artist as Prophet: Confronting a Youth-Obsessed Culture with Its Own Mortality SCAD Atlanta Pedagogically the dilemma is whether teaching media specificity limits one’s Undergraduate Research in Studio Art: Mechanics and Meaning in Painting Laura Lake Smith, University of Georgia Pre-Columbian Ceramic Traditions (Session continues until 5:30 p.m.) conceptual thinking and, conversely, does emphasis on concept limit one’s skillful Saturday, Nov. 12, 1:30 p.m. application of appropriate media. Discuss and debate. Reconsidering Religion and Art in the 21st Century Chairs: Johanna Minich, University of Mary Washington; Yumi Park, This session, which is open to undergraduate artists, will explore the role of Lesa Mason, SCAD Savannah Jackson State University Amrhein, Laura M., University of Arkansas at Little Rock, and Jenny O. process and the mechanics in painting responding to the core question, “Are Ramirez, Virginia Military Institute Contemporary Art in Sacred Space: An Expanded Definition Hilton DeSoto, second floor, Monterey technical procedures merely a means to a visual end or does the process itself Pain and Pleasure: Artistic Responses to the Sublime, Parts I and II shape content and determine possible readings of the finished work?” Kate Kretz, Independent Scholar and Artist Amy Marshman, Virginia Commonwealth University Thursday, Nov. 10, 4:30 p.m. What’s So Great About Pottery? Bobick, Bryna, University of Memphis, and Thomas Brewer, University Sincere, But Not: Religious Imagery and The Contemporary Artist The sublime has a central position in the study of aesthetics. Burke examined Melisa Quesenberry, University of Central Arkansas of Central Florida The Teaching of Sculpture: Media, Methodology and Concept the pleasurable nature of the terror it arouses. For Kant, the sublime suggested Art Education Forum VIII-A: Policy, Administration, and Accreditation Drinking with the Gods: An Investigation of Pulque Vessels from Mesoamerica Chairs: James Rodger Alexander, University of Alabama at Birmingham; the mind’s capacity to apprehend the limitless and immense. Papers will address Thursday, Nov. 10, 10 a.m. notions of the sublime from landscape painting to Black Metal. John Douglas Powers, University of Alabama at Birmingham Kaitlan Smith, Virginia Commonwealth University Papers for this SECAC 2011 panel will represent a wide professional array of arts Hilton DeSoto, first floor, Cumberland The Ceramics in Naj Tunich Cave: Evidence of Classic Maya Royal Accession Anderson, Jennifer, Hollins University education policy, administration, and accreditation topics for all levels of public Textualized Body: The Intersection of Self and Identity in Printmaking Robert F. Lyon, University of South Carolina Kathleen McCampbell, Florida State University and private education. This art education venue offers an excellent regional Affiliate Session: Southern Graphics Council International (SGCI) opportunity for art educators to develop and present new policy. Developing a Philosophy of Teaching, Advising and Mentoring Mixing It Up: Patterns in Highland Maya Effigy Funerary Urn Iconography Friday, Nov. 11, 10 a.m. Boone, Harry W., Georgia Gwinnett College Anthony Cervino, Dickinson College Sarahh Scher, Upper Iowa University This panel will explore how contemporary print artists work in ways that reflect the Trial and Error: A Case Study for Teaching Sculpture Bodies in Both Worlds: A Preliminary Comparison of Human and Supernatural How Dead is Too Dead? medium’s history of being used to disseminate physical and anatomical knowledge Saturday, Nov. 12, 3:30 p.m. Dustan Julius Creech, Elmhurst College Dress in Moche Art of the body. Emphasis will be placed on why printmaking continues to function as an expressive conduit for understanding both our cultural and personal body. Contemporary artists who deal with the subject of death have been accused of The Power of Process, The Mystery of Materials, The Cruciality of Concept Two by Two: Collaborative Exchange and the Classroom sensationalism and exploitation. What purposes do these images serve? Are these Joseph Mannino, Carnegie Mellon University (Session continues until 5:30 p.m.) Anderson, Lisa, University of South Carolina Upstate, and Dana Ezzell works meritorious? If intent and context are important determinants in assessing Gay, Meredith College Movelt: Concept and Process Chair: Claire van der Plas, Adams State College such works, how does one identify such subjective bases? Hilton DeSoto, second floor, Lafayette A Beautiful Group of Letters: Typography as Discourse in Christopher McNulty, Auburn University Communication Design and the Visual Arts, Parts I and II Brewer, Corinna Nicole, University of California, Berkeley Thinking Through Material: The Interdependence of Material and Concept in Stacy Isenbarger, University of Idaho; Claire van der Plas, Adams State College Thursday, Nov. 10, 12:30 p.m. The African-American Presence at Academic Art Conferences Back and Forth: An Experimental Art Project and the Lessons Learned Friday, Nov. 11, 2 p.m. Sculptural Practice Letterforms become vehicles of expression by their design, and text as art Daniel P. Shea, Austin Peay State University; continues to prevail in both contemporary image making and communication Academic art conferences bring together art historians and practicing artists. Mark John DeYoung, Austin Peay State University design, either graphic or interactive. This session explores the potential of Hundreds of sessions are hosted, with a wide array of topics. Yet, something is Session XIII William Morris Project: A Pilot Project between Writers and Artists typography to command space and communicate messages that speak to the missing: a strong presence of African-American participants. Although a minority, imagination and beauty of typographic form. African-Americans exist in the academic art world; what is preventing them from Saturday, Nov. 12, 3:30-5 p.m. Joo Kim, University of Central Florida sharing their research? A Case Study of Advantages and Disadvantages for STEAM (Science, Technology, Arthur, Kathleen G., James Madison University, and Sara N. James, Mary Baldwin College Brewer, Thomas See: Bobick, Bryna After Recognition: The Later Careers of Artists, Part II Engineering, Art and Mathematics) Collaborations Art and Architecture on the Mediterranean Rim 1300-1600 Broderick, Amy S., Florida Atlantic University, and Eric Landes, Florida Chair: Leanne Zalewski, Randolph College Anthony F. Mangieri, Salve Regina University; Emily Taub Webb, SCAD Atlanta Friday, Nov. 11, 10 a.m. Atlantic University Hilton DeSoto, first floor, Pulaski Lost Art Project: Forging Collaboration and Exchange in the Art History Classroom This session asks to what extent the “Mediterranean Rim” can be seen as an arena Practice and Research: Work by Emerging Educators, Parts I and II Erin Hanas, Duke University Garrick Imatani, Lewis & Clark College for exchange of artistic ideas in the period of 1300 to 1600. Papers will address Friday, Nov. 11, 8 a.m. Creating His Own Legacy: Wolf Vostell’s Fluxus Zug Open Assignment: Sharing Methods for Civic Engagement and Creative Circulation artists working in foreign lands, patrons modeling their art or architecture after This session invites emerging professionals to present their personal research/ foreign monuments in other countries, and iconographic developments revealing studio work to their SECAC colleagues. This forum gives the work of SECAC’s Kevin Mulhearn, Converse College Race and Gender in the Photographic Image cross-cultural exchanges. newest artist educators meaningful exposure, while providing attendees with Before and After: The End of Apartheid and the Artistic Career of David Goldblatt (Session continues until 5:30 p.m.) Bagnole, Rihab, SCAD Savannah multiple points of view on contemporary studio practice. Susan Richmond, Georgia State University Chairs: Timothy W. Hiles, University of Tennessee, Knoxville; Suzanne Schuweiler, Converse College Creativity in Contemporary Middle Eastern Art in the Age of Globalization Bruzenak, Kristie, SCAD Savannah, and Matthew Kolodziej, Breaking the Mold: Lynda Benglis as Craft Artist? Thursday, Nov. 10, 12:30 p.m. Hilton DeSoto, 15th floor, Harborview University of Akron Erica Ando, Florida Atlantic University This session discusses the topics and artistic styles that reflect innovative Stoking Hephaestus’ Fire: Linking Art and Science Laura A. Lindenberger Wellen, University of Texas at Austin The Anti-Aging Properties of ORLAN’s Surgery-Performances approaches to creative expression in Middle Eastern art. It examines the influence Friday, Nov. 11, 10 a.m. Studio and Snapshot: Elise Harleston’s Portraits of Black Charleston, 1922-31 of new ideas, lifestyles, technologies and beliefs that foster an expectation for Both scientists and artists are involved with the creative process and synthetic Marta Zarzycka, Utrecht University/Wolfsonian Museum loosening and challenging the restrictions governing exhibitions of contemporary art. Outside the Frame: Mourning in Press Photographs

26 27 thinking. Collaborations between art and science occur in local, national and Drennen, Craig, Georgia State University and Skowhegan School Freiheit, Karla, Independent Artist, and Dixie Webb, Hein, Nathaniel, Delta State University, and Jennifer Gonzales, international communities. These efforts bring individuals and collectives together of Painting and Sculpture Austin Peay State University Memphis College of Art and probe ideas, images and mutual interests. This session seeks to present Painting in the Collapsed Field Text and Textiles Artistic Collaboration and Academia pairings of the visual arts and the sciences. Friday, Nov. 11, 2 p.m. Thursday, Nov. 10, 10 a.m. Saturday, Nov. 12, 1:30 p.m. Cheney, Liana De Girolami, University of Massachusetts Lowell This session uses Rosalind Kraus’s 1979 essay to re-position the role of Embedded in the word textile is the word text. Many artists using the materials With an increase in collaborative art pedagogy, artists working together publicly Renaissance Topics II: Themes of Identity in Renaissance Drawings contemporary painting. Since WWII painting has been “reborn” several times, and techniques of or historical references to textiles also use text as an important and interdisciplinary practices at universities, tenure candidates and committees and Paintings painted “degree zero,” “patterned” and “decorated,” finally declared a “last exit.” element in their work. This panel proposes presentations of both contemporary are unsure of how to present and evaluate collaboration. These changes require Thursday, Nov. 10, 4:30 p.m. Panelists will discuss painting’s attraction to young artists as part mash-up and and historical uses of text within textile-based or -related artworks. discourse regarding how to address collaboration, possible standards for part mutation. evaluation and current successful practices. Artistic innovations are found in drawings, prints and unfinished paintings. Three Gaddy, Raymond, University of North Florida, and Stephen Gardner, stimulating papers on Goltziius, Heemskerck and Raphael will elaborate on the Eden, Xandra, University of North Carolina at Greensboro SCAD Savannah Hightower, Mary Lou, University of South Carolina Upstate, and Linda merit of artistic signification. How an artist’s project in prints assimilates the The End of the Global Biennial Exhibition? Past Politics and Drawing Muchness, Parts I and II K. Neely, Lander University classical tradition or how collecting drawings enhances the visual pleasure and Future Prospects Thursday, Nov. 10, 2:30 p.m. Art Education Forum VIII-B: Research, Instruction, and Best Practices artist’s role are issues addressed in this session. Thursday, Nov. 10, 4:30 p.m. “…you know you say things are ‘much of a muchness’ – did you ever see such a Thursday, Nov. 10, 12:30 p.m. Clary, Charles, Middle Tennessee State University Since the 1990s, international exhibitions of contemporary art have been thing as a drawing of a muchness?”—Lewis Carroll. These panels are open to all Panelists address the changing nature of art education with discussion of how Installation: Transformative Explorations preoccupied with globalization. This session examines the politics of these things drawing, whether this is teaching of drawing, research of drawing, or your research affects the environment of education. This forum on art education relates Saturday, Nov. 12, 9 a.m. exhibitions and their effect upon curatorial and artistic practice. Documenta X, the own muchness. to section A, placing the emphasis on the practices of art instruction rather than 24th Sao Paulo Biennial, the Queens Museum’s Global Conceptualism and other the administration of a program of studies. Today, installations have evolved into fully immersive environments exploring Gardner, Stephen See: Gaddy, Raymond aspects of sculpture, painting, drawing, performance and digital media. This international exhibitions will be discussed. See: Schuweiler, Suzanne Gatti, Evan, Elon University, and Barnaby Nygren, Loyola Hiles, Timothy W. session will showcase artists who utilize installation to explore and enhance the Edwards, Stassa, Florida State University University Maryland Hull, Vida J., East Tennessee State University, and Beata viewer’s experience while creating challenging transformative environments. Black, White and Read All Over: (Dis)Locating the Photographic Narrative Undergraduate Research in Art History, Parts I and II Niedzialkowska, Bates College Saturday, Nov. 12, 1:30 p.m. Crouther, Betty J., University of Mississippi, and Christopher W. Saturday, Nov. 12, 9 a.m. Uncommon Virtue: Studies on Unfamiliar Saints in Art, Parts I and II Luhar-Trice, University of North Florida Roland Barthes wrote of the “historic reversal” in which “the image no longer These sessions will share papers on various topics in art history by undergraduate Thursday, Nov. 10, 8 a.m. Eclecticism, Appropriation, and Forgery: Issues of Borrowing in Art illustrates the words it is the words which, structurally, are parasitical on the students. In past eras, saints served as exemplars, patrons, intercessors, healers and Thursday, Nov. 10, 12:30 p.m. image.” This session aims to (dis)locate Barthes’s “historical reversal” and chastisers. They had their special areas of expertise and were always available in Gay, Dana Ezzell See: Anderson, Lisa Eclecticism – deliberate borrowing from the works of another – dates back to investigate moments in which the photograph either resists or assimilates to the times of need. Their lives and images were adventure stories and inspiration to the ancient Greece. An increasingly shared visual culture encouraged 20th century printed page. Geiger, Melissa, East Stroudsburg University of Pennsylvania faithful. These presentations concern lesser-known saints and familiar saints with artists to appropriate materials in ever-bolder ways. Today, borrowing remains Erpf, Rosemary See: Blood, Peggy Contextualizing the Text: New Investigations of the Image Via the Word unusual imagery. a relevant issue within the democratic environment of the Internet. This session Thursday, Nov. 10, 2:30 p.m. Fahlman, Betsy, Arizona State University Iannini, Marcela See: Johnson, Jerry R. features varied perspectives on borrowing in art. Throughout art’s history, artists have written treatises, manifestos, poetry and the American Art II: Late Nineteenth Century James, Sara N See: Arthur, Kathleen G. Crown, Carol, University of Memphis, and Lee Kogan, American Folk Thursday, Nov. 10, 2:30 p.m. like, experimenting with bringing ideas to fruition in multiple forms. This session explores a nuanced intersection between texts and visual works, concentrating on Jeanjean, Stéphanie, The Graduate Center, CUNY, and Raffaele Art Museum American Art during the late 19th century was energetically diverse in theme, artists who used their writings to bolster the academic, theoretical or institutional Bedarida, The Graduate Center, CUNY Contemporary Folk, Self-Taught and Outsider Art style, medium and venue. This session considers works in architecture (Tennessee Friday, Nov. 11, 2 p.m. value of their art. With or Without C. Greenberg: Beyond Anglophone Art History Centennial Exposition, Richard Morris Hunt), painting (Francis Davis Millet) and Thursday, Nov. 10, 10 a.m. This session focuses on contemporary self-taught artists (sometimes called sculpture (Theo Alice Ruggles Kitson), conveying the vibrant range of the visual Gobel, David, SCAD Savannah outsider, visionary or contemporary folk artists) with a special emphasis on artists arts discourse during this period. Drawing and Design Method in Architecture Post-WWII Anglo-American Modernism has been articulated around Clement active in Georgia. Papers will situate an artist’s work within a cultural context. Affiliate Session: Southeast Chapter Society of Architectural Greenberg’s Formalism and the reactions it provoked. However, beyond the Falls, Susan, SCAD Savannah, and Capri Rosenberg, SCAD Savannah Historians (SESAH) Anglophone world, either a postponed reception or a total disregard for his Cruz, Vanessa B., University of North Florida The Big Money Game of Contemporary Art Friday, Nov. 11, 8 a.m. principles caused non-Greenbergian interpretations of post-war art movements Exploring a Brave New World: Introducing the 4th Dimension Friday, Nov. 11, 10 a.m. such as Abstract Expressionism and brought different formulations of Post- in a 2-D World Drawing has held a privileged place in architectural design since the 16th century, This panel investigates the relationship between high culture and commoditization. but its importance has become increasingly contested in the 21st century. This Modernism. Thursday, Nov. 10, 8 a.m. We will examine the cultural dynamics that give rise to absurd market values, how session explores the changing role of drawing in architectural design in three case Johnson, Jerry R., Troy University, and Marcela Iannini, Miami How do we incorporate digital media into a traditional graphic design course, art is used in the service of political and economic projects, and what this reveals studies from the 18th century to the present. International University of Art and Design redesign a curriculum, or face the transition of print to time-based media? The about the sphere of culture in late capitalist economies. Goldstein, Holly Markovitz, SCAD Savannah, and Lisa Jaye Young, Strategies for Cultivating and Harvesting Ideas pitfalls and successes in developing curricula will be discussed. Friday, Nov. 11, 4 p.m. Fisher, Anthony, SCAD Savannah, and Jenny K. Hager-Vickery, SCAD Savannah Curtis, Brian, University of Miami University of North Florida Get Out of the Car: Photography and the Local In creative endeavors the concept of generating ideas (or ideation) is mission A House Divided: Examining the Conflict Between Sensory Aesthetics Project Share: Interdisciplinary Models Saturday, Nov. 12, 9 a.m. critical and desirously prolific. This session will explore a variety of ways in which and Concept-Driven Cultural Practice Friday, Nov. 11, 2 p.m. ideas are germinated and, perhaps more importantly, harvested. Presenters Friday, Nov. 11, 8 a.m. In response to today’s media-saturated society, many photographers explore Project Share: Interdisciplinary Models is an exhibited presentation of material intimate local subjects, offering meaningful representations of place. A shift in discuss a variety of theories and methodologies for generating, selecting and Post-retinal practice that valorizes digital technology, collaboration and topicality that utilizes hybrid, interdisciplinary or collaborative approaches that effectively values, including a renewed appreciation of craftsmanship and a commemoration assimilating divergent ideas. is rapidly eliminating aesthetics and skill-based training from art school curricula. enhance and expand the perspective of learning. The concept is a portfolio of the ordinary, informs such work. This panel examines photographic projects Jordan, Guy, Western Kentucky University Media-based artists, arguing from a Darwinian perspective, valorize the human share merged with that of a poster session of projects that involves two or more that address the personal, document the vernacular, and critically examine and Spoofing Off: Are Parody and Satire Effective Tools for predisposition to crave direct sensory pleasure from objects that require disciplines. celebrate regional eccentricity. Institutional Critique? specialized skill in their making. Is compromise feasible? Thursday, Nov. 10, 4:30 p.m. Fleming, Alison C. Winston-Salem State University Gonzales, Jennifer See: Hein, Nathaniel Davies, Karen, SCAD Savannah Text: The Art History Assignment This session evaluates the effectiveness of parody and satire in rendering Gower, Reni, Virginia Commonwealth University Elsewhere Thursday, Nov. 10, 2:30 p.m. institutions open for critique. Do such projects succeed at motivating, organizing Thursday, Nov. 10, 12:30 p.m. Sustained Research by Experienced Educators This pedagogical session presents papers examining innovative methods Friday, Nov. 11, 4 p.m. and sustaining public interest and change in scholarly inquiry? Do occasions to Collaborative artist projects and residencies will be examined. The role of women for creating art history assignments. Discussion of techniques for engaging laugh at powerful individuals and institutions truly undermine their authoritative in new media art, Al Parker’s Ladies’ Home Journal cover series and the impact of student interest, encouraging thoughtful looking at art, promoting research Highlighting careers of more than 10 years, this session invites artists/scholars to positions? the organization of the history of graphic design will be analyzed. Techniques to and communication skills, and preventing plagiarism will be emphasized, and present their personal research while offering strategies that balance research Jovanovich-Kelley, Monica, University of California, San Diego, and access creative potential through hypnosis will also be presented. updates on, or refinements to, the traditional museum/gallery assignment will be priorities with teaching responsibilities. As a forum on sustained research by Melissa Renn, Harvard Art Museums considered. seasoned professors, this session will also give emerging professionals access to Dedas, Brent, Western Kentucky University active role models and mentors. Incorporating Culture: Corporate Patronage of Art and Architecture in Striving for Student Success in the World of Professional Practice Ford, Ann, Virginia State University, and Joey Hannaford, the United States, Parts I and II Thursday, Nov. 10, 10 a.m. University of West Georgia Graham, Mark Miller, Auburn University, and Sylvia Rhor, Thursday, Nov. 10, 8 a.m. Carlow University This session will use various viewpoints to approach innovative methods for Looking Forward While Staying Connected: Rapid Changes in This session features papers that explore examples of corporate patronage of Graphic Design American Art During the Great Depression, Parts I and II teaching professional practices for studio majors. We will hear from instructors Saturday, Nov. 12, 1:30 p.m. art and architecture, addressing a wide variety of media from any moment in specializing in drawing, painting, sculpture, new media and more. Each discussion Saturday, Nov. 12, 9 a.m. American history. Papers consider the themes of corporate modernism; corporate will contribute to the dialogue regarding the broad range of multidisciplinary skills Handheld devices have changed the notion of graphic page design. Academics The complex currents of American art during the Great Depression both defined art collections; and corporate commissions engaging both private and public spaces. a student needs to succeed. must teach a combination of print and e-publishing. Artist’s books, letterpress and undermined American modernism. FDR’s New Deal aimed to provide Kamal, Deanna, University of Georgia, and Sherry Saunders, printing and screenprinting in graphic design programs signal a return employment for cultural workers such as painters, photographers, writers, Deyling, Heather, SCAD Savannah SCAD Savannah to traditional craftsmanship. Are the vast dichotomies between print and playwrights and actors. Parallel efforts were often linked to the Communist Party Collage is / as / of and the Popular Front. Graduate Student Poster Session Thursday, Nov. 10, 2:30 p.m. e-publishing contradictory or complementary? Saturday, Nov. 12, 11 a.m. Guynes, Jason, University of South Alabama Collage does not fit neatly into other fine art categories but spans many. It is not Isenbarger, Stacy, University of Idaho The goal of this session is to give graduate students a place to present their The Start of a Beautiful Relationship: Creative Introductory Activities Pecha Kucha media-specific. Collage, assemblage and montage all involve creating a whole Thursday, Nov. 10, 4:30 p.m. work while encouraging interaction with their colleagues in the professional art from parts or fragments. This panel will present work that moves past traditional and Projects community. Students will communicate their research concept in poster format definitions of collage, overlapping with other disciplines. Affiliate Session: Foundations in Art: Theory and Education (FATE) This is an open session featuring presentations of art historical research, while discussing their work with viewers in an informal setting. Saturday, Nov. 12, 1:30 p.m. educational methods and creative activities using the Pecha Kucha format of 20 Dossin, Catherine, Purdue University, and Victoria H. F. Scott, Kellner, Michael, Ohio State University It’s said that you only get one shot at a first impression. Whether the first day of x 20: 20 slides for 20 seconds each. Pecha Kucha is an opportunity to review Emory University The Academic Studio class or the start of a project, how do you motivate your students with creative numerous lively and engaging presentations in an abbreviated format. European Art and Philosophy Since 1945 Saturday, Nov. 12, 3:30 p.m. Friday, Nov. 11, 4 p.m. inspiration? This session will present various introductory exercises that launch the Hager-Vickery, Jenny K. See: Fisher, Anthony imagination of students through creative play, interaction, and literature. This session will showcase presentations from studio artists and teachers exploring This panel considers parallel developments in European art and philosophy since Haikes, Belinda See: Keown, Gary A. the limits of the traditional, Bauhaus-inspired studio classroom. Presentations 1945. It examines the exchanges that took place between European thinkers and Hannaford, Joey See: Ford, Ann will include a reconsideration of color theory, an exploration of coursework at the artists who often belonged to the same social and cultural circles. Our objective is School of the Art Institute of Chicago and some suggestions for guiding principles See: Abel, Troy to highlight the ways intellectual and artistic creations echoed and/or influenced Hannam, Ben for reshaping academic art curriculum. one another. 28 29 Keown, Gary A., Southeastern Louisiana University, and Belinda Haikes, Morales, Reinaldo See Smith, Denise H. Savannah Veterans Day Parade. Schoenberger, Janna See: Saunders, Beth West Chester University of Pennsylvania Morris, Anthony J. See: Batcos, Stephanie Park, Yumi See: Minich, Johanna Schuweiler, Suzanne, Converse College, and Timothy Hiles, University Art and Technology: Changing Paradigms of Tennessee, Knoxville Friday, Nov. 11, 8 a.m. Murphy, Debra, University of North Florida Pavlović, Vesna, Vanderbilt University Renaissance Topics I: Italian Masters Conversations: Sculpture Race and Gender in the Photographic Image With technological advancements in visual arts, there are areas where this is not Thursday, Nov. 10, 2:30 p.m. Saturday, Nov. 12, 11 a.m. Saturday, Nov. 12, 3:30 p.m. expected. Photography has embraced it. New technologies are now adopted in Works by Leonardo da Vinci, Titian and Michelangelo are the focus of this session. This session brings together artists and art historians to address current projects Since its inception, photography has played a significant role in the construction drawing, painting, printmaking and sculpture. This session will focus on new and and, notably, deconstruction of racial and gender stereotypes in American culture. unexpected technology now implemented in the teaching of art and the practice The papers explore the twin pillars of Renaissance subject matter: the classical and and tendencies in the field of sculpture. It explores our understanding of sculptural the sacred. practices, architectural installations and the environments that are referred to as sculpture. This session’s papers examine photographs as either endorsers or usurpers of of professionals. social mores pertaining to gender and racial representations. Musto, Jeanne-Marie, Fordham University Peacock, Louly Turner, Independent Scholar Kogan, Lee See: Crown, Carol . See: Dossin, Catherine Histories of Art History and Visual Culture as Narratives Beyond Black Mountain College Scott, Victoria. H. F See: Bruzenak, Kristie Kolodziej, Matthew Thursday, Nov. 10, 12:30 p.m. Thursday, Nov. 10, 8 a.m. Shelby, Karen, Baruch College, CUNY Kristan-Graham, Cynthia, Auburn University Narrative theory provides a rich resource for investigating our disciplinary histories. What is the value of the legacy of Black Mountain College to the art world? Do works ACT UP/Act Out: Interventions in Art History The Art History Survey in the 21st Century: Where Are We Going? This session uses narratological concepts to reflect on how these histories have and trends inspired by Black Mountain College become mired in myths about the Friday, Nov. 11, 2 p.m. What Are We Doing? How Can We Improve? been constructed in the past, on the impact that they have on our understanding college? Were creations at the college helpful in creating new movements in art or The AIDS crisis ushered in a new intersection of public and private, high and low Thursday, Nov. 10, 4:30 p.m. of the present moment and on how else they might be constructed. unable to develop beyond traditional mid-20th century Modernism? art, and fine arts and graphic design. At the fore were a group of personally and The art history survey class has grown from the original classes that provided a politically motivated male artists who drew on a wide range of art practices. The Myers, Kenneth See: Wallach, Alan Pierce, Alexandria, SCAD Savannah positivistic education in archaeology and the Renaissance. This panel considers session explores how female artists de-centered an androcentric AIDS movement. The Artist in Context the role of the survey class today, focusing on the disciplines of art history and Nancarrow, Mindy, University of Alabama Thursday, Nov. 10, 8 a.m. Shields, M. Kathryn, Guilford College, and Sam Watson, University of education and our electronic and virtual information age. How Much Religion Is Too Much? Teaching Catholic Art in the 21st Century Artists’ personalities, struggles and reactions to society remain significant Wisconsin-Sheboygan Landes, Eric See: Broderick, Amy Saturday, Nov. 12, 1:30 p.m. factors in the discourse of Western art history since the Early Modern period. Seeing Is Believing: Art Outside the Classroom Friday, Nov. 11, 4 p.m. Langa, Helen, American University Catholic religious art can test the resources of an experienced instructor. In this Concepts such as the tormented artistic soul, the political commentator and American Art I: Gardens, Fruit, and Women session, presenters address particular problems occurring during classroom the businessperson deciding to pursue passion instead of lucrative venues are There is no substitute for seeing art in person. This session presents programs that Thursday, Nov. 10, 12:30 p.m. presentation of religious and devotional art and offer innovative strategies that addressed in this session. bring students into contact with original artwork, including field trips, academic residencies and service learning projects as well as study abroad programs in Garden landscapes signify a joining of science and cultural taste. Still-life paintings have been implemented to engage students with its content. Powers, John Douglas See: Alexander, James Rodger raise issues of class, racialized identities and normalization of exotic cultures. Turkey, Greece, Italy, France and Holland. Nero, Irene, Southeastern Louisiana University Ramirez, Jenny O. See: Amrhein, Laura M. Theresa Bernstein’s training and interests reshape her connection with the Ashcan Simpson, Mary Caroline, Eastern Illinois University, and Leanne Revisiting Modernist Architecture Ravikumar, Rukmini, University of Central Oklahoma School. Malvina Hoffman’s memorial for the Épinal American Cemetery in France Thursday, Nov. 10, 2:30 p.m. Zalewski, Randolph College reveals tensions between maternal grief and American post-WWII power. Risk: Negotiating a Balance between Creativity and Constraint in After Recognition: The Later Careers of Artists, Parts I and II This session reexamines modern architecture in terms of assessing the current Design Classrooms Saturday, Nov. 12, 1:30 p.m. Lippert, Sarah, Louisiana State University, Shreveport contributions in scholarship on modernist architecture, with its technologically Thursday, Nov. 10, 8 a.m. Vice Over Virtue: Debating the Morality of Art An artist’s canonization is based on a body of work created during a discreet driven, anti-ornamentation stance. Contained in this session are discussions of To prepare future designers for a constantly changing profession, educators Thursday, Nov. 10, 4:30 p.m. how the suburbs, shopping malls, new urbanism and “starchitects” fit into revised moment deemed innovative or exemplary. This work represents but a single encourage students to “take risks” with their design solutions and to “learn the moment in a continuum of lifelong creativity. Papers by art historians and artists This session considers moments in art’s history when the morality or immorality of concepts of modernism. rules to break them.” This defies the educational training previously gained by art has been promoted and questioned. reconsider approaches to the late work of an artist, alive or deceased. Niedzialkowska, Beata See: Hull, Vida J. students and is unheard of in other disciplines. This panel invites design educators See: Reason, Akela to discuss the development of creative thinking and the ability to function within Simpson, Pamela (1946-2011 In Memoriam), Washington and Liakos, Barbaranne Nodine, Jane Allen, University of South Carolina Upstate, and Leslie constraints in an environment of risk taking and rule breaking. Lee University Luhar-Trice, Christopher W. See: Crouther, Betty L. Rech, South Carolina State University American Art III: The Academy Collects, Paintings and Buildings Manoguerra, Paul See: Wachsmann-Linnan, Ute Soft Art: Fibers in the Contemporary Studio Reason, Akela, University of Georgia, and Barbaranne Liakos, Thursday, Nov. 10, 4:30 p.m. Thursday, Nov. 10, 8 a.m. Smithsonian American Art Museum Martin, Floyd, University of Arkansas at Little Rock At the turn of the last century, many academic institutions developed study Fiber methods and materials encompass our connection with a tactile past, the Revisiting the Civil War, Parts I and II Art + Land Friday, Nov. 11, 8 a.m. collections of paintings, prints and drawings. They also populated their campuses Thursday, Nov. 10, 12:30 p.m. value of touch and the desire for sensuality. In this session, artists discuss the value with sculpture and architect-designed buildings. These four papers explore the that they place on tactile methods. Insights gained regarding textile education in As sesquicentennial commemorations of the Civil War unfold, these sessions will interaction between artists, collectors and the academy; the purposes of the Art + Land includes presentations about works of art inspired by, or related to, Scandinavia during a Fulbright Fellowship is also featured. reflect upon the war’s influence on art, artists and visual culture in the United collections; and the innovative ideas advanced in the exchange. specific geographical areas. Questions of interest include how art gives meaning States. Speakers will consider the impact of the war on representation, patronage, Northcutt, Rod, Miami University of Ohio to particular places, how associations with particular places affect works of art, collecting and the art market both during and after the conflict. Smith, H. Denise, SCAD Atlanta, and Reinaldo Morales, University of and how historical information about particular geographic areas relates to artists’ When Is It Worth It? Central Arkansas interests. Friday, Nov. 11, 8 a.m. Rech, Leslie See: Nodine, Jane Allen Indigenous Arts of the Americas II-A and II-B Art students consume materials and produce waste in their pursuit of skill. In See: Jovanovich-Kelley, Monica Thursday, Nov 10, 8 a.m. McComas, Jenny, Indiana University, Bloomington Renn, Melissa teaching students to make we accept that learning requires the consumption of Reassessing the Role of Display II: Exhibitions and the Reception of Rich, Margy, State College of Florida, Manatee-Sarasota Indigenous Art of the Americas invites artists and scholars to present research materials. From a practical standpoint, however, institutions are trying to “green” Art History The Museum as Subject concerning visual expression by indigenous peoples of the Western Hemisphere. Thursday, Nov. 10, 4:30 p.m. themselves, therefore re-conceptualizing the acquire/use/dispose paradigm. How Thursday, Nov. 10, 12:30 p.m. Papers critique the prevailing pedagogy, offer alternative paradigms, or address do we use materials responsibly? contributions of individual artists to the overall dialog from antiquity to the most While the first Reassessing the Role of Display session highlights the role of This panel explores the museum as subject in contemporary art, which acquired contemporary. museums and institutions in interpreting art history through the organization Nygren, Barnaby See: Gatti, Evan prominence through the practice of institutional critique. Now, through on-site and of exhibitions, this session explores how critics, curators and educators have Och, Marjorie, University of Mary Washington often collaborative projects, these investigations continue. Panel papers provide Stephenson, Jessica. Emory University/Kennesaw State University, responded to influential exhibitions. This session focuses on the critical and Reflections on Where We Are and Where We Are Going with perspectives on practices by curators, artists and artist-educators dealing with the and John Stephenson, Appalachian State University popular reception of major exhibitions. Technology in the Art History Classroom museum as subject. The Dressed Head in Art and Practice Friday, Nov. 11, 4 p.m. McCoy, Claire Black, Columbus State University Affiliate Session: Art Historians Interested in Pedagogy and Richards, Elizabeth A., University of South Alabama Belle Époque – Fin de Siècle Technology (AHPT) Cultivating Creativity: The Artist Community This panel considers the dressed head and representations of dressed hair in art. Thursday, Nov. 10, 8 a.m. Thursday, Nov. 10, 12:30 p.m. Thursday, Nov. 10, 10 a.m. Here the “dressed head” includes hair styles as well as the erasure of hair, veiling or the covering of the head, or hair adornments regardless of time and geography. From 1871 to 1913 the Parisian art scene became increasingly complex. Once Session inaugurates AHPT, long affiliated with CAA, at SECAC. Presenters outline At the turn of the 20th century, a handful of American visionaries had a similar viewed as the time when Modernism held sway, this paradigm has been current uses of technology in teaching and research through demonstration dream: to create bucolic communities for artists. Based on European notions of Stephenson, John See: Stephenson, Jessica and workshop. We consider tools for online or blended courses, introducing challenged. This session presents papers exploring the interaction of French artists the atelier, New World individualism and local characters, these communities Stewart, Beth, Mercer University and art institutions during this period. new technology into traditional lectures, fostering pedagogical change within celebrated creative people and process and valued experimentation. departments and institutions, and negotiating curricular needs with administrators. Ancient Art and Architecture Millett-Gallant, Ann, University of North Carolina at Greensboro Rivers, Cheryl, Independent Scholar Saturday, Nov. 12, 9 a.m. Orenduff, Lai, Valdosta State University Visualizing Disability: Representations of Disability in Art and Traditional Folk Art and Self-Taught Art This session addresses new scholarship on the art and architecture of ancient Greece. Visual Culture Re-framing Religious Art: Religious Art After 1980 Friday, Nov. 11, 10 a.m. Saturday, Nov. 12, 1:30 p.m. Swift, Jason, Plymouth State University Friday, Nov. 11, 2 p.m. Traditional folk art will be discussed, including ceramics by the Aguilar sisters of Does contemporary “religious” art connect with the past? Do contemporary forms, Current Trends in Studio-Based Practices Research This panel analyzes representations of disability in works of art and visual culture. Mexico and Marion Forgey Line’s memory paintings. The intersecting interests Thursday, Nov. 10, 12:30 p.m. We engage scholarship in art history and visual culture with disability studies though different, still possess qualities that relate to the past? Who are today’s of folk artists with those of patrons and collectors are examined relative to the and explore new ways to bride such research. We will expand our concepts “religious” artists? Do they seek a transcendent experience, or are religious issues definition of ‘tradition’ and the migration of folk artists to Southern states. Artists investigate images, materials, concepts and messages in their studio of disability and work toward visualizing disability in multi-dimensional and only ancillary for them? Can we relate contemporary “religious” art to our society today? practice resulting in artworks. What does the studio practice become when artists Rhor, Sylvia See: Graham, Mark Miller move beyond this? The panel will present current trends in studio-based practices unconventional forms. O’Foghludha, Ria, Whittier College Rosenberg, Capri See: Falls, Susan research including examples of their investigations, outcomes and applications of Minich, Johanna, University of Mary Washington, and Yumi Park, Studies in Medieval and Early Modern Italian Art and Architecture Saturday, Nov. 12, 11 a.m. research methodologies in the studio. Jackson State University Saunders, Beth, The Graduate Center, CUNY, and Janna Schoenberger, Pre-Columbian Ceramic Traditions This session considers art produced in Italian cities at the turn of the Cinquecento, The Graduate Center, CUNY Terrono, Evie, Randolph-Macon College Saturday, Nov. 12, 3:30 p.m. addressing paintings as they are shaped by physical locus, social milieu, and “The Subject Speaks?” Reading into the Photograph Interrogating the Past: Race, Memory, and American Identities Friday, Nov. 11, 2 p.m. Saturday, Nov. 12, 9 a.m. In early archeological studies, ceramics were used as a crucial chronological historical context. This panel explores artistic interpretations of the American historical experience tool. Today, ethnography, art history, iconography and connoisseurship help us Olszewski, Christopher, SCAD Savannah Martha Rosler has written, “The inclusion of purported quotations, clearly, changes that express the racial, ethnic and cultural diversity of the United States and understand the production of Pre-Columbian ceramics and their historical role in At Ease: The Shaping Aesthetic of Our Military Veterans the nature of the transaction between image and viewer; the subject speaks, religious practice and daily life. Friday, Nov. 11, 8 a.m. whereas in a caption what is pictured is spoken about...” This panel explores propose the appropriation and counter-appropriation of the American historical photography’s inadequacy to convey precise meaning via text or physical past and its significance in the formation of modern American identities. Moore, Allison See: Belden-Adam, Kris In this session, a veteran will discuss projects related to military experience; embellishment to the photographic surface. another veteran will discuss his perspective as a former student and current professor; and a professor who has worked with veterans will recount noteworthy Saunders, Sherry See: Kamal, Deanna incidents. Note: This session takes place on Veterans Day and is followed by the

30 31 Thayer, Preston, New Mexico State University is a perfect time to take a fresh look at the Hudson River School. These sessions THANK YOU TO THE SESSION Open Session: Contemporary Art explore the influence of new social formations, new cultural practices and new Friday, Nov. 11, 8 a.m. technologies of vision on American landscape representation in the period of 1800 SELECTION COMMITTEES: This panel explores various aspects of contemporary art, including issues of to 1900. Studio Session Selection Committee production, reception and patronage. Walsh, Catherine See: Wacker, Kelly Heather Deyling, chair, SCAD Savannah Thomas, Liz Murphy, Lincoln Memorial University Watkins, Alison, Ringling College of Art + Design Trudie Abadie-Fail, SCAD eLearning Analogous Yet Asynchronous: Digital Imaging and Photography Artists Among Poets secac 2012 Friday, Nov. 11, 4 p.m. Thursday, Nov. 10, 12:30 p.m. Brent Dedas, Western Kentucky University Through analogous interface with existing and understandable media as well as This panel explores the intersections between visual art and poetry: contexts Rich Gere, SCAD Atlanta designing interfaces with analogous processes, we have narrowed our treatment where word and image share the same space, where writing has become a visual Jason Guynes, University of South Alabama of digital imagery to view it as an extension of film photography. Are digital language, or where visual artists have made use of language, interactions between Vesna Pavlović, Vanderbilt University images the newest technology of photography or a completely new and separate writers and artists, and/or the influence of new technology on both art forms. medium? Watson, Sam See: Shields, M. Kathryn Art History Session Selection Committee Toub, Jim, Appalachian State University Watts, Barbara J., Florida International University Stephen Wagner, chair, SCAD Savannah Mapping Imaginary Worlds Bow Wow and Meow: Canines and Felines in Art and Literature Thursday, Nov. 10, 8 a.m. James Janson, SCAD Savannah Affiliate Session: Association for Textual Scholarship in Art This session will focus on mapping fictional worlds. It includes a discussion of role- History (ATSAH) Barbara Johnston, Columbus State University playing game maps as folk art, offers an analysis of mapping within the work of Saturday, Nov. 12, 9 a.m. Kevin Concannon, Virginia Tech Julie Mehretu, and applies Barthes’ notions of simulation and simulacra to mapping This session welcomes proposals that address all aspects of the pictorial Allison Moore, University of South Florida the imaginary. representation of canines and felines (real and mythical) but especially those that Trittel, Rebecca B., SCAD Savannah include consideration of literary portrayals of our domesticated friends and/or the Stories to Tell: The Narrative Tendency of British Art often times horrific historical record of their population, breeding, treatment and Thursday, Nov. 10, 10 a.m. care. The relevance of the written word on the British psyche is a recurrent theme in Webb, Dixie See: Freiheit, Karla British art. This session presents examples of literary and narrative influences in Wentrack, Kathleen, Queensborough Community College, CUNY the work of Charles Robert Leslie, Dante Gabriel Rossetti and Mark Wallinger. More Than Skin Deep: Body and Text in Feminist Art Turner, Rebecca C., SCAD Savannah Friday, Nov. 11, 8 a.m. Art and Pilgrimage in the Middle Ages Feminist art has frequently been criticized for its emphasis on the female body Friday, Nov. 11, 8 a.m. without acknowledging the works’ complexities. This panel presents papers that Medieval Christians undertook pilgrimages to the Holy Land, Rome, Santiago de interrogate the use of text in conjunction with women’s bodies in art to provide a Compostela and other locations to visit the relics of saints. Pilgrimage inspired more nuanced understanding of the rich content of feminist art production. innovative architectural solutions and the creation of decorative works. This Williams, Christopher L., SCAD Savannah session explores the impact of pilgrimage on the art and architecture of the Middle Text Me: Text in Contemporary Art Ages. Saturday, Nov. 12, 11 a.m. Updike, Christina See Albrecht, Kathe Hicks Since the early 20th century, artists have been incorporating text into artwork, Van der Plas, Claire, Adams State College provoking interpretation by simultaneously addressing pictorial and linguistic Two by Two: Collaborative Exchange and the Classroom concerns. Contemporary artists incorporate text instructionally, comically, Saturday, Nov. 12, 3:30 p.m. graphically, didactically, sincerely, ironically, aesthetically, physically, virtually, Collaborative projects produce outcomes besides crafted works—expanded literally and poetically. This panel will address the use of text in contemporary perspectives, multifaceted idea development, shared skills, increased scale studio practice. possibilities and more. We will discuss the rewards and challenges of such projects, Williams, K. C., Northwest Florida State College including planning long-term projects, grading options, and collaborating with Reassessing the Role of Display I: Exhibitions and the Making of other departments, institutions and communities. Art History Thursday, Nov. 10, 2:30 p.m. where past Van Horn, Donald, Marshall University Town and Gown: Our Communities and Our Art Programs The discipline of art history developed with the establishment of public art meets present Friday, Nov. 11, 2 p.m. museums and annual exhibitions and curatorial choices arguably determined Many visual art departments and colleges are becoming more engaged in their the body of works that we study today. This session considers several types communities through a number of wide-ranging enterprises. This panel offers of art exhibition as integral to the formation of art history and its canon. presentations focusing on how some visual arts programs have established strong Wisotzki, Paula, Loyola University Chicago community relationships. American Women Artists and Modernity: 1930s and 1940s Saturday, Nov. 12, 11 a.m. Wachsmann-Linnan, Ute, Columbia College, and Paul Manoguerra, Georgia Museum of Art By examining women’s art practices and modern cultural conditions of the United Human Suffering in the Arts I: 20th-Century Europe and Two World States in the 1930s and 1940s, this session seeks to bring further attention to the Wars (Wachsmann-Linnan) situation of women artists as they negotiated modernity at a time when visual OctOBer 18–20 DUrham nc Human Suffering in the Arts II: 20th and 21st Century (Manoguerra) culture also had to grapple with political uncertainties, dramatic shifts in social presented by mereDith cOllege Thursday, Nov. 10, 8 a.m. roles and significant economic pressures. Human suffering in the arts has been an ongoing theme throughout the centuries, Young, Lisa Jaye See: Goldstein, Holly Markovitz from antiquity to today. Why do artists depict suffering? What role do the arts Zalewski, Leanne See: Simpson, Mary Caroline play for this most profound human trauma of suffering? Works by Sophie Taeuber, Christian Schad, Francis Bacon and Doris Zinkeisen are discussed. Wacker, Kelly, University of Montevallo, and Catherine Walsh, Boston University Landscape and Human Culture, Parts I and II deadlines Thursday, Nov. 10, 2:30 p.m. call for sessions & panels Jan 1, 2012 Looking retrospectively at the connection between art and landscape, this session SECAC 2012 juried exhibition Apr 1, 2012 seeks to understand more fully the rich relationship between human culture and call for papers Apr 20, 2012 landscape in art. This topic will be considered in broad cultural and historical contexts, fostering provocative discussion about how we consider, make and place for more information art in the landscape. contact [email protected] or conference director beth mulvaney at [email protected] Wagner, Stephen M., SCAD Savannah Open Session: Medieval Art and Architecture Friday, Nov. 11, 4 p.m. Lasting for more than 1200 years, artists and builders of the Middle Ages produced an incredible array of painting, sculpture, manuscripts, metalwork and jewelry, textiles, and buildings. This session invites participants to present their research on www.secollegeart.org the diverse art and architecture of the Middle Ages. Wallach, Alan, College of William and Mary, and Kenneth Myers, Detroit Institute of Art Rethinking the Hudson River School, Parts I and II Friday, Nov. 11, 2 p.m. After a quarter century of blockbuster and quasi-blockbuster exhibitions, now

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