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Sessions Are Listed Chronologically in the Pages That Follow February 20-23, 2002 21 Unless otherwise noted. all Conference activities will take place at the Philadelphia Marriott or the Pennsylvania Convention Center. All locations are clearly marked throughout the program. Maps appear on pages 14-17. All Affiliated Society business meetings and special sessions are listed chronologically in the pages that follow. All receptions are listed on pages 56-57· All CAA Committee business meetings are listed on pages 58-59· As a courtesy to all Conference attendees, CAA requests that all cellular phones and pagers be turned off in the session rooms and at Convocation. 22 CAA 90th Annual Conference In Philadelphia Many of the sessions and meetings have been marked TUESDAY, with one or more icons to distinguish category or content. FEBRUARY 19 Tuesday Evening 6:30 - 7:30 p.m. Open Session Sessions identified with this symbol address broader Orientation for areas and disciplines within studio art and art history. Interviewers and Candidates Room 201A-C Off· Site Session Pennsylvania Convention Center Sessions identified with this symbol will be held outside MichaclAm·bach, the Conference site. Vanderbilt University Laurie Beth Clark, UniversityofWisconsin. Madison Practicum Sessions identified with this symbol offer practical Helen M. Shannon, applications or deal with pedagogical issues. New Jersey State Museum David M. Sokol, University of Ilinois at Chicago Museum Session Emmannellemakis, CAA Sessions identified with this symbol focus on issues of interest to curators and other museum professionals. Affiliated Society Session Sessions identified with this symbol are sponsored by organizations affiliated with CAA. CAA Committee Session Sessions identified with this symbol are sponsored by standing committees of CAA. E·Session Sessions identified with this symbol address the use of digital technology and the internet in studio art, art history, and art education. Each session has been coded by date and time. TI1e letter refers to the day of the session and the number corresponds to the order of the session in the day. The session code is used in the Index to Participants on pages 135-141 and in Sessions-at-a-Glance on pages 8-13 to identify each participant's and session's place in the program. Th Thursday F Friday Sa Saturday Wednesday evening 23 WEDNESDAY, THURSDAY, FEBRUARY 20 FEBRUARY 21 Wednesday Evening Art's Place 8:00 - 9:15 a.m. 2:30 - 5:00 p.m. 5:30 - 7:00p.m. Salon A & 8, Level 5 Philadelphia Marriott Fresh Start: Perk up your senses Th3 Convocation Brimming with events and ·with complimentary• coffee, tea, The Automaton, the Salons E & F, Level 5 activities of special interest to or juice. A detailed schedule of Homunculus, and Other Philadelphia Marriott CAA's artist-members, Art's the day's events will be made Artificial Beings: Towards WELCOME AND OPENING REMARKS Place, introduced at the ~001 available. an Interdisciplinary History meeting, will extend over Ellen T. Baird, GAA President CHNRS: Elizabeth King, the full three days of the 9:30- noon Virginia Commonwealth University; PRESENTATION OF AWARDS Conference. Part theater and W. David Todd, Smithsonian part lounge, this "conference­ KEYNOTE ADDRESS (;l ~ Th1 Institution, National Museum within-a -conference" will CAA Services to of American History Reflecting on the Museum in the be the site for innovative Artists Committee ~1st Centu1y: Back to tile Fuwre programming that will range The Metaphorical Relationship Adjusting the Volume: Anne d'Harnoncourt, Director, from meetings and workshops ofArt and Life Fredrika H. Jacobs, Amplifying Artists' Voices Philadelphia Museum of Art to ongoing video, slide, and Virginia Commonwealth University With and Outside the Art multimedia presentations. All Convocation is free and open to the pubfic. Community Art, Nature, and the attendees are cordially invited Homunculus William Newman, to be stimulated, converse, cHAIR: Ellen K. Lery, 7:30 - 9:30 p.m. Indiana University enjoy, and relax at Art's Place. School of Visual Arts 11w Glorious Hand: Tools, Reception Look for Art's Place listings at the The Spirit ofArt as Activism Methodology. and Mechanism The Philadelphia beginning of each day's program. Nina Felsllln, Wesleyan UniYersity in the Making of a 16th-Centmy Museum of Art 11w Departrnent ofSpace and Land Automaton W. David Todd, Ben Franklin Parkway and 26th Street Reclamation Nato Tiwmpson, Smithsonian Institution, National ADMISSION BY TICKET ONLY School of the Art Institute of Chieago Museum of American HistOl)' Ideological Battle Scenes Talking Heads Jessica Riskin, Tim Rollins, Teacher, South Bronx Stanford University Speaking71trough Monuments Joan Baixas, KrzysztofWmliczko, Center Institut del Teatre, Barcelona for Advanced Visual Studies at the The Theatrical Inanimate Massachusetts Institute of Technology Leslee Asch, Independent Curator DISCUSSANT: Suzanne Anker, School ofVisual Arts 6:00 - 7:30 p.m. 12:30- 2:00 p.m. HaJlP.Y Hour: CAAhosted celebration of Art's Place with nibbles and cash bar. (;l ~ Th2 CAA Committee on 8:00- 10:00 p.m. Intellectual Property Beyond Copyright: A Beauvais Lyon "talk" Do Artists Have Rights? and other presentations, including: Artists' Disaster Bring your lunch; learn Stories, A Participatory Event about your rights to your work as an artist. Participants to be announced CHNR: Robert Baron, Independent Scholar Athena Tacha, Oberlin College, UniYersity of Maryland Other participants to be announced 24 CAA 90th Annual Conference In Philadelphia THURSDAY, PROGRAM Mario Pedrosa: 111eAesthetics FEBRUARY 21 SESSIONS and Politics ofArt Criticism in ~otll- Cenhlry Brazilian Visual Thursday Morning Culture Simone Osthoff, MEETING 9:30- noon Pennsylvania State Un.h•ersity Thursday Morning The Cold lflar lflanior at Th4 7:30 - 9:00 a.m. the OAS Alejandro Anreus, Interpreting Facture William Paterson University Room 201 B Pennsylvania Convention Center TI1e Defining Role ofGerardo Community College Mosquera in Modem Art Criticism CHAms: Anthony Apesos, Professors of Art David Craven, Art Institute of Boston at Lesley and Art History University of New ~fexico University; David Steinberg, Business Meeting Omohundro Institute of Early Sltifra Goldman and Perspectives Independence Salon Ill, Level 3 Ameriran History and Culture on Cl1icanoArt: 17w Debate Philadelphia Marriott Ellie Berkm~itz, Invigoriva alcun sentimento University of Texas, Austin superficiale: Titian and the Spwestilesia ofPainting Rebirth at the Border: Jodi Cranston, Boston University Guillenno Gomez-Perla's Eulogy to BorderArr Guisela Latorre, Mamifactming Meaning in University of lllinois, Champaign Velazquez's The Spinners Lisa Vergara, Hunter College Th6 Inte1preting Facture in 18tl1-centur;· Breasts in Visual Paintings and Prints, Franrois Culture: Part 1 Lemopw and Laurent Cars Salon G, Level 5 Candace Clements, Philadelphia Marriott University of Hartford CHAIR: Lili Cm·bus Bezner, Paint that Dil•ides and Gathers: University of North Carolina, Charlotte Delacroix's Romanticism TI1e Celebration of Breasts in Margaret MacNamidhe, Minoan Culture Bernice R. jones, The Johns Hopkins Unh·ersity Queens College, City University Whistler's Friendships of New York ~ Open Session Rerealed 111rough Facture Savage Breast/Salvaged Breast: joyce Hill Stoner, [! Wet-nursing Colonization in Off·Site Session Winterthur ~fuscum Pero, 15S2-1825 Carolyn Dean, University of California, Santa Cruz [:J Practlcum t'i.'§ Th5 Handling Rubens's Breasts: Association for liii'l Museum Session 11~e Baroque Female Nude Latin American Art and Its .Modem Significance Art Critics and Art Criticism ril3 Affiliated Society Session Benjamin Binstock, in Chicano/a, Latino/a, and New York University Latin American Art ~ CAA Committee Session Room 201A SeJy, Milky. and Mortal Pennsylvania Convention Center ~farcclla HacklJanlt, Kenyon [3 E·Sesslon College; Danielle Hac Miller, CHAIRS: Florencia Bazzano-Nelson, Artist and Curator Georgia Stale Univer;,;ity; Holly Barnet-Sanchez, Do No Ham1: ... or, !fit 'sAil Univcr;,;ity of New Mexico tile Same To You. I'll Keep Mine, 11wnh You Sally Greenhouse, Rew1iting Modernism: Romero Brest American International College and OtherGeneologies for Modem Art Andrea Giunta, Univcrsidad de Buenos Aires Thursday morning 25 ~Th7 A11tonioAllegri's Art in Giorgi one's ''Assault": War and Rape Art and Theol)'.llorse and Cart: Panna in Historical Context in Renaissance Venice Paul Kaplan, Observations in Postmodem Art History Open Session Giancarla Periti, State University of New York, Purchase Scholarship Becl~r Hendrick, Philadelphia Architecture TilC Johns Hopkins University University of Texas, El Paso and Urbanism Oftlw Tribe of Lucretia: Interiorizing Uberty Salon C, Level 3 Faces and Names, or the History Violence in Nort11em Prints Oppositional Complimentarity: Philadelphia Marriott of an Epithet: Gianlorem:o Bemini Carol Janson. Strategies of Mashing in Photography as "la fence degl 'ingeni" Western Washington University M. Katluyn Shields, CHAIR: David B. Brownlee, Maarten Delbeke, Oxford University Virginia Commonwealth University University of Pennsylvania TI1e Amari di Giove: Rape Fantasy Alfred Robaut, Etienne Moreau­ and tile Stn1cture of Desire in 16th­ DiscussANT: Dennis Raverty, Classical Standards and Common Nelaton, and WritingCorot Century· Italy Anne 'Vestcott Eaton, Iowa State Unh·ersity Sense Visions: john Dorsey's David C. Ogawa, Union College University of Chicago Pennsylvania Academy of tile Th13 FineArts, r8o5 L·uU'a Bmgger, 71wArtist Biopic and the Text
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