hosted by

1 Table 03 Welcome from the Dean of 04 Acknowledgements from Conference Director Contents 05 Keynote Speaker 06 Juried Exhibition 07 Fellowship Exhibition 09 The Virtual Anderson 13 Equity, Diversity and Inclusion Statement & Racial Justice Town Hall 14 Schedule of Sessions 55 SECAC Governance & SECAC Board of Directors 56 Institutional Members 57 Affiliated Societies

2 Welcome from On behalf of VCUarts, it is my pleasure to welcome you as participants in the 76th annual Carmenita Higginbothan, SECAC conference. While I wish we could welcome you all to Richmond in person, we are honored to host you for what is sure to be a dynamic virtual conversation about the Dean, VCUarts complex notions and ideals that make a commonwealth.

The arts continue to be significant to cultural dialogue and critical inquiry. We at VCUarts are committed to the engagement of arts and education on our campus and in the city of Richmond, and we are excited to include each of you in this intellectual and cultural exchange.

I would like to extend my thanks to Carly Phinizy, assistant chair of the VCUarts Department of Art History and the SECAC 2020 conference director. I also would like to thank VCUarts faculty members Tobias Wofford, Holly Morrison and Orla Mc Hardy; and Chase Westfall, the curator of Student Exhibitions and Programs, who all served on the SECAC Planning Committee. This conference is made possible in no small part by their research and insight. I am also grateful to our partners at SECAC; its president, Sandra Reed, and administrator Christine Tate, who have shared their invaluable expertise and guidance.

I hope you find SECAC 2020 to be a seminal event that addresses a range of societal issues through thoughtful research and inventive pedagogical practices. VCUarts is thrilled to host you virtually, and I hope this opportunity inspires you to visit us in the future.

Carmenita Higginbotham, Ph.D. Dean, VCU School of the Arts Special assistant to the provost for the School of the Arts in Qatar

3 Acknowledgements from Planning the annual conference is a labor of love requiring a tremendous investment of the Conference Director time, patience, and skill on the part of the talented people who make it a reality. I have been aided tremendously by the SECAC 2020 Planning Committee, a group of VCUarts faculty and curators, including Holly Morrison, Orla McHardy, Tobias Wofford and Chase Westfall. Each of them contributed significantly to the conference identity and program. Monica Kinsey, Clay Harper, and Chelsea Brtis were integral to the execution of our exhibitions at the Virtual Anderson. I am immensely grateful for the expertise of the VCUarts Communications team, including Suzanne Silitch, Teresa Engle Ilnicki, Emily Park, and Kim Catley. From VCUarts development, Kelly Kerr was crucial in realizing our virtual keynote lecture with the technical expertise of Travis Fairman from the Cinema department. We are so grateful for our amazing partners at the Virginia Museum of Fine Arts. I give special thanks to Valerie Cassel Oliver, Sarah Eckhardt, and Michelle Oliver, who all contributed in vital ways to making SECAC 2020 a success.

SECAC President Sandra Reed has served as a mentor and guide for my work as Conference Director these past two years. Without fail, SECAC Administrator Christine Tate has been a source of truly invaluable support throughout the conference planning process. Her patience and wisdom made all the difference in navigating this year’s many challenges.

I am so excited to welcome everyone to SECAC’s first fully virtual conference, which it has been my absolute honor to oversee.

Carly Phinizy SECAC 2020 Conference Director

4 Keynote Speaker Valerie Cassel Oliver is the Sydney and Frances Lewis Family Curator of Modern and Valerie Cassel Oliver Contemporary Art at the Virginia Museum of Fine Arts. Before coming to the VMFA, Cassel Oliver served as senior curator at the Contemporary Arts Museum Houston, Texas for sixteen years. She has organized numerous exhibitions including the acclaimed Double Consciousness: Black Conceptual Art Since 1970 (2005); Cinema Remixed and Reloaded: “The Long Road: Black Women Artists and the Moving Image, co-organized with Dr. Andrea Barnwell Brownlee Shifting Culture in (2009); Hand + Made: The Performative Impulse in Art and Craft (2010); Radical Presence: Black Performance in Contemporary Art (2012); and the groundbreaking retrospective the Museum One exhibition Howardena Pindell: What Remains to be Seen, co-organized with Naomi Beckwith Work at a Time” (2017). Most recently, Cassel Oliver organized the exhibition Cosmologies from the Tree of Life that featured over thirty newly acquired works from the Souls Grown Deep Foundation. Currently, Cassel Oliver is working on a new exhibition: The Dirty South: Contemporary Art, Keynote Lecture Material Culture, and the Sonic Impulse. The exhibition, slated to open in May 2021, will December 5, 2020 explore the sonic and visual currents that not only influenced today’s music but art over 7:00 PM EST the last century. Live Q&A following the Keynote

The keynote lecture will provide an in-depth view into the shifting culture at the Virginia Museum of Fine Arts through the eyes of its Modern and Contemporary curator and the bold strategic plan that is allowing it to reinvent itself.

Image courtesy of the Virginia Museum of Fine Arts. Photography: Travis Fullerton. 5 Image courtesy of the Juried Exhibition Virginia Museum of Fine Arts. Photography by Sandra Sellars.

Juried Exhibition Reception & Presentation of Awards

December 4, 2020 7:00 PM EST

Join us for a virtual reception to include Juror’s Statement remarks from Guest Juror Sarah Eckhardt With over 400 entries across a wide span of mediums that ranged from paintings, drawings, and presentation of Best in Show awards. and sculpture, to installation art and video, the abundance of strong works submitted to this year’s SECAC juried art exhibition made for a difficult selection process. The limitations imposed by the pandemic also presented a need to imagine how these works would function when converted into virtual objects in a virtual space. These challenges, however, provided an exciting opportunity to work with the team at VCUarts and the Anderson as they produced a virtual exhibition that features the work of 26 SECAC members. We are grateful to all of the artists that submitted work and to the artists in the exhibition who were open to making the adaptations necessary to translate their artworks into cyber objects. Even though the art cannot be experienced in person this year, the diversity of perspectives offered by these artists will hopefully reach an even larger audience through this online platform.

Dr. Sarah Eckhardt has served as the Associate Curator of Modern and Contemporary Art at the Virginia Museum of Fine arts since 2011. At the VMFA, Eckhardt works with the museum’s early 20th-century European holdings as well as the mid-to-late 20th-century and 21st-century collections, including photography and the sculpture garden. Eckhardt’s recent curatorial projects include the exhibition Working Together: Louis Draper and the Kamoinge Workshop (2020), which was inspired by the archive of Richmond native Louis Draper and the Kamoinge Workshop, a group of African American photographers Draper helped to found in 1963. 6 Fellowship

Exhibition

The SECAC Fellowship was established in 1981 for the purpose of supporting member artists and to encourage individual creative growth, the development of new ideas for exhibitions and creative projects. The recipient of the 2019 SECAC Fellowship was Adrian Rhodes for her series Blood and Honey.

7 Searching for Callisto Virtual Installation, 2020

www.adrianrhodes.com instagram account: @adrian_rhodes

Artist Statement I inhabit a space between site-specific installation and a traditional understanding of individual pieces in a gallery setting. Each piece is a statement within a larger conversation, isolating an aspect of the dialogue, examining it, and placing it within the context of other work in the space. The tension between these elements creates both a framework indulging a desire for order, and a space for disruptions.

The exhibition for the SECAC is a virtual recreation of a physical installation examining how repetition of imagery and motif reflects recurring thought patterns.

8 The Virtual

Anderson

The Virtual Anderson offers a unique experience at a time when travel and in-person event attendance to conferences, exhibitions, and the like have become particularly complex. While not a replacement for a traditional exhibition, the Virtual Anderson provides a much-needed platform that makes accessible the artworks of the talented artists who were selected by Sarah Eckhardt, Associate Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts, for inclusion in the SECAC juried exhibition.

Under the leadership of Chase Westfall, the Anderson Curator of Student Exhibitions and Programs at VCUarts, and with administrative support provided by Monica Kinsey, Administrative Coordinator at the Anderson, the Virtual Anderson was built by Clayton Harper and Chelsea Brtis using the game design engine Unity. Harper is a Media, Art & Text Ph.D. candidate and Kinetic Imaging Adjunct Faculty member at VCU and Brtis is a Communications Arts Adjunct Faculty member at VCU.

The Virtual Anderson is a navigable, 3D-modeled gallery environment in which visitors can view and interact with virtual renditions of artworks, videos, and installations. The courtyard and gallery spaces resemble, as nearly as possible in virtual reality, the Anderson’s entrance and first floor gallery spaces.

9 10 (from left to right) 03. (the piece on the floor): Jonathan Durham, Untitled (Systems Over), 2018

13. Brent Dedas, Sfumato No. 322, 2019 04. Lauren Cardenas, #SueñoAmericano Inflight meal 001, 2019 18. Alexandra Giannell, Fallacies of Structure, 2019

11 (from left to right) 17. Shannon Johnstone, Stardust and Ashes #95, 2018 14. Eddy López, Nicaragua: Surviving the Legacy, by Paul Dix, Pamela Fitzpatrick, 2018

Modeling and 3D design by Richard Harper and Chelsea Brtis

12 Equity, Diversity and SECAC Statement of Commitment to Equity, Diversity and Inclusion Inclusion Statement & As an organization that fosters creative, scholarly, and educational dialogue in universities, colleges, community colleges, professional art schools, and museums, SECAC must strive Racial Justice Town Hall to understand, dismantle, and resist the legacies of racism and white supremacy. This begins internally, with an acknowledgement of SECAC’s complicity in institutional and Racial Justice Town Hall systemic racism, and a commitment to enacting substantive change. Together, we can December 2, 2020 imagine and create a better world, united in the pursuit of justice, equity, and transformation. 1:00–2:30 pm EST Facilitated by Marian R. Vassar Read the full statement here: secacart.org/page/EDIcommitment

This event is generously sponsored by Marian R. Vasser is the Executive Director for Diversity and the Columbia College Chicago Equity at the University of Louisville, where she has served Department of Art and Art History approximately 27 years in various roles. With over 16 years of experience as a Diversity and Equity Practitioner, she conducts approximately 300 workshops annually focusing on Anti-Racism, Implicit Bias, Microaggressions, Power and Privilege, Engaging in Difficult Dialogue, and more. In addition to her work within UofL, Marian has worked with over 30 K-12 school districts, universities, government and corporate sponsors to foster spaces that are more inclusive and equitable for all. In 2019, Marian received the 2019 UofL Presidential Multicultural Engagement award and was also recognized as an Adult Black Achiever. She was also nominated as Today’s Woman 2020 Educator of the Year.

13 Schedule of Sessions

14 Schedule Overview (11/30 12/2) – Date/Time Monday 11/30 Tuesday 12/1 Wednesday 12/2

8–9 AM EST non-session event Art History Art History SECAC Board meeting Room 1 Motivating Forces: Women in Arts Education Forms of Violence – Session I (8–11 am)

Studio Graphic Design Block A Room 2 Evolving Curriculum in the Anthropocene Building Better Design Portfolios 10 AM–12 PM EST Art History Studio/AH Room 3 Contemporary Art in the Wake of the Digital Revolution The Power of Story: Learning through the Lived Experience

12–1 PM EST Room 4

Art History Art History non-session event Room 1 (Re)Envisioning Imperial Portraiture in the Americas – The Impact of Visual Art on Civil Rights Racial Justice Townhall Session I Movements in the International Context

Block B Affiliate Affiliate Room 2 1–3 PM EST Monuments and Landscapes: Private and Public Symbols The Ripple Effect

Art Ed Art History Room 3 Art and Museum Spaces in the Dressing the Distaff: Women, Agency, and Time of Virtual Reality Visualizations of Fiber Preparation

3–4 PM EST Room 4

Art History Studio/AH non-session event Room 1 Farm to Canvas: Ecocritical Approaches to RE(:)Thinking Space Workshop: Anti-Racist Teaching Art of Commodity Extraction and Exchange in the Arts Classroom Art History Art History Block C Room 2 Sporting the Outdoors Reframing the Artist’s Model 4–6 PM EST Graphic Design Art History Room 3 The Continuing Education of an Ethical Designer African-American Art Chronicles—The Lost Generation: Post War-1960s

Room 4

7–8:30 PM EST

15 Schedule Overview (12/3 12/5) – Date/Time Thursday 12/3 Friday 12/4 Saturday 12/5 8–9 AM

Art History Art History Art Ed Room 1 Punk Rock Education: What Art School (Re)Envisioning Imperial Portraiture in the Americas – Session II Open Session: Innovative Pedagogy in Art Education Block A Couldn’t Teach You, Part II - Session I 10 AM–12 PM Studio Studio/AH Art History Room 2 EST Forms of Violence – Session II Restoring Structural Thinking against White Supremacy Undergraduate Art History Session – Session I Studio/AH Studio Art History Room 3 Animal/Material Laying a Strong Foundation—What’s Relevant? Decolonizing and Diversifying the Art History Survey non-session event 12–1PM Room 4 Writing for SECAC: Art Inquiries and Online Exhibition Reviews Art History Art History Art History Room 1 Open Session: American Art – Session I Preserving the Ephemeral: Performance and Undergraduate Art History Session – Session II the Archive in Latin America Graphic Design Studio Studio/AH Block B Room 2 Tenure Track Family: Work-Life Balance Punk Rock Education: What Art School Couldn’t Teach You, Sustainable Approaches to Facilitating Meaningful 1–3 PM EST Part II - Session II Undergraduate Research Art History Studio/AH Art History Room 3 Art and Politics under Chile’s Estallido Social All in the Family: On Raising Kids Together Visualizing the Anthropocene as Artists in Academia

3–4 PM Room 4

Art History Art History Art History Diasporic Women Artists in Latin America: Open Session: American Art – Session II When History is Horrifying: Reflections on Teaching Room 1 Gender and Displacement in the Crafting Difficult Topics in the Art History Classroom of Multiple Modernities

Block C Art Ed Studio Studio/AH Room 2 The Next Ten Years: Preparing for Self-Publishing as Social Practice Transfeminist Art, Transfeminist Art Histories 4–6 PM the Students of 2030 EST Art History Art History Studio/AH Room 3 Portraits of Power: Legitimacy, Symbolism, Fighting the Good Fight… Again DIY Advocacy: Grassroots Empowerment and Ideology in the Public Portrait Gallery

Room 4

non-session event non-session event 7–8:30 PM Juried Exhibition Reception Keynote Lecture and Q&A 16 Schedule Overview (12/6 12/8) – Date/Time Sunday 12/6 Monday 12/7 Tuesday 12/8

8–9 AM EST

Art History Art History Room 1 Forms of Violence – Session III Art as a Mirror of Life

Studio/AH Studio Block A Room 2 Problem-Solving Art Open Session: Digital Innovations in Contemporary Art Practice 10 AM–12 PM EST Studio Graphic Design The Figure Beyond a Constructed Ideal: Representing The Ripple Effect of Design Education in the Community Room 3 Contemporary Bodies and Identities in the Studio and the Classroom

12–1 PM EST Room 4

non-session event Art History Room 1 Round Table: The Confederate Landscape: Art History and the Word Perspectives, Problematics, New Paths of Engagement

Block B Art History Studio/AH Room 2 1–3 PM EST Art Historiography as Creative Nonfiction Open Session: Critical Perspectives on Patterns

Graphic Design Studio/AH Room 3 Utilizing Human-Centered Design in the Classroom Censorship—Historical Roots and the New Censorship in Visual Art

3–4 PM EST Room 4

Studio Art History Room 1 The UN-DISCIPLINED Rethinking Human-Animal Relations in Art Made before 1950

Art History Art History Room 2 Turning the Tables on Art History Artificial Realities and the Natural World Block C 4–6 PM EST Art History Graphic Design Room 3 The Mural in Contemporary Art What Graphic Design Can Do for Social Change

Studio Room 4 Innovative Foundations

7–8:30 PM EST

17 Schedule Overview (12/9 12/11) – Date/Time Wednesday 12/9 Thursday 12/10 Friday 12/11 8–9 AM SECAC Members’ Business Meeting

Art History Art History Studio Room 1 Art History > Open Session: American Art – Women in the Arts: Ambitious Patrons, Strategic Glimpses and Decoys: Painters Seeking Meaning Session III Promoters, and Skilled Producers through Interplay of Image and Material Block A Studio/AH Studio Graphic Design 10 AM– Room 2 Gamifying Art and Design Narrative Art: The Work Does Not Need to Tell the Story Open Session: Typography 12 PM EST Art Ed Art History Art History “But I’m Never Going to Use this Again”: The Art History Survey: How to Keep Commedification of Art Room 3 The Benefits of Teaching Studio Art and the Material Engaging for YOU Art History to Non-Major­ Students non-session event non-session event 12–1 PM Room 4 Round Table: Future of SECAC Workshop: Demystifying the MFA Application Process

Graphic Design Studio/AH Art History Room 1 Amazing Graphic Design— Breaking Open, Piecing Together: Queer Archival Labor Agents of Social Change: Performance Art, Public Art, Street When Student Solutions Blow You Away Art, Social Practice in the Age of Resistance – Session II Block B Art History Art History Studio/AH 1–3 PM Room 2 In Plain Sight: Public Space and Going Global: New Approaches to Expanding the Survey Why Did She Take off Her Clothes? Fourth-Wave EST Political Subversion in Art and Visual Culture Feminism, Modernism, and the Nude in Photography

Art History Studio/AH Studio Room 3 Open Session: Medieval and Renaissance Art Artist—Organization—Practice Art as Catharsis: Combating Trauma through Creativity

3–4 PM Room 4

Art History Art History Agents of Social Change: Performance Art, Reverberations and Correlations, Part II: Room 1 Public Art, Street Art, Social Practice Creative Interdependence among Visual Art, Block C in the Age of Resistance – Session I Music, Theater, and Dance 4–6 PM Studio/AH Studio/AH EST Room 2 Critical Potentials of Mapmaking in Art Creating Queer Bodies and Art Historical Practice

Studio/AH Room 3 Symbols and Meaning: The Language of Things 7–8:30 PM

18 Monday, 11/30 Block A: 10 AM–12 PM

Room 1 Room 2

Art History Studio Motivating Forces: Evolving Curriculum in the Anthropocene

Women in Arts Education Chairs: Meena Khalili, University of South Carolina Brent Dedas, University of South Carolina Chair: Elyse Gerstenecker, University of Virginia

Presenter 1 Presenter 4 Presenter 1 Annie V F Storr, Brandeis University— Sarah Iepson, Community College of Philadelphia Rachele Riley, University of North Carolina Women’s Studies Research Center A King Among Women: Sarah Worthington King Peter Greensboro Ellen Gates Starr of Hull House: Artist-Educator- and the Philadelphia School of Design for Women Making with Different Data—Visual Design Approaches Activist of International Influence to Uncovering Dynamics in the Environment Presenter 5 Presenter 2 Delanie Linden, Massachusetts Institute Presenter 2 Georgina Gluzman, Consejo Nacional de of Technology Jeremy Bolen, Georgia State University Investigaciones Científicas y Técnicas Women & Drawing Education in Nineteenth-Century Rethinking Knowledge Production in The Anthropocene An Education: Women as Educators at Crucial Times France Madame Marie-Élisabeth Cavé’s Drawing (Argentina, 1910s-1950s) without a Master, 1850 Presenter 3 Jason Brown, The University of Tennessee Knoxville Presenter 3 Beyond Eco-Art: Implementing Sustainable Systemic Cynthia Fowler, Emmanuel College Curricular Changes The Women of the Design Workshop: Educating the General Public on Modern Art Presenter 4 Jason Dilworth, State University of New York at Fredonia “Rewilding” Undergraduate Design Education

19 Monday, 11/30 Block A: 10 AM–12 PM

Room 3

Art History Contemporary Art in the Wake of the Digital Revolution

Chair: Laura Lake Smith, The University of Alabama at Huntsville

Presenter 1 Madison Alan-Lee, Northwestern University Flesh and Slime—Sublime: Networked Visions in Mika Rottenberg’s “Spaghetti Blockchain”

Presenter 2 Kaia L. Magnusen, University of Texas at Tyler Augmented Reality Art and Questions of Seeing, Originality, and Access: The “Graffiti-Bombing” of Jeff Koons’s AR Balloon Dog

Presenter 3 Scott Contreras-Koterbay, East Tennessee State University Control-V: Digital Aesthetic Insertions Between Craft and Substance

20 Monday, 11/30 Block B: 1 PM–3 PM

Room 1 Room 2 Room 3

Art History Affiliate, ATSAH Art Ed (Re)Envisioning Imperial Portraiture Monuments and Landscapes: Art and Museum Spaces in in the Americas – Session I Private and Public Symbols the Time of Virtual Reality

Chair: Michael Hartman, University of Delaware Chair: Liana Cheney, Independent Scholar Chair: Morgan Hamilton, Florida State University

Presenter 1 Presenter 1 Presenter 1 Susan Rawles, Virginia Museum of Fine Arts Agnieszka Whelan, Old Dominion University Morgan Hamilton, Florida State University The Mask and the Face: Colonial Portraits, Sites of Memory—Eighteenth Century Garden Imagery Virtual Reality in the Museum for a More Imperial Subjects, and the Act of [Dis]Union, 1660-1735 Whole Perspective Presenter 2 Presenter 2 Alan Wallach, William and Mary (Emeritus) Presenter 2 Rachel Bonner, University of California, Santa Cruz Esthetic Pioneering: Landscape Painting, Tourism, and Geoffrey Beatty, La Salle University An Alameda of One’s Own: Racialized Subjectivity in Tourist Iconographies in Nineteenth-Century America 3D Model of La Salle University Art Museum Gallery Juan de Sáenz’s Portrait of Ramona Antonia Musitú y for VR, Animation, and Pedagogical Research Zalvide de Icazbalceta Presenter 3 Charles Burroughs, SUNY Geneseo Presenter 3 Presenter 3 Frederick Law Olmsted and the Landscape of Industry Louly Peacock, Brevard College Josephine Rodgers, Yale University Art Gallery Art in the Time of Covid “Emblems of Intellect”: A Portrait of Ezra Stiles by Presenter 4 Samuel King Lynette Bosch, SUNY Geneseo Emmeline Wadsworth’s Fountain in Geneseo, Presenter 4 New York: A World of Bears Janine Boldt, American Philosophical Society Dressed for Conquest: Early Settler Colonial Portraiture in Virginia

21 Monday, 11/30 Block C: 4 PM–6 PM

Room 1 Room 2 Room 2

Art History Art History Farm to Canvas: Ecocritical Approaches to Sporting the Outdoors

Art of Commodity Extraction and Exchange Chairs: Floyd Martin, University of Arkansas at Little Rock Michael Duffy, East Carolina University Chairs: Caroline Gillaspie, The Graduate Center, CUNY Michaela Rife, University of Michigan

Presenter 1 Presenter 4 Presenter 1 Megan Baker, University of Delaware Christine Garnier, Harvard University Erin Lehman, Towson University Exploiting Landscape and Pursuing Knowledge: The Extracted Elegance of Paulding Farnham’s Paddling Towards Modernity: The Rowing Pictures Decoding Pierre Eugène du Simitière’s Graphic Work Ptarmigan Vase, c. 1903 of Gustave Caillebotte and Thomas Eakins Presenter 2 Presenter 5 Presenter 2 Ali Printz, Tyler School of Art, Temple University Jason Nguyen, University of Toronto Michael Duffy, East Carolina University Disdain for Extraction: John Kane’s Naive Ecocriticism Fishermen, Cod, and Mermaids: Visual Culture and Camera Hunting in the African Wilds: Marine Ecology in Colonial Newfoundland Carl Schillings, Arthur Dugmore and the Emergence Presenter 3 of Non-Consumptive Wildlife Uses Kate Kocyba, The University of Alabama Presenter 6 Photography and the Role of Land Management: Phillippa Pitts, Boston University Presenter 3 A Focus on the United States Forest Service 1885 - 1935 A Quickly Turning World: Rethinking the Art, Ecology, Preston McLane, Florida State University and Histories of the Great Plains, 1680-1880 Boyars and Borzois: Illustrating the Tsar’s Hunt Presenter 4 Nathan Rees, University of West Georgia Painting a “Properly Civilized” Campsite: Race and Recreation in the Nineteenth-Century West Presenter 5 Benjamin Harvey, Mississippi State University A Portrait of the Landscapist Indoors: Pissarro Paints Cézanne

22 Monday, 11/30 Block C: 4 PM–6 PM

Room 3

Graphic Design The Continuing Education of an Ethical Designer

Chair: Amanda Horton, University of Central Oklahoma

Presenter 1 Aggie Toppins, The University of Tennessee at Chattanooga The T Word: Teaching Taste in Graphic Design Presenter 2 Becky Nasadowski, University of Tennessee at Chattanooga Centering the Politics and Ethics of Design Presenter 3 Ann Ford, Virginia State University Is It Okay?

23 Tuesday, 12/1 Block A: 10 AM–12 PM

Room 1 Room 2 Room 3

Art History Graphic Design Studio/AH Forms of Violence – Session I Building Better Design Portfolios The Power of Story: Learning through the Lived Experience Chair: Michael Anthony Fowler, East Tennessee State University Chairs: Meaghan Dee, Virginia Tech Wallace Santos Lages, Virginia Tech Chair: Cynthia Gadsden, Tennessee State University

Presenter 1 Presenter 1 Presenter 1 Matthew Peebles, Pace University Jessica Spowart, Athens State University Jennifer Wester, Notre Dame of Maryland University Violence as Attribute: The Weapon-Brandishing Warrior Collaboration, Collaboration, Presentation Art, History, Community: Letting Students Make in Ancient Greek Art the Connections Presenter 2 Presenter 2 Jonathan Cumberland, The University of Alabama Presenter 2 Artur Kamczycki, Adam Mickiewicz University in In-Focus: Enabling Creative Freedom within Millian Giang Pham, The University of Alabama Poznan, Poland Specific Parameters Conveying the Invisible: Sharing the Lived Experience El Lissitzky’s “Beat the Whites with the Red Wedge.” Presenter 3 Presenter 3 The Geometry of Violence and the Russian Civil War Margaret Fletcher, Auburn University Zachary Kelley, Meriwether County Presenter 3 Creating a Persuasive Portfolio Narrative Generates Content; Content Generates Brigid Boyle, Rutgers University Participation; Participation Generates Experience Pitiless or Picturesque? Bashi-Bazouks in the European Presenter 4 Imagination Carol Record, Jacksonville State University Presenter 4 Games as Simulation: Experiential Learning through Kathleen Pierce, Smith College Structured Play Violence in the Laboratory: Figuring Simian Subjects in Experimental Medicine Presenter 5 Rachel Stephens, The University of Alabama (co) Katie McKinney, Colonial Williamsburg Foundation “The Heroine of Virginia”: Anti-Abolitionist Violence in a Rare 1814 Watercolor

24 Tuesday, 12/1 Block B: 1 PM–3 PM

Room 1 Room 2 Room 2

Art History Affiliate, SCGI The Impact of Visual Art on Civil Rights The Ripple Effect

Movements in the International Context Chair: Beauvais Lyons, University of Tennessee Chair: Sonja Kelley, Maryland Institute College of Art

Presenter 1 Presenter 5 Presenter 1 Victoria DeBlasio, Florida State University Allison Rudnick, The Graduate Center, CUNY; Tatiana Potts, University of Hartford Parts and Wholes: Steve Schapiro and The Metropolitan Museum of Art Going with a Flow and then Against the Formation of Critical Intimacy The Politics of Technique: Dox Thrash, Carborundum Presenter 2 Mezzotint, and the Long Civil Rights Movement Presenter 2 Adrian Rhodes, University of South Carolina Sonja Kelley, Maryland Institute College of Art Presenter 6 The Inheritance of Images A Chinese View of a Revolutionary World: Summer Sloane-Britt, New York University Presenter 3 Jiang Mi’s Prints and Black Civil Rights in the Cold War Whose Gaze?: Maria Varela’s Utilitarian Praxis Claudia Wilburn, Brenau University

Presenter 3 Image, Concept and Process Adrienne Rooney, Rice University Presenter 4 Visualizing Decolonial Regionalism: Carifesta ’72 and Conor McGrann, University of Tennessee the Hope for a Caribbean (Artists’) Community Mapping Territories: The Analog and Digital Matrix Presenter 4 Lynne Larsen, University of Arkansas at Little Rock Post-colonial Propoganda?: North Korea’s Role in West Africa’s Monuments

25 Tuesday, 12/1 Block B: 1 PM–3 PM

Room 3

Art History Dressing the Distaff: Women, Agency, and Visualizations of Fiber Preparation

Chair: Carlee Bradbury, Radford University

Presenter 1 Michelle Moseley-Christian, Virginia Tech, School of Visual Arts New Iconographic Interpretations of the Spinning Eve in Early Modern Imagery Presenter 2 Einav Zamir, University of Texas at Austin Spinning, Motherhood, and Kourotrophic Deities: A Case Study from Lemnos

26 Tuesday, 12/1 Block C: 4 PM–6 PM

Room 1 Room 2 Room 2

Studio/AH Art History RE(:)Thinking Space Reframing the Artist’s Model

Chairs: Jeremy Culler, University of South Carolina Aiken Chair: Elizabeth S. Hawley, Northeastern University James Enos, University of Georgia, Athens

Presenter 1 Presenter 4 Presenter 1 Kremena Todorova, Transylvania University Micah Cash, Independent Artist Jared Ledesma, Des Moines Art Center (co) Kurt Gohde, Transylvania University Waffle House Vistas: Photographs of Economic Stability Perfect Lovers Lexington in the Time of COVID-19: Creating and the Built Environment Presenter 2 participatory art from 6 feet away Presenter 5 Jane dini, Brooklyn Museum Presenter 2 Izabel Galliera, Susquehanna University Fade to White: The Working Relationship of Joelle Dietrick, Davidson College Spatial Occupation as Tactic in Hungarian Art and John Singer Sargent and Thomas McKeller Tally Saves the Internet Activist Practices Since 2010 Presenter 3 Presenter 3 Presenter 6 Debra Hanson, Virginia Commonwealth University Kimble Bromley, North Dakota State University Jason Swift, University of West Georgia “The Ephemeral, the Fugitive, and the Contingent”: Essence of Place The Space In Between: Where Meaning Resides Impressionism, Visuality, and the Female Model Presenter 4 Theo Tyson, Boston Athenæum More Than a Model: Thomas McKeller’s Influence on John Singer Sargent Presenter 5 Kimberly Smith, Southwestern University Modeling and Modernism: Charlotte Berend-Corinth’s Work

27 Tuesday, 12/1 Block C: 4 PM–6 PM

Room 3

Art History African-American Art Chronicles— The Lost Generation: Post War-1960s

Chair: Anthony Bingham, Miles College

Presenter 1 Aaron Ambroso, UNC-Chapel Hill Fred Wilson’s Mixed Metaphors: The Politics of Museums in the Late Twentieth Century Presenter 2 Nadia Delmedico, The University of Alabama Eras of Iconography in Manuel Hughes’ “Arkansas Memories” Series

28 Thursday, 12/3 Block A: 10 AM–12 PM

Room 1 Room 2 Room 3

Art History Studio Studio/AH Punk Rock Education: What Art School Forms of Violence – Session II Animal/Material Couldn’t Teach You, Part II - Session I Chair: Kristen Carter, Florida Southern College Chairs: Jessica Landau, University of Pittsburgh & Carnegie Museum of Natural History Chair: Jason Swift, University of West Georgia Ruth Burke, Illinois State University

Presenter 1 Presenter 1 Presenter 1 Valerie George, 309 Punk Museum Project Mallory Nanny, Florida State University William Schwaller, Tyler School of Art, (co) Christopher Satterwhite, 309 Punk Museum Relocating Trauma ‘In Country’: Jessica Hines’s “My Temple University Project Brother’s War” The Birds and the Bees of Luis Benedit Jump in the Pit: Punkademics and the 309 Punk Project Presenter 2 Presenter 2 Presenter 2 Olivia Morris, Florida State University Jordan Bovee, Virginia Tech Ashley Kenneth Chavis, Northwest Mississippi Cyborgs, Death Rays, and Mad Men: Conceptualizing Contemporary Animal Materiality & the Underwater Community College Violence, Fear, and Trauma in 1930s America Sculpture of Jason DeCaires Taylor JPentecostal Punk Rock: From Methuselah to Minor Presenter 3 Presenter 3 Threat - How Nonconformity Inspired a Creative Career Kristal Bivona, University of California, Los Angeles Emily Bivens, University of Tennessee, Knoxville Of Shit and Barbarism: Post-Dictatorship Violence in Approaching Wildness and Other Acts of Violence Presenter 3 South American Visual Arts Jaimes Mayhew, American University Presenter 4 What Punk Sensibility Taught a Young Queer Presenter 4 Shannon Johnstone, Meredith College Lucy Curzon, The University of Alabama Stardust and Ashes Presenter 4 Representing Violence: Laura Knight’s Jim Daichendt, Point Loma Nazarene University Presenter 5 “The Nuremberg Trial” (1946) Skateboarding in Not a Crime Elizabeth Hutchinson, Barnard College/ Presenter 5 Columbia University Monika Keska, University of Granada Photography, Taxidermy, and American Expansion in Francis Bacon and the “Algerian Rebellion” Woodward’s Gardens

29 Thursday, 12/3 Block B: 1 PM–3 PM

Room 1 Room 2 Room 3

Art History Graphic Design Art History Open Session: American Art – Session I Tenure Track Family: Work-Life Balance Art and Politics under Chile’s Estallido Social

Chair: Judy Bullington, Belmont University Chair: Rachel Bush, Austin Peay State University Chairs: Florencia San Martín, California State University, San Bernardino Paula Solimano, Hunter College

Presenter 1 Presenter 1 Presenter 1 Kerr Houston, Maryland Institute College of Art Meena Khalili, University of South Carolina Juan José Santos Mateo, Universidad Autónoma Of Their Times: On Colonial Tall-Case Clock Signatures Parenting, Happiness, and Playing the Long Game de Madrid in Academia The Ballad of Martin Gubbins: Raising the Flag on Chile Presenter 2 Grant Hamming, Cornell Fine Arts Museum, Rollins Presenter 2 Presenter 2 College Rachel Bush,Austin Peay State University Matías Allende Contador, Universidad de Chile Richard Caton Woodville’s Domestic Failures One Big Happy Family: Practical Insights on Monuments for Current Political Conflicts: Parenthood in Academia Reorganizing Networks in Front the Voracity of the State Presenter 3 Shannon Walsh, The University of Alabama Presenter 3 Presenter 3 The War Spirit at Home: Lilly Martin Spencer’s Civil War Belinda Haikes, The College of New Jersey Paula Solimano, Hunter College The Power of No, The Virtue of Yes Feminism, collectivity, and public space within Presenter 4 Chile’s estallido social Evie Terrono, Randolph-Macon College Presenter 4 Confederate Memories, Modernist Controversies: Ting Wang-Hedges, Oklahoma State University Presenter 4 Julien Binford’s 1942 Mural of the Burning of Richmond. I’m Without Child Leonardo Gonzalez, University of Houston How We Learned To Run

30 Thursday, 12/3 Block C: 4 PM–6 PM

Room 1 Room 2 Room 2

Art History Art Ed Diasporic Women Artists in Latin America: Gender and Displacement The Next Ten Years: Preparing for in the Crafting of Multiple Modernities the Students of 2030

Chairs: Caroline Olivia Wolf, University of Tennessee at Chattanooga Chairs: Jon Malis, Loyola University Maryland Georgina Gluzman, CONICET, Universidad de San Andrés Billy Friebele, Loyola University Maryland

Presenter 1 Presenter 4 Presenter 1 Jocelyn Holmes, Institute for Doctoral Studies Caroline Olivia M. Wolf, University of Tennessee Mary Wearn, Middle Georgia State University in the Visual Arts at Chattanooga Building a Brand New Art Program in the Age of “Work Track and Trace: Feminine Diasporic Being Reframing Bibi Zogbé: A Modernist Legacy between Ready” College Education Written in Body and Blood Latin America and the Levant Presenter 2 Presenter 2 Presenter 5 Samuel Washburn, University of Central Oklahoma Madeline Turner, The Institute of Fine Arts, Carolina Cerqueira Correa, Universidade Riding the New Waves in Design So You Can Teach New York University Federal de Juiz de Fora Your Students How to Swim The Extraordinary History of Bodies: Laura Anderson The Women in the FRAGRANTE Mostra de Arte Presenter 3 Barbata’s Art of Life and Death Presenter 6 Raluca Iancu, Iowa State University Presenter 3 Andréia Costa, UNICAMP - Art Institute, Brazil; The Future of Printmaking Education Damon Reed, Virginia Commonwealth University Fundação de Amparo a Pesquisa do Estado de São Presenter 4 Discovering Zilia Sánchez: Challenging the Modernist Paulo (FAPESP) Azucena Trejo Williams, Cammpbellsville University Canon with a Contemporary, Cuban Artist Poetics in Transit: A Production of Brazilian Women Collaborative Problem-Solving in the Contemporary Artists during the Artistic Exile College Classroom

31 Thursday, 12/3 Block C: 4 PM–6 PM

Room 3

Art History Portraits of Power: Legitimacy, Symbolism, and Ideology in the Public Portrait Gallery

Chairs: Emily Gerhold, High Point University Craig Reynolds, Virginia State Capitol and Capitol Square

Presenter 1 Rebecca Howard, University of Memphis Lake Como to the Dialogo: Paolo Giovio’s Public Portrait Collections Presenter 2 Andrew Wasserman, Independent The Kennedy and the Socialite: Planning the Merchandise Mart Hall of Fame Presenter 3 Jared Ragland, University of South Florida Front Row Seat: An Inside Look at the White House Photo Office and the History of Presidential Photography Presenter 4 Kate Sunderlin, Virginia Commonwealth University The Early Valentine Museum: Portraiture, Plaster, and the Perpetuation of Myth

32 Thursday, 12/4 Block A: 10 AM–12 PM

Room 1 Room 2 Room 3

Art History Studio/AH Studio (Re)Envisioning Imperial Portraiture in Restoring Structural Thinking against Laying a Strong Foundation— the Americas – Session II White Supremacy What’s Relevant?

Chair: Megan Baker, University of Delaware Chair: Heath Schultz, University of Tennessee at Chattanooga Chair: Katie Hargrave, University of Tennessee at Chattanooga

Presenter 1 Presenter 1 Presenter 1 Philippe Halbert, Department of the History of Art, Meredith Drum, Virginia Tech Kimberly Riner, Georgia Southern University Yale University Monument Public Address System How Understanding Gen Z can Inform Keeping [and Making] Up Appearances in the French Teaching Foundations Presenter 2 Atlantic World Timothy Smith, Aalto University, Helsinki, Finland Presenter 2 Presenter 2 Teaching Critical Multicultural Education through Alessandra Sulpy, Winona State University Ryan Hechler, Tulane University Analyzing Counter-Hegemonic Post-Internet Too Much, Too Few—Blurring the Lines of Disciplines Beyond the Background: Disentangling Hunchbacks Artist Practices and Experience and Dwarfs of the Inka Empire in Spanish Colonial Presenter 3 Presenter 3 Andean Portraiture Lea Stephenson, University of Delaware Rusty Smith, Auburn University Rural Studio Presenter 3 The Gallery of Whiteness: Peter Marié’s Portrait How Do You Know What You Don’t Know If You Don’t Joseph Litts, Princeton University Miniatures and Gilded Age Exhibitions Even Know You Don’t Know It? Jewelry and Slavery in Portraits of Refinement Presenter 4 Presenter 4 Presenter 4 Lanette Blankenship, Kasey Ramirez, University of Arkansas Agnieszka Ficek, CUNY Graduate Center Lawson State Community College Memos for the Contemporary Core: Drawing from the A Human Cabinet of Curiosities: Narratives of Promise against Hate Past, Present and Future (working title) Colonialism and Humanity in José Conrado Roza’s “Portrait of the Dwarfs of Queen Marie I of Portugal” (1788)

33 Thursday, 12/4 Block B: 1 PM–3 PM

Room 1 Room 2 Room 3

Art History Studio Studio/AH Preserving the Ephemeral: Performance Punk Rock Education: What Art School All in the Family: On Raising Kids Together and the Archive in Latin America Couldn’t Teach You, Part II - Session II as Artists in Academia

Chairs: Madeline Turner, Institute of Fine Arts, New York University Chair: Jim Daichendt, Point Loma Nazarene University Chair: Lauren Evans, Samford University Agustín Díez Fischer, Centro de Estudios Espigas (Tarea-IIPC, UNSAM)

Presenter 1 Presenter 1 Presenter 1 Adriana Miramontes Olivas, University of Pittsburgh Lars Roeder, Texas A&M University- Corpus Christi Emily Newman, Drake University Teresa Margolles’s Neoliberarchivo: Artists in the Band: Cultivating Creative Practice Two Sculptors, Two Academics, Two Kids: Contemporary Art from the Mexico-US Border Surprisingly, Asymmetry Is Actually Our Balance Presenter 2 Presenter 2 Ginger Shulick Porcella, Franconia Sculpture Park Presenter 2 Joseph Shaikewitz, Hunter College I was a Teenage Zombie Christopher Metzger, Stevenson University Queer Bodies/Bodily Archives: Carlos Leppe and Guess Who’s Coming to Dinner: Life, Love, Presenter 3 Performance in Chile, 1973–2000 and Racism in America Danny Sagan, Norwich University School of Presenter 3 Architecture + Art Presenter 3 Liz Donato, International Center for the Arts of the Design/Build is the Punk Rock of Architecture Lauren Evans, Samford University Americas (ICAA), the Museum of Fine Arts, Houston Aims and Odds of the Artist/Parent/Academic Couple Presenter 4 A Series of Acts That Disappear: Exhibiting the Michael Lorsung, Ball State University Presenter 4 Valparaíso School’s “Ephemeral Architectures” Punk as a Catalyst and Role Model Misty Bennett, University of Montevallo Presenter 4 Collaboration and Cohabitation Macarena Deij Prado, University of Florida Presenter 5 Visual Records and Material Objects: Representation Crystal Brown, West Virginia Wesleyan College and Preservation of the Ephemeral Act of Dressing Ten Years of Fun: Navigating Career and Family Life Processional Images in Cusco’s Corpus Christi

34 Thursday, 12/4 Block C: 4 PM–6 PM

Room 1 Room 2 Room 3

Art History Studio Art History Open Session: American Art – Session II: Self-Publishing as Social Practice Fighting the Good Fight…Again New Perspectives on American “Masters” Chair: Ellen Mueller, Minneapolis College of Art and Design Chair: Rich Gere, The University of Alabama at Birmingham Chair: Rachel Stephens, The University of Alabama

Presenter 1 Presenter 1 Presenter 1 Caroline Culp, Stanford University Sarah Sharp, University of Maryland, Meg Aubrey, Texas A&M University - Corpus Christi “From Sargent to Copley: Continuities and Baltimore County The Intersection between Art and Nursing Crossings in Time” The Tool Book Project Presenter 2 Presenter 2 Presenter 2 Beauvais Lyons, University of Tennessee, Knoxville Judy Bullington, Belmont University Teresa Audet, University of Wisconsin- Madison Helping the Arts and Humanities to Thrive Plants & Reform Ideals in Charles Willson Peale’s Self-Publishing for Craft Education in the Public University Portraits Presenter 3 Presenter 3 Presenter 3 Alanna Stapleton, UW Madison Melissa Yes, The University of Alabama Rachel Allen, University of Delaware How-to Zines: Sharing Everyday Knowledge at Birmingham Nocturnes without Sky (World): Frederic Remington and Building Community Waive the White Flag Pushes Indigenous Cosmologies Out of the Frame Presenter 4 Presenter 4 Trina Fernandez, Minneapolis College of Chris Slaby, College of William & Mary Art and Design Mohicans, the American Landscape, and Keeping Us Conformed: A Brief History of the Punk Zine Thomas Cole’s Depictions of Indigenous Peoples

35 Friday, 12/5 Block A: 10 AM–12 PM

Room 1 Room 2 Room 3

Art Ed Art History Art History Open Session: Innovative Pedagogy Undergraduate Art History Session – Decolonizing and Diversifying the in Art Education Session I Art History Survey

Chairs: Wendy DesChene, Auburn University Chair: Eileen Yanoviak, The Carnegie Center for Art & History Chair: Kimberly Mast, University of Arizona Jeff Schmuki, Georgia Southern University

Presenter 1 Presenter 1 Presenter 1 Lauren DiSalvo, Dixie State University Grace Lytle, University of Arkansas at Little Rock Monica Blackmun Visona, University of Kentucky “Ungrading:” Taking Away Grades To Focus on Learning Wit and Whimsy: Women’s Photocollage of Why Africa Made Art History Global: Teaching the Victorian Era New Narratives Presenter 2 Jeremy Blair, Tennessee Tech University Presenter 2 Presenter 2 Praxis(ing) Art Sarah Bulger, Old Dominion University Sadia Kamran, Institute for Art and Culture, It’s Elementary: The Bayeux Tapestry as Lahore, Pakistan Presenter 3 a Medieval Educational Tool The Apologue of Decolonization-Practicing & Amy Babinec, South Suburban College Teaching Art in Pakistan Culturally Relevant Teaching and Art Pedagogy Presenter 3 Sydney Traylor, Marian University Presenter 3 Presenter 4 Rococo: A Taste of Immodesty in Revolutionary France Erika Pazian, University of Minnesota - Duluth Katherine Chudy, New Mexico State University The Whole World in World Art 2: Expanding Anything Old Can Be New Again Presenter 4 the Global Survey Iain MacKay, West Virginia University Vermeer as Aporia: Indeterminacy, Divergent Narratives, and Ways of Seeing Presenter 5 Olivia Sims, Jacksonville State University A Socio-Feminist Approach to Emily Mary Osborn’s Nameless and Friendless

36 Friday, 12/5 Block B: 1 PM–3 PM

Room 1 Room 2 Room 3

Art History Studio/AH Art History Undergraduate Art History Session – Sustainable Approaches to Facilitating Visualizing the Anthropocene Session II Meaningful Undergraduate Research Chair: Jung E. Choi, Duke Kunshan University Chair: Amy Frederick, Centre College Chair: Sarah Archino, Furman University

Presenter 1 Presenter 1 Presenter 1 Savannah Wills, University of Kentucky Mackenzie Stagg, Auburn University Rural Studio Kathy Varadi, Georgia Southern University Women as Wombs: Contextualzing the Visual Rhetoric From Project to Product: The Opportunities and Contemporary Landscape and the Sublime of Now in “The Miraculous Journey” Challenges of Place-Based Research Presenter 2 Presenter 2 Presenter 2 Zoe Weldon-Yochim, University of California, Olivia Fleming, University of Central Arkansas Heather Hertel, Slippery Rock University Santa Cruz Francis Bacon’s Personal Suffering: of Pennsylvania From New Mexico to Fukushima: Trevor Paglen’s Triptych May-June 1973 SOAR: An Interdisciplinary Performance Project “Trinity Cube” and the Impossibility of Containment Presenter 3 Presenter 3 Presenter 3 Haley Drake, University of Kentucky Julia Finch, Morehead State University Allison Myers, California Polytechnic State University Touch Sanitation: Mierle Laderman Ukeles’ Ecofeminist Mentoring Undergraduate Art Historical Research Exoticizing the Anthropocene: Visual Spectacle Approach to the Abjection of Maintenance in Rural Appalachia: Capitalizing on Proximity and and Locality in Tania Mouraud’s Fata Morgana Community Engagement Presenter 4 Presenter 4 Kathryn Price, Susquehanna University Presenter 4 Allie Mickle, The Ohio State University A Taxonomy of Contemporary Installation Art Mary Brantl, St. Edward’s University “Let the Hills be Hills and Rivers Be Rivers”: since the 1980s Finding Commonalities: An Invitation to Journey Implications of a Changing Environment in Yang Yongliang’s Digital Landscapes Presenter 5 Tyler Troup, Susquehanna University A Contemporary Revival of Traditional Japanese Culture since the 1990s: The Multi-Media Franchise of Pokémon

37 Friday, 12/5 Block C: 4 PM–6 PM

Room 1 Room 2 Room 3

Art History Studio/AH Studio/AH When History is Horrifying: Reflections Transfeminist Art, Transfeminist DIY Advocacy: Grassroots Empowerment on Teaching Difficult Topics in the Art Histories Chairs: Reni Gower, Virginia Commonwealth University Jorge Benitez, Independent Artist Art History Classroom Chair: Tracy Stonestreet, Virginia Commonwealth University Chairs: Jenevieve DeLosSantos, Rutgers University Kathleen Pierce, Smith College

Presenter 1 Presenter 1 Presenter 1 Olivia Florek, Delaware County Community College Chelsea Thompto, Grand Valley State University Kate Kretz, Montgomery College Artemisia in the Era of #MeToo Transcode Manifesto Standing In The Fire: Navigating the Front Lines of Activist Artmaking While Female Presenter 2 Presenter 2 Allison Kim, Skidmore College Madison Manning, Virginia Commonwealth University Presenter 2 Reframing the Canon: Teaching Sexual Violence Monique Wittig, Marge Simpson & Me: Wendy DesChene, Auburn University in Italian Baroque Art History Transfeminism in Lesbian Matters DIY Counter Deception Presenter 3 Presenter 3 Presenter 3 Nancy Bookhart, Paine College Paige Lizbeth Morris, Virginia Commonwealth Ruth Bolduan, Virginia Commonwealth University The Confederate Monuments and the Critique of Beauty University The Mapplethorpe Demonstration against Censorship A Girl is a Girl is a Girl in the Arts Presenter 4 Brooke Permenter, College of Charleston Presenter 4 Presenter 4 Confronting COVID-19: When Course Content Collides Laura Boban, Virginia Commonwealth University Jorge Benitez, Virginia Commonwealth University with Reality (Re)forming and (Re)fusing the Sub-divided Self Art, Morality, and Authoritarianism

38 Monday, 12/7 Block A: 10 AM–12 PM Room 1 Room 2 Room 3

Art History Studio/AH Studio Forms of Violence – Session III Problem-Solving Art The Figure Beyond a Constructed Ideal: Representing Contemporary Bodies and Chair: Lucy Curzon, The University of Alabama Chair: Tess Elliot, University of Oklahoma Identities in the Studio and the Classroom

Chair: Lauren Woods, Auburn University

Presenter 1 Presenter 1 Presenter 1 Lisa Williamson, The Institute for Doctoral Studies in Howard Skrill, St. Francis College Evin Dubois, Paducah School of Art and Design at the Visual Arts and The University of Memphis Industries of the British Empre West Kentucky Community and Technical College From Abuse to Transformation: The Interpretive Work The Category Is…: A Shifting Theme, Wearable Prompts, Presenter 2 of Counter-Confederate Structures and the Exhausted Body at the Center of it All Jeff Schmuki, Georgia Southern University Presenter 2 GreenSpace Presenter 2 Jenny Wu, Washington University in St. Louis Daniel Esquivia Zapata, Adjunct Drawing Professor Presenter 3 Against Motility: inSITE, Mika Rottenberg, and at Pontificia Universidad Javeriana de Bogotá Heath Schultz, University of Tennessee the Position of the “Border Outsider” Transformed or Deformed the Demythification at Chattanooga of the Human Body in Figure Drawing Classes Presenter 3 The Problem of White Supremacy Han Chen, Pennsylvania State University Presenter 3 Presenter 4 Transforming Violence: Commercialization of Lauren Woods, Auburn University Loraine Wible, Art Academy of Cincinnati Radical Bodies in China Form and Gesture: Embodiment and The Question of the Question: Or When the the Performance of Painting Presenter 4 Question is the Answer Kristen Carter, Florida Southern College Presenter 4 Toxic Coercions: Masculinity and the Intimate Alaina Plowdrey, Institute for Doctoral Studies Violence of Body Art in the Visual Arts The New Figure: Considerations of Phenomenological Presenter 5 Deconstructionism Nicole Scalissi, University of North Carolina Greensboro Presenter 5 “Real violence” at the Whitney Museum Alexandra Giannell, Indiana University Bloomington Incarceration, Collaboration + the Indexical Mark 39 Monday, 12/8 Block B: 1 PM–3 PM Room 2 Room 3

Art History Graphic Design Art Historiography as Creative Nonfiction Utilizing Human-Centered Design in the Classroom Chairs: Jessamine Batario, Lunder Institute for American Art, Colby College Chair: Neil Ward, Drake University Taylor Bradley, The University of Texas at Austin

Presenter 1 Presenter 1 Caroline Riley, University of California, Davis Jan Ballard, Texas Christian University Modern Mythmaking: Thérèse Bonney’s Masculinity Keys to Cross-Pollinating Student Design Practitioners and the Challenge of Biographical Writing in Simulating Real-World Collaborations Rely on Human Centered Design Combined with the Visual Presenter 2 Fundamentals of Color, Texture, and Shape in the Amy Rahn, University of Maine at Augusta Development of a Brand “Sister is Powerful:” Writing Women’s Friendships in the First Person Presenter 2 Sherry Freyermuth, Clark University Presenter 3 Teaching Human-Centered Design to Build Allison Leigh, University of Louisiana at Lafayette 21st Century Skills Horizontal Art History and New Transnational Narratives Presenter 3 Presenter 4 MiHyun Kim, Texas State University Joseph Larnerd, Drexel University Incorporating User Centered Design Methodology and A Leg Lamp Story Emerging Technology into Pedagogical Practice Presenter 4 Jean Nagy, Middle Tennessee State University Human Centered Design: Digital Storytelling in the Midst of a Pandemic

40 Monday, 12/7 Block C: 3 PM–6 PM Room 1 Room 2 Room 3

Studio Art History Art History The UN-DISCIPLINED Turning the Tables on Art History The Mural in Contemporary Art

Chair: Gary Chapman, The University of Alabama at Birmingham Chair: Roann Barris, Radford University Chair: Matthew Levy, Penn State Behrend

Presenter 1 Presenter 1 Presenter 1 Carla Rokes, University of North Carolina David Smucker, Pratt Institute Jessica Locheed, Houston Community College at Pembroke Colonial Encounters, Indigenous Perspective: Gonzo247 and Aerosol Warfare: Capturing Houston’s A Method To Rummage through Perversions Wendy Red Star and the Metropolitan Museum of Art Spirit with Paint Presenter 2 Presenter 2 Presenter 2 Emilia White, University of Michigan Stamps School Mary Melissa Miller, University of Arkansas Sarah O’Brien, University of Illinois of Art & Design at Little Rock The Materiality of Muralism Whew!! Joseph Mallord William Turner: Artistic Interpretations Presenter 3 of Change and the Industrial Revolution in England’s Presenter 3 Travis English, Frostburg State University, Maryland North East Paul Collins, Austin Peay State University Gerhard Richter and the Mural, from Socialist Realism to Distribution in the Time of Social Distancing Presenter 3 Deutsche Bank Corrine Helman, George Washington University Presenter 4 Presenter 4 Daughter of Duchamp: Sherrie Levine and the Neill Prewitt, Georgia State University Annie Dell’Aria, Miami University Duchampian Legacy Half a Song + Half a Video = One Whole Art Moving Murals: Contemporary Urban Murals, Ephemer- Presenter 4 ality, and the Digital City Presenter 5 Elizabeth Wise, University of Oklahoma Dylan DeWitt, University of Arkansas School of Art The Atomic Age through Cross-Cultural Indigenous The Omnivore’s Lemma Art History

41 Tuesday, 12/8 Block A: 10 AM–12 PM Room 1 Room 2 Room 3

Art History Studio Graphic Design Art as a Mirror of Life Open Session: Digital Innovations The Ripple Effect of Design Education in Contemporary Art Practice in the Community Chair: Bonnie Kutbay, Mansfield University of Pennsylvania Chair: Lance Vickery, University of North Florida Chair: Marius Valdes, University of South Carolina

Presenter 1 Presenter 1 Presenter 1 Michael Anthony Fowler, Assistant Professor Lance Vickery, University of North Florida Peyton Rowe, Virginia Commonwealth University of Art History, East Tennessee State University The Experience: Art in Immersive Technologies CreateAthon onCampus: Looking Back to Move Forward Reflections on Beauty and Ugliness: Presenter 2 Presenter 2 An Exceptional Archaic Greek Mirror at the Getty Jake Weigel, California State University, Stanislaus Bridget Kirkland, University of Presenter 2 A Soul in the Computer: Combining Analog and South Carolina Upstate Mary D. Edwards, Pratt Institute Digital Techniques for Sculpture Designing Community Elevation Reflections on Salvador Dalí’s Metamorphosis of Presenter 3 Presenter 3 Narcissus Vanessa Cruz, University of North Florida Matthew Finn, William Paterson University Presenter 3 Pixel Paper: Transitioning to a Digital Sketchbook As Green As They Wanna Be: Utilizing Design Thinking Jamie Higgs, Marian University and Problem Solving To Address Sustainable Presenter 4 The St. John’s Bible: Holding a Mirror Up to Life Design Challenges Tess Elliot, University of Oklahoma Presenter 4 One Woman Show Jen Siddall, John Tyler Community College Presenter 5 Robert Smithson and Tezcatlipoca: Aztec Mythology Ruiqi Zhang, Virginia Commonwealth University and the Primordial Mirror Short-Video Social Media Platforms’ Influences on Presenter 5 Contemporary Art Practice James Jewitt, Virginia Tech Poussin’s Erotic Mirror: The ‘Achilles on Skyros’ in Richmond

42 Tuesday, 12/8 Block B: 1 PM–3 PM Room 1 Room 2 Room 3

Art History Studio/AH Studio/AH Art History and the Word Open Session: Critical Perspectives Censorship—Historical Roots and on Patterns the New Censorship in Visual Art Chair: Kerr Houston, Maryland Institute College of Art Chair: Robert Howsare, West Virginia Wesleyan College Chair: Harry Boone, Georgia Gwinnett College

Presenter 1 Presenter 1 Presenter 1 Kerry Mills, Mary Baldwin University Danqi Cai, The University of Tennessee, Knoxville Tameka Phillips, Georgia Southern University The Power of Critical Dialogue: Shifting the Aesthetic The Printed Matrix and It’s Academic Intersections Propaganda or Art? from the Gesture to the Field. Presenter 2 Presenter 2 Presenter 2 Chris Wildrick, Syracuse University Janet Stephens, Georgia Gwinnett College Elissa Ferguson, University of North Georgia The Mind’s Eye: Patterns in Data Censorship in Colonial Peru Puns, Language Games, and a Reexamination of Presenter 3 Presenter 3 Women’s Roles in Ancient Egyptian Tomb Art Barb Bondy, Auburn University Jenny Ustick, University of Cincinnati Presenter 3 Grids and Order: What Happens in the Grid, Righting Wrongs: Public Art, Censorship, Peter Scott Brown, University of North Florida Stays in the Grid Public Debate, and Healing The Meaning of “Iconography” in the Twenty-First Century Presenter 4 Presenter 4 Harry Boone, Georgia Gwinnett College Amanda Wangwright, University of South Carolina Contemporary Instances of Art Censorship on Celebrity Artists and the Modern Professionalization American Campuses of Art in Early Twentieth-Century China Presenter 5 Jenevieve DeLosSantos, Rutgers University Language, Equity, and the Art History Classroom

43 Tuesday, 12/8 Block C: 4 PM–6 PM Room 1 Room 2

Art History Art History Rethinking Human-Animal Relations in Art Made before 1950 Artificial Realities and the Natural World

Chair: Kathleen Chapman, Virginia Commonwealth University Chair: Yumi Park-Huntington, Framingham State University

Presenter 1 Presenter 1 April Claggett, Independent D. Bryan Schaeffer, Thomas More University Abbott Thayer’s Forgotten Animal Heroes and the Contest of Visibility Devotion to the Divine in Guatemala: Maximon as Mesocosm Presenter 2 Presenter 2 Jessie Landau, University of Illinois at Urbana-Champaign Kayli Rideout, Boston University Complicating Conservation in Carl Rungius’ Photo-Archive “Artificial Arctics”: The Cryopolitics of Gorham’s Silver Ice Buckets Presenter 3 Presenter 3 Anne Ronan, Virginia Tech Alice Christ, University of Kentucky School of Art and Visual Studies Henry Ossawa Tanner’s Un-Suppressed Color: Animal Art, Animal Materials, Representing a Natural Cow: A Roman Heifer in Cincinnati and the Flesh of Painting Presenter 4 Presenter 4 Kristi Peterson, Furman University Emma Steinkraus, Hampden-Sydney College Animacy and Artifice: The Place of the Potter in Aztec Philosophical Thought Women Looking at Animals: Documenting the Contributions of Women to Scientific Art before the 20th Century

44 Tuesday, 12/8 Block C: 4 PM–6 PM Room 3 Room 4

Graphic Design Studio What Graphic Design Can Do for Social Change Innovative Foundations

Chair: Jong-Yoon Kim, Plymouth State University Chair: Steven Bleicher, Coastal Carolina University

Presenter 1 Presenter 1 Stefanie Cobb, Middle Tennessee State University Jennifer Logun, Pratt Institute A Novel Idea: Students Utilize the Literary Experience to Conceptualize Political Sans Color-Aid Campaign Branding and Design in an Exhibition Called In the Books Presenter 2 Presenter 2 Nicole Condon-Shih, Cleveland Institute of Art Shantanu Suman, Ball State University A Drawing of a Drawing of a Drawing Educating Future Designers about Accessibility Presenter 3 Presenter 3 Rachel Cohn, Ball State University Yixue Li, Parsons School of Design Not a Video Class: 4D Foundations A Design Ethnography: Visual Landscape Around Chinese Factories Presenter 4 Presenter 4 Steven Bleicher, Coastal Carolina University John O’Neill, University of Minnesota Duluth Session Introduction: Innovating Studio Practice Teaching Inclusivity Using Web Accessibility Presenter 5 Eve Faulkes, West Virginia University Fostering Diversity and Inclusion in Our Design for Social Impact Course Presenter 6 Eddy López, Bucknell University For the Common Good: Social Impact Design through Experiential and Service Learning

45 Wednesday, 12/9 Block A: 10 AM–12 PM Room 1 Room 2 Room 3

Art History Studio/AH Art Ed Open Session: American Art – Session III: Gamifying Art and Design “But I’m Never Going to Use this Again”:

Modernisms and Community Outreach Chair: Seth McCormick, Western Carolina University The Benefits of Teaching Studio Art in the Twentieth Century and Art History to Non-­Major Students

Chair: Evie Terrono, Randolph-Macon College Chairs: Emily Elizabeth Goodman, Transylvania University Allison Spence, Florida State University

Presenter 1 Presenter 1 Presenter 1 Sara Woodbury, College of William and Mary Cyane Tornatzky, Colorado State University, Emily Keown, University of Houston-Downtown Modern Impressions: Printmaking and the Federal Department of Art and Art History, Electronic Art Teaching Responsible Empathy Community Art Center Exhibition Program Interconnected: Interactivity, Games, and Art Presenter 2 Presenter 2 Presenter 2 Elissa Weichbrodt, Covenant College Kelsey Frady Malone, Henderson State University Meredith Starr, SUNY Suffolk County Expand Your Archive! Art History That Matters Challenging Tradition, Maintaining Propriety: How Community College Presenter 3 the Plastic Club and its Members Negotiated the Splash! Diving into Virtual Reality to Inspire Change Callie Farmer, Fayetteville Technical Philadelphia Art Scene Presenter 3 Community College Presenter 3 Eli Blasko, Western Carolina University This Is Pointless, Or Is It? Margaret Richardson, Christopher Newport University The Psychology of Scale: Miniatures, Model Building Presenter 4 Abstract and Expressionist: Pioneers of Modern Art and Play in Artistic Practice Sarah Parrish, Plymouth State University in the South Presenter 4 Applied Art History: Visual Literacy Across the Curriculum Lydia See, Western Carolina University BMC Playbook: Gamifying Black Mountain College Pedagogy

46 Wednesday, 12/9 Block B: 1 PM–3 PM Room 1 Room 2 Room 3

Graphic Design Art History Art History Amazing Graphic Design—When Student In Plain Sight: Public Space and Political Open Session: Medieval and Solutions Blow You Away Subversion in Art and Visual Culture Renaissance Art

Chair: Dana Ezzell Lovelace, Meredith College Chair: Jenny Carson, Maryland Institute College of Art Chair: Vida Hull, East Tennessee State University

Presenter 1 Presenter 1 Presenter 1 Meaghan Dee, Virginia Tech Shannon Lieberman, Pacific Northwest College of Art William R. Levin, Centre College (emeritus) Out of This World: An Interdisciplinary Team of The Happy Ending? Street Art, Marriage Equality, and Intimations for a Franciscan Presence at the Students Creates AR Spacesuit Designs for NASA Queer Assimilation Fourteenth-Century Misericordia in Florence Presenter 2 Presenter 2 Presenter 2 Kofi Opoku, West Virginia University Lauren Graves, Boston University Lisa Victoria Ciresi, University South Carolina Beaufort Eye-Dears: Works By WVU Graphic Design Students The Federal Art Project: Arnold Eagle and David Robbins The Golden Madonna of Essen Find Place in the Everyday Presenter 3 Presenter 3 Dana Ezzell Lovelace, Meredith College Presenter 3 Jennifer E. Courts, The University of Amazing Projects: Blow Me Away Yuxiang Dong, Virginia Commonwealth University Southern Mississippi Pi Cun: A Case Study of Placemaking of Media and Meaning in Fifteenth-Century Presenter 4 Migrant Workers in Beijing Franco-Flemish Passion Images Kevin Cates, UA Little Rock Has the Graphic Design Student Become the Teacher? Presenter 4 Presenter 4 Jillian Vaum, University of Pennsylvania Jillianne Laceste, Boston University Freedom’s Place in Antebellum Baltimore Mixed Signals: Possession and Piety in Titian’s Portrait of Laura Dianti Presenter 5 Olivia Turner, The University of Alabama El Greco’s Allegory of the Holy League and the Tradition of Prophetic Imagery in the Culture of Early Modern Spain

47 Wednesday, 12/9 Block C: 4 PM–6 PM Room 1 Room 2

Graphic Design Studio/AH Agents of Social Change: Performance Art, Public Art, Critical Potentials of Mapmaking in Art and Street Art, Social Practice in the Age of Resistance – Session I Art Historical Practice

Chair: Eric Schruers, Independent Scholar Chairs: Izabel Galliera, Susquehanna University Steven Pearson, McDaniel College

Presenter 1 Presenter 1 Agustín Díez Fischer, Espigas (Tarea-IIPC, UNSAM) Rhonda Donovan, University of South Florida From the Theater to Streets: Leopoldo Maler’s Postdramatic Performance Tensions, Pockets, and Attachments Presenter 2 Presenter 2 Tatiane De Oliveira Elias, UFSM Catherine A. Moore, Georgia Gwinnett College Brazilian Contemporary Art and Public Space in the Age of the Resistance Navigating HiStory: Storytelling and the Illustrated Map

Presenter 3 Presenter 3 Mark Watson, Clayton State University Naomi J. Falk, University of South Carolina Water in Contemporary Art: Engaging Communities and Witnessing Injustice Walking Your Life: Observing, Mapping, and Abstracting Data as Inspiration Presenter 4 Presenter 4 Patricia Stout, University of Texas at Dallas Ann Kim, Indiana University East Eyes on the City: JR’s Women Are Heroes Project in Rio de Janeiro Decolonial Atlas Project: Visual Dominance, Power Dominance, and Subversion Presenter 5 Jeffry Cudlin, Maryland Institue College of Art, Curatorial Practice MFA Too Small to Fail: Rick Lowe, Theaster Gates, and the Scale of Art and Change Presenter 6 Jenny Ramirez, James Madison University & Mary Baldwin University From Umbrellas to “Be Water:” Hong Kong Protest Art, 2019-20

48 Thursday, 12/10 Block A: 10 AM–12 PM Room 1 Room 2 Room 3

Art History Studio Art History Women in the Arts: Ambitious Patrons, Narrative Art: The Work Does Not The Art History Survey: How to Keep Strategic Promoters, and Skilled Producers Need to Tell the Story the Material Engaging for YOU

Chairs: Kelsey Frady Malone, Henderson State University Chair: Jason Lee, West Virginia University Chair: Barbaranne Liakos, Northern Virginia Community College Lorinda Roorda Bradley, University of Missouri

Presenter 1 Presenter 1 Presenter 1 Olivia Armandroff, Winterthur Program in Elizabeth McFalls, Columbus State University Joshua Fisher, Arkansas Tech University American Material Culture Multiple Versions of One Story Children of the Cosmos: Finding Our Place in A Woman’s Voice: Leila Mechlin and Art Criticism the Universe through the Art History Survey Presenter 2 in the Early Twentieth Century Whitney Sage, North Central College Presenter 2 Presenter 2 Home is Any Place? Transcending Geographic and Melissa Geiger, East Stroudsburg University Laura Winn, Jacksonville University Historic Site-Specificity of Pennsylvania Mirroring Woman’s Otherness or Resisting Reflection? Active Learning Techniques for Art History Presenter 3 Hilda Rix Nicholas’s The Pink Shall Jonathan Durham, Auburn University Presenter 3 Presenter 3 Just Make Cookies: The Materiality of a Cover Up Ashley Busby, Nicholls State University Faith Barringer, The University of Alabama The Upper Level Fine Arts Survey: Interdisciplinary, Presenter 4 Creating a Female History Painter: Contemporary, and Thematic Approaches Casey McGuire, University of West Georgia The Reception Pieces of Élisabeth Vigée-Lebrun So What If Your Dad Was a Taxidermist; Representation, Artifice and Perfection as Sculptural Practice

49 Thursday, 12/10 Block B: 1 PM–3 PM Room 1 Room 2 Room 3

Studio/AH Art History Art History Breaking Open, Piecing Together: Going Global: New Approaches to Artist—Organization—Practice Queer Archival Labor Expanding the Survey Chair: Clare van Loenen, Virginia Commonwealth University Chairs: Miriam Kienle, University of Kentucky Chairs: Lindsay Alberts, Savannah College of Art and Design Jennifer Sichel, University of Arkansas Kerry Brown, Savannah College of Art and Design

Presenter 1 Presenter 1 Presenter 1 Jessica Hough, Northwestern University Rachel Hooper, Savannah College of Art and Design Jennie Carlisle, Appalachian State University Appropriation, Reenactment, and the Queer Archive Proposing Solutions: Applying Global Histories to Food Service: Curating and Performing Hospitality in the Work of Pauline Boudry and Renate Lorenz Broaden Museum Attendance Through Exhibitions Presenter 2 Presenter 2 Presenter 2 Ariel Evans, The University of Texas Brandon Waybright, George Fox University Lauren Cardenas, University of Mississippi “The Darned Club of Gutsy Women”: JEB’s archives With the Students, Against the Oppressor Who are the Total Service Artist? and Her Audiences Presenter 3 Presenter 3 Presenter 3 Stephanie Chadwick, Lamar University Tess McCoy, Florida State University Tracy Stonestreet, Virginia Commonwealth University Scrap the Survey?: Teaching Art History with Local Curation and Creation of Alaska Native Identities Indexicality of Endurance: Mary Coble and the and Global Resonance by Sonya Kelliher-Combs Re-Presentation of Pain Presenter 4 Presenter 4 Elizabeth Pugliano, University of Colorado Denver John Freyer, Virginia Commonwealth Univeristy Dear Students: Globalism, Decolonization and School of the Arts Inclusivity in Your Art History Survey Classes Fifty/Fifty: It Could Go Either Way

50 Thursday, 12/10 Block C: 4 PM–6 PM Room 1 Room 2 Room 3

Art History Studio/AH Studio/AH Reverberations and Correlations, Part II: Creating Queer Bodies Symbols and Meaning:

Creative Interdependence among Chairs: Anthony Morris, Austin Peay State University The Language of Things Visual Art, Music, Theater, and Dance Joshua Brinlee, The University of Mississippi Chairs: Chris Luhar-Trice, University of North Florida Kally Malcom-Bjorklund, University of North Florida Chairs: Lara Kuykendall, Ball State University JoLee Stephens, Glendale Community College

Presenter 1 Presenter 1 Presenter 1 Melissa Warak, University of Texas at El Paso Kris Belden-Adams, University of Mississippi Jose Santos Ardivilla, Texas Tech University Music, Theatricality, and Women in Ragnar “Ladies’ Men” Over “Women-Men”: Defining Cisgender Plastic Nation: Filipino Contemporary Artists Utilize Kjartansson’s Performances Deviance in Sheldon’s Atlas of Men Plastic to Envisage the Plasticity of Identity Presenter 2 Presenter 2 Presenter 2 Roann Barris, Radford University Kyle Canter, Hunter College Laura Smith, Michigan State University Georgii Pavlovich Golts: Artist of the Theatre A Reconsideration of Wilhelm von Gloeden and his Circle Beyond Surface Matters: Decolonial and Ecocritical Ways of Seeing an American Highway Presenter 3 Presenter 3 Kenneth Hartvigsen, BYU Museum of Art Emma Oslé, Rutgers University Presenter 3 M.C. Escher’s Playlist: Curating for the Eyes and Indigenous Woman: Gender, Identity, and the Work Naghmeh Hachempour, Georgia Southern University the Ears at the BYU Museum of Art of Martine Gutierrez Andy Warhol’s Death and Destruction Series: Repetition as a Technique to Create New Perspectives Presenter 4 Presenter 4 on Mundane Tragedy Lily Kuonen, Jacksonville University Kara Carmack, Misericordia University Unitards and Other Hybrids Working Out with Warhol…Sort of: “Andy Warhol’s T.V.” Presenter 4 and the Gay Male Body in the Clone Age Brandon Sward, University of Chicago How to Make Site-Specific Art When Sites Presenter 5 Themselves Have Histories: Whittier Boulevard as Sam Watson, University of Wisconsin Green Bay Asco’s “El Camino Surreal” Fragmented Realities: Harold Stevenson & Andy Warhol

51 Friday, 12/11 Block A: 10 AM–12 PM Room 1 Room 2 Room 3

Studio Graphic Design Art History Glimpses and Decoys: Painters Seeking Open Session: Typography Commedification of Art Meaning through Interplay of Image Chair: Joo Kim, University of Central Florida Chair: Olga Johnson, Stony Brook University and Material

Chair: Yvonne Petkus, Western Kentucky University

Presenter 1 Presenter 1 Presenter 1 Amanda Lechner, Virginia Tech - SOVA Andrew Davies, Virginia Commonwealth University Grayson Van Beuren, Independent Scholar Beyond the Sea* A Gamified Approach to Teaching Typography Parliamentary Alchemists and Electric Colossi: The Scientific and the Nostalgic Past in John Tenniel’s Presenter 2 Presenter 2 Punch Cartoons Neil Callander, University of Arkansas Angelica Sibrian, University of Illinois, Edwin Dickinson as a Model for Painterly Ambition Urbana-Champaign Presenter 2 Type as Discourse Jessica Orzulak, Duke University Presenter 3 “Blowing Off Steam”: Humor and Disidentification in John Harlan Norris, University of Kentucky Presenter 3 Wendy Red Star’s White Squaw Series Materials, Masks, and Meaning: How Materials Conceal Juan Salamanca, University of Illinois and Reveal the Painted Image A Model for Responsible Innovation Presenter 3 Hallie Abelman, PhD Student and Teaching Presenter 4 Assistant in American Studies - University of Iowa Julia Clift, Independent Artist & Writer The Home Lives of Animal Objects Constructing Meaning through Polylingual Painting Presenter 4 Presenter 5 Jennifer Kruglinski, Salisbury University Steven Pearson, McDaniel College The Evolution of Eleanor Antin’s Nurse Between Representation and Abstraction: Layering as Process

52 Friday, 12/11 Block B: 1 PM–3 PM Room 1 Room 2 Room 3

Art History Studio/AH Studio Agents of Social Change: Performance Why Did She Take off Her Clothes? Art as Catharsis: Combating Trauma Art, Public Art, Street Art, Social Practice Fourth-Wave Feminism, Modernism, and through Creativity in the Age of Resistance – Session II the Nude in Photography Chair: Eric Sanders, Georgia Southern University Chair: Kristina Olson, West Virginia University Chair: Claire Raymond, University of Virginia

Presenter 1 Presenter 1 Presenter 1 Corey Dzenko, Monmouth Univeristy Stefanie Snider, Kendall College of Art and Design Tacie Jones, Virginia Tech Notes from the Secretarial Pool: Sheryl Oring’s Revealing History in the Present: Nona Faustine’s Mending “I Wish to Say” Portraits of Resistance Presenter 2 Presenter 2 Presenter 2 Amy Bennion, University of North Florida Megan Driscoll, University of Richmond Hannah Cattarin, The Fralin Museum of Art at the Painting Chaos: How Art About Trauma Connects Us Tactics: Art and Publicity on the Internet University of Virginia Presenter 3 Physical Beauty vs. Serious Art: Hannah Wilke’s Nude Presenter 3 Pamela Reynolds, Georgia Southern University Self-Portraits Amy Bowman-McElhone, Carlow University Does Mosaic Art Making Have Unique Therapeutic The Sunday Curator: Mike Kelley’s “Uncanny” Exhibition Presenter 3 Value for Individuals and Their Communities Following (1993) and the Political Agency of Art Laura Petican, Texas A&M University-Corpus Christi Major Disasters or Hardships? Live Nude Girls!: Vanessa Beecroft and the Leveraging Presenter 4 Presenter 4 of Nakedness Michael Slaven, California University of Pennsylvania Lucienne Auz, Nebraska Wesleyan University Feminism, Community, Action and Revolution: Two DJs Empowerment through Body Mapping Making Waves Presenter 5 Presenter 5 Charles Clary, Coastal Carolina University Noah Randolph, Tyler School of Art, Temple University Memento Mori: A Struggle with the Past On Site: An Unpacking of “Rumors of War”

53 Governance, Institutional Members, Affiliated Societies

54 SECAC Governance

President Alabama—Wendy DesChene, Auburn University Sandra Reed, Marshall University Arkansas—Kevin Cates, University of Arkansas at Little Rock 1st Vice-President Lawrence Jenkens, UMass Dartmouth Florida—Jeff Schwartz, Ringling College of Art and Design

2nd Vice-President Georgia—Jeff Schmuki, Georgia Southern University Kevin Concannon, Virginia Tech Kentucky—Eileen Yanoviak, Independant Scholar Treasurer Beth Mulvaney, Meredith College Louisiana—Rachel Stephens, The University of Alabama

Secretary Mississippi—Elise Smith, Millsaps College Sunny Spillane, University of North Carolina at Greensboro North Carolina—Kathryn Shields, Guilford College Past President Jason Guynes, The University of Alabama South Carolina—Sarah Archino, Furman University

Editor, Art Inquiries Tennessee—Christina Vogel, The University of Tennessee at Chattanooga Kerr Houston, Maryland Institute College of Art Virginia—Michael Borowski, Virginia Tech Chair, SECAC Artist’s Fellowship Committee Greg Shelnutt, University of Delaware West Virginia—Kofi Opoku, West Virginia University

Chair, Levin Award Committee At Large—Al Denyer, University of Utah Sarah Archino, Furman University At Large—Dennis Ichiyama, Purdue University Coordinator, SECAC Mentoring Program Heather Stark, Marshall University At Large—Claire L. Kovacs, Binghamton University Art Museum

Director, 2020 Annual Conference Carly Phinizy, Virginia Commonwealth University

55 SECAC Institutional Members

Agnes Scott College Georgia Southwestern State University Stetson University Creative Arts University of South Carolina Aiken Amherst College Press Georgia State University Stove Works University of South Carolina Upstate Anderson University Grand Valley State University The 500 Capp Street Foundation University of South Florida Arkansas Arts Center Henderson State University The College of New Jersey University of Tennessee at Chattanooga Arkansas State University High Point University Towson University University of Tennessee, Knoxville Athens State University Hinds Community College-Utica Troy University University of the South Auburn University IDSVA Tulane University University of Virginia Auburn University at Montgomery Jackson State University UMass Dartmouth University of West Florida Austin Peay State University Jacksonville State University University of Akron University of West Georgia Benedict College Jacksonville University University of Alabama Valdosta State University Birmingham-Southern College James Madison University University of Alabama at Birmingham Vanderbilt University Brevard College/Art Dept Jefferson Community and University of Alabama in Huntsville Virginia Commonwealth University Campbell University Technical College University of Arkansas at Fort Smith Virginia State University Centre College Kennesaw State University University of Arkansas at Little Rock Virginia Tech Chico State University LaGrange College University of Arkansas-Fayetteville Wallace Community College Clemson University Lawson State Community College School of Art Washington & Lee University Coastal Carolina University Loghaven Artist Residency University of Central Arkansas Wayne State University College of Charleston Louisiana State University University of Central Florida Wesleyan College Columbus College of Art & Design Marshall University University of Delaware West Virginia University Davidson College Maryland Institute College of Art University of Florida Western Kentucky University Duke University Meredith College University of Louisville Winthrop University East Tennessee State University Middle Georgia State University University of Mississippi Youngstown State University Eckerd College Middle Tennessee State University University of Montevallo Elon University Miles College University of North Alabama Florida Gulf Coast University Norfolk State University University of North Carolina at Asheville Florida International University North Carolina State University University of North Carolina at Chapel Hill Florida State University Old Dominion University University of North Carolina Furman University Ringling College of Art and Design at Greensboro Gardner-Webb University Roger Williams University University of North Carolina Wilmington George Mason University Savannah College of Art and Design University of North Florida Georgetown College Slippery Rock University University of North Georgia Georgia College & State University Sonoma State University University of North Texas Georgia Museum of Art, South Carolina State University University of Pittsburgh University of Georgia Southern Adventist University University of Richmond Georgia Southern University Spring Hill College University of South Alabama 56 AHPT, Art Historians Interested in ATSAH, Association for Textual Affiliated Societies Pedagogy and Technology Scholarship in Art History

Founded: 2001 Founded: 1991

Membership: 100 Annual dues: $20

Annual dues: No annual dues, but donations are Purpose: To promote the study and publication most welcome to cover costs of affiliation with CAA of art-historical primary sources and to facilitate communication among scholars working with art, emblems, literature, and music, ranging from classical Purpose: This nonprofit, national society promotes art to the present. ATSAH publishes an annual the sharing of technological applications for the newsletter, reviews important scholarship, and teaching of art history; fosters discussion and organizes sessions and conference at international exploration of skill-based and student-centered and national conferences. ATSAH is an affiliated approaches to learning; and seeks to advance member of SECAC, CAA, RSA and SRAH. broader understanding and evaluation of existing and emerging technologies for art history. Representative: Liana Cheney, [email protected]

57 CAA, College Art Association FATE, Foundations in Art: Historians of Netherlandish Art Theory and Education Founded: 1911 Founded: 1983 Founded: 1977 Purpose: CAA promotes excellence in scholarship Membership: 750, and 30 institutional members and teaching in the history and criticism of the Annual dues: Membership Fees visual arts and in creativity and technical skill in the Dues: see hnanews.org/join teaching and practices of art; facilitates the exchange Purpose: FATE is a national organization dedicated of ideas and information among those interested to promoting excellence in the development and Historians of Netherlandish Art is an international in art and history of art; advocates comprehensive teaching of college-level foundation courses in both organization founded in 1983 to foster and inclusive education in the visual arts; speaks for studio art and art history. FATE’s mission is to provide communication and collaboration among historians the membership on issues affecting the visual arts a forum that encourages exchange, development of of Northern European art from medieval to modern and humanities; publishes scholarship, criticism, and strategies, goals and understanding in the foundation times. Its membership comprises scholars, teachers, artists’ writings; fosters career development and art curriculum. FATE’s principle activities include museum professionals, art dealers, publishers, book professional advancement; identifies and develops the sponsorship of conferences and publications; dealers, and collectors throughout the world. The sources of funding for the practice of art and for it publishes a newsletter and an annual journal. art and architecture of the Netherlands (Dutch and scholarship in the arts and humanities; honors Flemish), and of Germany and France, as it relates accomplishments of artists, art historians, and Representative: Katie Hargrave, to the Netherlands, from about 1350 to 1750, forms critics; and articulates and affirms the highest ethical [email protected] the core of members’ interests. For information on standards in the conduct of the profession. joining HNA, click here.

Representative: Arthur J. DiFuria, [email protected]

58 MACAA, Mid-America College Art SESAH, Southeast Chapter of the SGC International Association Society of Architectural Historians Founded: 1973 Founded: 1932 Founded: 1983 Membership: 1050 Membership: 500 Annual dues: $20 student; $35 individual; $40 library subscription. Annual dues: $35 student; $75 regular Annual dues: Varies by Conference: 2 year membership fee can be purchased at macaart.org Purpose: To promote scholarship on architecture Purpose: To educate the public and promote the and related subjects and to serve as a forum for appreciation of the art of making original prints, Purpose: MACAA is an organization that promotes ideas among architectural historians, architects, books, handmade paper, and drawing. SGCI and fosters the making and teaching of art at the preservationists, and others involved in professions serves as a resource to educational and nonprofit university and college level in the mid-America related to the built environment. SESAH is a regional organizations, universities, and the public at large, region, seeks to enhance the condition of the chapter of the national Society of Architectural providing for the exchange of technical and critical profession through the communication of new ideas, Historians and includes eleven states in the South. information on the art of printmaking. SGCI concepts, processes, and theories of concern to the It holds an annual meeting, publishes a newsletter promotes the art of printmaking through traveling membership, and holds a biennial conference for the and an annual journal, ARRIS, and presents annual print exhibitions, annual national conferences professional benefit of the membership. Membership awards. and the publication of a newsletter. Though it began is open to institutions, faculty, and students through as a regional organization, SGCI has grown to attendance at the biennial conference. Representative: Jennifer Baugh, SESAH President represent a national and international voice. Contact: SESAH Secretary, [email protected] Representative: Jason John, [email protected] Representative: Sage Perrot, [email protected]

59 Society for Paragone Studies VRA, Visual Resources Association

Founded: 2012 Founded: 1982

Membership: 92 Annual dues: $65 Student/Retired/Unemployed; $100 New Member (first-time individual member); Annual dues: $25 Regular; Graduate Student $15, $150 Individual; $300 Institutional (3 named Undergraduate $5, FIA Member $17.50 representatives receive the privileges of full membership). Purpose: The ‘Society for Paragone Studies’ is a professional scholarly society intended to further Purpose: VRA is a multi-disciplinary organization the study of inter-arts relationships. Specifically, dedicated to furthering research and education in the paragone studies, which is a term that was popular field of image management within the educational, in the Renaissance to describe rivalry between the cultural heritage, and commercial environments. arts through a comparative method, is interpreted The Association is committed to providing leadership in the broadest terms to include contemporary and in the visual resources field, developing and historical relationships dating to antiquity between advocating standards, and offering educational tools different media. At this historical moment in the and opportunities for the benefit of the community twenty-first century, when artistic media have at large. The VRA implements these goals through grown and proliferated in new digital and multimedia publication programs and educational activities. forms, it is even more relevant to promote inter- arts scholarship. This society unites scholars who Representative: Jeannine Keefer research in this area, offering opportunities for an exchange of ideas.

Contact: [email protected]

60 61 at CAA 2021

Arts and Humanities Multidisciplinary Education Collaborations

Co-chaired by William M. Perthes, Presentations: Barnes Foundation and Adrian Banning, “Co-Teaching Problem Solving + Collaboration Drexel University Using STEAM Principles” Kristen Tordella-Williams Thursday, February 11, 2021 Pre-recorded presentations available “Follow the Money: A Case Study in in advance of the live Q & A, Multidisciplinary Documentary Film Production” February 11, 2021, 3:00-3:30 PM EST. Becky Beamer, American University of Sharjah

“12 Big Ideas: An Interdisciplinary First Year Seminar” Nina L. Bellisio, St. Thomas Aquinas College

62